Literature: To Be or Not To Be: That Is the Adventure
To Be or Not To Be: That Is the Adventure is a Choose Your Own Adventure-style adaptation of William Shakespeare's Hamlet, written by Ryan North. Using the conceit that it is, in fact, the original story of Hamlet, from which Shakespeare lifted a single path and later turned that path into a play, the book allows readers to choose between multiple viewpoint characters and a number of plot tangents of varying levels of realism.The book was funded by a Kickstarter campaign that, when it ended, was the most successful publishing project in Kickstarter history, attaining 2,904% of its $20,000 goal.
To Be or Not To Be: That Is the Adventure provides examples of the following tropes:
Acting Unnatural: While trying to cover up Polonius' murder, Hamlet is many times given the option to just play the situation off by acting casual. Since lying down on the floor in a room covered with blood isn't exactly the most normal of actions, it fails miserably every time.
Ophelia's adventure is as well-thought-out as Hamlet's, but rather than being a hero suffering from crippling inaction, you are a smart, self-sufficient woman who knows what she wants and is totally rad 100% of the time, and also you are dating a PRINCE. You can choose what you want to do with your life: help your boyfriend who's crying about a spooky ghost, or I don't know TAKE DOWN INTERNATIONAL TERRORISTS INSTEAD?? It's nuts. It's awesome. Oh my gosh.
ďThat was my uncle Skellington!Ē screams your husband or wife, depending on your sexual orientation and life choices. If you are not married, you scream it to yourself while looking in the mirror as you realize what youíve done.
Anachronism Stew: If you were expecting complete historical accuracy, you're not gonna find it in this book wherein Ophelia invents indoor heating, Hamlet signs to Ophelia "YA SERIOUSLY WTF" and the characters occasionally discuss the sexism inherent in the time period. Of course, this is completely intentional as per Rule of Cool and Rule of Funny.
Bad Liar: Pretty much everyone, but Claudius really takes the cake: at one point while playing him you're given the option to suddenly yell "I'M NOT A MURDERER!", throw a book at Hamlet, yell "I regret nothing!" and then run away sobbing. Before anyone has actually accused you of anything.
Bi the Way: Ophelia, judging by the fact that one of the people she can date in England is a woman.
Also quite probably Horatio. In one of the Ophelia storylines he gives her a choose-your-own adventure book to catch her up on events at court. One of the paths in this book involves him marrying most of the girls at court and some of the guys. It's implied to be wish fulfillment on his part.
Dating Sim: If you choose to take a vacation as Ophelia, the adventure instead turns into one of these as Ophelia gets to choose from between three people to find True Love. And then terrorists attack instead.
Genre Roulette: Is the story a mystery? A grizzly gore fest? A romance? An adventure? Either way, the only thing that stays constant is that it's a comedy.
Gotta Kill Em All: One ending has Ophelia killing every single character in the story, because Claudius' ghost convinces them to kill her first, or die trying.
Hurricane of Puns: During the fight with the pirate captain. Every attack Hamlet makes comes complete with a pun of some kind.
He-Man Woman Hater: Laertes. His first line in the book is 'If you sleep with Hamlet you're a slut!'
I Am A Humanitarian: If you choose to dump Polonius' body parts into a stew and then eat it, for some reason.
The Many Deaths of You: Naturally. Occasionally parodied, for example when Hamlet jumps out of a fifth story window, miraculously survives, and then trips over a body part and breaks his neck. The narration says that you could complain about the out of nowhere neck-breaking death, but jumping out the window in the first place was so stupid that you sorta can't.
The pirate captain gloats at drawing first blood, pointing to you and calling you a bunch of very unkind names that Iím not going to say here because I donít want you to throw down this book so you can try to find and murder this pirate in real life! Just take my word for it: the things he says about you are that bad.
Never One Murder: One of Ophelia's endings has her murder Claudius in front of Gertrude. Which naturally makes her have to murder Gertrude as well, only to notice Horatio - and so on and so on until Ophelia's killed every single character with her bare hands again. By the time Hamlet arrives, Ophelia has become so used to killing people that she accidentally kills him as well.
Anyway, I donít want to get too gory but you kill Claudius with a mace and two knives and a vegetable peeler!
One-Liner: Everywhere, constantly. Sometimes paths diverge depending on which one-liner your character chooses to use (and then converge again later, but still). On one path, you, the reader, are given a blank line on which to write your own one-liner.
Puzzle Boss: Ophelia vs Gertrude in a deadly chess match at the end of one path.
Railroading: The narrator likes to punish you for insisting on the stupid and/or sexist choices by forcing you along a particular path. Unsurprisingly, this happens quite a bit along the "canon" route.
Reality Ensues: You can have Hamlet try to kill Claudius by firing himself out of a cannon, at which point the narrator asks what kind of outcome you're aiming for. Choosing the realistic outcome has Hamlet turned into a fine red mist which splatters Claudius and Gertrude.
Retcon: If you choose the crazy options when interacting with Ophelia early on, the narrator gets annoyed and retcons an earlier scene to have Hamlet tell Horatio that he's going to act crazy for a little while in an attempt to find a justification for your actions.
Roaring Rampage of Revenge: During the path where Claudius's ghost kills Hamlet, Ophelia sets out to "kill everyone in Hamlet, and by that I mean this village!" with Gertrude as the Final Boss.
Scoring Points: Occasionally the game offers points, especially at endings. They are, of course, always useless. For example, one ending earns you apples out of 100. Another earns you 15 litres of points.
Screw Yourself: In one ending, Hamlet goes back in time to kill Claudius with his past self. The epilogue suggests that this is exactly what ensues.
Shout-Out: Dozens. In particular, every time Rosencrantz and Guildenstern show up, you can expect references to Sweet Bro and Hella Jeff - up to and including actually looking like them in some of the ending art.
Show Within a Show: As in the original. This time, however, the inner book is another Choose Your Own Adventure story partially about killing skeletons.
Slutshaming: Laertes in his first appearance. The narrative presents this as misogynistic and stupid, though.
Values Dissonance: In-universe. The narrator occasionally speculates that "future generations" might view certain choices as more socially acceptable than others. Sometimes it explicitly describes choices Hamlet can make as sexist — every one of which Shakespeare chose on his path.
You Can't Get Ye Flask: Parodied in a sequence based around text adventure games when Hamlet tries to find increasingly bizarre ways of rephrasing the sentence 'look room'.