#back story to the drawing is up to interpretation...

[jaynuu]

what happens when you put 2 mutually FrUK brainrotted individuals in a room together? you get a collab with @floralcrematorium :) i did the line art and they did the absolutely GORGEOUS rendering, still can't believe we've actually finished it ⁉️

[sysig]

Hey. Read Roundabout. Love Awesome. (Patreon)

[frownyalfred]

Why is it so hard to find ppl that actually understand bruce? I am tired of either finding ppl that see him as an abuser or others that only love wfa version of him I am really tired of this like really I can't even join a Fandom without getting my favorite character not getting mischaracterized left and right 😔

I'm going to rant a little bit here, and I apologize in advance. This isn't really directed at you. But I'm kind of tired of this flavor of ask. I get it a lot -- half of these asks are praising me for having a "good" interpretation of canon, and the other half are blasting me for being too "fanon" and bending too much to fandom tropes in my posts and writing. And of course the nonstop WFA hatred in my inbox is tiring.

Be the change you want to see in the world. If you don't like what the fandom is doing to your blorbo, write him your way. But sitting at the edge of the playpen complaining about how someone else is playing with their toys isn't useful. And it's really getting annoying to me, as a content creator.

I'm also tired of the superiority some canon-adherents have over those who write/draw more fanon tropes. So many of you are SO bitter over the idea that fandom is "ruining" Bruce or your other Batfamily blorbo because how DARE they write your blorbo in that way that is so OOC. How DARE they! And yet, you sit on the sidelines and create bitchy tumblr posts about how those fandom participants are stupid, or ill-informed, or simply don't have the higher thinking ability to understand your blorbo like you do.

And yet. You don't write Bruce the way you "enjoy." You don't create content or share posts or promote those canon characteristics you so highly value. Instead, you write posts complaining about the others in this fandom and deride them for being stupid like adhering to canon strictly somehow makes you better than anyone else. You mock their acceptance of fanon tropes as canon as if there is required reading in this fandom, entirely dismissing the idea that the line between DC fanon/canon is confusing as hell on a good day, and ignoring that the natural progression of engaging in fandom is finding out -- sometimes on your own timeline -- what actually happened in canon. Especially when canon is so vast.

And guess what? At the end of the day, we are all on the fandom website(s). You're still reading fanfiction at the end of the day. Canon or fanon or some blend of the in-between, you are still a fan participating in fandom content in some way or another. And we are all equal in that respect.

We are all here to enjoy these characters. Fanfiction is a medium that allows us to further explore canon, yes, But it is also a way to explore the OOC, the what-if's, the out of character but fandom-fave ideas and tropes people want. The fact that OTHER people enjoy those things should never impact your enjoyment of fandom.

If you cannot handle someone else playing with the same toys as you, but playing with them in a way you don't like, you need to go back to preschool. And if someone won't give you your toy back, find another one. Write the story. Create the post. Build your own engagement from the ground up, finding likeminded people if you can. They are definitely on here.

But I get the impression that when people complain about fanon "ruining" fandom, what they're actually saying is "I'm upset that canon content isn't as popular as fanon content." And that, I can't help you with. We can't always change what other people love or want to engage with.

I'm sorry that this rant is blunt, but it's been simmering inside me for a while. I'm really tired of getting and deleting this ask 15 times a day. You will not find much sympathy on this blog for canon purism and the derision of fanon/fandom, and for that I apologize. But it's the truth.

I enjoy consuming content about both "fanon" and canon Bruce. I like the contrast and complexities. But I have seriously had to stop following a ton of blogs in the last year who don't create "canon" content anymore and instead spend their time complaining about other people in the fandom who are just enjoying themselves and creating their own content. It's incredibly disheartening and frustrating.

[viperkalas]

Here's another two panel one! (*^▽^*)

Not really much of a story on this one, I just wanted to draw today, so it's all up to interpretation for you guys!

Though I might come back and edit if I think of a good scenario.(*^_^*)

[puranami]

✿ It's The Little Things ✿

A/N: My first time writing! Admittedly I'm very nervous, but also so excited!! Kept it simple with a small headcanon list to start, but I tried to write a decent amount for each point, and I hope that everyone is in character :0 Posting at 4am because I have no control over my life...

Summary: Little relationship things with the Strawhats. Can be interpreted as the anime/manga or the live action version of the character.

Characters: Luffy, Zoro, Nami, Usopp, Sanji

Content: SFW, G/N reader, slightest hint of angst in Sanji's part, but otherwise, pure unadulterated fluff! ✿

(Part 2 - Buggy, Shanks, Mihawk) (Part 3 - Franky, Robin, Law, Kid, Killer) (Part 4 - Crocodile, Rosinante/Corazon, Doflamingo)

Luffy

✿ He absentmindedly draws shapes on your leg, back, or whatever part of you is there as you sit together, whether you are watching the waves, or listening to one of Usopp's stories. He is almost magnetic in the way he ends up attached to you. If you're not feeling it, he will do his best to keep his hands to himself, but as soon as his focus shifts onto anything else, they're back on you, drawing little clouds and hearts. He tried, he really did!

✿ This bottomless pit inhales food like it's going out of fashion, but, much to the bewilderment of the rest of the crew, he will actually feed you from his plate as he eats, even though you are eating your own food. It may be a case of "1 for you, 5 for me," but it's almost instinctive for him; he's sharing something he's passionate about with you, and making sure that, in his eyes, you are happy, healthy and strong. He values your wellbeing more than food; you are one of the most important things in his life.

✿ Despite how chaotic he is in every aspect of his life, his presence brings you to a state of complete peace, even when he's yelling about whatever currently has his attention. Just knowing he is there comforts you in a way that nothing, and no one else can. As long as Luffy is there, being the same old Luffy he always is, you know everything will be alright in the end, and if it isn't alright, well, it isn't the end yet.

Zoro

✿ He always places a comforting hand on your head when he passes by, or ends up in the same general space as you. It's his version of a hug, a reassuring touch that he is there, and that he's happy to see you. Zoro is very subtle with his affection, at least in public, but even when it's just the two of you, he automatically defaults to the head pat. It comforts him as much as it does you, and the simple action alone conveys his feelings far better than he ever could with words.

✿ You both love silently observing everything going on around you, and it's such a comfortable silence. You just enjoy each others company while watching the world go by, with Zoro also keeping an eye out for any threats, as he does. Sometimes you end up passing silent judgement on what you see, and you have both developed this uncanny ability to gossip without saying a single word. It's honestly unnerving at times, but you are just so familiar with each others micro-expressions that it's second nature.

✿ Insults are terms of endearment. If anyone else called either of you such things, all hell would break loose - swords drawn, blood spilt, bodies hit the floor, the whole song and dance. It actually started out as a form of deflection, with both of you being far too stubborn to admit any feelings were there, even to yourselves; "No, I don't like you, shitstain, I tolerate you." - "Whatever helps you sleep at night, arseface." As you connected though, it just became your thing, and you love seeing who can come up with the funniest insults. Zoro is surprisingly creative in this regard.

Nami

✿ Nami has a habit of fixing your clothes and hair if something is out of place. It can seem overbearing to others, but she knows you appreciate the gesture. She spent years putting up walls to defend herself, and this is a safe way for her to have a little moment alone with you, giving you gentle little touches without revealing to the world just how important you are to her. It is a very grounding experience for both of you, and you end up doing the same for her on the rare occasion that she isn't completely flawless. She may purposely put things out of place so you have the opportunity to fix something too.

✿ She has an eye for the finer things, and loves getting you little trinkets, and especially pieces of jewellery, which often match or pair with hers, like pendants that fit together to make a whole shape, and such. Just don't ask her where she got them; "Shhh, you don't need to worry about that." All that matters is that you now have a tangible connection to each other, no matter how close, or far apart you are.

✿ Another person who relishes in comfortable silence. Of course you love chatting with each other, and often do so later into the night than you intended. Nami is very quick-witted and your shared snark is always so enjoyable! But it's the moments when you are doing your own thing together, basking in the warmth of that closeness that brings the most joy. Every so often, you will share something interesting or amusing, depending on what you're doing, but you always return to that silence. It's very domestic.

Usopp

✿ You both end up in regular fits of giggles, that grow into raucous laughter, before devolving into the sounds of various suffocating wildlife, which only fuels the hilarious fire. He doesn't even have to say anything at times; he just has a look, and as soon as he catches your eye with it, you absolutely lose it. The amount of nonsensical inside jokes you have is absurd in itself.

✿ Ever the storyteller, Usopp will wind down the day with you relaxing under the stars, telling you fantastical stories about the impossible feats of the great 'Captain Usopp.' His creativity and imagination are something you greatly admire, and as much as you try to stay awake to appreciate those qualities, the comfort he brings has you dropping off every time. He'll carry you to bed most nights, but sometimes he can only manage to drag you around like a corpse he's trying to hide, and he'll end up waking you up laughing about it.

✿ You automatically link your little fingers whenever you are close enough to. It doesn't even register half of the time, only realising when you need that hand or try to go your separate ways. When this happens, providing there isn't anything that needs your urgent attention, you like to dramatize your parting, playing up that this is the most painful moment of your lives! "Don't you dare let go, Usopp! We can both make it out of this alive!" - "I'm so sorry, I can't hold on any longer, and I refuse to drag you down with me." - "No! Don't say that!" - "I love you so much, but you need to let me go..." Leading to you unlinking your fingers, and exaggerated fake cries of anguish. It annoys everyone around you immensely.

Sanji

✿ You shamelessly flirt with each other, making everyone around you uncomfortable, groaning at how painful it is. You weren't together when you started playing this romantic game of chicken, giving back everything Sanji threw at you, and then some, but once you figured your feelings out, you actually developed it into a legitimate game where you attempt to be as sickening and obnoxious as possible. If there is no one grimacing, angrily telling you both to pack it in, or simply leaving the room; you aren't flirting enough. There is a points system, and you're currently in the lead. Sanji ends up caving over the things you say, and his brain loses the ability to form words, let alone string them together in a coherent sentence.

✿ Sanji always leaves a drink and a bite to eat for you to wake up to, since he isn't there in person, having to wake up much earlier to prepare the food for the day. Growing up in a restaurant, early starts are just part of his natural rhythm, so it doesn't bother him, but sometimes you try to wake up with him to at least watch the sunrise together, before going back to bed for a couple more hours. He cherishes those mornings, and there is always an extra spring in his step on those days.

✿ He takes every opportunity he can to share a glance and a warm smile, a gentle touch of your hands, or a chaste kiss with you. They are agonisingly brief moments, but Sanji needs them to get him through the day, otherwise he would just cling to you, and neither of you would get anything done! Unknown to you, these moments are also his way of reminding himself that you chose him over everyone else, that he is loved unconditionally, and that he is enough, without having to, in his opinion, burden you with his insecurities. He'll open up to you one day, and you will be able to give him verbal affirmations along with everything else~

[ravewing]

on the creation of animus magic

i was talking about the origins of animus magic with my discord recently and it made me want to share it here–

mind you, this is something that i had initially come up with around fourth or fifth grade, so it doesn't 100% comply with current canon and its a little shoddy but regardless i need to get it out of my system haha

waay way back in 2019 or so, i came up with a sort of 'origin story' that the dragons of pyrrhia told that explained where animus magic came from.

they believed that a sort of higher dragon spirit that was of simultaneously all and none of the tribes (my interpretation of them is the drawing at the beginning of this post) created the seven dragon tribes, and upon creating them, offered each tribe the power of animus magic.

both the rainwings and mudwings refused. the rainwings believed that such power would create an imbalance of harmony in the rainforest, and thus did not accept. the mudwings believed that if animus magic was wielded by a sib that wasn't a bigwings, then they might use it to overthrow the balanced system, and if a bigwings hatched with magic, then they might use it to steer their sibs in the wrong direction (again, imbalance and disruption of harmony).

the icewings, however, accepted the gift of animus magic, believing that with proper control and tradition, they could harness its power without falling to corruption. the icewings then offered this gift to the seawings, who accepted it.

the sandwings accepted the gift of animus magic from the high dragon spirit as well.

the skywings were very hesitant from the beginning. even though it was offered to them, they never gave a clear answer; many skywings believed that their raw power and physical might were enough to best the other tribes, and that animus magic was a shortcut that undermined their strength. still, because they did not explicitly deny, they still received magic– though it was quickly stamped out.

the nightwings, on the other hand, were not as patient as the other tribes. their thirst for knowledge and power was unquenched, and they sought to claim animus magic before it was even offered to them. they attempted to steal the magic directly from the claws of the high dragon spirit. it saw the actions of the nightwings as dishonorable, and as a result, they were left to pursue other forms of power— namely prophecy and mind-reading.

some dragons believe this origin story to heart, and they passed it down through generations as the definitive truth of where animus magic came from and why certain tribes have it while others dont. others, however, view the story as more metaphorical– to them, the higher dragon spirit and the tale of the tribes’ choices are more like allegories that are meant to teach younger dragonets a lesson about not being greedy or something idk.

anyhow this might be stupid or it might be revolutionary but if you guys like it then i might make some art related to this 'au' :)

[rikichie]

Just don't ask me how that huge plush was thrown there

Under the cut, things I imagine in YOI pre-canon, with the ways my thoughts tie into canon to explain why I think them. These are personal headcanons and interpretations.

With Viktor, I imagine his family being high achieving, and Viktor having a lot of expectations on him. And he matches then successfully. But this means his parents think he's doing well, even in moments where emotionally he isn't. They look at achievements rather than looking at him. It's not intentional neglect, they just don't have the awareness of mental wellbeing. He has a bed and food and he's doing well in school and skating, so everything must be okay. It's fine when he's fine, it's lonely when he's not. And it's the first environment that teaches him to match himself to what's expected and wanted of him, fulfilling a role rather than just being.

When he's older, he quietly creates distance. Not cutting them off, but not reaching out. They don't mind. They follow news, and they can show off his success.

When he's young, Viktor loves having fans and being known and admired. Af first he doesn't see downsides to it. And then something happens, as simple as "did you see him throwing the flower at Christophe Giacometti? He was flirting, how cute" - and Viktor realizes his fans will draw their own conclusions and won't believe him if he tries to say they're wrong.

So he starts adjusting his approach. Building a persona, and building walls. Charming smiles that get him anything he wants. Practicing the skill of giving people what they expect. Being what they expect. And then flipping it on its head and surprising them.

If you're focusing on matching and subverting expectations, you're not necessarily being yourself. Any personal exploration of identity is hidden and alone. But on the ice, when he's performing, he can be honest. He can be seen. Because they're going to take it as fake. Think of how Minako reacted to Stammi Vicino - Viktor's earnest plea for someone to stay by his side, well, he's too charming for this to tug at the heartstrings. So he can play with stories that he won't share with anyone any other way, and he knows they'll take it as pretend.. The walls he builds don't allow him to be truly close to people. He has good relationships with other skaters, but emotionally keeps them at arm's length. He doesn't notice he's isolating. Chris and he have fun joke-flirting, but when Viktor steps away from the ice Chris doesn't seem to realize he needs this, isn't close enough to know what he's struggling with. He talks like Viktor is taking away the motivation he's entitled to by choosing to coach Yuuri. His rinkmates see him on good and bad days so they know when he struggles, and Yakov is the only person close to knowing him deeply, but even he doesn't take it seriously when Viktor burns out, so that is still limited.

For Yuri, I think his mother was going through a lot to let his grandfather take care of him. He has a lot of responsibility in that setting, and it all starts when he's so young.

I think, with Viktor being present in his life consistently from such a young age, Viktor is one of the people he sees as family. He absolutely looks up to him, just like he absolutely looks up to Yuuri. And I think he resents the emotional distance Viktor maintains.

He's not very attentive to people in general, but he's the one that explains to us how Viktor feels early in the show. When Viktor left to Japan so suddenly, I think Yura felt abandoned beyond just Viktor forgetting to choreograph a program for him. If it was just the program - he did end up getting Agape, he could have just asked for that, but he tried to get Viktor to go back. I feel like he hates that Viktor went to look for a way to get his spark back somewhere else, instead of staying and finding a way out of his slump with his rinkmates. If what Viktor needs is to coach someone, why isn't Yuri good enough? He's a talented skater and he sees himself as continuing Viktor's legacy, but Viktor chose someone else for that role.

And Viktor did choose Yuuri to continue his legacy. Because Yuuri skates so beautifully, because Yuuri has so much love for Viktor's skating, because Yuuri has drive and ambition and pride and skill and he finds joy in skating, and Viktor wants to nurture all of that into the performance Yuuri deserves to show.

And along the way, he learns how to connect with people as himself. His relationships with Yuuri and Yuuri's family open doors for him to better and deeper relationships with Yuri and Chris and anyone else he wants to be close to.

About Yuuri, there's very little I can say because we know so much. So I'll just share a lighthearted headcanon a few friends and I came up with as a story idea and I just adopted.

I don't share the fanon that Phichit got him into pole dancing. In my mind, he either started himself, or it was Chris - unintentionally. I think they're friends, because of how Yuuri reacted to him in the show, like he's used to him. And I like to think Chris kept saying things that made Yuuri feel competitive. Talking about how it's great for core strength, "but it's probably not your thing." Sent pictures of himself performing difficult moves, and got pictures back because Yuuri was trying to match him or do more difficult things than him. And meanwhile Chris thinks they're showing off to each other for fun. It's how Chris knew Yuuri can keep up with him at the banquet.

I still want to write something for that last bit.

[mac-ann-cheese]

♪\(^ω^\)Happy New Year!( /^ω^)/♪

I've got quite inspired by mid century modern style (UPA's and Hanna-Barbera's work was the reference). I really tried to make everything style-appropriate, but as usual I ended up adjusting everything to suit myself, and it turned out too complex. I really need to learn how to SIMPLIFYヽ⁠(⁠`⁠Д⁠´⁠)⁠ﾉ

That's an important skill.

Although, I'm still happy with the result (⁠◕⁠ᴗ⁠◕⁠✿⁠) I'll surely come back to mid century some day. I'm not done with it.

You may feel like the presented story is familiar... (˶°ㅁ°)!!

Well, you're not wrong - it is actually a sequel to my other drawing. At first it wasn't intended, but I like the accidental interpretation.

If I'm going to talk about the process of drawing, then, tbh, I struggled a bit with snow, on the sketch it looked way more cohesive.

Also, the drawing itself represents a postcard.

And yes, they did pluck the tree out with bare hands.

[dunmeshistash]

G'day, I hope you are doing well.

Ever since I finished the story of Dungeon Meshi (all supplementary material included) I've been writing down bullet points on characters in addition to in-depth synopses as a way to tidy up my rather busy mind. To this end I've also greatly enjoyed reading other folks' interpretations of particular characters, as it gives me further insight into aspects of that character I may have glossed over.

However, there's one character I'm struggling to write a cohesive synopsis about, that being none other than 'miss enigma' herself, Falin Touden. I get that her whole shtick is that she's kind of a mystery, but I find myself drawing a lot of blanks when it comes to her as a character, and while I have nailed down some important bullet points, there are a lot of different interpretations on her, all of which starkly contrast one another. Though perhaps it's just the wording. Hard to say.

It could very well be that I'm being too dense i.e. perceiving "Falin is willing to risk killing others to save her friends." and "Falin, in the heat of the moment, when faced with certain death, was willing to face the prospect of harming potential passersby in a final Hail Mary to get her friends to safety." as entirely different observations. I have a hard time with those kinds of things.

With this being a hub for all sorts of observations, interpretations and cool trivia, I was wondering if you'd perhaps be willing to share how you yourself perceive Falin as a character, so I can compare notes and perhaps gain a more proper understanding of her as a character as a result. I know this question is very broad and kind of vague, but if you could spare the time I'd be most grateful.

Other than that, I wish you an excellent day.

Hello!!! I love Falin!!!!!

She *is* a mystery, we mostly know Falin through the perception other characters have of her instead of a direct deep look onto who she is, which I find very interesting. I think the best post I've seen about her (which as usual I can't remember where edit: someone linked it thank uu) I think called her perceived altruism/love "selfish" and I've been thinking about that ever since.

In that sense the way she cares so much about the comfort of people around her might be a way to keep *her own* comfort because she doesn't want to see other people suffer.

This girly died and came back to life from bones and the first thoughts she has is that she caused trouble for her loved ones

She probably has felt this way since she was a child, "because of her" that her family was torn apart "because of her" that Laios left, her mom was sick, her father had to send her away. (wasn't actually her fault but she might think it is)

I imagine ever since then Falin has done her best to not cause trouble and to make the people she loves happy, everything we know about her and the things she was doing was always for the people she loved, that's why I enjoy the post canon comic where Toshiro asks her hand in marriage again so much. The first time she considers accepting just because "might as well" while for the second time she finally wants to live for herself.

I think Falin herself has lost who she "really is" by trying to accommodate everyone around her and that's probably part of why we ourselves don't really know her, so much so that the most cynical character is uncomfortable around her (probably cause he notices Falin is "hiding" something)

I think Falin is quite the melancholic character to be honest, someone who has lost herself in self sacrifice and who is only now learning how to live for herself doing what she wants.

Both the teleportation scene and the bit about healing show "cracks" in the selfless front she puts out tbh. By context I don't think what she did was only due to "desperation of the moment" she says out loud "Even if I end up hurting others I want you and my brother to live on". She weighted out how much suffering she might cause and decided she wanted to save them anyway, and I'm sure in that calculation she knew that they would suffer because of her sacrifice too.

Falin is saving them for herself, I'm not great with words so this is all over the place and maybe sounds a little negative about Falin but the thing is, you cannot live your life for other people, you can't sacrifice yourself for other people's happiness, you shouldn't erase your own presence so others are happier and I think Falin is starting to learn that by the end.

I'd probably keep rambling without getting anywhere and missing a lot of more meaningful moments but I'll stop here, if anyone has recs for Falin analysis please share!

[ririabeam]

𝗕𝗶𝗿𝘁𝗵𝗱𝗮𝘆 𝗗𝗲𝗽𝗿𝗲𝘀𝘀𝗶𝗼𝗻

⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘

—

I drew this to cope with my birthday depression.

Took 5 months. I also wanted to beat my old manhwa from 5 years ago.

-- Long post ahead! It's my WIPS and thought process. --

Junko is my comfort character as she's the only character I know who hates her birthday.

(Screenshot from Ultimate Talent Development Plan)

I know she’s a villain who has done a lot of bad things, but finding comfort and liking her doesn’t mean I excuse her actions.

A lot of painful feelings went into this, even in Mukuro's perspective so please respect it 🙏🏻

—

- WIPS & Thought Process -

—

Story Script Writing:

A lot of thoughts and feelings went into my script.

-I removed sentences like “For giving me cake!” as I wanted to do more showing than telling.

-“Why do you seem so happy Mukuro?” is changed to “Why are you smiling like that, Mukuro?” as I wanted the sentence to focus more on the thing Ryoko noticed. Mukuro would definitely be happy celebrating Ryoko’s birthday, and the new sentence would help to understand how Ryoko interpreted that Mukuro was more happy than usual.

-“good day” is changed to “great day” for greater emphasis of Ryoko’s happiness.

-A pun is done on “live”, I wanted this sentence to convey the complicated feelings of Junko. She doesn’t want to “live” a “fabricated happy lie” as it goes against her honesty moral. But there’s also a part of her that doesn’t want to kill Ryoko, as she doesn’t want to “leave” this “fabricated happy lie”. She wants to be happy as Ryoko, even if it’s a lie.

This part is a big reference and a reply to Danganronpa Zero.

The background texts are quotes from Danganronpa Zero.

Junko saying “What the hell? Hope?” is a reference to Danganronpa Zero’s ending:

Reading Danganronpa Zero feels like it’s saying something to me: “We are trapped in a loop of despair and hope.” and I’m replying with this part as a “Yes, I agree.”

Junko being confined in her mind is another thing I like about her too. 

I feel the moment we are born, we are trapped, that’s why I ended this comic with “I wish I wasn’t born.”

The moment I’m born, I’m unwanted and worthless, a monster.

I’m trapped in my mind, in other people’s judgements and expectations, and there’s no way out.

I can’t just turn invisible and there’s always something for people to judge and hate. And that hurts when it’s something important to you or you can’t change about yourself.

But even with all the pain, I think of hope to carry on and it’s a loop to fight to live.

I think I make progress with healing but then I’d think wth I’m made to work on this. Cause my life is already scripted from the moment I was born— I’m scripted to have this trauma, this story made my personality and character so in the end I’m still trapped.

So that’s another reason why I find Junko a comforting character and why I feel birthday depression.

I thought of the story first before I thought of the characters who would play it, so I had to make sure it’s in character. 

Things like if Mukuro would say “AU” or “Alternate Universe”. I felt since she spent a lot of time with Junko who knows a lot about these things, she would have heard of this and know the short form term for it. Especially since she had to be Junko at some point.

Since it’s a story about Birthday Depression, my thoughts instantly went to Junko then to Mukuro. It was the perfect story theme to write for them especially cause they are the despair sisters. 

Plus, they are two characters I can feel their struggles and feelings deeply for, so I can write and draw deeply for this story.

Birthdays tend to be happy, and I felt the only kinda right time I can talk about my birthday depression would be on their day.

I felt suffocated and lost myself over the past few years, as I felt I needed to be happy no matter what. When I opened up about sadness and my struggles, people would hate and invalidate me for it. I feel my art reflects that, I don’t like looking back at my old art. It lacked my true feelings, but I feel I’m finding myself again in my Mirai Nikki and Danganronpa art.

For the past few years I tried to celebrate my birthday to try to make myself happy about it but in the long run it didn’t work. I appreciate everyone who celebrated with me all these years still, but now I’m trying to overcome it in another way— facing despair instead of trying to cover it with hope.

I think I���ve learnt a lot about myself and understood myself better through this comic’s process.

Layout Plan:

You can see that things were changed in the final from my layout plan X’D haha

In page 2, Mukuro’s 1st panel is changed so composition is better.

In page 3, after seeing Ryoko as Junko, Mukuro is reaching out her hand instead of placing it on her chest. I wanted it to feel like Mukuro wants to reach out to Ryoko at that moment, like trying to get a wish she knows isn’t real.

In page 5, binary code is replaced with texts from Danganronpa Zero’s story so it reinforces the idea of “a life already fully planned out”.

Lining Process:

I struggled with this part the most as anatomy and poses is not my strong point.

I asked my friend, Setsuya, for help with my poses and redrew the same pose many times for this comic. I really wanted to convey the feelings for this comic right especially since it’s very personal to me. Big thanks to her for helping me so much, I feel I improved a lot from this! 🥺 <3

1st panel of 1st page is the hardest to draw, I’m laughing at my first try of Mukuro who looks like she’s forced to be there 😂:

With suggestions from my friend of how to improve, I tried to improve everyone’s poses:

^ 

Mukuro’s pose was changed to look more fondly at Ryoko, happy to be there and relaxed haha.

Ryoko’s pose was changed to look more delighted and happy about the cake (Which helps to convey the line I removed from my script, “For giving me cake!”)

Matsuda’s pose was changed to look a bit more annoyed about still cares for Ryoko (shown by him still looking at her from the corner of his eyes even though his head is turned away)

And haha I forgot Ryoko’s legs can be seen due to the table frills being transparent, so I had to go back and draw her legs X’D

For this panel, a lot of thoughts went into what things I should place, how they are placed, and what kind of items it should be e.g.

I wanted it to tell the story of what happened before all the characters gathered here, what their feelings are towards each other, and how they are like as individual characters :3

I was thinking Mukuro and Matsuda love Ryoko so much they spoil her by buying a giant cake haha X’D So that’s why there’s a plastic knife instead of a real knife— to show that the cake was bought.

I think they decided not to cook as they would fight about it… (idk if they know how to cook tbh)

I chose strawberry shortcake cause white = purity and red strawberries = blood X’D Kinda like Ryoko-

I was about to draw neatly cut and placed cakes but I think... Ryoko is bad at cutting… X’D so the cakes are lying flat with the cream a bit splattered on their plates.

The table cloth, spoons and plates are all elegant and neat cause Mukuro prepared it for Ryoko :3 I don’t think Matsuda would be able to do that since he seems to not be a tidy person X’D but I do think he probably decided these items and arrangement with Mukuro :3

Here’s a random joke Matsuda + My roughly drawn Promised Neverland manga cover before I squeezed it on to his book haha:

I was going to make Matsuda read Megaman at first like in canon, but I felt making him read “Promised Neverland” was fitting as it helped me bring some foreboding to my happy setting. Like the promise never landed cause I’m going to break my happy promise/premise X’D 

I felt it was fitting too as Matsuda wasn’t met with a good fate like the Promised Neverland children.

Plus I feel Matsuda would like a genre like that, or perhaps he wouldn’t mind anything as he is a laid back character.

This pose was changed so Ryoko would look more reserved and have less of a romantic vibe? Cause the intertwined fingers felt a bit more romantic and off to me, as it wasn’t the vibe I was going for.

Feat. The paper sketch is my friend helping me with anatomy X’)

While writing sentences and drawing for Mukuro’s scenes, I was thinking of experiences I’ve gone through before and the feelings I felt then. 

The way I wished things could be different. I kept having dreams of happy endings I wanted to happen but then I would wake up to the tragic reality and cry.

The way I was suffering on the inside but still held on to this thing I perceived as “Hope” even though it was killing me and could be seen as “Despair” in another POV/or I already knew it was bad for me but it was also my only hope.

Symbolisms for this panel:

Carrying a candle-> holding on to hope/a wish.

Candle not blown out -> Mukuro's wish didn't come true (blowing out a candle means bringing your wish on smoke to the good spirits above to grant your wish) , her hoping leading to despair.

My pose was changed here as it is more natural for the hands to be like that, plus the other hand holding on to the arm greater empathise how Mukuro is holding on strongly to this candle.

The candle is melting and the wax is getting on her hand, burning her. Still, she refuses to let go which empathises how much she needs to hold on to this. Even as she grabs her own hand causing more pain from bleeding, she still needs this “hope.” 

Some colour tests for this panel:

I was considering blue fire because blue fire is stronger than red.... but then if it is a wish of hope, I was considering yellow too... but maybe it would be too happy? 

Mukuro is feeling sad and wishful in this panel. 

I ended up going for blue fire which gives off yellow light for a purposeful contradictory colouring— to show that what is perceived as despair can also be perceived as hope.

^ Some exploration for the poses here so I can figure out which conveys what I wanted to convey the best. I like the poses where Mukuro is reserved happy, Ryoko is more playful(?), Matsuda is more relaxed.

^ Exploration for the Junko slash pose. Ended up just going back to the original pose I had planned for the layout.

I found this super hard to draw as I’m not good at anatomy, drew it quite a few times and deleted as I couldn’t draw it right. In the end, my friend drew that pose reference which helped me get it right in final!

Reasons why I chose the original layout pose in the end:

Strangle pose-> I don't want to strangle Ryoko, not because it’s too violent or graphic or that she's 🥺uwu and I can’t kill her-

I just feel Junko doesn’t completely hate Ryoko... a part of her wants to live a happy life after all

But she can’t, that's why the words "A fabricated happy lie, I don’t want to live this!"

It's a lie and it's against her value (honesty).

Sword slashing pose-> Junko is directly jumping towards and has no hesitation slashing Ryoko. This feels off cause it’s too violent which doesn’t convey the message I want.

Sword is also stronger than knife, which would hurt more.

When I see the knife and how the body is twisted a bit away in the original layout pose, it works better as I can see some control to the slash so it's not full on hatred and anger towards Ryoko.

Random full drawing of this Junko before I cut it off for composition.

I find it easier to get the anatomy right if I draw the full thing and draw through everything.

^ I’m super sad at my failure for this :,) I didn’t intend it to be like that 😭 

It’s too hard for me to draw, so my friend helped me again and I chose a pose and studied her pose and drew the whole pose again:

I chose the 1st pose because the angle of the faces there best shows both character’s facial expressions and the emotions are the most important for this scene.

Plus 3/4 angle is better than the flat side view one as it helps make this scene more dramatic!

My friend helped me with the position of Junko’s tie:

reached max images for this post so,

WIPS continued in another post

[iikisa]

heres more teacher rin au!!!!

ill have some more deets under the cut about this hehe

Welcome back aoex fandom… I’ve decided for this AU to be called “Tightrope”!!!! Haha,, yeah it’s definitely not what i was saying earlier in that ask..

But yeah!!! I’ll be tagging any post related to this AU under a tag from now on! ;)

(The rest of this will contain spoilers from the manga, but then again this whole AU has been spoilers..)

Alrighty, this time we’re going over the reason for Rin’s appearance… Just as in the manga, Rin becomes “unstable” through Yukio breaking his sword, except in this tightrope au, their relationship was much more rockier than it was in the manga. So much stuff that wasn’t cleared up, lots of avoidance, not so much emotional stability.. There’s a whole background to how Yukio and Rin’s upbringing would’ve happened in this AU because of their little aged-up situation— some events are interpreted differently to fit and others are just completely new, you can assume— so obviously things happened differently between them without Yukio being the cram school’s teacher and Rin actually attending said school to begin with…

So, now that Yukio left Rin for Illuminati, leaving him completely lonely and without a proper purpose to live for in life… Rin’s demonic nature is left in a “tightrope-like” situation.

See how the title relates? And boy does it apply for many other things too.

Where is Mephisto to help with all this you ask? Oh he tried to offer Rin help by going into the past, but even after learning of his origins (I don't think it helped his self-esteem much tbh) Rin still finds himself unable to "restabilize". Like in the manga, it's not until Rin truly accepts both sides to himself is he able to truly stabilize. This AU is obviously more heavy on the twins terrible communication and relationship, so obviously this will be harder for Rin.

For as long as he can remember, Rin's always thought of himself as a nuisance to his family. And with Fujimoto's death, everything seems to be Rin's fault and he's not stupid enough as to not notice the pattern. Unfortunately, this really eats away at Rin, especially with how distant Yukio was with him. So until Rin can learn to accept the uglier parts of himself, he won't be stable. And Yukio is the most important part for him to realize that.

Now… time for the appearance explanation.

When Rin first "unstabilizes" his hair, ears, and eyes change (other smaller details like his canines as well as the newest addition of little nubs on his forehead). The more "unstable" he is, the more prominent these features become—his hair is wholly whitish-blue, his ears and canines are pointier, his eyes are sharper and more vibrant, and his little horns get bigger.

After becoming a not-so-substitute-teacher for the cram school, these features start to become smaller or fade away!!!! Depending on Rin’s emotional state—negative emotions lead to instability and positive emotions leads to stability— his appearance changes. The happier and healthier he is, the more his black roots take place (his original hair color) and the duller his other features become!

Now as for his flames.. I think some logic may be off canon for this but it’ll be fine! He can freely use his flames like he does during the final war-against-satan arc, however, his state of stability changes how precisely he can use them. The more unstable he is, the broader and rougher the attacks. When he’s more stable, his attacks can be more precise and controlled, such as shaping his flames into weapons and other uses.

Anywho, I’ll have to start on making these differences more noticeable for the Rin’s I’m drawing out, because I do like to draw him at different times of his life (if you take note of his hair,,, its one of his best indicators ahah). But yes. Now that I’ve written this concept out (after I drew these sketches whoops) I’ll be showing off a little more of the story once some heavy inspiration hits me. I hope you guys enjoy hearing about this AU as much as I love writing and drawing it!!!!! I’d love to hear feedback or any fic recommendations..! They are my fuel.

Thank you for listening to the end, much love <3

[skyistheground]

beneath the brine - the family crest

honestly this art was kinda experimental for me! in both art and inspiration. kind of made a brain blast about a possible interpretation of the story of isat (below) and i will take ANY excuse to draw mal du pays

ANALYSIS BELOW

siffrin. sounds similar to suffer. or sisyphus

the image of siffrin in the first panel is directly referenced off an old painting of sisyphus. for those who don't know, he is the ancient greek king who cheated death and, as punishment, was forced to roll a boulder up a hill. but whenever he got to the top, the boulder would roll all the way back down and sisyphus would have to start again

sounds familiar, doesn't it? unsure if that was the intention but considering siffrin's love of plays and tragedy, stories, and their whole situation, i think it is an interesting reading of isat

and the king is a rock. he is literally a boulder. he is the climax of the loop's story, the top of the mountain, where after, siffrin falls all the way back down to dormant

as for the rest of this art. i have intentions but i would like to see if anyone else comes up with anything :)

and the full version:

[sysig]

I like him a normal amount (lying) (Patreon)

[folkdances]

let’s talk about franziska and grief in justice for all.

the narrative that the games, at first glance, appear to be pushing is that franziska is aware edgeworth has not committed suicide. she repeatedly affirms this, most notably in turnabout bigtop, when she tells phoenix that she believes her brother to be alive and hiding somewhere. however, one thing we need to keep in mind is that franziska and edgeworth were not shown to be close in the interim between jfa and the prequel cases in aai — in fact, it would go against both their characters and the writing of their relationship for them to have kept in much contact at all.

franziska is, if anything, rooted in the past. her hair is cut almost boyishly short and choppy. she carries around a whip because she is so used to being spoken over and ignored, having started her career so young. her youth underlies her every professional achievement; and if not her youth, then her lineage. her physical design is meant to reflect the uniform of a jockey, and taking her aristocratic surname into account, it makes sense: horseback riding, obsessive as it is, remains a pastime for the social class she inhabits. it’s only logical that, in the absence of a real connection with her brother, she would base her understanding of his character on the most recent version of him that she knows, being the vain and easily affronted rookie prosecutor wracked between ambition and guilt that she grew up with. she has no way to know how to fill in the gaps between a suicide note and the brother she knew, because to her, there is no gap to fill in; it seems a logical conclusion to her brother's story and life that he would rather run away than face his own failures. it is consistent with the younger version of edgeworth that we see in trials and tribulations. it is difficult to reconcile that individual with someone who might actually take his own life, at least outwardly speaking. franziska has no hands-on knowledge of her brother and his mental state beyond what she might have seen in the press or heard filtered down from her father. it’s only natural that she draws the conclusion that he simply turned tail and ran away in order to preserve his dignity. it is an obvious conclusion to make.

however, this interpretation completely overlooks the fact that franziska is not stupid. she is well aware that her brother had very recently been 'betrayed' by the man to whose standards he strived to rise to almost his entire life and is aware that the driving force behind this desperation to prove himself was his father's murder. manfred von karma was their father; there is a tendency in both the games and their surrounding fanbase to portray the senior von karma as being nothing more than a teacher and mentor, but if we examine the (limited) dialogue the three share in aai, edgeworth and franziska address von karma as one might a particularly volatile and austere parental figure, and he responds in kind. he employs and underlines a pattern of the same types of verbal abuse and neglect present in many fictional case studies of the paternal abuser; to edgeworth, he shows the former and to franziska, often the latter (what comes to mind is a piece of dialogue wherein franziska, aged 13, asks her father if he will attend her courtroom debut, to which he responds, "i'll consider it"). she frequently demonstrates her emotional intelligence, again, particularly as a child, such as a short exchange in which von karma berates edgeworth rather cruelly and is met with silence. rather than let the topic linger, franziska very deliberately changes the subject, asking von karma who he thinks is the culprit behind the current investigation. later, when edgeworth thanks her for it, she acts as if she does not know what he's talking about.

back in the 'present day', her insistence that she defeat phoenix wright in order to avenge her family name is also rendered moot; franziska places a lot of pride in her family name, but her defense of her father is lackluster at best. she, too, is left to grapple with the weight of his legacy and has (seemingly) decided that her father simply does not live up to expectations. he instilled in her such strong convictions regarding the meaning of the law and the von karma family name, and it only makes sense that, once he failed so utterly to exemplify them, she would instead shift her understanding of those convictions onto herself and the only other person she believes she can see those qualities in, being miles edgeworth.

the initial theory, that franziska believes edgeworth to be in hiding, while a version of the truth, would not appear to be the truth to someone who has repeatedly demonstrated the emotional intelligence and understanding of the subject necessary to read between the so-called lines; to me, it is obvious that franziska believed, at least in large part, that edgeworth really had killed himself, and her actions and dialogue in jfa shift subtly into a much more interesting light if one runs with this interpretation. she goes from presenting herself — something i'm going to touch on in a moment — as an almost cartoonishly dense and vain girl into someone desperate to deny the truth staring her right in the face; that she has been virtually abandoned by every figure she loved and trusted in her life, left to uphold a legacy with no room for error, bound to rules so straight-edge and self-imposed that no single person could ever walk only in their light. anyone would resort to staunch denial — and franziska, so attached to her past, does so with aplomb.

finally, i want to point out that it's very easy to take franziska at face value. as unfortunate as it is, she's only present in four games — aai, aai2, jfa, and t&t — and she usually isn't in the majority of cases in those games. there is a stark yet subtle difference in her comportment in the investigations games, though, which can be very clearly explained: in every game she speaks to the player character, and in jfa, the player character is phoenix wright, her self-ascribed enemy. it makes complete sense that she would present herself a certain way, speak in certain manners, and act rash and overconfident in front of him, because she hates him.

all this to say, franziska is a very potent case study of grief and how it can change people, especially when that grief gets caught up in a messy tangle of ambition and a legacy whose stipulations border almost on mania. also, i love her very dearly and thought this would be interesting to talk about. obviously, this is not the entirety of the situation, as i mostly focused on franziska's relationship to edgeworth, but i think this is long enough as is.

[reds-skull]

CW FLASHING IN THE VIDEO (3rd from the bottom)

This is it. 3 months in the works, the comic (and video) are finally done.

A little over a year ago, I uploaded the first work in Revenant AU, Ghost's origin comic. I never thought I'd write a whole series for this, but I'm so glad I did. I got a whole new hobby out of it, haha.

I already began working on part 2, but this for me marks the start of it. I'm really excited to get back into this world!

Under the cut there are some comments on the comic I thought some people might be interested in (don't wanna make this post longer than it already is lol). I will upload the frames from the video separately, with comments on it there.

Bottom line is, thank you for letting me just go wild with this :)

Okay, I'm mostly gonna talk about the part where Fate shows Makarov the 141+Farah. Makarov doesn't see the Fate of people as literal images, he often has to interpret odd symbolism in the flashes he gets from the Weave of Fate.

I decided to go for a style I saw in a collection of calling cards in MW3, mainly from this one:

You can really see it in the faces and pitch-black cel shading.

I'll be going in order of appearance, starting with Farah.

Obviously, each of the "flashes" shows the Reaping of each person, Farah being crushed under rubble. Behind her is a helo of green gas, which symbolizes the Russian experimental gas. The motifs around her are more interesting imo - they're taken from the Urzik flag (and yeah apparently it's "Urzik" and not "Urzikstani"... according to the wiki at least). Wings, plants (feels to me like a pomegranate and some sort of crop, but I couldn't find what it is specifically), and a moon, upside down.

I'm skipping ahead a bit, but I've had the idea to make a drawing of Gaz in the Hanged Man pose since I started the AU basically. I tried sketching it once, and it went bad so I gave up lol. But I decided to come back to that here, and add some sort of tarot connection to all of them. I know practically nothing about tarot, googled the meanings of each, they fit well enough, I called it a day lol.

So Farah is the Moon, upside down.

Price is next, showing him taking control of the brain of someone. I didn't use the flag of the UK for the 141 (it'd be kinda boring...), instead I took the Taskforce 141 logo, and broke it down to different elements.

I took the laurels for Price, both framing his illustration and sitting above his head like a crown. I decided he will be the Emperor.

Next up is Gaz, the Hanged Man of course. Gaz gets both the wings and the stars (I changed mine to 4-pointed because... I like them better). Pretty clear why, both symbols relate to the sky. The illustrations kinda follow a rough day cycle, if that makes sense. Farah being night, with the moon. Price with his golden and purple color palette, twilight. Gaz being sunrise, and Ghost and Soap, day. This is why Gaz has a sun behind him.

Ghost was fun because he's the only inhuman one out of the group. I'll let you think what that implies, that even in Fate's Weave, Ghost is an outlier... Ghost gets the skull, and the card "Death". That one was easy, but what I did add is blood flowing down the skulls, like tear tracks...

Soap, the problem child, gave me the most issues as always. For once, it wasn't his fucking face, it was the flames behind him, and overall contrast and readability issues. Soap's illustration is probably packed with the most "hidden" details, though they're obvious if you've read the fic and Konchar's side story. The headless man behind Soap is Konchar himself, holding 4 chains with dog tags on them. The 4 soldiers from Soap's squad, who he killed before Soap was Reaped. Soap's pose is from the moment he came to his senses, after getting shot in the head and destroying a large part of Verdansk. He has 4 swords, pointing at him and downwards, so his card is 4 of Swords, upside down.

Between Soap and Ghost is a circle and a triangle. I'll explain that in the post concerning the video, since that's where I got that from.

If you read all of this, thank you so much! There will be another post for you to read in a moment lol

[indigovigilance]

A Nightingale Sang in 1941

This is my inaugural meta (yay!) Eventually I will learn how to add gifs and whatnot to make this more interesting but today, I give you a wall of text.

I need to give credit where credit is due to three existing metas that I’m drawing upon heavily here:

A speculative continuation of the 1941 story, which includes an almost-kiss while “A Nightingale Sang in Berkeley Square” plays on the gramophone,

A behavioral analysis of Aziraphale during the S2E6 finale (will find ref later if possible)

A meta-analysis of the way in which “coffee” is used as a symbolic equivalent for liberty and freedom of choice, a running theme of this show (will find ref later if possible)

I’m going to expand upon meta #2 and #3 and explain why I think there is are very compelling reasons to believe that #1 will be canonized.

At the end of S1E6, an instrumental version of “A Nightingale Sang in Berkeley Square” plays diegetically, but the lyrical version plays non-diegetically over the credits (we hear it but the protagonists don’t). So we the audience could plausibly say “that’s their song,” but as of the close of S1, we have no reason to believe that they know that it’s their song. Even Aziraphale’s S1E3 (1967) suggestion that they dine at the Ritz could be a reference that only he gets, or just a fancy restaurant suggestion.

So when I was watching S2E6 and Crowley said “no nightingales,” I was jarred. What does that even mean? We know it has something to do with dining at the Ritz, but what does it mean to them? The reference only works if they know it’s their song. But we’ve only ever seen them hear it together after the averted apocalypse; if this is the direct reference that Crowley is making, it leaves our 1967 reference contextless and twisting in the wind.

If we assume that there was a romantic story beat in 1941, wherein “A Nightingale Sang in Berkeley Square” (which, incidentally, was written in 1939 and saw the height of its popularity at the end of 1940, so timeline-wise it’s spot-on) became their song, then a lot of events get renewed interpretations through this lens, in a way that makes this story much more cohesive and the “no nightingales” comment even more soul-shattering than it already was.

Let’s presume that immediately after this became their song and just as they were discovering their romantic potential, they were forced back into hiding. Forever after, references to the song serve as a macro for “I’d like to pick up where we left off that night.”

The 1967 suggestion of “dining at the Ritz” now becomes a directly romantic suggestion. It also gives better context for “you go too fast for me.”

Actually going to the Ritz in 2019 is not simply a celebration or even a callback to 1967, it’s a callback to their almost-romance of 1941.

When Crowley says “no nightingales” in 2023, this isn’t to say “we’re not going to eat together at the Ritz anymore.” It’s saying that the romance that began that night, the precious, fragile romance, is over.

I’ll give you a moment to dry your eyes before we move on to metas #2 and #3.

In light that this is what has been going on - they know they want a romantic relationship but have gotten so used to hiding and denying it that they are more comfortable keeping the status quo static and quo-y then trying to achieve their ideal - a lot of S2 behavior can get a fresh view.

Crowley’s reaction to Nina isn’t a realization that he’s in love - he knew that already. You can only ask someone to run away with you so many times before you are forced to admit some things to yourself. No, he’s realizing that trying to hide it (which was justified by survival), hasn’t been working, but despite failing at being stealth nothing bad has happened. He’s realizing that it may finally be safe to show it.

Crowley’s confession, then, is not a revelation. It’s making the subtext text. He’s not telling Aziraphale anything he didn’t already know. He’s saying it now because he thinks he’s safe to do so. Pin in that.

Lots of people have lots of theories about Aziraphale’s motivations in the S2 finale, which can more or less be divided into 4 camps: the genuinely held belief, the coffee theory, the lie theory, and the mutual trick theory (some version of the body-switching at the end of S1). Let me start by saying that I love all the fans and all their theories and I find their analyses to be insightful. The genuinely held belief theory, while I believe it to be erroneous, has been incredibly conducive to so many wonderful conversations and I love being in a community that has those conversations. But I’m going to explain why I think the lie theory finds the most support in canon.

Re-watch the finale (when you feel like you can) from 35:18 to 36:19 and then from 40:45 to the end, paying very close attention to Aziraphale’s words and his eyes. Michael Sheen is telling us a LOT with his eyes, and in the back half of the finale scene, with pacing.

For 60 seconds of footage, this setup is doing a lot of work. If Neil Gaiman wasn’t doing enough to beat us over the head with how evil the Metatron is, that glare at Crowley at the end with the non-diegetic ominous horns should convey the message. But again, focusing on Aziraphale. He initially refuses to talk to the Metatron; he’s made his position quite clear. There is no hint of regret or wavering; this is not someone who’s aching to return to the fold. The Metatron ignores his refusal and functionally forces him to accept a “cup of coffee.” The coffee isn’t spiked, but it is a metaphor. It is symbolic of choice. The Metatron is going to force Aziraphale to make a choice. Meta #3 does a great job of exploring the idea that a choice between anything and death is never really a choice. Hang onto that thought.

Notice I had you start up again 3 seconds before “The Conversation.” That’s because it’s important to note where the Metatron is right now. He is across the street, staring straight in through those giant windows to where our protagonists are about to have The Conversation. He is watching.

When Aziraphale returns, Crowley begins his “let me talk” riff. Aziraphale ought to be interested in what Crowley has to say, since the preamble is pretty compelling. You’ll notice that Aziraphale quickly turns to the window and back, through which he (but not we) can see the Metatron standing there, watching them. Aziraphale is then doing his best to get Crowley to STFU without raising the suspicion of the Metatron, eventually having to cut him off.

Because unfortunately, Crowley’s entire impetus for speaking up now is that it’s safe to do so. Only Aziraphale knows that they are in very real danger (or at least, Crowley is, but I’ll come back to that).

You might take something from the fact that he’s shaking his head while talking about “incredibly good news,” and seems to self-censor his criticism of Metatron (or more specifically, he takes ownership of any criticism of the Metatron, censoring out Crowley’s role in that, with the emphasis on I in “I might have misjudged him”).

Notice in the flashback that he begins the conversation reasonably relaxed. The Metatron also says a series of things about him that not only are false, but everyone, including the Metatron and Crowley, know are false: Aziraphale is not a leader, he’s a defector; he’s not honest, he lies all the time, in fact this entire season revolved around his one huge lie of hiding Gabriel. Not only does the justification not make sense coming from Metatron, but it shouldn’t make sense that Aziraphale would accept these reasons and it shouldn’t make sense to Crowley either. So is Aziraphale including these details in his recounting to Crowley so that he will get suspicious and figure out the jig? Maybe. Let’s continue.

Immediately upon being offered the job of Supreme Archangel, Aziraphale says “but I don’t want to go back to Heaven.” This is direct evidence against the genuinely held belief theory. If returning to Heaven and making a difference was a genuine motivation, we would have gotten a different response at this moment. But then we get something more.

“Where would I get my coffee?”

This is a beautiful response for a number of reasons; coffee should be trivial compared to the opportunity to be a Supreme Archangel, so it serves to highlight just how little interest Aziraphale has in returning. Taken at face value, it’s the Aziraphale equivalent of “not even at gunpoint.” But remember that coffee is a metaphor for liberty in this universe and this season. So what Aziraphale just said, in the language of Neil Gaiman metaphors, is:

I don’t want to go back to Heaven, I would rather have free will.

What does the Metatron do next?

He brings up Crowley.

Watch Aziraphale’s eyes before and after the mention of Crowley. He goes from confused to eye-flicking panic in the space of two syllables. Aziraphale already understands that his “no” is not being accepted, and that bringing Crowley into it can only possibly serve as a threat.

So the coffee, the choice, is a false choice. No one ever orders death. The Metatron has forced Aziraphale into a situation that looks an awful lot like a choice (it comes in a blue cup, after all) but it isn’t.

We definitely have some reliable narrator problems here. I’m going to presume for purposes of analysis that these cut-outs are accurate but incomplete, and that a more explicit threat about what would happen to Crowley if Aziraphale did not return to Heaven was made.

If we assume that Aziraphale has been made aware of a threat and is trying to hide that from Crowley, the rest of this scene reads very differently. Aziraphale cannot say, “you are in danger but you will be safe if you swear your allegiance to Heaven” or “I have to go, no matter what, and the only way we can be together is if you come with me,” but nonetheless he now has to convince Crowley to do the one thing he ought to know Crowley definitely doesn’t want to do all through subtext. Which we’ve spent an entire season establishing that they can’t communicate well when they are allowed to use their words. Disastrously, this is not a magic trick that Aziraphale can make work when it counts. Their failure to practice good communication means that, right now, when it counts most, they are not going to pull it off.

We see that Aziraphale is very hopeful that Crowley will pick up on his cues and play along. Obviously, he doesn’t.

If the whole riff about Hell being bad guys and Heaven being the side of truth and light is taken as genuine, it discards a massive amount of character development that we’ve witnessed in Job, Edinburgh, etc. (again, to all the genuine belief subscribers, I think it’s a compelling argument but it simply doesn’t account for the evidence). So if it’s not genuine, why say it? Again, to alert Crowley that something is Off, because Crowley should know that Aziraphale doesn’t actually believe that. They saved humanity from Heaven and Hell. They hid Gabriel from Heaven and Hell. Crowley knows that Aziraphale knows that Heaven and Hell are just two sides of the same coin. Notice again that Aziraphale glances out the window while he’s talking up Heaven; he knows the Metatron is watching, he can’t not defend the position of Heaven. I think it’s also worth noting that Aziraphale forcefully glances and gestures off to Crowley’s left (away from the window) when talking about Hell, and then turns his head to Crowley’s right (towards the window) to try to get him to realize that a representative of Heaven is literally standing right over there, just look out the window please dumbass!

When Crowley is asking Aziraphale if he said no, and we see the back of Aziraphale’s head, again we can see him turn his head to glance out the window. This is also when he changes strategies, and admits that Heaven could use a little reform. Because now there’s a problem almost as big as getting caught, which is that he won’t be able to get Crowley to go with him.

Which unfortunately makes the next part of this so much more heartbreaking. Because when Crowley begins his speech about being a team, Aziraphale wants to hear it. He can’t bring himself to shut down Crowley again, even though it could get them both in massive trouble. Notice that he glances out the window again during this, and the look of panic on his face. He begins to shake his head when Crowley mentions that Heaven and Hell are toxic; this can be taken a lot of ways but I’ll argue for the interpretation that he’s trying to get Crowley to STFU and stop saying shit that could get him destroyed.

After Crowley puts on his sunglasses we are in the “back half” and Sheen is doing a lot with phrasing here, specifically pregnant pauses.

“Come with me… to Heaven!”

“We can be together… as angels!”

Based on the pacing decision I am thoroughly convinced that the first half of each of these statements is intended to be the message to Crowley and the second half is always a qualifying statement to satisfy the Metatron.

Unfortunately, these pregnant pauses are completely backfiring in their effect on Crowley. The sentiment gives him hope and the qualifying statement crushes it again immediately. He is being taken on a horrible emotional rollercoaster with these declarations which are only further amping up his instinct to run away.

The only truly genuine, unaldulterated statement I think we get from Aziraphale is

“I need you!”

When it becomes clear to Aziraphale that there’s been an irreparable breakdown of communication between them and the subtext is not getting across, he says:

“I don’t think you understand what I’m offering you.”

He means this literally. Crowley has not understood that Aziraphale is offering him protection from whatever threat the Metatron has made.

Which makes this part extra-devastating and also absolutely in keeping with a major running theme of this season.

“I understand. I think I understand a whole lot better than you do.”

Your understanding and my understanding are different understandings.

Crowley views the offer to return to Heaven through the lens of his trauma. He understands what life in Heaven would be like. But he doesn’t understand that Aziraphale is offering him protection.

But Aziraphale just heard Crowley say that he understood everything, and he’s still going to leave. There might be a little suspense of disbelief here to believe that Aziraphale really interpreted the statement this way, but we know that Aziraphale isn’t always the brightest battery-operated candle in the drawer. So under the assumption that Crowley did understand him and is still rejecting the offer, rejecting him—

“Well, then there’s nothing more to say.”

Please pay very close attention to Aziraphale’s body language for the next part. He’s active, agitated, turning side to side, arms swinging. This is a very fidgety angel.

“No nightingales.”

Aziraphale is now completely still. He’s feeling that feeling. You know it. The one where your entire body is getting sucked into the pit of your stomach. The aching paralysis.

This is their song, the one that began their romance in 1941, the secret code for all other attempts at flirtation. Crowley has walked out on him before, Aziraphale has been stubborn and obstinate before. But they always came back together, sometimes with an apology dance or other rituals that belonged solely to them.

But now the song is over.

By saying this, Crowley has broken up with Aziraphale. We can see in Aziraphale’s sudden transition from fidgety to paralysis that he has understood it this way.

Then he turns away from the window so that the Metatron won’t see him cry.

The kiss was heart-wrenching already. But we’re not done with this analysis.

During the kiss, Aziraphale has a choice to make between two very compelling bad choices. This is the Job dilemma. But worse.

If he doesn’t kiss Crowley back, he will let Crowley think that he doesn’t love him. He will have missed out on this (maybe/probably their first kiss?) and regret it forever.

If he does kiss Crowley back, in full view of the Metatron, they are in deep trouble.

He seems to do his best to split the difference. I would even go so far to say that the awkward arm waving is Aziraphale acting for the Metatron’s benefit, to try to portray that he doesn’t want this even though he absolutely does (just not like this). The anguish when they break the kiss is absolutely real, and the first thing he does is glance out the window. Through all this he has remained painfully aware of their spectator.

He wants to say I love you. He mouths it. He breathes it.

But the Metatron is watching.

He can’t tell Crowley I love you. So he has to say the only other thing that has always unequivocally meant “I love you” when he said it to Crowley. He has to hope that Crowley understands him now, even though he never has before.

Spoiler alert: Crowley doesn’t.

My forgiveness and your forgiveness are not the same forgiveness.

One more point against the genuine belief fans (I love you): if the offer to let Crowley back in is what changed his mind, then Crowley declining removes that incentive. Aziraphale should/would have consequently retreated to his last stated position of “I don’t want to go back to Heaven, where would I get my Crowley—I mean, coffee?” [post-publication nod to @theonevoice for a great little meta] It simply doesn’t hold up to scrutiny.

I think a lot of fans were already making these assumptions about the use of the nightingale song so this meta may not feel revelatory, however, it isn’t canon (yet), and I’m sure I’ll find company that agree that canonization of this connection would strengthen a lot of these story points, as evidenced by how it is already assumed by many fans.

If you made it to the end - omg thank you! Please leave a note and tell me your thoughts!

Bonus: somebody already made the song connection here

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if you liked this, you may also like:

Book of Life and what it means for Crowley

The Erasure of Human!Metatron

Baraqiel and Azazel

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Recommended related (lie theory) metas by other people:

making the subtext text by @theonevoice

Aziraphale's Decision Matrix by @yowlthinks

Nothing Lasts Forever: META by @phoen1xr0se