#better at things that are not dialogue i mean

[sassycandypoetry]

I typed up some dialogue you can use in the future fic:

Sentinel: D-16! I finally found you!

D-16: Sentinel Prime? H-How?

Sentinel: Let's just say I have my ways. By the way, you and, uh… What was your friend's name again?

D-16: Orion.

Sentinel: ORION! Yes, right! You and Orion just seemed to disappear on me back at the Medbay! So, I 've spent the many hours trying to track you two down, and I see that you, Orion, and that Elita met B-127.

D-16: How do you know Bee?

Sentinel: THAT'S what you've been calling him? Guess it's not a bad nickname. Well… I'M the one who's been protecting him since he was a Sparkling.

D-16: How? By keeping him somewhere that none of us ever knew about? Like he was a PRISONER? Like what Darkwing tried to do to Orion and I?

Sentinel: Darkwing? He was the one who threw you down there? That does explain a bit. Guess I now know who to put on trial when I get back.

D-16: Sentinel Prime… We haven't found the Matrix, but we have a map that could lead us to it.

Sentinel: You found a map so you could find the Matrix? That's… AMAZING, D-16!

D-16: I-It is?

Sentinel: YES! You want to save Iacon as much as I do! And that is an INCREDIBLE thing! In fact… WE could help EACH OTHER.

D-16: What do you mean?

Sentinel: Listen to ME… Bee is in GREAT danger. If I don't find the Matrix as soon as possible, the Quintessons are going to DESTROY Iacon and any other cities left on Cybertron. They, and maybe the High Guard if they decide to team up with them, might even end up trying to take Bee away from me again. If you can get the map from Orion and Elita One, and use THIS to signal MY guards, I can capture all of the High Guard, take Bee back home where he is perfectly SAFE, and I will have YOU become one of my PERSONAL BODYGUARDS.

D-16: Okay, but I have few conditions of my own.

Sentinel: Fire away.

D-16: You have to give Orion a better job. Give back, or even promote, Elita One. And let Bee have a way to see the outside.

Sentinel: Consider it done, D-16.

Visual development for Tangled (2010) by Paul Felix

[comfortingevanbuckley]

So everyone knows, I am 100% a Buck girl and I will always do my best to be levelheaded when it comes to him. The problem is even when I do that, because of the writing on the show, it is difficult to parse between what I think is actually being done versus how things are looking on screen. And I genuinely am wondering exactly what they are doing and if I am even looking in the right direction.

But let's say they are for whatever reason doing a similar thing they did in 5A with some storylines, like Eddie potentially leaving, Buck dealing with relationship issues, etc. Now, to be honest, I do not like the idea of this kind of parallel mainly because the way I've seen it used is as some sort of gotcha about whether or not a certain ship is happening. So this isn't going to be about that, it's going to be about Buck.

What I think Buck might be doing is he is overcorrecting and thinking that since this relationship is another one that has come to an end, that he shouldn't fight for it. He doesn't realize yet that he can because in his mind, if Tommy doesn't want him, then he shouldn't chase him. The only issue with my line of thinking is are the writers showing this? And if they are, are they doing it right?

I don't particularly think the dialogue is helping. At all. I thought it was cute at first to describe him wanting to call Tommy as craving him, but the more you use the words to describe it as an addiction, the more unhealthy it sounds. So if they are actually saying that Buck is trying to do anything except cling to a relationship he thinks he can't have, why are they saying it that way? Is that what they actually mean?

If Buck is trying not to cling to relationships anymore, then it would be an interesting journey to see him on in 8B. Because I think if he were to try to actually call Tommy while his sister is missing, Eddie is potentially moving, then he wouldn't be calling him for the right reasons. He would be clinging and I don't think he wants to do that. Or so he thinks he is doing when in reality, he just wants his partner to be there for him.

So if he does end up having a brief fling (paralleling Lucy but hey at least he's not cheating on anyone) and realizes that no, this isn't what he wants, he wants Tommy. I could see it eventually being good growth for him to see that just because his life might be a wreck, it doesn't mean at least talking to Tommy means he is trying to cling to something that doesn't work. Because it did work, the communication was just off kilter.

Idk these are just my thoughts on if they are paralleling s5 a little bit, maybe that's what is happening. But at the same time, I would prefer they do something better for all of the characters, especially Buck. Because after eight seasons, the cycle needs to stop. Just let him be happy.

[guiltycorp]

Damn i really want to know tf happened in the writing room of arcane s2. Some of the downgrades were inevitable due to the show's corporate limitations (not being able to progress the class war story in a meaningful way, having to tie things back to league of legends in terms of making playable characters more appealing to well, play... rip Mel and Viktor in particular), sure. But i still feel like it's even worse than that? There are so many bad decisions that i couldn't even start listing them all... the characters, plot, pacing, themes, it's just such a mess? Even the dialogue writing, it feels much more mm Marvel at its worst i suppose. What i am most bothered by is probably just the straight up harmful messaging so um... Cycles of violence and abuse can be broken by individual decisions to become a better person! Got nothing to do with systemic oppression, living conditions, mental health issues, you can just conveniently ignore aaall the social context, live laugh love and then things get better automatically yep, oppressors famously stop oppressing you when you show them that you're harmless and won't put up a fight anymore. Literally three out of three suicidal characters dying to redeem themselves? Not even in a tragic/cathartic way but in a bittersweet 'they finally atoned for their mistakes' way? Groundbreaking lmao. Romantic relationship between Vi and Caitlyn including no communication about their biggest fight, just conveniently skipping to sex and getting back together - would have loved that if it was framed as the unhealthy fucked up thing that it is, skipping over Vi's hurt and her background to once again become a cop, her girlfriend's direct underling at that (!) due to her not having any other support systems... But nope that was our cute lesbian romance wrapped up, a good thing all around, not concerning at all. Jayce telling Viktor that what he 'always admired about him' was his disability and his deadly disease (??? from a character who spent the whole s1 and first act of s2 desperately trying to help Viktor find a cure? sure) and that those imperfections don't need fixing, just wtf truly. Magic bullshit was also weird, some implications of 'natural magic is ok, but achieving that power through other means corrupts you into a crazy robot bitch or just wilts your trees i guess', but tbh it was written in such a weird and inconsistent way that we can skip this one... Yeah actually a lot of things were just such a mess that I feel silly pointing to specific moments or lines I didn't like, I mean duh, it barely makes sense as a story at all... I am happy we have s1 which comparatively was a masterpiece, and i also really enjoyed s2 act1, i truly believed it would lead somewhere good at the time, my mind still kind of cuts off the story at that point when i think about it, that WAS the open ending of the show to me (is it possible that there were rewrites? targeting act 2 and 3? idk, wishful thinking perhaps). Despite my extremely negative feelings about this season's conclusion i remain glad that so many people appreciate the show regardless, it is clear that there was STILL a lot of love in the process of its creation (although i'd argue that even some of the visual aspects of the show suffered in quality, once again i have to wonder about behind the scenes mood of it all) and i get very upset when i see creatives online despairing over reception of their projects even when i'm absolutely in the disgruntled crowd hahaha... ...however yeah, this wasn't great In a world that increasingly grows more and more right-wing politically... we really needed something different i think.

[3hks]

How to Write Emotional Dialogue Without Being "Cringy"

Did you ever want to write an emotional scene between characters but suddenly felt so conflicted because you're worried it might seem cringe? I, for one, have (and still do) worried about this! So today, I'll share some tips on how to make your dialogue LESS cringy and MORE emotional!

But for starters, what exactly makes something "cringe"?

Our media actually plays a big part in shaping what we find to be cringe, so certain words or phrases tend to stick out to us as "cringe". But when it comes to writing, it depends mainly on the context given.

So, with that being said, something that's meant to be emotional might seem cringy and awkward because the scene falls flat. Now that you understand the base cause of this, let's explore some ways to avoid it!

>>> OMIT, DON'T SAY

If you ever found yourself writing out a line that, no matter what, still seems awkward, then the problem may lie in the line itself. Sometimes it's unnecessary to say everything; your readers are smarter than you might think! There's a lot you can omit in dialogue while still maintaining a natural feel, whether it be through body language or hidden meanings behind certain words!

EX:

Prompt: "You're so fake, you think you can hide from the world, but you can't. What if someone finds out the real you?"

"I'll just put on another mask."

V.S

"What do you think?"

Regardless of whether you find the first response cringe or not, you can also see that the alternative response hints at a similar answer despite not confirming or denying anything!

>>> BE BRIEF

Unless your character is ranting or you're strategically elongating their dialogue, try to keep their lines concise. Many people will speak briefer as a result of uncomfortableness, sadness, and/or anger.

If a piece of longer dialogue looks odd to you in a certain situation, that might be because your character seems to be trying to explain something too much when it wasn't your intention to create that effect. Filler words (uh, um, oh,) are fine because they're a part of natural speech, but sometimes it's better to get straight to the point!

>>> FILLERS

Speaking of filler words, they can become really useful when writing emotional dialogue because they can portray a variety of emotions! (They can depict feelings of anxiousness, sadness, and more.) Additionally, stutters and ellipsis are helpful for the same reason! Overall, these incorporations really spice things up! Unnaturalness can be a cause for cringiness, and fillers assist in making dialogue feel more natural!

>>> ITALICS FOR RANTS

Okay, but what about rants and purposefully long dialogue? How do we make these more meaningful when essentially, we're just talking about big blobs of text?

Here, it's important to add dynamic to catch the reader's attention. When we read, it's like a voice is talking in our heads, and the voice is ultimately determined by subtleties like italics!

So, with that being said, use italics (I suggest incorporating them regularly, actually) when writing LONG texts! It creates a flow and rhythm for our reading, and most importantly, adds emotional weight to certain words/phrases, which highlights what your character prioritizes and cares about most!

EX: "I-I thought we promised! You said you wouldn't leave--so why are you leaving now? Was it my mistake? I'll change, I swear! (etc...)"

V.S

"I-I thought we promised! You said you wouldn't leave--so why are you leaving now? Was it my mistake? I'll change, I swear! (etc...)"

See? With just a few italicizes here and there (although you do want to be strategic about which ones you italicize), the simple dialogue quickly grew more weighted!

>>> DON'T RE-READ TOO SOON

In the end, the most effective way to tell whether something is cringy or not is to have someone else read it and tell you! But if you don't like the sound of that and prefer to check on your own, I suggest to not re-read your dialogue over and over. Instead, give it some time!

When we re-read our work too soon, we already know what to expect, which influences our decision making and opinions. By approaching it after you refreshed your brain, it'll feel more like you're reading it for the first time; and therefore, you'll form more effective ideas!

***

Still, it's also important to keep in mind that something that's cringe to you won't be cringe to someone else and vice versa! It's ultimately based on the readers, which we have no choice but to accept. However, if you were concerned about your writing because of such reasons, I hope this has helped!

Happy writing~

3hks <3

[animezinglife]

I understand it, too.

I genuinely do find Solas attractive, albeit in a different way. I would love to romance him with a different character someday---I just wish we got Solas for who he truly was from the start of that romance or that the truth had come out earlier. I'm good at avoiding spoilers, and I hadn't known he would betray the Inquisitor, nor had I even known you couldn't romance him as a human. I had actually gone in fully expecting Mira to flirt with him a little (I knew nothing about Cullen's romance at the time and had always heard Solas was the way to go), but that's simply not how their dynamic played out anyway.

I have no doubt his and Lavellan's is an enthralling story in DA:I, and I would at some point like to experience it. I fully understand the appeal. I would fully be there myself with the right character and mindset.

Solas is captivating. He's someone you could talk with for hours on end about the most abstract concepts, but there's always that small sense of him keeping his distance (even before the topic ever comes up). Even I knew there was more he wasn't saying by the way he dodged questions and some of the dialogue between him and other companions. Though for someone who didn't know better, that could've simply meant he was far more powerful than he let on, knew more than he let on, likely older than he seemed, and wanted to protect himself. The whole, "elven god of lies" thing was a bit more of a twist than I'd anticipated. A secret, ancient elf hiding some things I can do, especially if those layers get peeled back over time. I'm less sure about elven Loki.

I think it truly would've been interesting had it gone a bit more in the direction of Children of Fallen Gods/Mother of Death and Dawn (which, some have noticed, draws some considerable parallels to Solavellan in ways that can't be considered coincidence). Without bringing too many spoilers to the forefront of the conversation, there is some...mutual awareness and corruption that occurs between Totally-Not-Solas and Totally-Not-Lavellan. The power dynamic's more balanced and decision making more...comparable to some degree.

(I am not, by the way, blaming Solas or pointing any fingers at anyone regarding their power dynamics in DA:I).

Solas is the guy whose beauty (if you lean that way at all) isn't quite as noticeable until you get into a really deep discussion with him and realize your heart's beating a little too quickly and you're definitely sitting closer to him now than you were before. He draws you in. He piques your curiosity a bit too much.

I truly do not factor in looks at all (within reason---I'm blatantly partial to humans, elves, fae, vampires, etc.) when I play games with romance options. Solas (in theory; I played as a human, which negates the option) would've been every bit as high up on my to-romance list as Cullen. In truth, he was higher just because he was the one I knew so many were obsessed with. Just because Cullen caught my eye faster didn't mean he and my Inquisitor would've been a good match.

But wow, were they.

I easily lean more towards the "Solas-is-attractive" camp in general. Honestly, I love the fact that the romance options in DA:I were so different and unique from each other. Any players who chose to pursue a romance could find one that suited their characters perfectly. I like that there are a range of personalities, dynamics, and looks, and that there's good variety.

For me personally, nothing in that particular game will ever top Cullen's just because it's so incredibly hyper-specific to every little thing I love and value most even in real life. It's perfect for Mira's story; she is, admittedly, a lot like me. I couldn't believe a romance like that even existed in a game (and you already know why/the many layers I'm referring to).

Yet I also know there are plenty who wouldn't like his romance at all and vastly prefer Solas (or someone else in general).

That's the beauty of it, though.

But, yeah..."ugly?" That's not even a word I'd consider for Solas at all.

Dragon Age: The Veilguard | ▶ dev. Bioware

[fadetouchedsilk]

'see the problem is you just don't know what a slow burn romance looks like and--' no, the problem here is that i Do & i also know that 20 minutes of cutscenes primarily delivered near the back half of an 80+ hour game is not actually enough time to develop a satisfying slowburn relationship

'well he's been traumatized so his reactions won't be as overt and--' i also get this & i think that's a very logical angle to take this from! however i also know that there are ways to indicate subtle/awkward reactions to the flirty dialogue that aren't just a blank stare & a change of subject. honestly cullen in dai is the first example i can think of here, but i know there's more.

i think it's an issue in general that we don't really get to be active conversational partners with any of the companions (dialogue wheels please return to me) but for something that's supposed to have a lot of tension and build-up over a (comparatively) long stretch of time, it really ends up hurting it. this doesn't even mean i need more full-blown cutscenes, but maybe some ambient dialogue, or a codex--something to pad out the pacing, essentially.

the problem i keep having is i do genuinely like what we have & i Can see the vision! i love lucanis a whole lot & i am also defaulting to what i usually do in these games (read: filling in gaps/altering scenes to better fit with my oc, etc) but the same as so many other things in this game, what's presented on screen ends up not quite achieving what i can see it aiming for. it's not a question of whether or not i understand the structure of a slowburn or delayed gratification. i do, & that's precisely why i can see where things are lacking.

[notmorbid]

all-night pharmacy.

dialogue prompts from all-night pharmacy by ruth madievsky.

you're so alive, it's scary.

being a person doesn't come naturally for me.

what's the deal with this place?

you are my best and my worst friend.

are we horrible people?

i like the idea of having someone to come home to.

i can't tell if you're being cruel or if you're just dumb.

these aren't the decisions of a well-adjusted person.

the less you know about my life, the better.

everyone here is a liar and a cheat.

you deserve to have a life of your own.

a person can't be held responsible for what they don't know.

all relationships are transactional.

no one should have that much power over you.

it isn't too late to come back.

you're uninvited from my birthday party.

i love you, but you're such a cunt.

who do you think you are?

forced intimacy makes me lightheaded.

i know you're in there. let me in.

jesus. why do you have a knife?

what happened last night?

it was less embarrassing to pretend i didn't care.

maybe i'm not the mothering type.

i wish i could carry some of this pain for you.

i need a break from feeling so much all the time.

sometimes i can't tell if i'm asleep or awake.

whatever's going on, we'll figure it out.

i don't know what's wrong with me. i'm scared all the time.

this is the most i can imagine for myself.

if you're not asking yourself 'am i ruining my life?' at least once a day, you're not living at all.

you act like you're over it, but it's okay if you're not.

all my life, i've felt like a dead animal with its skin still on.

it's a virtue to rid yourself of anything that doesn't serve you.

i've never had a day of rest in my life.

i chase after you like a dog, leaving pieces of myself behind, and every time, you act like that's how it's supposed to be.

you don't take me seriously. i'm not a real person to you.

i can't play house anymore.

never say that name in front of me.

to you, other people are always the problem.

you can't reach a mutual understanding without spilling blood.

want to make fifty bucks?

the only way to really see a person is to lose everything you have in common.

you don't think we'll get caught?

our loyalty is to story, not reality.

just don't do anything that could result in a lawsuit or a tmz article, and you're fine.

i don't have the energy to keep up with your antics.

our most beloved delusion was that lying to each other was a kind of love.

speaking our fears aloud won't save us.

one day, the mask slipped. i haven't been able to wear it since.

i try not to think about my life at all.

a junkie can spot another junkie without a flashlight.

your voice reminds me of wool sweaters.

boundaries? i don't know her.

i'm just sick of doing the same goddamn thing every day.

you are obsessed with a projection that will never love you back.

think of me as a spiritually connected friend.

i know liars. you don't strike me as one.

you have iconically poor judgment.

has anyone ever told you about your past lives?

you're capable of tolerating a lot. frankly, more than you should.

friendship can be a slow burn. you don't have to consume it like a drink at last call.

i'll give you a clue. i work for myself.

you make me want to feel things again.

criticism is still a cousin of attention.

you don't have to pretend to like something just because i made it.

i know you crave being told what to do.

you don't have to settle for being a person things happen to.

you have desires. act on them.

bitch, does this look like an intro to philosophy seminar?

i thought i had quit you.

my favorite. how did you know?

i feel like my organs are cannibalizing each other.

how did i get here? that's not a rhetorical question. i'm actually asking.

i can't tell if i believe it, or if i'm making excuses for myself.

sometimes i wonder if it's healthy how much meaning you see in things.

you're always waiting for the universe to hurt you or to love you. usually in that order.

that's how it was in my family. reading the room was a survival skill.

where will all the animals go in the rapture?

a bunch of fuckups under one roof doesn't constitute a family.

my little saint.

time passes more slowly as a sober person.

you'd better not pull away from me now.

there's a russian proverb that goes, 'so much is ruined by saying it aloud'.

you wear your emotions like a name tag.

your resting face frightens me.

how are you both the most innocent and the most experienced person i've ever met?

i need you to just be here with me.

our dead deserve to see you happy.

i like the idea of being marked by you.

i don't know what i saw, but it was more than i wanted.

i know what i saw.

i can't tell which of the memories are real, if any.

i can't believe you're mine.

nobody warned me how terrifying it is to get what you want.

you're cute when you're freaked out.

sex is supposed to be unsettling.

there are things i need to atone for.

you can't go back like it's nothing.

i won't live in service of my dead's vision for me.

___ was a real person. a murder isn't a metaphor.

count five things you can see. four things you can touch. three things you can hear. two things you can smell. one thing you can taste.

banish one god, and you'll end up worshiping another.

i want to be with you, but i don't want to keep feeling like this.

you know everything about me, but you won't let me know you.

you aren't someone i can keep at a distance.

i've been reading about intergenerational curses.

resisting something isn't the same as not wanting it.

anything you say stays between us.

i can't decide if i like you.

most people only possess a third of the empathy they think they have.

will it get easier?

hope is a tricky thing: losing it is bad, but so is having too much.

i don't want the future to come. i have a bad feeling about it.

in cartoons, you don't start falling until you look down.

why are you here? where have you been?

how did you know i'd come looking for you?

you never asked what i was going through. you didn't want to know.

i didn't have the language for what was happening to me.

you were supposed to protect me.

there's a lot i don't remember. a lot i don't want to remember.

i wouldn't have looked for me, either.

we belong to ourselves now.

you know where i am, and i know where you are. maybe that's enough.

when i'm down, vigilante justice makes me feel better.

survival is provisional.

[tokiro07]

Ichi the Witch ch.11 thoughts

[WitchCon 2024]

(Topics: praise - comedy, narrative progression, world building, thematic analysis - freedom vs. order, predictions)

Make 'Em Laugh

Y'know, for a chapter that was like...90% political dialogue and exposition, this still managed to end up being one of the funnier chapters so far: Desscaras' report being a comic book that makes her look like the hero and Shirabedonna just throwing it away, Ichi straight up leaving the Zoom call to get food, Togeice goofing up her dramatic entrance; and that's not even every funny bit from this chapter

Handled wrong, this could have come off as a super dry and meandering chapter, but for the sake of setting up the conflict of revealing Ichi's existence to the world, I think an in-depth analysis of both sides of the argument was necessary

Better to Ask Permission than Forgiveness

While I agree with Togeice that Shirabedonna's conclusions are being made on too few datapoints (one grateful village and three unusually quick hunts in only two weeks), I'm also inclined to agree with Shirabedonna that this is a tricky situation to maintain

The longer Mantinel tries to hide Ichi, the more contradictions and public distrust are bound to pile up. Coming up with excuses later to explain every little detail will just make discussing it more difficult, and Mantinel will only look more suspicious. On the other hand, coming clean now less than a month in should be fairly understandable given the implications of Ichi being a male Witch that acquired Uroro - some people will be mad, sure, but most people would probably be forgiving of the caution exercised

More than that, though, Mantinel's acquisition of the first male Witch would do wonders for their reputation, as that's a historic discovery. Even if he ends up being dangerous, the narrative wouldn't be too hard to spin in Mantinel's favor, as no one could have predicted how a male Witch would behave

The fun thing about this argument to me, though, is the acknowledgment of other Witch organizations

Frog in the Well

We haven't been shown a world map or anything yet, so we don't really have any sense of scale to this world, but I wouldn't have been too surprised either way if either Mantinel had a monopoly on Witch administration or if they were just one of many such organizations

The acknowledgment of an equivalent of Japan last week was a good clue that there was more to this world than...whatever this one country is called, but we still know nothing about this fantasy-Japan's society other than that they still have sashimi

Do they have their own Witches Association? Do they even have Magiks there in the first place, or are they endemic to the current focus country?

Black Clover kept expanding to reveal that other nations had different relationships with magic, while JJK revealed that Curses pretty much only exist in Japan for...some reason. I would imagine that this is more like the former, but the realization that one nation is hoarding the concept of magic would be pretty wild, wouldn't it?

Then there's the fact that ch.1 told us that there's only a 0.001% chance of a man being able to acquire magic even if he did have the capacity to pass a trial and physically handle casting spells. That seems like a low number, but...it's one in a thousand

For every thousand men, one of them has the capacity to acquire magic. Presumably this number is compounded by the ability to use it, since the narration said there were so many other factors that had to line up perfectly first, but that just means that the chances of finding another man with the potential to overcome those factors aren't actually all that slim

EDIT: It's been brought to my attention that I goofed the math and this is one in a hundred thousand, but my point stands! I thought it was going to be like one in a million or even a billion, and it ended up being a lot more generous than I anticipated! In our world, that would still be 40,000 men with the capacity for magic!

In other words, it's only a matter of time until another male Witch is found

From there, the method for cultivating male Witches will likely start to become more widespread, and eventually the proportion of female to male Witches should approach an equilibrium

That's probably looking too far ahead, though. That's the kind of thing that would probably take several generations to pass, so while we may have like...a dozen male Witches by the end, they probably won't be a normal part of Witch society until a far-flung epilogue

For now, I'd like to focus on the worldbuilding that we actually received this chapter: that Ichi's acquisition rate is ridiculous

Gotta Go Fast

Ichi has three Magiks under his belt in less than two weeks, and Shirabedonna tells us that one week is on the fast end for a hunt. That seems especially strange to me, since one of the first trials we're ever told of was only set for an hour, but I suppose that figure is based on the number of attempts and the prep-time? It's easy to assume "oh, they got it one," but this statement gives the impression that almost no one acquires a Magik on their first try

I do think it kind of skews our perceptions to tell us the upper and lower limits of one week and ten years without also giving us an average or at least a mean. All she says is "some take X amount of time," like that means anything statistically...

It also doesn't help that the first hunt we actually saw would have been over almost immediately had it not been for the circumstances: Desscaras immediately stabbed Uroro's heart, and only failed to pierce it because she was a woman. Now, Desscaras is likely an outlier herself because she's ostensibly the strongest living Witch, but sub-10 minutes is nowhere near a full week!

Again, it's entirely possible that the hunt for Uroro was on a constant timer since Mantinel first started trying, so that would be an extreme circumstance no matter what. I suppose in a sense that would mean Ichi has the record for clearing both the shortest and longest hunts?

But just being fast or lucky doesn't make Ichi an expert, and it's only a matter of time until he hits a wall where his unique perspective fails to compensate for his lack of experience in the field he's so suddenly found himself in

Rising to the Level of Your Incompetence

Togeice is being presented as morally incorrect here, with her talk of reforming Ichi into a "proper Witch" being accompanied by a vision of all of Ichi's best qualities being sanded down to a bland scholarly appearance, but that doesn't mean that she doesn't have a point

Ichi's lack of experience makes him something akin to an outsider artist, which is what allows him to discover unconventional methods within the field, but it also means that he's not familiar with the pitfalls of the profession. Ichi took Hisame's challenge in a different direction than what was intended by the rules; it worked out, but if Hisame hadn't been impressed with this loophole, then that gamble would've gotten everyone present killed. Since she expressed that she wanted to attack another village as a palette cleanser, it's entirely possible that she could have taken this approach as an insult and gone on an even worse rampage after the fact

In fact, Ichi going straight for attacking Hisame could have resulted in her not even bothering to issue her trial, which would have effectively made her invincible in the resulting combat encounter. Perhaps Magiks don't work that way and they have to share their trial in order to maintain their power, but there's no precedent for that yet, so Ichi's ignorant and rash behavior could have sabotaged the entire mission

There's also the possibility that Ichi will continue to acquire stronger and stronger spells that he's less and less equipped to control and will cause some kind of huge disaster. He already used Parthion to create an entire new ecosystem on Druid Mountain, which could well have untold consequences on the local wildlife and nearby settlements, so what's to stop him from naively trying to save a desert village with Poltata and just washing them all away?

Togeice's desire to force her vision of order onto Ichi is obviously wrong and potentially detrimental to Ichi's value, but she is right that he's not capable of wielding his powers effectively or responsibly. Even if Ichi is a perfectly moral and upstanding Witch, if his trump card will only result in him being rendered unconscious for three days, then he's only going to be a liability when the time comes to use it against a major threat

The goal then should be to cultivate Ichi's sense of freedom and experience using magic while also giving him a clear sense of the responsibility that he carries. Fortunately, he's already demonstrated the capacity for that with his strict adherence to Death for Death, but unless he can prove to Togeice that he already has the discipline she's looking for, she won't be able to trust such an unknown with her back

Fortunately, the upcoming challenge provides the perfect opportunity for Togeice to get to know Ichi

Just a Little Guy

It was pointed out to me by @wickedsick that because the mushroom Magik isn't a human-hater, it likely doesn't hold any ill intent towards humans and doesn't go out of his way to hurt them, and therefore shouldn't trigger Death for Death. This would likely prevent Ichi from harming it, and in turn give Togeice the opportunity to take the win

The way I see it, there's five ways that this could go

Ichi loses because the mushroom isn't hurting anyone and he can't bring himself to hunt it -> school arc, Ichi learns valuable lessons, though he doesn't fundamentally change the way that Togeice wants him to

Ichi is just hopelessly outclassed and decides he has plenty to learn from Togeice and Mantinel -> same outcome as above

The circumstances of Ichi's refusal to hunt the mushroom somehow prove to Togeice that he's already plenty disciplined -> she wins, but still lets him go free because she doesn't believe she has anything to teach him after all

The nature of the trial doesn't necessitate Death for Death, and Ichi wins solely through his specific skillset -> Togeice realizes that she was not equipped for this specific scenario and different approaches will always be necessary for different circumstances, so she drops her objection

Togeice accidentally goads the mushroom into triggering Death for Death and realizes that it was her irresponsibility that endangered people, not Ichi's -> same outcome as above

For sure, there are more nuanced outcomes available, but those seem like the most likely either for developing the themes of the story or driving the plot in a specific direction. I'm definitely open to whichever route Nishi chooses to take, as I think that the two broadest outcomes of Ichi going or not going to school both provide interesting opportunities for the story going forward. Whichever she chooses, I have faith in Nishi that it'll be a fun time

Until next time, let's enjoy life!

[goodluckclove]

Since starting this blog I am pretty baffled by the amount of people who are convinced that they have to write a novel. They have to write (Sure! Great! Good for you!), and it has to be a novel. As if that's that's the only thing that deems someone a "real writer".

Which I mean clearly they're all getting that information from somewhere. No judgement. It's - uh - incorrect, though.

Short stories are not any easier than novels just because they're shorter. If you think one is easier than the other, that's probably just because you take to the structure better - which is a good thing for you. At this point I can writer 50k+ words no problem - but creating an entire, satisfying story with a sliver of that length is incredibly difficult for me. If you've followed my blog for a while, you'll find that most of my posts are long as shit. I am a rambler.

If you're attuned to lore and world building, you'd probably be able to create a pretty amazing table top campaign. Or even like an ARG or something. Oh man I'd love more ARGs in the world, especially ones not strictly horror so I can get into them without being spooked.

if you love characters and dialogue, plays are a great way to express that. Your whole story is essentially in your dialogue. If you have a sense of what I can only describe as narrative perspective, screenplays would probably be a great thing to try.

All of these are writing. A lot of these are often more accessible than a novel. If you're someone who laments a lack of feedback when posting work online, producing a play gives you the opportunity to witness an audience react to your work live. Or running a campaign allows you to collaborate and interact directly with your party (the audience proxy of sorts), creating memories through storytelling.

We need all of this! Storytelling has evolved over time, and while novels are cool shit it is goofus behavior to completely ignore all the new opportunities the modern age offers. One of the most compelling stories I've seen recently is the fucking Walten Files, an online analog horror series. I genuinely think most of the best voices in modern horror are in analog and digital horror.

So yeah allow yourself to explore from writing. Anyone who sees what you do and says you aren't a "Real Writer" are dipshits and they can write their own New York Times Bestseller if they're so goddamned concerned about it.

If you want to write stories and you feel like you're not managing to write the way you want to, maybe you haven’t found your medium yet.

I’m not talking about making money, I’m not talking about getting some agent or publisher to see money in your work. I’m talking about you, writing what you want to write.

I love writing. I do not love writing novels. They hurt me, physically. I have been so much happier since I stopped trying to force myself to write novels and disappeared into my flash fiction and short stories.

Maybe novels aren’t your thing either. And maybe short stories aren’t! Maybe your words want to be poured into poems, or songs, or TTRPG campaings, or drabbles, or podcasts, or anecdotes, or (screen)plays, or something else entirely!

There are so many ways to be a writer, and even more to be a storyteller. You don’t have to let yourself be bullied by a medium that does not suit your creativity.

[scionshtola]

i think i need to write less conversations and more things like cori being in so much pain healing themself that they mess it up. i need to make things happen to them again

[serpentface]

Do you conlang? I was wondering if you had naming languages (or possibly even more developed ones) for pulling the words you use. I tried to search your blog but didn't find anything, wouldn't be surprised if the feature is just busted tho. Your worldbuilding is wonderful and I particularly enjoy the anthropological and linguistic elements.

Ok the thing is I had kind of decided I was not going to do any conlanging because I don't feel like I'm equipped to do a good job of it, like was fully like "I'm just going to do JUST enough that it doesn't fail an immediate sniff test and is more thoughtful than just keysmashing and putting in vowels". And then have kinda been conlanging anyway (though not to a very deep and serious extent. I maybe have like....an above average comprehension of how language construction works via willingness to research, but that's not saying much, also I can never remember the meanings of most linguistic terms like 'frictives' or etc off the top of my head. I'm just kinda raw dogging it with a vague conceptualization of what these things mean)

I do at least have a naming language for Wardi (and more basic rules for other established languages) but the rudimentary forms of it were devised with methods much shakier and less linguistically viable than even the most basic naming language schemes, and I only went back over it LONG after I had already made a bunch of words so there's some inconsistencies with consonant presence and usage. (This can at least be justified because it IS a language that would have a lot of loanwords and would be heavily influenced by other language groups- Burri being by far the most significant, Highland-Finnic and Yuroma-Lowlands also being large contributors)

The 'method' I used was:

-Skip basic construction elements and fully move into devising necessary name words, with at least a Vibe of what consonants are going to be common and how pronunciation works -Identify some roots out of the established words and their meanings. Establish an ongoing glossary of known roots/words. -Construct new words based in root words, or as obvious extensions/variants of established words. -Get really involved in how the literal meanings of some words might not translate properly to english, mostly use this to produce a glossary of in-universe slang. -Realize that I probably should have at least some very basic internal consistency at this point. -Google search tutorials on writing a naming language. -Reverse engineer a naming language out of established words, and ascribe all remaining inconsistencies to being loanwords or just the mysteries of life or whatever.

I do at least have some strongly established pronunciation rules and a sense of broad regional dialect/accents.

-'ai' words are almost always pronounced with a long 'aye' sound.

-There is no 'Z' or 'X' sound, a Wardi speaker pronouncing 'zebra' would go for 'tsee-brah', and would attempt 'xylophone' as 'ssye-lohp-hon'

-'V' sounds are nearly absent and occur only in loanwords, and tend to be pronounced with a 'W' sound. 'Virsum' is a Highland word (pronounced 'veer-soom') denoting ancestry, a Wardi speaker would go 'weer-sum'.

-'Ch' spellings almost always imply a soft 'chuh' sound when appearing after an E, I, or O (pelatoche= pel-ah-toh-chey), but a hard 'kh' sound after an A or U (odomache= oh-doh-mah-khe). When at the start of a word, it's usually a soft 'ch' unless followed by an 'i' sound (chin (dog) is pronounced with a hard K 'khiin', cholem (salt) is pronounced with a soft Ch 'cho-lehm')

-Western Wardin has strong Burri cultural and linguistic influence, and a distinct accent- one of the most pronounced differences is use of the ñ sound in 'nn' words. The western city of Ephennos is pronounced 'ey-fey-nyos' by most residents, the southeastern city of Erubinnos is pronounced 'eh-roo-been-nos' by most residents. Palo's surname 'Apolynnon' is pronounced 'A-puh-lee-nyon' in the Burri and western Wardi dialects (which is the 'proper' pronunciation, given that it's a Kos name), but will generally be spoken as 'Ah-poh-leen-non' in the south and east.

-R's are rolled in Highland-Finnic words. Rolling R's is common in far northern rural Wardi dialects but no others. Most urban Wardi speakers consider rolling R's sort of a hick thing, and often think it sounds stupid or at least uneducated. (Brakul's name should be pronounced with a brief rolled 'r', short 'ah' and long 'uul', but is generally being pronounced by his south-southeastern compatriots with a long unrolled 'Brah' sound).

Anyway not really a sturdy construction that will hold up to the scrutiny of someone well equipped for linguistics but not pure bullshit either.

[codacheetah]

It's deeply important to me that Loop kind of sucks

[vidavalor]

Aww, thank you for reading & for the kind words, @blackthorn-roses 💕 I hear you on The Final 15. The part that actually breaks me in a good way about the end of S2 isn't even that Aziraphale got into the elevator. It's the way their song in The Bentley and Crowley staying outside the car showed them both still fighting for their relationship.

It circles back to what we learn about what they're both working on back in season's first episode with the argument over Gabriel. Their interactions there show that these two (who already have the healthiness that is The Apology Dance) are continuing to work on getting better at arguments, which is the most married thing possible. They each have something they're working on with it that we can see in the argument.

Aziraphale says stuff he doesn't mean that he regrets when he's angry so he is trying to curb that. Crowley runs away in anger and is trying to get better at managing that. In reality, both of them are stuck in a difficult situation because it's hard to recover from trauma when you're still threatened with it but they're both actively trying and the dialogue suggests they've agreed to both work at these things and help one another with it. Crowley has that oh, so this is how you wanna do it, then? moment when Aziraphale is about to snap that is very much honey, you're about to do the thing, giving Aziraphale a moment to take a breath and use more productive words. Crowley winds up having to do The Apology Dance because he's the one who doesn't hold up his end and left during the argument but they both know that it's pretty understandable, given his PTSD and the situation triggering it. They approach each other's challenges with empathy and humor in The Apology Dance afterwards. This is all healthy and it's shown to be what they can do when they can communicate openly and privately, which is what is taken from them in The Final 15.

In The Final 15, they can't speak openly and, even then, they normally would have been able to manage that better than they did here but a series of unfortunate events pile up and cause them to misunderstand one another. It takes a whole bunch of things happening for that to even happen in the first place. Even if it seems like it's over, it's really not, because they refuse to stop fighting for each other. They both didn't do well in their disagreement in The Final 15 and did the things they have been trying not to but then they both turn around and try to show the other that they know that and make it as right as they can, right in the moment. Aziraphale has the car help him with the song to tell Crowley he loves him. Crowley went out the door but he stayed by the car, trying to live up to his promise to not leave. Through the last scenes, they're still trying with one another.

Those aren't the actions of people who got Ineffably Divorced. They're ones of people who love each other like crazy and don't want to lose one another. A series of outside events caused a lot of confusion and misunderstanding but they'll realize what's happened and sort it out. It's a sad ending for sure because they're both miserable at the end of it but there's more hope there than I think it gets credit for sometimes.

Just on the back of your last post about how Aziraphale and Crowley have been a couple for (literal) ages, of which you have me thoroughly convinced, there's one thing I've never been able to figure out.

In 1941, when Crowley saves the books, what are we seeing from Aziraphale? By this point he knows damned 😉 well that Crowley adores him, so I very much doubt the 'this is when Aziraphale realised his love was returned' theory. Is it to do with their holy water fight?

Apologies if you've covered this already but I've read through your master post and most of your previous posts and couldn't find anything. I keep musing on it and thinking 'oh Vidavalor will know but I shouldn't bother them'!

Ground Control to Mr. Tom! 😊 Hi there. 💕 You are correct that I haven't done a post about this, which feels very much like my all-over-the-place blog, because this is one of the most-discussed scenes in the show. 😂 You are absolutely not a bother! Do not speak such silliness. I'm going to explain my take on that scene with some help from The Archangel Fucking Gabriel. Therefore, there is hot chocolate, should you want a mug.😊

This is also going to be my contribution to the Azirafeast celebrations so I wish any of you reading this many scrumptious returns!

Below the cut is the one in which someone who thinks Crowley and Aziraphale have been lovers since ancient Rome offers an opinion on what's going on with Aziraphale and the books in 1941... by way of a look at what we might be able to learn about this moment from its sister moment in Gabriel & Beez's flashback.

Be them real people or fictional ones, angels-- especially our two, main ones on Good Omens-- are not accustomed to feeling seen.

This is largely because they believe they exist to sacrifice themselves for the protection and betterment of others... that this is literally what they were made by God to do... or at least what they've been told God wants them to do... and, as we know, they've got plenty of questions over all of that.

They can often feel guilty about their consumption of resources-- or their curiosity about doing so in different ways-- when they've been told that those resources and the experiences that come with them are not for them, even if all evidence seems to suggest that might not really be the case.

They are told they are supposed to live small lives of sacrifice and are, as a result, full of conflicts about their hungers, their needs, their desires... about their love, and the want of a free life of their own.

They exhibit perfectionist behaviors, are full of self-criticism, and are excessively self-sacrificing.

Intellectually, they know they are a person with wants and needs like everyone else but they've been taught that they are supposed to be above all of that and breaking free of that abuse comes with negative self-thoughts, anxiety, depression, and a whole slew of other fun struggles.

That attempted thought control and oppression of people that is responsible for these angels' inner torment, though? As The Supreme Archangel aptly puts it while having a total breakdown shown by chasing his metaphorical self (The Fly) around the bookshop and trying to kill it with a Bible...

...it never works.

It might, unfortunately, get some people but it never, ultimately, works in society as a whole for very long because people want to live. People are made to live. They will seek out coffee over death and rebel against any society that seeks to oppress them in whatever way that they can. Eventually, angels who want to break free will find different ways of letting themselves be individuals on their own terms, even as they are still full of conflict about it, as we've seen Aziraphale and Gabriel do throughout the story.

They'll express themselves in different ways but with the same sense of desperation to have something of their own as a way of admitting that they are a person, too.

Maybe, one night, an angel will, say, allow himself to indulge his hungers by eating an entire ox... maybe in front of the demon he'd like to consume with just as much enthusiasm. Maybe those hungers become ones that, despite his inner conflicts that lead to periodic episodes of depression and fasting, this angel will allow himself to otherwise regularly satiate, and in which he finds enjoyment, nourishment, connection and peace, that he would not have otherwise found.

Maybe, on another night, a different angel will let himself slip away from Heaven and return having consumed resources for himself, in the form of a tailor-made suit that serves as proof to himself that he isn't just a symbol but an individual person in his own right. Maybe it gives him a connection to his body that also leads to him jogging and exploring more of the world. Maybe he allows himself the freedom of owning what he can of his own body and own appearance because control over these things have otherwise been taken from him in the process of denying his personhood and making him more of a symbol to be venerated.

While these are good examples of these two angels finding different but similar, healthy paths to recognizing themselves as people, it's one thing to recognize yourself but another thing for someone else to recognize you.

Angels are wonderful at taking care of everyone else but they sometimes have a blind spot when it comes to their own needs and safety. They are so busy taking care of everyone else that they are prone to making mistakes with their own care.

Such as this angel below being so pleased with an opportunity to contribute to the war effort that he missed that he'd accidentally let himself be recruited by the wrong side...

...and needing his partner to identify some Nazis and redirect some bombs to keep him from being discorporated...

...and such as this other angel below being pleased with his ability to show care towards his new partner...

...but also, as we can see by the expression in his reaction to Beez's suggestion above, so unused to being cared for that, even if he was intellectually aware of it, the aspect of partnership involving mutual care was so foreign to him that it threw him for a bit of a loop.

Sometimes, an angel will be going through a period of struggle when it comes to their interactions with the world. It's often times not even just the feeling that they should just be advisors more than active participants and that the world is not for them. They are, in these moments, just imposter syndrome run amok, and that robs them of pursuing that which makes them feel happy and fulfilled.

Loving an angel in this mode requires gentle, genuine, affirming care:

The imposter syndrome modes can strike at any time for angels but tend to do so especially when they've very recently tried to engage with the world in a big way and saw it backfire.

Like when they spend a lot of time trying to sort out their place in the world and regularly go back and forth between being so influential that they personally own and have developed an entire city neighborhood but also then have days when they don't want to open their own bookshop to the world.

Like when they are supposed to be an angel and nothing else but, if they could choose a vocation, they'd be doing card tricks and pulling rabbits out of hats at birthday parties for all of eternity, and they feel so massively guilty about it that they tell themselves that the magic shop is not a place for them.

But maybe never more than like when there is a war on... an absolutely massive, global war... the first atomic war, the war that could bring about Armageddon, for all the angel knows... and everyone in the human world is trying to do their bit as best they can and, one day, a young woman claiming to be British intelligence knocks on the door and says that they need the angel-- this particular angel and only him... this angel who sometimes feels like he doesn't always know how best to help but wants nothing more than to be good and do good and help others.

The Allied Forces needs Mr. Fell for an intelligence mission to help thwart the Nazis and work towards stopping the war. And what do they need from this angel, in particular?

They need his books.

Aziraphale collects books of all kinds but he has two major personal collections that are highlighted in the story. One is humorous and self-aware-- a collection of misprinted Bibles. Those are living proof of the fallacy of language and gospel-- of the bullshit of people. They are comforting to him in their existence, as they reinforce his sense that following what others say is the word of God is not really a better path than following his own moral compass. The Allied Forces don't need these books, though.

They need the other ones that Aziraphale has been collecting forever:

His books of prophecy.

This angel collects written works by humans that profess to be prophetic. He has original works of Nostradamus and Mother Shipton and many others. He has preserved them throughout centuries, keeping them safe in his care, even if the works are, largely, complete and utter balderdash. He has kept these books, nutty as they are, safe from damage and in existence, for years, just in the event that maybe these humans, in some way, really did have answers as to the future of the world in which the angel lives, too.

The one that he knows has been slated to be destroyed around 6,000 years from its inception-- a date that was approaching closer with each breath in 1941.

Was it really going to happen? Was there a way to stop it? Aziraphale has been trying to see if maybe the humans have found a way, studying their prophetic works for centuries upon centuries, anxiously looking for clues on how to stop Armageddon and save the world he loves...

...and also therefore be able, as a result, to stay on Earth with the person he loves and not be separated from him for eternity.

It's these books of this angel-- these beloved, material possessions; these perfect examples of everything that he's been told that he's not supposed to have-- that Captain Rose Montgomery of British Intelligence says that he can provide to entrap some Nazis and help save the world for his fellow humans and his partner.

An angel's biggest blind spot is always wanting to help and never feeling like they're doing enough. They're vulnerable to trusting the wrong people for the right reasons. Their desperation to do good and be good in the face of feeling like they're not a good person at all can cause them to have the best of intentions but be open to manipulation by those with the worst of ones.

Sometimes, it's a human Nazi. Sometimes, it's a supernatural one...

...same difference. Both dangerous. Both examples of an area where an angel might not survive if they don't let in a trusted person who can give to them the same love and care they give to everyone else.

The fallout from making a mistake can be devastating to an angel.

They feel embarrassed and snappish-- the anger and frustration related to the miscalculated situation triggering (and masking) the anxiety and depression to which angels are hardly strangers.

They can retreat into self-doubt. Moments of bravery when it comes to trying again are sometimes just as quickly diluted by their compounding insecurity and the fear that they are just jiggery-pokery and do not belong in the world.

This is when they need their demons the most.

Demons? They are fallen angels.

They know all this about angels because they're not much different themselves.

They have had the experience of having to redefine themselves in the face of being told by their societies that they were no longer angels and, in some ways, that has freed the more introspective demons to have enough perspective to offer counsel to willing angels as to how to manage those conflicts.

These demons, like Crowley and Beez, are uniquely well-suited to loving angels because they have also been through these same conflicts-- and still struggle with many of them.

These demons have experienced violence and violation as a result their angelic conflicts. They are drawn towards the inherent goodness of their angels, who approach them with kindness, respect, and a sense of equality to which the demons are not accustomed but which helps to build trust.

Just as these demons seek to protect these angels from harm that might befall them in the future, the angels we're discussing are both mindful of their partners' pasts and take care to help them feel safe. They are emphatic about their partners' comfort, reinforce their expectations of a partnership involving free choice and equality, and continually make clear that they consider-- and will always consider-- explicit, enthusiastic consent essential.

Their demons' knowledge of the darker aspects of the world also make them uniquely aware of the risks to their angels and they seek to protect them from experiencing the same pain they have felt from trusting the wrong faces. They do everything they can to keep their angels from falling-- literally, as in from Heaven, or more figuratively, as into despair.

They give them music and food and companionship... they open up the world for the angels and help them live life with the other people in the pub, literally and metaphorically. They explore the human world with them and make them feel less alone, letting the angels do the same for them.

Loving an angel is first seeing that angel there and acknowledging their humanity. It's affirming their imperfection as being just part of personhood and holding up that personhood as being worthy of love. It is reflecting back to the angels the same empathy, openness, and lack of judgement as what the angels give to them.

It's seeing that the angel who wrestles with living up to the expectations of the statues in his honor and the titles for which he never asked is, really, an imperfect, good-hearted, kind person beneath his snarky, sharp-edged exterior. It's seeing the depression that clouds his eyes and the fine edges he's walking in Heaven and knowing what comes next more than maybe can see in the moment and protecting him, as best as someone can, from the fallout of those actions.

Beez knows what it is to fall. They see Gabriel already in a downward motion in every way there is and knows that it comes with risk of losing himself, the way that they once did themselves. They dump out the matchsticks because the good kind of fire is already lit between them and the fire of Hell is not for their angel. They gift him a fly-- that which is made from their body. They are Gabriel's container. He is safe by putting all of himself, literally and figuratively, into Beez.

While this is a big moment in the Ineffable Bureaucracy parallel and one that also parallels the holy water, Gabriel's response to it is a mirror to Aziraphale's response to Crowley saving the books in 1941. What can Gabriel maybe tell us about what Aziraphale was feeling then, through what is similar and what is different about these two moments?

For starters, Gabriel and Beez knew how they felt about one another before The Fly. They already had shared that through "Everyday". The Fly is not an "oh" moment for Gabriel, in the sense that it wasn't a sudden revelation of either Beez's love or of his own. If anything, he and Beez never really had an "oh" moment in that sense of one because elements of how they both felt were always just understood and present in their interactions.

This is honestly true of a lot of relationships. A lot of "oh" moments are not so much becoming aware of having feelings for someone but are just being hit with a new aspect of love that both/all parties is/are already aware is in existence, even if it hasn't always yet been fully spoken.

In S1, we see that Gabriel and Beez only let their guard down around one another. They have always been as close to friends as they could be in their positions. They already care about one another when we first see them together and then, in S2, Gabriel is completely unsurprised at Beez's flirting with him moments into the first date-- and Beez had no hesitation in doing so, suggesting that they likely have before.

Their attraction to one another is presented as an existing given between them from the very start of their flashback sequence. There's no "oh" over The Fly or anything else because they just know. They start to give words and actions to it as they fall deeper in love throughout the scenes but there's never any doubt that they both have been long-aware of what exists between them.

If anything, Ineffable Bureaucracy is probably the real, millennia-long pining relationship in Good Omens, as while they had all these very good foundations for a romantic relationship, they didn't really begin to pursue one until between S1 and S2.

Gabriel's response to The Fly parallels Aziraphale's response to Crowley saving the books in 1941, even if the contrasting part of the parallel is that both are responses to gestures made by these demons for their angels in very different stages of these relationships.

For Gabriel, The Fly is an "oh" moment-- but not one that is about a new revelation related to love existing. It's about what is, for him, a heartbreakingly new experience:

It's not that Gabriel doesn't already know how he and Beez both feel about one another because already he does by this point. Gabriel isn't having a realization of the existence of his love or of Beez's love when Beez gives him The Fly; he's having a realization that this is what it feels like to be loved.

And what is feeling loved, to an angel?

It's being and feeling truly seen.

It's someone noticing them and coming along to care for them while they're out there, trying to save the world when they're sometimes not sure they can even save themselves. It's someone seeing that in them and not seeing anything worth berating them about the way that they berate themselves but, instead, seeing a person worthy of their love and protection.

Loving an angel is giving them the same kindness and care that they give to the world but that they often deny themselves.

For Gabriel, that night in The Resurrectionist was the first time that anyone had ever done something like that for him. It wasn't an "oh" of I'm in love because he already knew that and that Beez felt the same way. It was an "oh", though, of falling deeper in love. It was an "oh" of feeling love.

Beez had already done kind things for him before they gave him The Fly but The Fly and its matchbox are the first ever physical things Gabriel has been given by someone. He has never had any possessions besides his clothes before. He's never been given a gift.

He and Beez go to bars and pubs on their dates; they're surrounded by humans with songs and birthdays and Christmases and going on dates and living a life that involves tangible, physical things that Gabriel is supposed to be above but to which he is drawn.

On the first two dates we see, he and Beez meet up in places but they do not order anything. They do consume the music together and, by the night at The Resurrectionist, they take another step towards engaging more in the human world that they've largely been absorbing and observing together to date. They do so through allowing themselves to be a part of the space, too-- Gabriel miracling the song on the jukebox for Beez-- but also through material objects.

They start ordering stuff. Gabriel is happy to bring Beez something-- buying them beer and a bag of chips/packet of crisps, even if they're undecided on actually consuming them. He makes it clear that he doesn't have any expectations that Beez actually eat or drink anything if they don't want to but the idea is that they have moved to a place where they can see what the humans see in bringing one another things as they move through the world together.

Gabriel has gone from a being who barely knows why he's meeting Beez in this bar to being excited to see them again and happy to buy them a drink and their preferred snack to stare at. Beez is having a ball getting the food-judgy-if-also-food-curious Gabriel to buy them what they've clearly told him he had best call a packet of crisps if he plans on seeing them again. 😂 They have begun to let themselves claim resources for each other and themselves and to start to get less intense about consumption, which are features of recognizing the humanity in one another and themselves.

Gabriel's "oh" moment when he is given The Fly is that this is the first time he knows what it's like to experience the world as a person who has a person who cares about them and has brought them something.

What he means when he says "no one's ever given me anything before" is really "no one's ever thought about me before."

He means no one has ever seen him there-- until Beez did.

The gift of The Fly reminds Gabriel of that and shows him getting used to the new feeling of not being invisible and alone. He falls deeper in love with Beez and sees them more fully in return as well as a result of their gift and that, it could be argued, is what love is.

Love, if it's good, is a lot of "oh" moments-- because you don't fall in love once. You fall over and over again, deeper each time.

The difference between this moment with Gabriel and Beez versus the paralleling one between Crowley and Aziraphale is that, by 1941, our angel, Aziraphale, has known years upon years upon years of being seen by his demon.

(Amusingly, considering the theme of love as recognition, The Serpent is also literally, ya know, um, rather watchful at times. 😂)

Aziraphale is no stranger to Crowley being kind to him or rescuing him from the times he might have blundered, like we all do at times, in trying to do good.

Crowley saving the books in 1941 is absolutely not the first time that he's ever done something as Beez-and-The-Fly-level romantic as this for Aziraphale. In many ways, that's likely the point.

While The Fly was the first time of what will be many that Gabriel experienced what it was to feel loved by feeling seen, Crowley saving Aziraphale's books is a gesture that could not have happened at all without Crowley's long-held, intimate knowledge of Aziraphale as a person.

What makes Crowley saving Aziraphale's books so romantic isn't even just that he knows how important the books are to Aziraphale but that he knows Aziraphale so well that he could predict that the books would need rescuing.

Crowley knew that his angel would only focus on getting the two of them out of the church alive and unharmed and absolutely was going to forget about those beloved books of his while trying to protect them both and then be completely and utterly crushed when he did.

In this way, it's a contrasting parallel to Gabriel and Beez because, while that was the first time Gabriel had ever felt seen, 1941 is time number six trillion and five that Crowley had made Aziraphale feel seen like this and he's now so well-practiced at it that it's old hat at this point.

There is no judgement from Crowley about what happened with the Nazis in any of this. Aziraphale is horrible to himself over things like mistakes like he made in this church and being forgetful about these books but Crowley sees no such need for any of that. He protects Aziraphale from the fallout but in such a way that says he admires Aziraphale for trying to take the actions that he did. He sees Aziraphale as brave and his actions quietly affirm, much in the way that Beez does for Gabriel, that just because they are an angel who is used to doing for others doesn't mean they're not also a person who needs someone to do for them, too, and that Crowley is happy to be that person.

Aziraphale is reminded by Crowley knowing him well enough to anticipate that the books will need to be saved and taking care of that for him that they are a team. That Aziraphale doesn't have to worry about managing everything on his own because he and Crowley help each other manage life. They know each other well and have been together so long that they just know how to take care of one another.

It's not an "oh" of a realization of I'm in love for the first time. It is, as Michael Sheen says, a moment of falling in love. It's an "oh" of having been in love for a very long time and that love still finding new ways to surprise in its ability to keep causing Aziraphale to happily fall deeper and deeper...

This isn't realizing love and it's not the first time that Crowley has done something sweet and romantic like this for him-- it's the power of it being the nine billionth time Crowley has. It's the feeling of "oh" for Aziraphale that is a reminder that he is safe in the knowledge that Crowley knows him, through and through, and when confronted with the most real Aziraphale there is... the one that can be prone to making mistakes out of insecurities and self-doubt... the one that struggles sometimes with self-worth and brutal perfectionism... Crowley knows, sees him there, and is still madly in love with him.

Crowley never sees Aziraphale as weak or lesser for feeling any of it. He loves those sides of Aziraphale because he loves all of Aziraphale. He won't let Aziraphale be embarrassed because he likes and admires him as he is. He's gentle and kind and understanding about Aziraphale's insecurities, treating Aziraphale with the same care that Aziraphale shows him.

Crowley, better than anyone else ever has or will, sees Aziraphale for who Aziraphale truly is.

He loves that angel and his love helps Aziraphale to quiet some of his self-doubts and be a little kinder to himself-- much in the same way that Aziraphale's love does for Crowley. Crowley loving him makes Aziraphale feel like maybe there's a chance that he might be worth loving.

Loving an angel is making them feel seen and Aziraphale, holding those books Crowley rescued for him?

He felt very loved indeed.

The "oh" moment of 1941 is one moment where we see that Aziraphale has just been reminded of just how much Crowley truly sees him there-- and of just how much Crowley loves him. What we are watching, imho, is not the first realization of love but just one of a million different moments throughout history of Aziraphale continuing to fall deeper and deeper in love with Crowley.

[paperhats-and-evil-schemes]

Me: //brushing up on my old Paperhat fanfics to make sure I'm getting details right for the new one//

Me @ my past readers:

[pixlatedvampire]

Been dreaming lately 🌜☁️🌈💤

[thevioletcaptain]

so i got some really great feedback on the final draft of my star trek strange new worlds spec and i'm hoping i can ride that high through next week when i'm starting my second-last class in the tv writing program. mostly posting this so i have documented proof that i am in fact a good screenwriter so that when i inevitably start second guessing myself i have a post to beat myself over the head with.