Hamilcoins - Hamilcoins

This was the last of the original four, and it sorta fell apart on me. The other three were started and completed in 2016, this was started then too and well… There’s wips of this one in my 2017 folder yet the file itself sits in my 2018 folder, despite the 17 dating it. Not sure what happened there anymore. At some point I gave up.

I hope to remake this one and achieve something better.

Hello! Sorry for the lack of comics this week, we were on break. We introduce a new character today, though! Say hello to Hamilton's love! Have a great day!

i never stop blogging even when im really upset i just sit there sobbing hitting buttons and reblogging everything

I do not know how to articulate this in a concise way that does it justice - sondheim would know, except he probably would brush away what I’m about to say in the way that he often did praise - part of the loss here is now that we’re forever bereft of an artistic bridge between theatre’s past and its future, and how impactful and part of the fabric of our culture broadway is. steve was mentored by rodgers and hammerstein. oscar was not only a teacher, but a surrogate father to him. he worked with leonard bernstein. he passed on that tradition of teaching and fostering new talent by reaching out to young composers, including jonathan larson (who was taken far too soon, but unquestionably had a permanent influence), including lin-manuel miranda, and that barely scratches the surface of the lives he touched, interacted with, guided and changed. all last night and today, names keep popping into my head of people who I know are grieving him, and they’re legends. they’re luminaries of the theatre. sondheim linked our cultural and musical and literary (because his lyrics ARE literary) past to where we’ve traveled and come, where we might be going. I know he said stop worrying where you’re going, but without the compass he provided, where would we be? stop worrying if your vision is new, but his always was, and its innovation and originality and moving complexity was because he was a keen observer of the current times, but also cherished the lessons he learned from those artists past. there are endless, countless things to say about the history of musical theatre and its composers and lyricists and writers, but no one had the perspective and rich perception of it that he did because he was there. his legacy lit the way because he was a part of artistic history at every turn. so it’s not only his loss as an extraordinary human being, or the realization that we won’t have new creations from him now, it’s also a grief for that piece of the past. his life kept that here with us for so long, and we were better for it.

he loved teaching. he considered it sacred. it’s our job now to keep carrying those memories and lessons on, if we can honor him in any way, it’s to keep teaching one another. his memory IS a blessing and we’ve been entrusted with it. careful the tale you tell, that is the spell. keep telling it.

Filoboletus manipularis for Funguary 👽

Being surrounded by girls screaming “I’m real and I don’t feel like boys” is so healing.

Hey do you want to listen to a really good musical? Do you want a musical where the main characters are wlw?

Listen to The Prom! It’s about two lesbians who want to go to prom together! 

Good evening! Here's the Hamilcoins comic that I forgot to post this morning. Lotta stuff going on. Have a nice night!

Brendon describing “Emperor’s New Clothes” as the sequel to “This Is Gospel” is actually fucking crazy. Because “This is Gospel” is Brendon asking Spencer to leave the band Spencer started with Ryan because Spencer developed significant addiction issues, and let Panic become Brendon’s project instead. Which, “If you love me let me go,” is a pretty fair thing to ask. 

But then “Emperor’s New Clothes” is bonkers???? Like this is Part 2. And it’s a song with lines like “Finders keepers, losers weepers” and “I see what’s mine and take it.” 

Then on Genius Brendon annotated it with things like “I got [the band] now. This is mine, and I’m not letting it go,” “That’s what I’m talking about: taking it all back for myself,” “This is a 100% autobiographical track,” “Now I am Panic! At The Disco, and that’s what I wanted to come across… I feel like I’ve deserved this for a long time… I’m going to step up and take what’s mine.” 

He even annotated the line about having “sycophants” as saying that is the world he would build if he was king. It is SO crazy. Who talks like this. Who acts like this. Not to mention the fact that Brendon had already kicked Spencer out 3 years previously anyway, so it wasn’t even NEW—but around the time of this track being released he had demoted Dallon Weekes to touring-only. 

And like this is based off the Emperor’s New Clothes fairy tale so like there is a degree of self awareness here and still just absolutely flying in the face of it anyway. What the hell 

Digging through my WIP folder and I found notes for a story idea I had about a dragon adopting a human.

Not on accident, mind you, the dragon doesn’t just stumble across a human infant and adopts it. The dragon decides it wants to adopt a human.

The dragon explains this to its lich friend: “I want someone to take care of me in my old age! A human would be great! Imagine how easily it could talk the other humans into leaving me alone! And– and it might decide to grow up and become a goldsmith, right? Some humans become goldsmiths. My human might decide to go into goldsmithing too!”

“I think you’re overestimating the percentage of humans who become goldsmiths,” replies the lich friend, who is not terribly discouraging of the idea, but also not particularly invested in it at this point. It seems like a plan with a lot of potential points of failure.

The dragon is undeterred, mostly because it has a whole hoard of gold coins and goblets and jewelry and trinkets that seem to indicate to it that there must, in fact, be a great number of humans who know goldsmithing to have produced all that.

Anyway, the dragon decides to shapeshift into a humanoid form, go into a city, and adopt a human child. It needs the lich’s help, because it doesn’t know anything about human fashion. The lich’s knowledge on the subject is a few centuries outdated, but they attack a few fancy carriage on the road and reverse-engineer an outfit from what the humans inside them were wearing. (Those humans were nobles, it’s fine, it’s a victimless crime)

The lich fusses a lot with the humanoid appearance of the dragon until everything looks just so.

(“Am I actually doing it wrong, or are you just making me shapeshift into something you find more attractive?” the dragon asks.

“If you want me to pose as your husband, this is the price to pay,” the lich replies.)

They go into the city, anyway, and they find an orphanage on the shady side of town, where the tired, overworked and underpaid matron clearly sees there’s something not right about these two, but not in any obvious way she can put her finger on. She’s just happy to have one less mouth to feed.

Anyway, child get! 

She comes along quietly, and doesn’t even comment when she’s taken to a dragon lair.

The dragon is ecstatic with its new acquisition.

(“Does it know any commands?” the dragon wonders. “Sit! Stay! Roll over?”

“You may be thinking of dogs,” the lich points out. “Children do not perform tricks.”

They both looked at the human child, trying to figure out how to approach her.

“So, what scam are you running here?” the little girl asked suddenly, startling both the dragon and the lich.

“I was wrong,” the lich says, “they’ve definitely been teaching children new tricks since I was alive.”)