#a post will go up with a link when its time

[vidavalor]

Hi @rawbutprecious! Hope you're well. Interesting topics you've brought up! I'll have a go whilst I take a little break from this crazy day...

<<There was surprisingly little mention of food in season 2>>

Yes, there was more rejection of food and drink than there was eating or drinking, which I think is reflective of Aziraphale's depression. It's part of his mental health spiral and the fact that S2 is a mirrored S1 where some of the things are going to wind up opposite to what they were before. I think it's part of what makes the ox rib scene so enjoyable.

<<but there were Eccles cakes. Puritans equated them to paganism and debauchery. Aziraphale could be sinning by fighting against Heaven.>>

I don't know if I'm reading what you were saying correctly but food is not a sin and the Puritans were batshit crazy. You are right that eccles cakes were considered food of the devil by the religious wingnuts back in the day because they were so tasty. Religious fanatics have issues with pleasure and have a long history of labeling anything not miserable as demonic. Eccles cakes were banned for a time in the 1600s (curiously, around 1650, a time was mentioned in S2 but that we haven't seen). It was all very silly, just as how similar nonsense today is. Good Omens is a religious satire-- it's poking fun at this stuff not using it to support religious ideas. There's nothing wrong with Aziraphale liking food and sex and other pleasurable things. Those things are not sinful.

<<Could this be harking back to the bookshop fire and also the death of Aziraphale?>>

Yes, in a way. The bookshop fire is tied into Aziraphale's discorporation and it would make sense in a figurative way that, since the bookshop is metaphorical for/euphemistic for Aziraphale, that when Aziraphale was discorporated in S1-- when he lost his body-- that the same events led to the bookshop "losing its body" by burning down. So what does it say that the end of S2 is that Aziraphale gave up the bookshop to the Angel of Death, our lovebug Muriel, who is now is the one occupying the bookshop, as the linked meta gets into?

What does it say about who it is that asked Nina "does anyone ever ask for death?" before bringing Aziraphale a coffee and a temptation of exactly the only thing that could ever make him fall to hell? 😉

My quasi-daily "that ain't The Metatron, my friend" post quota is now complete for today. 😂

So, Aziraphale arrived in Edinburgh with a briefcase we never see him open and a hat that reads, among other things, "PRESS 66" on it, right?

And we might think that these are just Aziraphale's journalist cosplaying accessories but I think there are some hints that there's a bit more going on here than we might think-- all of it very relevant to The Finale.

We think that Aziraphale's arrival in Edinburgh is the first time that we see these things but, in true Good Omens form, the hat and briefcase are both actually glimpsed in a prior scene... rather significantly placed in that earlier scene, even.

Here they are, sitting together, the hat atop the briefcase, both in front of Jimbriel's once Fly-containing box, beside/behind the memory-wiped Muriel, in the scene below:

So, as Muriel is sitting there, not remembering Aziraphale, and as Aziraphale is sitting there, remembering Muriel and thinking all the things about the fact that they don't remember him at all? In the shot between them is the box into which Jim put his memory and brought it to Crowley and Aziraphale for safe keeping. In front of that box? Is Aziraphale's press hat and briefcase, seemingly drawing some connections between the journalist accessories and the memory plots in S2. Hmm...

What this scene also shows is that Aziraphale didn't just magic this stuff up as props when he arrived in Scotland. Even though we didn't see them in the car on the way up, they were there on the passenger seat for him to retrieve upon his arrival. He brought them with him from the shop. He packed them overnight and they were there, all ready to go, prior to Muriel's arrival, which coincided with Crowley coming over and moving the plants out of the car because Aziraphale planned to take it to Scotland. Why does this matter?

Because it might signal that there's more to the briefcase and the hat with its press credentials than we might initially suspect.

I think it would be safe to say that Aziraphale, by this point in the story, would be concerned that his memories were in danger.

He knows he's always been on a collision course with falling and this is all escalating pretty quickly in S2 in the two days prior to Aziraphale packing this press stuff and taking the car. Gabriel was The Supreme Archangel and he couldn't remember who he was and the archangels had shown up to threaten them and say that they're going to be spying on him even more closely, sending another angel to bug them the next day... the memory-wiped Muriel being quite an interesting choice, as that's sending quite a threatening message. Aziraphale also had roped Maggie and Nina into this and he knew he was likely going to have a confrontation with Heaven and Hell coming.

One of the first things he'd be concerned about would be his memories, right? and it's here where we can mention what we later learn about what Heaven can and cannot do regarding those memories... things that are new to us but that Aziraphale likely would have already known and factored into his plan, as we'll see.

Hints are given to this all season via Gabriel but it really becomes overt in this scene here:

This scene proves that Gabriel's memories aren't just in The Fly in S2-- they're also still in his mind. His memories are shown to be in two places at once. Gabriel's memories-- ones even directly related to the trauma he underwent-- actually began to come back before The Fly, in this scene. Gabriel felt safe and like he was talking with someone who could understand in this scene with Crowley so the memories began to come back for him.

The point here is that this scene shows that, when Gabriel "took his memories out" and put them into The Fly, what he was really doing was basically backing them up. He "uploaded" his memories into The Fly for safekeeping so he could retrieve them later, as a way to keep it so that they wouldn't be erased forever, but those same memories are still also on the "hard drive" of his mind. They were just mostly inaccessible to him for almost all of S2 because of trauma.

Before you say well, Gabriel might be a special case because he took his own memories out to avoid Heaven attacking him? Consider that Crowley didn't have a chance to do that-- but he tells Gabriel he knows how Gabriel feels.

Crowley has had the same experiences with his own memories. He's been able to bring some back at different times, without a lot of context, but a lot remains blocked. Crowley saying that he's been able to retrieve some memories means that those memories are still there in his mind, just very painful and difficult to access.

The idea might be that their memory loss is actually trauma-blocking. If Crowley's situation has the same effect as Gabriel's, it suggests that Heaven can't actually take people's memories-- they can only block them.

This would then be suggesting, as a lot in S2 did, that Gabriel didn't develop retrograde amnesia from taking his memories out-- he developed amnesia from the trauma he underwent.

When he felt safe enough to confront some of that trauma, the memories started to come back to him a bit.

What does this have to do with Aziraphale's briefcase, you ask?

It is connected because Gabriel's memory loss being from the trauma of Heaven trying to kill him, not from putting his memories into The Fly, proves that an angel could take his out their memories and not get amnesia from doing so.

Gabriel's story is showing that they could take out their memories whenever they want and still retain those memories also in their minds and be perfectly fine.

It's showing that Aziraphale could have backed up his memories in S2 without experiencing memory loss-- and the press hat and the briefcase are tied to just how he might have done that.

Aziraphale might have taken one look at Gabriel and his memory situation and the archangels circling the shop and thought that it would be a good idea to backup his memories and store them somewhere safe for if this all went pear-shaped.

What's interesting is that then, in a parallel shot to Aziraphale arriving in Edinburgh, we have this later scene when Aziraphale returns to London... note what's missing:

We see him park by the suit shop-- but no suitcase/briefcase this time. No hat. He's also taken off the raincoat. We never see them again for the rest of the season but we see a whole bunch of scenes that hint at where they are and why Aziraphale has left them in that location.

In this moment, we spend a strange amount of time on watching Aziraphale get out of the car and look around, hands-free, pat The Bentley, go for a little walk for a moment...

He talks to Nina, he goes back to the bookshop and greets Crowley and gets an armful of plants. The Bentley is largely the focus of the scene with Nina as well and its moving up in a scene that involves Nina and her bicycle-- another "mad 'American' woman on a bicycle", in parallel to Anathema in S1-- recalls Aziraphale miracling a bike rack onto the boot of The Bentley to transport Anathema's bike back to Jasmine Cottage. The key to getting Anathema and her bike safely home to her cottage was the bike rack Aziraphale made happen; the key to getting him and Crowley safely to the South Downs Cottage might be what Aziraphale stashed in the trunk of the car on his trip.

Here's where we can see that scenes before and around this involving Shax and Crowley show us pretty emphatically where the briefcase and the press hat are not located in the car...

They can't be on the passenger seat as they were on the way to Edinburgh because Shax wouldn't have been able to sit there when she got into the car on the drive back from Edinburgh. They also can't be in the backseat because the scene adjacent to Aziraphale's return to London is he and Crowley loading the plants back into the backseat. Crowley would have handed him his things if they were back there.

So, we have all of these shots of Aziraphale's return that are, among other things, emphasizing that the hat, the raincoat, and the briefcase are all not things he's taking out of The Bentley's trunk upon his return, even if they are his belongings and he brought them with him from the bookshop. He's intentionally leaving them all in the Crowley's car.

Aziraphale definitely did not leave his memories in a briefcase in The Resurrectionist Pub, even though that's the last place we saw the briefcase. How do we know that?

Because let's say that we're right here and Aziraphale did put his memories into the briefcase... either into something else that he then locked into the briefcase or just into the briefcase itself. What's the one problem with this?

He locked them in there for safekeeping, right? So...

He can't just leave the briefcase for Crowley-- he also needs to leave the key to the briefcase, yes? He needs to leave the combination somewhere... but he also has to hide that combination key. The briefcase wouldn't be very safe if just anyone could figure out how to open it, right? It needs to be something only Crowley can understand.

This is why Aziraphale is not a private detective in Edinburgh but a journalist because the key is in the hat.

How does one open the locked briefcase?

Press 66. 😉

The briefcase and the hat go together because the briefcase cannot be opened without the press credentials in the hat which, in very Good Omens and Crowley & Aziraphale form, look like they're one thing but are really another when you consider alternate meanings of words. Aziraphale knows that only Crowley would see Aziraphale's hat atop that briefcase and the 'Press 66' and work out that it's how to open the briefcase.

It would also be very Good Omens to nod to famous film Macguffins and then make them actually important in Good Omens' story. While a "what's in the briefcase?" thing here is very Pulp Fiction, the film that inspired the briefcase in Pulp Fiction is 1955's atomic noir Kiss Me Deadly, which is being referenced all over the place in S2.

The scene where Aziraphale picks Shax up from the side of the road is a homage to Kiss Me Deadly's opening scene, Gabriel's memory issues and his "I am in The Fly" note is similar to part of the central mystery of that film, and Kiss Me Deadly is the origin of the popularization of the word vavoom/va-va-voom.

Like basically every other film referenced in Good Omens, it's also known for innovative use when it comes to language-- particularly, coded cinematic language, in this case. Like North by Northwest, which is referenced in both parts of 1941 so far, Kiss Me Deadly found innovative ways to get around the Hays Code to tell its story. References to The Maltese Falcon in the story are also likely in relation to that story using etymology-based language to queer code aspects of its story, in a similar way to Good Omens, but also that The Maltese Falcon itself is a bit of a MacGuffin. In Good Omens, though, it seems like they're actually winking at those by making Macguffin-alluding things actually important parts of the story.

Anyway, the biggest fan theory about what's in the briefcase in Pulp Fiction is based around the combination to the briefcase being 666 in the film and the idea is that it's Marcellus Wallace's soul, which he sold to the devil. Famously, the audience never sees what's inside the briefcase. We might be saying here that the combination to Aziraphale's briefcase being 66 may be nodding to Pulp Fiction's briefcase a bit and hinting at the Satan in The Final 15 ideas. 66 is also tied to Route 66 and rock 'n roll in America, Buddy Holly, and the paralleling Gabriel & Beez flashback, maybe especially hinting at memory-related things happening with the briefcase.

I won't spoil you on what's in the briefcase in Kiss Me Deadly but let's just say that it goes along with Good Omens pretty well thematically... in a much, much darker way. The film being very bleak noir makes it very different in tone from Good Omens but the fact that the briefcase is actually is relevant to the story in the end of that film might also hint that Aziraphale's disappeared briefcase might wind up being important in The Finale, too.

Adding to this theory is also that another briefcase in The Bentley's trunk/boot was also something shown earlier in S2-- on a very significant night in Crowley & Aziraphale's history:

When Aziraphale is in Edinburgh, we see him intentionally hamming up his newspaper man persona and, in doing so, he takes the briefcase into The Resurrectionist Pub, right? Bit of foreshadowing there as to what will happen to Aziraphale and what will need to happen to bring him back?

Yes, we don't see the briefcase again after this scene but I doubt he left it in the pub because it would be useless to Crowley without the hat, on which Aziraphale has hidden the briefcase combination hidden in plain sight. Aziraphale was seen wearing the hat in one scene set after we last saw the briefcase, proving that both of them and the raincoat are in the trunk of The Bentley:

Aziraphale wore this whole get up to Edinburgh so that, if anyone was watching him, they'd think he was Muriel-like cosplaying a newspaper man. I mean... we know the trench coat is a little Columbo-esque, but why wouldn't he just be a private detective and not a journalist, if the goal was just to play a role to help solve the Gabriel mystery? Because he had to be a old movie-esque journalist so he could have the word press there in the credentials, only for its other meaning for the briefcase combination.

Aziraphale definitely had a whole other list of motivations for being the one to go to Edinburgh. He wanted Crowley to rest in the shop and to talk to Gabriel, he wanted to be the one to go tackle the mystery, and he wanted to work on his 1827 issues by going to the graveyard again... but we might find we can add to that list that he also realized it would be a good opportunity to hide his memories in a briefcase in The Bentley with actions that are right there, in plain sight of anyone who is watching-- including us 😉-- but might not be deemed suspicious.

Parallel-wise, the briefcase and The Bentley are the matchbox and the moving box and PRESS 66 is Aziraphale's equivalent to I AM IN THE FLY... all before Aziraphale and Crowley actually figured out what Gabriel and Beez did to protect Gabriel.

He's pressing on the press hat he's leaving for Mr. Six Shots of Espresso... 😂 The press card is in his hat, like a feather... Crowley's "it'd be a real feather in your cap wing" joke from the foreshadowing "I'll be damned"/"It's not so bad when you get used to it" scene in 1.01...

That demon doesn't know it yet but he's driving around with Aziraphale in the trunk because Aziraphale figured out how to get around the worst case scenario. He knew he was on a collision course with falling and he found a way to potentially dodge the memory loss by stashing his memories for Crowley in The Bentley.

His enthusiasm in Edinburgh is him barely able to contain his amusement at getting one over on anyone watching him who think they know what they're seeing but don't realize what he's actually up to.

No wonder why he was walking on air when he got back to London-- it was mission accomplished. He'd managed to leave Crowley the ability to bring him back, tucked away in the safest spot possible.

The bookseller who, like the others, is a metaphorical book/paper, left their out for Heaven and Hell trying to kill him for Crowley's safekeeping in a briefcase... the thing people use for...

...paperwork. 😂

But wait... there's one other big question, though, yes?

Why didn't Aziraphale tell Crowley this?

There absolutely was enough time and opportunity to tell Crowley he'd backed up his memories and left them in The Bentley's trunk.

The fact that this didn't come up seems wild, right, because they both know that Crowley has been having a steady anxiety attack about Heaven and Hell circling all week. We would think that, if Aziraphale had figured out this plan to circumvent that threat, the first thing he would have done would be to tell Crowley about it, yes?

Except... while I wrote this meta from the perspective of what the end result of Aziraphale's actions with the briefcase might be in The Finale, I don't actually think that was Aziraphale's own motivation for doing what he did.

Aziraphale didn't take out his memories and leave them in the briefcase in The Bentley for Crowley as a backup plan for them to elude a form of death for Aziraphale.

He left them there for Crowley to find and have after Aziraphale was already gone. Why else would Crowley need the combination on the credentials on the hat, right?

If Aziraphale had intended on his memories in the briefcase being a plan to save himself, he would have told Crowley about it so that Crowley would know. Instead, though, it's something of a suicide note. He left them for Crowley to find and have in the future.

I think The Bentley was even warning of this suicide ideation and showing concern upon the return to London for Aziraphale over what he had put in its trunk. The car is worried. [I love Good Omens-- when else am I going to type a sentence like that? 😂]

Aziraphale first parked it in front of Battye [madness] & Palm [to take]. It's a shop reflective of a lot of that depression and suicide ideation happening in Aziraphale's story and leading to his fall that I looked at in The Devil Takes The Hindmost.

The Bentley then drives itself-- and all Aziraphale's Aziraphaleness in the briefcase-- up a few feet. What is The Bentley then aligning Aziraphale with?

Death.

The car parked itself in front of the Give Me Death half of Give Me Coffee or Give Me Death...

... until Aziraphale told it to go back to where he parked it. Then, The Bentley backed up a few feet to Battye & Palm and all the madness that is the rest of the season. The car was foreshadowing the end, parking itself right along where it would be parked the last time we'd see it in S2.

The trunk is aligned with Give Me Death in The Final 15...

...fulfilling the foreshadowing of the end of S1.

[acesandocs]

A while ago Calamity told me they headcannon Joey as being of Norwegian decent and I wholeheartedly approve. So here’s Ace helping Joey get into his bunad.

Putting on a sølje is easier when someone else does it for you and its a neat way to have Åse and Joey interact. It ended up looking kinda domestic so now the discord server is down with ÅsexJoey lol, sure why not.

Heres a link to the first post i made about what a bunad and a fest drakt is. if anyone wants to read about it but all you need to know is they're for the most part different things and Ace's outfit is a festrdrak and Joey's is technically a bunad.

on Joeys outfit:

According to Calamity: ‘’I imagine his parents immigrated to the US with his grandparents when they were still young and then met in the US through community’’ which could probably put the time they emigrated around the middle of the 1800s. The modern idea of bunads didn't start appearing until the start of the 1900s and kept developing from there. So most likely his family wouldn't have any bunads to pass down, but maybe some clothes that could be put together to make a bunad.

So I based Joey's on the Oslo 1892 bunad. (Its almost the exact same except for the number of buttons) which was invented post 2010s but was based on fashion from the wealthy in 1890s. Considering the hypothetical time line of when Joey’s family emigrated the suit jacket and vest probably didn't come with them from Norway but the knit socks, søljes and pants could.

The silver jewelry on his neck is called a sølje, i gave him two different types. One is based on the sølje that usually comes with the Oslo 1892 but with a few artistic liberties. The second is a heart sølje that looked like a heart with either a crown or two birds facing each other above it. It was used all over the country but some places more than others like the more southern parts of the country. It was also often a gift given to a lover, maybe it was something one of his grandparents gave to the other.

on Ace's outfit:

I have already designed a fest drakt/bunad for Ace and in that post I mentioned I couldn't find an outfit from the area to base it one so I took some innspo from the Telmark bunad instead because of the color and embroidery that I felt matched Ace’s personality. I did eventually stumble upon a bunad from the are Ace grew up in. The Toten bunad, so I redesigned her Fest drakt based on it. Its not a one to one copy so its technically still a festdrakt.

I still got to add some embroydery but instead its svartsøm on the shirt (or whats supposed to be a simplified representation of it). The apron and band around the waist are woven in a style called tavlebragd which gives it that geometric pattern.

I also gave Ace a headband this time around since her hair is to short to braid when she’s older. So now she still has something going on with her hair. Its just a normal green hair band. Would have added embroidery to it if her design wasn't getting a bit cluttered with all the patterns.

I could explain away the difference in Åse’s festdrakt by saying her old one got lost when they emigrated but idk. I might come back to it and design a new one for her younger self at some point.

As mentioned in the first post im not a clothing historian so some of this might be wrong. I tried simplifying some of th patterns on aces outfit so theyd be easie to redraw so they might not be 100% accurate. I know I also could have just designed a new outfit for joey like I did with ace instead oif basing his on a bunad that wasn't even invented before the 2000s but it takes a lot of energy and research and I’m tired.

[raycatz]

some more LU things that throw me for a loop,,

An artist I follow, wilimia, started a LU dnd AU, and then mentioned wanting to make it it's own thing. Shortly after, they received an ask,

"I'd be down for un lu-ing the dnd boys cause I got lu blocked ad hate how it affects most links meet aus, so yeah. If you do that I'd reach non lu audience. Most loz fandom doesn't follow lu blogs"

and idk, I get it, but it's also hard to read. So much of Wilimia's art is LU. It seems like something they found, and still do, find joy in creating for--and for years, too--longer than I've been in the fandom. "Most loz fandom doesn't follow lu blogs." Most loz fandom wouldn't have any interest in the majority of the art Wilimia's shared? Anon would prefer it to be non-lu? It reads to me a little like putting down or dismissing the art just because it's LU. Wilimia's art is amazing. I admire it so much. Their ideas are wonderful, too. And like many other pieces of LU fanart, there's a lot of exploration of comparing and contrasting the games, or analyzing the games, borrowing the LU cast, without explicit connection to the events of the comic itself. So much incredible creativity missed, because it is LU. LU's not for everyone. To each their own, I guess.

But I feel like so much interesting insight into the games is lost if LU fanwork is disregarded simply for being LU.

I also struggle with feeling like I have to choose an audience. I have ideas for pre-LU comics that would tell stories of fun moments from the games, during an adventure--but I want to use the LU heroes because I care more for those interpretations of Link. I'm blending my own game experience and opinion of that Link with what's been provided by the fandom.

I think the stories are fun and worth sharing! However, what tag do I use? It's the Linked Universe design and character, but it's also me, but it's also not Linksmeet or the LU adventure, really. It's LU, it's not LU, it's gen loz, it's both. And yet you'd get scolded for posting LU in the gen loz tags. I feel as though I must choose a side.

For example: there's a moment in OoS where a woman asks you to help her in exchange for a shovel. I got the shovel and then immediately dug up the entire map chunk surrounding her house. It would make for a good comic! But do I make it LU inspired or gen loz? I'd probably use a slightly more generic design for Link (Legend) anyways because he would be younger. Honestly, I could probably get away with barely changing the design at all, tag it as gen loz, and be praised for it.

There's a huge double standard when it comes to LU and Linksmeets. Both argue that not everyone has played all the games. All the interpretations and designs are unique and, at times, should be read as their own aus without worrying too much about adherence to the game or specific comic canon. Characterization and knowledge varies by writer. At the same time, no one person owns specific design elements or traits. Don't worry too much about being too similar. Let people make what they want. Every new instance adds to the wider understanding of the character and is therefore valuable.

Yet, by the people who dislike LU and its fandom and favor other Linksmeets, in LU fandom it's seen as an excuse, and in Linksmeets and gen loz it's seen as a strength.

The character of my comic could barely be LU Legend, and yet if it is LU even in name only, it is disregarded and unwelcome. The character could draw strong influence from Jojo's designs or LU fandom, and if I change one thing only but claim it as my own, it would be praised and defended.

Analysis and discussion in the LU fandom (especially from around 2020) brought me a better appreciation and understanding of the heroes and game similarities then any other kind of online fan created material had.

So for my mini comic- and going off of the anon's ask- what do I do?

I want my work to be seen. I feel like it is valuable to be seen by anyone who enjoys the games. I want to inspire people who see the comic to think more about the games and to create. I don't particularly care through what lense they connect with my gen loz / nebulously LU work--if they apply the situation to their own game experience, gen loz, or to any Linksmeet--if my work has connected with someone- has broadened someone's understanding of a game or character- then my goal has been met. Obviously use the correct tags and credit where credit it due, but if I am making pre-adventure or gen loz stuff, then I want to inspire. Write fic! Add the headcanon to your own! Just like- if you make something based off an idea of mine, include me! We are all building off of each other's stories. It is all inspiration. It's all the same soup.

There is no Linksmeet element. And yet, in my heart, I know the character will become some personal variation of LU Legend, influenced by a variety of fanwork, because that's the interpretation I favor.

If it's tagged gen loz it reaches the broader loz and Linksmeets audiences. If it's tagged LU then it stays within the sub fandom I know and care for. The thing is--it's a pre-adventure story, so it's not solidly one or the other. I don't want to tag it gen loz and have LU fans feel they aren't allowed to think of it as LU Legend. I don't want to tag it as LU and have it be missed by so many people, or have gen loz / linksmeet fans feel they aren't allowed to think to think of it as their own characters either. However, also, why should I be creating for an audience who would disregard so much of my and other's works?

Mina of Mina's Linkverse's recent posts have thrown me for a loop again. She's shared a headcanon post about Twilight Princess Link that delves into how Link, given his background in Ordon, might feel about turning into a wolf. What struggles, but also acceptance and joy, can be found in it. It's beautiful. I'd love to add it as another perspective into my understanding of TP Link--both solely within the game context and also more broadly across a variety of Linksmeets. It's one more way to further appreciate things I already enjoy. However, Mina opened the post with "Dont tag as L/U". Okay, don't tag, but am I allowed to borrow this and apply it to LU Twilight? I relate to it most strongly through that lense. It's a general loz post, and LU is loz. What if I were to apply it to Mina's Fangs, or Em's Wolf, or Frulle's Twilight? If I were to write a LU fic or draw a comic and tagged Mina as inspiration would she take offense? Would it be less of an offense if it was anything but?

Am I as a LU fan allowed to take inspiration from this and put it into LU fanwork? What about LU fanwork that goes more strongly into exploring these themes or situations from the games instead of the comic itself?

It just feels kind of feels like a whole perspective or group is being excluded. I feel like I am being excluded and that I am unwelcome. But, maybe that's just me being an entitled LU fan who thinks everything belongs to them and needs to learn to stay in their lane.

I've considered making multiple versions of the same comic. One that uses the LU design and tag, and one that does not, so that I'm able to reach and be appreciated by both audiences. But, I don't want to have to choose. There would be no difference in the comic but character design and name. And yet, that's all the means necessary to be completely disregarded.

[dailydegurechaff]

Today's Daily Degurechaff is… doing some filing

[sideblog-side-b]

As of yesterday this was confirmed by OOB themselves. This is the link to their tiktok video about it which is full of red flags.

Some quick important points for anyone whi doesn't want to give them views:

They denied nearly all allegations and called the ex volunteers a bunch of liars spreading misinformation and disinformation (with no evidence of such)

They claimed they are an npo and said it's written in several places, they included screenshot of that, but no screenshots providing proof its actually an official status.

They said they aren't searchable on the IRS site because they haven't filed taxes, which is why they can't provide proof of being an NPO.

From the IRS website:

A tax exempt organization may need a letter to confirm its tax-exempt status or to reflect a change in its name or address. If so, an organization may generally contact Customer Account Services by phone, letter, or fax to request an affirmation letter

A letter or fax requesting an affirmation letter must include your organization’s ● full name ● Employer Identification Number and ● authorized signature (an officer or trustee)

The individual signing the letter must state the capacity in which he or she is signing (for example, “John Smith, President”).

They said they are not a 501(3c) org and that due to "their agreement" they will not be publicly disclosing who their financial sponsor is

Said you if youre worried about any of this you can watch videos from them and their partners distributing aid

On that note, they had previously posted this chart before removing once people started asking why the percentages don't add up to 100% of their expenses and how they made 46% look like over half.

Said they don't pocket money from aid, but that their aid goes to aid and operational costs, how they're skills, time, and labor of the people involved "deserve respect"

They said as an npos aren't 'subject to' FOIA requests which is why they didn't respond to the FOIA requests made by the ex-volunteers.

On the subject of families not reveiving aid in retaliation: they say this isnt true and that their aid partners decide how aid is distributed since they are the people on the ground

Claims ex volunteers emotionally manipulated families to "falsely claim" that aid was going to be cut off cuz they were no longer volunteering with OOB.

Claim the ex volunteers are trying to build a campaign to "attempt to target our partners and to build distrust and despair among already distressed families"

Claimed that the "primary" ex volunteer leading this campaign left amicably and even expressed gratitude when they did. They DID provide proof of that (although it seems there was certainly more to the message)

They claimed that person was "hostile" and pivoted ti "disturbing behavior" by way of making racist rants towards 2 indigenous members at OOB's core and reaching out to partners to jeopardize OOB funding, "and ultimately cute the financial lifeline that allows crucial aid and resources and psychologically harmed Palestinian families and aid workers."

Sending the cease and desist and reporting the former members to FBI for fraud/cyber harassment was done due to legal council "to prevent further escalation"

After saying that they ask anyone who shared videos to take them down or make "good faith corrections"

They finish up the video by saying this was an instance of white supremacist depravity which will not stop them from continuing to provide aid so "don't hand this to them on an silver platter."

I want to stress they provided no proof of absolutely anything except a screenshot of a single text and several screenshots of them calling themselves an org with NPO status... on their own pages.

They also had previously posted this pie chart in an attempt to be more transparent

But it was taken down.

I can only assume it was because people saw that somehow 46% (dark green) of expenses made up over half the chart and that the percentages given didn't add up to 100% which left about 15% of their money unaccounted for.

That's $205,422.

And idek how you could Accidentally make 46% seem like over 50% in a pie chart without intentionally plugging in inaccurate numbers.

But anyway. Yeah.

Things are not looking good for OOB. they really said "source: trust me bro" and provided a shitty pie chart.

idk when/if that post will upload but allegedly operation olive branch has been reporting some of its ex-volunteers to the feds over calls for transparency about operations/where money was going to, @drchygunn on tiktok has more details

consider donating to palestinian-led orgs, other credible orgs, or directly to the many, many palestinian families in need

edit: oob's critics have emphasized that the spreadsheet/list that they have and the families on it are legitimate despite this and to continue supporting those families directly

[lucabyte]

Olive Branch

Wrong Move

[phoenixcatch7]

Okay but it's super interesting how

Din = Power = Ganondorf

Naryu = Wisdom = Zelda

Farore = Courage = Link.

Because Din, in the hylian creation myth, created the physical world. Naryu then created the laws - gravity, time, etc. And Farore finally created life - plants and people.

Din created the body, naryu the mind, Farore the soul.

And the triforce and its wielders so perfectly reflect that.

Ganon is physical power, he is big and intimidating and he breaks things. He is cunning and determined, but that's not what he focuses on. He is might makes right.

Zelda is wisdom and cleverness. She is stall tactics and information and team work. She is a powerful mage with a spine of steel, but that's not how she'll win. She is the pen being mightier than the sword.

Link is courage and persistence. He is the wild card sneaking behind enemy ranks, always moving, plunging into terrifying situations head first. He's a phenomenal fighter with a keen wit, but that's not what will get him through his challenges. He is bravery not being the absence of fear but the triumph over it.

They sit in perfect parallels to each other.

And ganon is reborn through his body - his resurrection is immortality. No matter how low he is cast, as long as he has a body he can claw his way back. He can cling to his power, build it ever higher.

Zelda is reborn through the magic of her bloodline. It's the accumulated knowledge handed down for generations, the unique power she must master, the skills she must develop to survive and get her kingdom out the other side intact. Even her name, the knowledge of herself, is handed down from all the way from the very first. Her ancestors knowledge of her future presence, her stability, is what gives her the edge.

Link is reborn in spirit. He is not bound by flesh or blood. Just like his wanderlust soul he can reappear in any time or place. His variation, his unpredictability, is exactly how he fights. It's what makes him so hard to pin down.

Ganons need to build strength means he can't chase after link. Links impulsiveness means zelda can outwit him. Zeldas stationary predictability means she's an easy target for ganon.

But the other direction?

Fire melts ice, ice redirects lightning, lightning burns fire.

And that's the very essence of the triforce.

[deoidesign]

Someone killed my boss last night and he sent me this I'm so fired

god I can't wait to make this comic.

[902186]

we dont have enough fanart and fanfics about sauron in numenor. im begging for scraps im manifesting im sending signals to the universe

[c-kiddo]

not sure how many times i've listened to this song over the past few years but its been in at least my top 50 songs each year

the two paintings:

[puppppppppy]

i think the reason why im so drawn to spirit tracks and pkmn scarvi is that having the legendary/princess as a companion rather than a goal that marks the games completion makes me feel satisfied the way i would after helping a friend

my brother always teases me about how I still havent finished botw after almost 7 years bc "id rather be out picking flowers" which i wont say is untrue. and yes i know Zeldas been holding off ganon for 100 years, yes i can get some sort of idea what her relationship with link was like by recalling memories and going through her diary. ive always loved botw for its unique storytelling and setting which makes it stand out, because it lets you get to know who you're saving.

but because theyre memories, it only works if theres something for the player to investigate that already happened. its retroactive (but effective nonetheless)

on the other hand, spirit tracks does something similar but instead of having the player try to piece together memories and interpret them as a spectator, you actually have an opportunity to get to know zelda yourself by talking to her and working together. besides making it a gameplay mechanic, giving the player control over how they interact with zelda makes it so much more personable.

and I find that making the goal feel personal instead of an obligation gives me more of a reason to work towards it. I know what kind of person botw zelda was but as the player, shes still very much a stranger to me. but spirit tracks zelda? thats my friend!!!! she invited me to go to the beach after we get her body back!!! i dont want to whip her to make her move faster thats mean :(

you know how hostage negotiators are trained to introduce themselves and get to know the person theyre negotiating with because its harder to hurt someone when you know what their favorite food is? its kinda like that, because it feels like im helping a friend than being told or led to do smth

and although i havent played scarvi myself, i feel an attachment to koraidon and miraidon even just watching playthrough clips because its like!! thats my weird scaly dog!! it loves sandwiches and we're friends!!! you know!!!!!!

[pokimoko]

I have had it with these motherfucking spam bots on this motherfucking site.

[autumnoakes]

can i say it now?

sage of time/time powers didn't make sense for totk zelda. at ALL.

when in botw, before the calamity, in aoc, did she EVER show an affinity for time powers? i get that it was like this sort of. hidden power kind of thing, but it still doesn't make much sense. not for zelda.

[waywardsalt]

im thinking about possession aftereffects that linebeck experiences immediately after the events of phantom hourglass, so here are bullet points i have down for my own ideas

he’s out cold for roughly five days after the fight. he’s conscious for a bit after being freed, but it doesn’t take long for him to collapse once he’s transported back to the great sea. link finds him when he reaches his ship to see him again (he takes a lifeboat or w/e from tetras ship its a whole thing and not the point) and ends up having to take care of him for those five-ish days.

while he’s out cold, he develops a bad fever, and has a good few physical injures from being possessed; all of his wounds from being possessed manifest as burns, the worst wounds bring cauterized and mostly closed, while smaller ones are still open wounds. the largest wound is a large burn covering most of his back, which is cauterized by the time he passes out, and then there are smaller, still open burns on his upper arms and legs. (the smaller wounds are manageable by link when he follows some medical instructions, [there are some medical books on the ship] the larger one is also manageable, but takes a lot longer to properly heal).

(link asks tetra and her crew to stick around for a while to keep linebeck stabilized while he’s unconscious. when linebeck wakes up, tetra and her crew are good to leave because then linebeck can better report what’s going on, and knows how to handle injuries).

linebeck’s fever persists after he wakes up, and he experiences… pretty much every fever symptom, with especially bad chills and full-body aches. the aches are really bad for the first few days after he wakes up, he’s extremely physically weak and shaky for a while, too. that weakness and shakiness get better with time, but he doesnt go entirely back to normal without actually moving around and doing things to build that strength back up.

he’s delirious and struggles to stay awake for those first few conscious days, too, which makes that weakness and shakiness worse; he struggles to eat and drink water, and struggles to string together thoughts or words to talk to link, and both of them figure out pretty quickly that they’ll have to wait a bit longer before so much as an attempt to coax him out of bed can be made.

beyond existing problems with food, linebeck struggles to keep anything down while he recovers, and becomes ill pretty much every time after he eats anything, so a bucket is kept near his bed. with water, he obviously needs to drink a lot of it considering that he’s feverish, injured, and vomiting frequently, but while he’s sick he has a bit of an irrational fear of water (along with an irrational fear of air and the wind, which makes him hesitant to go outside while he’s sick).

he’s generally pretty irritable, which isn’t particularly new, but it makes him prone to refusing help with certain things. he’s less irritable when tired and just resting. he’s also especially nervous, and despite the overall fatigue, he struggles to sleep for very long while he’s sick, and as said before, is often delirious and even confused when things are bad.

along with the other difficulties eating, linebeck has a hard time swallowing for a bit, and salivates a lot more than normal while he’s sick. he is soooo fucking dehydrated the whole time and that really doesn’t help.

while the weakness and shakiness stays for the entire time he’s sick and even a bit afterwards, for the first few days after he wakes up he’s stiff and also experiences some muscle spasms and numbness in his limbs, and has a hard time keeping his balance the first few times he gets out of bed.

once the sickness clears up fully, linebeck has to still be careful with the scar on his back; it’s sensitive to touch for a while and hurts when exposed to the sun or air for too long and when he stretches his back too far, but eventually just reaches the point where it’s a bit sensitive but is otherwise just a large scar.

obviously he’s also going through the wringer in an emotional and mental illness sense too but those would require a whole new bullet point list.

[bunnyboy-juice]

GRAAAAAAAH MISREPRESENTING DATA DOES NOTHING FOR ANYONE EXCEPT FEED TROLLS WHO ARE TRYIGN TO TAKE OYU IN BAD FAITH ANYWAY OH MY GD

[moonstandardtime]

writing the isat botw au and its. a little revealing. that i just know the entirety of the great plateau by heart.