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sonkitty · 10 months ago

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The Pocket Trick Touch #3 - Double - Between Door Frames and Papers

Action #3 (Episode 5; Double; Between Door Frames and Papers)

(For reference: Tied Hands | Pocket Chain Rainbow Connection Part 2 | The Pocket Trick - Basics )

Newer version: The Pocket Trick Touch #3 - Double - Between Door Frames and Papers

I am not really sure of which cut is the true start of this touch because it does start before the thumbs will eventually go into the pockets.

My current best guess is the cut right before Crowley says, "Can I watch?"

In that cut, the top of Crowley's head, just a small part of it, is visually touching blue. That blue is an upper area of the coffee shop that is not just the wall. Blue is the current color in the Rainbow Connection. There is a car directly behind him and his own car further back. Crowley turns his head, and the car behind him moves such that he is then seen between cars. Well, "Between Cars" was the last Pocket Frame, so here we have a nice Pocket Chain reference overall.

The main signs the above can be wrong is that I can't find any humans using pockets, and Crowley's hands aren't on-screen either.

So, if the touch doesn't start there, it definitely starts in the "Can I watch?" cut.

Due to how Aziraphale, Crowley, and a human wearing blue pants behind them move, Blue does not switch to Purple yet for the Rainbow Connection.

As Crowley says, "Can I watch?" his left hand is clenched, and his thumb joint is blurry but visible. A small evident pocket forms within his sleeve. The movement progresses such that his tie strands swing back and forth. Then his jacket folds up creating its own edges over itself. Part of these edges are over the lapel. While the thumb joint is not directly visible anymore, it is understood to be where the edges of the jacket onto itself meet on Crowley's left torso. The entire thing creates a pocket between the jacket parts, the watch, and the hand. The main Blue of concern for the Rainbow Connection is notably obscured by Aziraphale's left shoulder and torso.

That is only one vertex touch for the left thumb joint and the jacket. Two pockets are going to be used, so there is actually still more preparation necessary.

A car passes behind both Crowley and Aziraphale as a Pocket Chain reference.

The next cut is the approach to the music shop's threshold.

Something really important to note here is that the music shop will have a lot happening so far as the touches within Earthly Objects are concerned.

Among those things is that the music shop is the Single of The Bigger Thresholds Trick.

So, this part is actually a clue that the incoming threshold is bigger than Crowley.

Back to the pocket mechanics, Crowley gets an Overhead Light to his left yet again. There is also a light above his shoulder, but I'm mainly noting the one closer to his actual head. Visually, it is above his ear, compared to the other.

Again, with the movement, the left thumb joint is known to be near jacket edges, mainly as like the left back corner of the jacket, for a possible second vertex touch.

After that point, Crowley's left arm extends to create a larger pocket between it, the jacket sleeve, and bottom of the screen. For imaginary pocketing, we now have some leaves, some lights, a pot for a plant, concrete, and a little bit of the ground.

Meanwhile, Crowley's right arm has sleeve made a pocket between itself and the jacket.

On top of all of that, he is close enough to Aziraphale that their arms together form yet another pocket between each other. Said pocket just so happens to include Aziraphale's unused jacket pocket.

The next cut focuses on Aziraphale looking through a window before approaching the door. There is a red glare. Finding the Rainbow Connection switch from Blue to Purple is probably here since I cannot conceive of it happening anywhere else, and there is going to be a visible double purple soon.

Typically, the color is on-screen during a switch but not here.

Aziraphale opens the door and is visibly using a doorknob. Crowley is blurred and enters behind him.

When the scene eventually shows a clear cut of Crowley, he is standing in a particular way at the door frame itself while also deliberately touching it in a way too. The index finger touches the panel of the door. The middle, ring, and pinky fingers touch parts of a frame of a panel area of the door too. If those are all proper edges, he touched several different thresholds at that moment.

Crowley's body blocks the view of the hand completely. The camera never sees him remove that hand from that door.

By the next cut, he's positioned himself with his back against the door and started on the more obvious parts of the pocket touch.

A belt loop is actually visible on the snake belt on Crowley's left vest side. Additionally, the vest tip is further to Crowley's right from that loop and on the belt, while still being on Crowley's left side in general. I would love to know the logic there. What is that doing?

Due to the lighting looking like it is giving the snake belt eyes, we have to use our imaginations that the Belt Head is up to something ridiculous, like nibbling at the vest tip in front of it or touching its own tail. That's probably a weird self-mouth touch for the ball invitations.

With Crowley's left hand, the left thumb is visibly touching the edge of the jacket from the start. That's probably helping things for the right thumb, which is not going to be touching an edge.

As the left thumb goes in, the index finger actually obscures it temporarily in the process. The index finger is the one that touched the door panel, the area specifically regarded by this story as a place necessary for a threshold-only touch. Once the thumb is partly visible again, the thumb joint is touching the edge of the jacket. Otherwise, the fingers are placing themselves on the front of the pocket, which is its threshold. The thumb, index finger, and pinky finger were more extended than the middle and ring fingers going on. That's something else I would love to know what the logic is. My current best guess is that helps distinguish which fingers made a touch for The Bigger Thresholds Trick and which ones made a touch for The Pocket Trick.

For the right hand, those fingers are also placing themselves on the front of the pocket though the pinky tip is not as clear as the others due to the lighting and position. That is probably intentional and excludes that tip from counting as part of the touch. That ends up with 7 digits total on the thresholds in instead of 8.

Instead of swinging as necessary this time, the tie strands actually rest over Crowley's vest, but they make sure to do so on the right side of the vest, where the thumb was not visibly shown as going into the pocket.

The left strand extends further than the right, and it seems the tips cross themselves at just the right place to touch each other.

Since the strand tips are representations of thumb tips, this touch indicates a visual representation of the thumbs touching each other since they cannot be seen while inside the pockets.

The act of showing one of the thumbs going into the pocket might be a way of turning the pocket into a door, as Crowley does with his sunglasses. Conceivably, that allows the other pocket to become a door as well, still allowing the thumbs to do their thing, likely helped along by those tie strand tips and other requirements that end up with him touching his own clothes.

He makes two tiny sleeve pockets to his own jacket with his left jacket sleeve with the left side torso of the jacket.

With two pockets being used, we end up with two Pocket Frames. The first pocket is based on the door and frames, and we're just going to say Door Frames due to a later Pocket Chain reference in another touch. To his right is the overall door frame. His shadow extends past it, but Crowley himself still remains within the overall door frame. The window is doing its own part for other touches, so these Pocket Frames are actually focused on things outside that window's own frame. The left hand just so happens to align itself with the top and left of a nearby frame for a panel on the door. The watch and jacket must be playing a part in keeping things were they need to be since the left hand is otherwise not directly over those frames.

Crowley keeps his legs in that same panel area that he first touched with three fingers. Due to the lighting, it's really hard to tell if the legs manage to keep themselves inside that frame. I had to check three different devices, and only one of them sufficiently lit the scene to show the borders I was looking for. At a certain point, the legs were shown as within the borders. The upper leg area, generally where the digits are, and his hips are just plain too wide anyway, he's bound to be outside the panel. However, somewhere below that, I do believe that the legs are supposed to be in the panel and otherwise supposed to be good enough thanks to the lighting making the area darker.

The outer Pocket Frame is Papers. There are papers specifically displayed near the bottom of his legs and along his left that go up to just past the earlier mentioned other panel he has parts of his left hand over. Over on Crowley's overall right, there are several papers along the wall. He otherwise gets assistance from Aziraphale who acts as the rest of the frame in certain parts.

Both Crowley and Aziraphale have a prominently displayed instrument with a reflective surface near them during the scene. For Aziraphale, there is part of a drum behind him. His reflection was on it before he walked in, and it will have reflections of humans passing by later.

Meanwhile, for Crowley, there's a large brass instrument over to his left near the papers.

I don't understand the logic of these things, but I know this Trick is too intentional for me to think it's a coincidence. They seem to be some kind of alternative to Overhead Lights since those cannot be found here. Later in the Single, there will also be a prominent earthly object with a reflective surface. Since there are two instruments, that also suggests they required a parallel match for Aziraphale's assistance in this scene.

For the Rainbow Connection, the game does a funny thing, in my opinion, to mess with you. The findable rainbows are on Mr. Arnold's own clothing and then some stuff nearby behind him.

Then there are two other rainbows on connectors in early cuts with Mr. Arnold that have purple text on them. That's the clue those rainbows are for...finding the Purple for the Rainbow Connection. Aziraphale obscures them, for a good chunk of the scene. You have to find it early and stop looking specifically near Crowley.

The scene is long compared to all other pocket touches. Given that, I assume the clue is to watch for the Pocket Frame touch point through Aziraphale. Aziraphale himself obscures most of Crowley's right hand at one point, excluding the thumb joint.

Once Aziraphale's arm goes down and is no longer obscuring that hand, there is a video frame somewhere in his movement to find that point.

It is extremely hard to guess, but here is mine:

He looked at Crowley not long before that and then told Mr. Arnold, "You leave me with no alternative."

He also turned his head at that point. Then later he turned his head again on saying, "...due to problems a the BBC."

The combination of this head-turning is the switch for the Rainbow Connection to go from Purple to Blue. It might have even flipped the mirror of the tied hands, especially given their behavior after this visit.

The dialogue itself might be further clues to things, but I can't figure out what.

Aziraphale's overall presence also helps keep Mr. Arnold boxed out of the pocket frames during the entire scene. Why does that matter? I don't know exactly. My intuition tells me to take note because these touches have a noticeable human presence when they happen. Likewise, my intuition tells me I should take note of Mr. Arnold folding his arms and wearing a black shirt under his rainbow-colored tie sand suspenders. I don't expect to figure out why these things matter beyond intuition, sadly.

I really am hitting my limits at this part of the game.

After this scene, the Tied Hands do some very interesting things that I have made GIFs of. If these things have personalities, they are excited. Somewhere in here is retying and more confusion I don't have the energy or ability for. Like I said, I'm at my limits.

I at least think they're cute and am amused, whatever they're doing.

The Pocket Trick: Basics

#crowley #good omens 2 #good omens s2 #good omens #david tennant #good omens season 2 #good omens analysis #good omens meta #good omens earthly objects #good omens 2 thresholds #good omens 2 the pocket trick #good omens 2 multiplicative threshold tricks #good omens crowley #crowley good omens

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sonkitty · 10 months ago

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Pocket Trick - Triple Part 3 - LINK - Update

-Made a correction about how the jacket is folded over the right thumb from the front view. That jacket is touching the shirt, so the tie strand connected to the shirt still makes sense.

-The wheels might be why Crowley can have humans blocking the frame. He's framed by wheels, which are on the cars. Wheels were the illusionary touch in the cut before due to the bicycle wheels. So, I added that.

#crowley #good omens 2 #good omens s2 #good omens #david tennant #good omens season 2 #good omens analysis #good omens meta #good omens 2 the pocket trick #good omens 2 thresholds #good omens 2 multiplicative threshold tricks #good omens crowley #crowley good omens

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sonkitty · 9 months ago

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Oh! Oh!

I don't have the answer to the question itself, but if we're going to talk about Good Omens and games, I've got something!

This game might exist in Good Omens 1, but it is a lot different since there is not such an emphasis on thresholds.

Good Omens 2 has a game that starts with the letter "e" and involves 6 Tricks. It's also quite large and encompassing to the entire story.

The game in question is Earthly Objects.

The tricks in question are the Threshold Tricks.

The Threshold Tricks are 6 of Crowley's advanced moves, but he does not have to do them alone. I believe Aziraphale plays a part in every Trick, but a player, such as myself, has to make that assumption. I cannot prove it.

Not only that, Muriel has a bookend scene to at least part of every Threshold Trick.

There are 6, but there is a special 7th move that Aziraphale gets to do at the end: The Door Catch.

The Threshold Tricks go 1+5 by episode completion. They have a chiastic structure when lined up with the ball invitations: 5+1 (Crowley is the sixth special invitation).

So, I can't tell you what game God is playing, but I can tell you the game Crowley and Aziraphale are playing is Earthly Objects. That game then turns in to a game for people in the audience to play if they find it. Then you can find the Threshold Tricks and start looking for hidden messages in the story.

Trying to find out Crowley's sideburns is a good place to start for finding both Earthly Objects and the Threshold Tricks.

Here are the Tricks:

The Perfect Entrance Trick Visual Representation (GIFs)

The Bigger Thresholds Trick Visual Representation (GIFs)

The Pocket Trick Visual Representation (GIFs)

The Sunglasses Trick Visual Representation (GIFs)

The Door Trick Visual Representation (GIFs)

The Window Trick Visual Representation (GIFs)

It is, in my opinion, a very difficult game, especially once you find The Pocket Trick. It was the last one I found. I have solved these things in a broad sense, but I don't fully understand the finer, more detailed mechanics. The Pocket Trick is the hardest one, but then it makes understanding The Door Trick more difficult because they are linked with each other through the Pocket Chain and Rainbow Connection.

As much as I struggled, I'm really glad I got far enough to find The Door Catch and found a hidden message when trying to understand the Rainbow Connection mechanics: "The Metatron makes mistakes".

The Pocket Trick uses word play, so you really have to "think outside the pocket" to solve the puzzles.

The ball invitations are a mini-game. The Sideburns Scheme is a game. There is a Bookend Buddies game with Crowley and Muriel! Good Omens 2 has multiple hidden games, but Earthly Objects is like huge because its mechanics are required in facets of these other games.

This is a partly formed thought, so bear with me here.

God is shown as playing a game of cards with the universe.

Is God playing euchre?

Something about playing with opposing teams and people having to trust their partners because they can't share their cards.

And Agnes Nutter referring to Aziraphale and Crowley as "the Two Powers" and euchre has two bowers, which are two Jacks.

And there being a situation where a Jack of Clubs is actually a Jack of Spades (hidden in plain sight sort of stuff).

And the two Joker cards were invented because of the game euchre.

And each play being called a trick. Euchre is a game of tricks.

And in British rules there is a play called Playing Policemen. Muriel comes to mind.

There is also a play called Going Alone, the ultimate flex in a euchre game. It’s a high-risk, high-reward move in euchre where a player is confident they can play and win all five tricks in a hand without the help of their partner. Sort of like Aziraphale going it alone in Heaven to stop the Second Coming.

And the game being described as sort of chaotic and hard to understand.

I don't entirely understand this game, but enough details seem to relate to the show that I wonder. Maybe someone with more experience with euchre could add to this.

#good omens #god plays an ineffable game of cards #good omens 2 #good omens 2 earthly objects #good omens 2 threshold tricks

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sonkitty · 10 months ago

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The Pocket Trick Touch #5 - Single - Between Door Windows

Action #5 (Episode 6; Single; Between Door Windows)

Newer version: The Pocket Trick Touch #5 - Single - Between Door Windows

The Tied Hands kept super busy before this touch happened.

These GIFs are for entering the Heaven elevator. I suspect they were tied in whatever special way this trip required.

The walk is so cute.

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Here is a GIF of Crowley's appearance changing during the exit trip down:

Note that the tassels and clasps are not visible. That means the thumbs and thumb joints are hiding by being pocketed into Crowley's vest.

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This GIF is for entering the bookshop after exiting the Heaven elevator:

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These GIFs are for while escorting Maggie and Nina out, so that's an exit from the bookshop:

In possibly the last frame of the last GIF, they were tied for the last time.

I consider the start of this touch to be at a specific point where Crowley is passing by the open broken window.

However, before that, we get a little Pocket Preamble through Gabriel.

Ta-da!

That's Gabriel using a pocket. Not only that, I'm too used to looking for framing to ignore some deliberate framing in this scene. Why is Michael's foot just outside the circle?

Hey wait a second...Gabriel and Beelzebub look like they have a shared Pocket Frame here. I would guess it's "Standing Chandeliers." Plus, standing chandeliers do light up when the two disappear later.

Well, I make no promises or assurances, just telling you that's what it looks like to me.

After said Pocket Frame possibility, the angels and demons bicker until Aziraphale rings a bell that just so happens to grab Muriel's attention.

A relatively new theory of mine is that Crowley and Muriel are actually good friends and that for this touch, Muriel is quietly assisting even though they and Crowley do not directly interact here. I keep suspecting their white helps hold things.

Alright, let's got onto the part where I suspect the touch actually starts. This touch is so utterly beyond my comprehension, but I'll still describe it.

After Crowley looked in from the window and smiled while looking at Aziraphale, he can be seen as mostly having already passed by the open broken window.

However, his left arm aligns nicely with the window frame, to the point that it is probably intentional for this touch. There is a car behind him that is following along with his movement. That car also has windows. Part of his jacket is indeed layered over the window frame, which is going to be important for the last part of the touch.

We already have our Pocket Chain at the ready, and it's going to do a lot for the benefit of this touch.

Crowley's arms are positioned such that both hands could be in pockets or maybe his left hand is in his left pocket, and he's putting his right hand in his right pocket. You can only guess since you can't see his hands or his pants.

This sequence is specific, so I am going to have a hard time breaking it down, because a lot of the below was written trying to be detailed while still missing details like the tie strands with their link to the hands, not that you can see it much in this one.

Before Crowley even starts to open the door, his head and upper body are positioned such that they are behind four window four windows of the overall group of windows on the door to Crowley's left. That's his chosen frame for that door. His head and body will not reach the two windows above that area.

Moving toward the other door, then his head and body actually do appear behind three windows on the door to Crowley's right. Instead, he does not pass over to the next group of three windows. Tally it up, and those are 7 windows. That's probably not a coincidence though I cannot guess what it accomplishes for the touch itself. The story likes the number 3 and the number 7 in general.

As Crowley starts to open the door, his vest can actually already be seen as partially touching his right hand that is not showing its pocket touch yet. One or both of the strands is visibly out. If it's both, they've merged to the point I can't really tell. There is no visible thumb yet, but the tie is is still visible. The strands are going to be incredibly difficult to track because they will be resting for most of the touch and have a left arm and a door in the way when they do more.

The left thumb joint links with the watch quite early as the door is being opened by barely being visible.

The watch looks like it is touching the left sleeve which is actually making a vertex touch to the door on Crowley's left at his elbow. In fact, that touch is near a push plate, which is what the index finger is going to mess with on the other door.

Instead of the left jacket torso and left jacket sleeve forming a pocket between each other, the jacket left sleeve is part of two pockets towards the door instead. A lower part of the back jacket helps form one of these two pockets. Yet a third pocket is evident between the bottom of the jacket, the pants, and the door. That gives the whole thing three pockets between the jacket and the door while including the pants in the lowest pocket.

The car following along with Crowley is still behind him, and it is most likely why he is allowed to actually touch the astragal as much as he does for this touch.

The left hand starts to open the door. In doing so, four fingers are together on the door with the index finger tip being on the edge of the push plate while the middle, ring, and pinky fingers tips are on the panel. Meanwhile, the proximal phalanges of these fingers are touching the astragal. The tie has been successfully blocked from being fully in view.

The thumb is touching the astragal, and its shadow is extending to the end of that astragal. That makes it look like the actual thumb tip is not committed to the touch yet, but the shadow is doing something important.

I'm not sure if the current point in the touch means we are at threshold-only yet or not for the door, especially with the idea of receiving assistance from the car behind him. If it weren't for the astragal and the pocket, we assuredly would be with three out of five digits. It might be a Triple multiplier for the touch.

The earlier left arm moves such that one of the earlier pockets between the jacket and the door merges into one pocket briefly before the sleeve closes in yet again later. That's when part of Crowley's sunglasses becomes visible from behind the door too. There will even be one video frame of yet another three tiny jacket-sleeve-to-door pockets before the shoulder crosses over in front of the door.

Nonetheless, Crowley keeps moving.

The thumb tip of the right hand is not visible yet.

As Crowley keeps opening the door, it looks like the left thumb is either getting closer or is indeed touching the astragal. It is hard to tell, but the shadow is doing its part for whatever is necessary here.

Meanwhile, the four fingers on the door are shifting down to get that index finger closer to being off that push plate edge, but they still haven't managed it yet.

The right thumb tip just outside the pocket finally becomes visible. The vest is touching the thumb while making sure to not touch the tip of the thumb.

While these finger things are happening, the tie strand clasps are hidden with their tips peeking out at presumably proper places. Since the arms are crossed, and they are obscured, it's hard to tell which strand is even tied to which hand. Eventually, I can gather the tie strand on Crowley's left hiding more in the jacket is the one linked with the left hand by watching its reaction to what the left thumb is doing. That's unusual since there's no evident reflection of Crowley or a nearby human as part of flipping the tied hands' mirror even if the red light is more lit when the strand became visible. I have no explanation and no good guesses. I am defeated and confused yet again.

Back to the digits.

There are still three left fingers on the door panel, a left thumb with a shadow over the astragal, and a left index finger barely touching a push plate edge.

He keeps moving.

The right hand grows increasingly visible while the left hand's digits haven't fully progressed to what they are ultimately going to do. It becomes evident that the shirt sleeve is partly out of the jacket so touching the top end of the hand. I'm not sure what the right thumb joint is being touched by, if anything. It's all dark because of the clothes. Logic suggests it should be the shirt because of how the jacket, vest, and belt are positioned around the general blackness behind that thumb joint. Also, as noted, his shirt sleeve is partly out of the jacket touching another part of the hand.

The left thumb moves and eventually manages to visibly pull itself away or off the bookshop door astragal so that it is clearly not touching anything. It's also starting to hide itself. As that thumb is pulling itself away, the car behind Crowley is having one of its windows nearly pass. The thumb aims for an illusionary touch onto that car's window frame for mainly its front window. Once most of the thumb joint is not visible, the thumb joint has an illusionary touch the front of the rear window.

The thumb was not the only thing acting in response to what that car window was doing while passing by behind Crowley.

Rewinding a little for the fingers..

The index finger acts like it isn't pulling away exactly, but it is effectively pulling itself into a position where it can then shift downward to the door panel. It's not just shifting down. It's like the index finger is trying to pinch the door by itself, which it can't. It made sure to change the nature of its own touch with the move. At about this time, there is a visually evident crease near the pinky area of the right hand. We cannot see the pinky, but it looks like a cue because the left pinky finger is going to start doing things. Nonetheless, the left index finger smooths its own touch to more closely match the other fingers.

When the left index finger successfully reaches that point, four fingers are on the door panel. Aside from the pocket, that on its own would be a threshold-only touch on the door.

The right hand is there with its pocket touch, but Crowley isn't finished.

Again, he keeps moving.

The left pinky has joined the thumb in pulling itself off and away from the bookshop door touch.

At two particular frames, it is clear that the pinky tip is not touching the astragal because its shadow does not meet the pinky tip on the bookshop door astragal. In those two frames, the thumb is not touching anything. There are three fingers with their fingertips touching a door panel. The six visible digits are accounted for as touching either a threshold or nothing. One of those frames is the thumb making its illusionary touch on the window frame.

That is my current best guess as the Pocket Frame touch point to consider due to the following three frames including that thumb joint not making an illusionary touch on the window frame. The above image is said guess.

Additionally, the right hand is positioned in a way that one could guess the pinky in it is cut off from view if one could actually see inside the pocket even though we can't.

Once all is truly said and done, Crowley's own head on his left is framed in a specific way in front of the door panel to avoid the windows and shades of that door.

His shoulder and some of his body is in front of his chosen pocket frame for two of the four windows on the door to his own left from before he entered.

Humans are not as clearly evident compared to past touches, but they are indeed present as generally blurry behind him during his walk toward the door. Plus, a human ended up being a huge assist to the whole thing as the driver of the car.

Instead of a more direct Overhead Light, there is the evident unlit standing chandelier nearby and close to the end of the touch, there is yet another reflective surface much closer to Crowley's actual head, still above and to the left of it.

While the Belt Head doesn't seem to do much, Crowley actually has his mouth open from when he is seen behind the bookshop door windows until the end of the cut. Notably, a human with an open mouth, Yawning Yellow, is going to be a huge assist to The Door Trick later.

For the Rainbow Connection, the this touch started on Red and ended on Orange. Orange will be the starting color for The Door Trick.

More pockets formed between parts of Crowley and parts of the door. I didn't log them all because I don't have the energy to do it. I'll simply note that it happened. If I ever can get the energy, I'll be back.

I can at least show a GIF:

As for the two potential Triple multipliers, I'm biased and am not exactly getting clear help from the game itself at this point, so, sure yeah, I'll give them to Crowley until season 3 says otherwise.

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The Pocket Trick: Basics

#crowley #good omens 2 #good omens s2 #good omens #david tennant #good omens season 2 #good omens analysis #good omens meta #good omens 2 thresholds #good omens 2 multiplicative threshold tricks #good omens 2 threshold tricks #good omens crowley #crowley good omens #good omens 2 the pocket trick

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sonkitty · 10 months ago

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The Pocket Trick Touch #2 - Triple Part 2 - Between Cars

Find the newer version here: The Pocket Trick Touch #2 - Triple Part 2 - Between Cars

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(For reference: The Pocket Trick - Basics)

Touch #2 (Episode 2; Triple Part 2; Short sideburns; Between Cars)

This post was last updated 04/18/2024.

Nina Intermission

Before Triple Part 2 is an intermission scene with Nina that I will go ahead and include in the post here.

This scene looks to alert us of some possible qualifiers when pockets are used more than once in an episode. However, episode 5 does not follow these methods exactly, so it's still going to be really confusing later. The retying of the Tied hands is never going to look as simple as it does here, among other things.

When that scene starts, a human is behind Crowley with their back to the camera. They are using one pocket and walking away. They are wearing an orange vest and brown hat. Orange is the current color in the Rainbow Connection. This human will re-appear as a significant presence in Triple Part 3. They are also holding a phone. A different human holding a phone will be part of the Pocket Frame in Triple Part 2.

In the first video frame of Crowley, his head is fully obscuring a yellow light that is going to be relevant for the switch to Yellow later. When he turns around, the light is behind him and otherwise to his left. It looks like a guest book. Visually, this yellow touches Crowley's left shoulder and is not above his left ear. His left sleeve and jacket make a slender pocket between each other that don't reveal much of anything except perhaps some concrete behind Crowley.

When Crowley replies to Nina, he has humans visually behind his right shoulder while the yellow is behind his left shoulder. His tie strands swing within the jacket, and some of the jacket's inner parts are shown.

The scene cuts to Nina to call Crowley, "Mr. Six Espressos in a Big Cup." I suspect that qualifies as a name.

The scene cuts back to Crowley. He had already turned as if he was walking away, so he turns to address Nina again. His turn also made it so that most of the tie strands were hidden.

Here is a GIF of the turn discussed next:

In turning to address Nina again, the strands collectively move to strike an outer part of the jacket. One of the clasps ensures a strike on the edge of Crowley's left lapel. The other meanwhile strikes outside of the left lapel and still on the jacket. Then the strands swing back inward to the jacket and swing a little more before settling down.

The part with at least one of the clasps hitting the lapel seems to be the key moment of the tying here. Such things happen in other times I think the Tied Hands retie.

During the turn, Crowley's left arm allowed for a pocket to form between it and the torso of the jacket. Imaginary pocketing here would include the concrete of the steps, the vertical part of the railing aligning with the yellow guest book, and part of the rug running along the steps. Otherwise, setting silly imagination aside, there was an opening—a pocket, formed during the key moment of the tying process.

Another human passes by during Nina and Crowley's conversation. That human is quite likely a woman holding a light blue shopping bag during the incoming cut that shows the actual touch for Triple Part 2.

When Maggie is seen from the window, Maggie's watch is visible. There is a human using a pocket there too. That human is holding a phone in his hand that is not pocketed. Strangely, as a car began to pass, it obscured part of the phone just as Maggie's watch became visible.

Nina is implied to touch her own pocket or pockets.

Nina eventually moves her right hand in a way that her thumb is partly visually behind Crowley's jacket with all her fingers visible and other times fully visible. At a given point, the fingertips are not visible. At yet another given point, her right thumb does a vertex touch between Crowley's jacket and Nina's own clothing. Her own thumb tip is not visible. It is behind Crowley's jacket.

Nina does a self-mouth touch of her own. During this entire scene, Crowley is implied to still have his pocket touch active without actually showing either of his hands. Additionally, there are building windows visible here but not visible in the next immediate cut after this intermission.

In Crowley's last cut of the scene, the yellow guest book is shown to have switched within the framing. It is behind Crowley's right instead of his left, even specifically aligned to have its edge by Crowley's ear. With no red alerts available for this particular scene, that is the visual cue that the Rainbow Connection has switched from Orange to Yellow.

Crowley says, "Gotcha." It allows for the meaning understood in the story of acknowledging what Nina just said to him but then another meaning that he got what he wanted for the pocket trickery in the game.

Likewise, Nina's look at him could mean that she sensed what he was doing after it was done.

Said meanings are optional, of course. Use your imagination as you see fit.

So, basically, I think the scene is setting in some foreshadowing and qualifiers for the incoming touch.

...

Here is the GIF of the main cut in question for this part of this post:

Overhead Light

Not long after Crowley encounters Nina, a view from behind him shows he is approaching the Bentley with a clear shot of the Bentley's own rear window.

There are indeed lights still that can be found in the upper areas to both sides of his head. The more prominent single light fixture is on the camera's left. It is also on Crowley's left. Crowley's left seems to be the one that gets the stronger lights in general, presumably a specifically desired Overhead Light.

In front of him is a human using a cell phone. That human is going to help box him in for the Pocket Frame in the next cut.

Further ahead of that human is another human using pockets. Well, only one pocket use is truly confirmed, but one could make a good guess that the other pocket is probably also being used. As the scene progresses, it becomes evident that this pocket user is framed as between cars, serving as yet another clue for the incoming Pocket Frame.

Their reflection can be found in the car to the left. With small Yellow lights being around that reflection, they could also be flipping the mirror of the Tied Hands back.

Before the possible flip, Aziraphale's head popped up with him being in front of the car that is currently being viewed from behind with Crowley's head. I don't have it in me to figure out what his framing and timing mean. He's visually between two large open archway frames behind him at least. Plus, the Overhead Light for Crowley is actually to Aziraphale's right.

Near the end of the cut through closely examining where to best find another red alert, Yellow switches to Green in the Rainbow Connection.

...

Between Cars

Here is the GIF of the main cut in question for this part of this post:

Once the cut switches to being in front of Crowley, a sidewalk is behind him, suggesting a threshold should have been passed before trying this next part of the touch.

It's even far enough away that any edge touches will not be happening there.

For imaginary pocketing with just Crowley's arms and hands, we have a blue bag, wet spots on the road, a shoe, a shadow of a leg, maybe even a bottom part of one of the cars that's the actual Pocket Frame, and the road itself.

We can imagine even more pocketing thanks to a nearby human puppet. I can't read his shirt with a screenshot, and I don't have the energy to hunt him down in other parts of other screenshots. He's going to help manage the Rainbow Connection and clue us in to watch Crowley's arms.

Much like before, Crowley has his four right fingers in the pocket with the thumb not in the pocket. A jacket sleeve pocket for the right arm is already in place.

The left hand is positioned downward as if it's grabbing nothingness. It has its thumb straight down, hiding the fingertips of the pinky and index fingers. The middle and ring fingers peek out behind it. The left thumb joint conveniently aligns itself almost with a presumably more wet spot of the road.

The left front of the jacket is aligned vertically with the pants.

My current theory is that this particular touch is a special way to trap the Green of the plants in the car to be used later in The Door Trick for the end of the Rainbow Connection. It's based on little things like the findable rainbow here seeming to just plain target the plants. Black and White together seem to do some kind of trap. The lighting in this cut allows Crowley's dark clothes to seem even darker, so they are set to Black. Meanwhile, the nearby human puppet has a decent amount of White on his shirt. The touch itself has a unique end compared to the others because the Pocket Frame is allowed to be specifically when the mirror flips, based on my own guess. Plus, the right-pocketed hand is off-screen. The left hand is mainly seen through a reflection. That's not how the actual touch points go for the other touches.

I hesitate on this theory because hey, it's pockets, we can just do whatever we want and imagine things because we know what happens in the end. I'm mainly just guessing because of how the game plays itself while I try to make sense of what it means based on what I've figured out in the past.

Anyway...let's get back to some details in slower motion...

The puppet is going to not quite match the movement of Crowley's own reflection. He has no visible shadow in front of him, but after looking at the rest of the scene, I might just not grasp shadows and lighting properly to determine if a shadow should be there. The human's hands are weird too. The left hand allows a self-pocket to be made, and his watch is visible. Nonetheless, humans behind Crowley do have shadows, as does a car.

Well, anyway, we're here for the touch in this Trick. We're not going to solve all the greater mysteries of Good Omens 2 in this post. I can't even figure out what's really going on here anyway.

The shadows behind Crowley are still a hint since they are all moving. Indirectly, that informs us the wet spot is a wet spot since it is not moving. The car mentioned earlier has light reflecting off it that feels like more of a bother than a hint for this touch.

But it's a hint for the touch.

This time, Crowley's Pocket Frame is Between Cars.

For the right thumb, the shading and lighting make it impossible for me to see if it's touching the edge of anything. At a guess of just where things are on Crowley's clothes in general, the right thumb joint is probably touching somewhere on the belt but not an edge. The thumb tip is touching the pants. Due to how this scene goes, it seems to transfer or share a link with the vest.

Instead of having so much of the right hand hidden, the jacket is actually behind the right hand. Since things in this Trick can never be simple, that part of the jacket is also folded, such that a tiny bit of the back of the jacket is there, in addition to the front that is touching behind the hand. This front is touching behind the metacarpal for the pinky finger, so it's like the opposite end of where the thumb joint is.

Both tie strands (Tied Hands) are on the right side of the jacket, and one of them is going to swing more than the other. The one further to Crowley's right is the one that is going to do that. It's going to be linked with Crowley's actual left hand for most of the sequence. The one further to the left might indeed align with an edge of the jacket, but there is no way for me to tell with the lighting and dark clothes. If there is any such edge touch, it's quite likely involving the tassel tip or about to be.

Only one frame in, and things have changed. That thumb is no longer hiding the pinky fingertip or the index fingertip. The tie strands have slightly moved, and the clasps are not as shiny.

Crowley starts to talk. His line is "Do you need a lift somewhere?"

This touch is the only one in the Trick with dialogue where he speaks, and we can see that he has part of his hand pocketed into his pants when he talks. It turns out the line is also a clue about what to look for in this pocket touch because of the Pocket Frame being Cars.

It has an additional meaning since "lift" is the word actually used for the Heaven elevator in the story by Muriel when referring to where they found the matchbox. The Heaven lift will be across the street from where this interaction takes place in episode 6 where Aziraphale does "need a lift somewhere".

Starting from here on out, much of this group of posts is simplified because I truly cannot keep up with the details. It is overwhelming.

The right jacket sleeve pocket closes.

As soon as the left thumb hides itself behind the jacket, the strand closer to the vest moves to then reach the vest.

Meanwhile, the other strand soon follows but swings more strongly such that it's off the vest and over the other side of the jacket—Crowley's left side—the next time the left thumb becomes visible. It swung so far as to be visually over the left arm.

Something like a left jacket sleeve pocket formed, but it included the hand, specifically a blurry left thumb joint and thumb. This brief sleeve pocket lasted only one frame, then re-opened.

Additionally, now the thumb is not obscuring the parts of the fingers like it did before. A tip of the pinky is shown before the other fingers are shown touching each other and with their tips visible.

This strand that swung more strongly to Crowley's left side continues following along with the left thumb.

It starts to swing back toward the right. After being over the sleeve and reaching the border of the left torso of the jacket, a tiny white dot appears over the belt that must be an intentional light reflection added into the mix. The only thing that sticks out is that the human puppet that's eerily almost following along with Crowley has his arm aligned just outside the edge of the car. In the next frame, he will pass it. That seems to be a clue regarding arms for a visible over-the-rainbow touch that's eventually going to happen and further confirm the exact frame that the Pocket Frame touch point is likely to be.

Another left jacket sleeve pocket with the hand takes shape. It lasts all of one frame. Then the hand moves out of the way, for this sleeve pocket to consist only of the jacket. That also lasts only one frame.

As soon as that left thumb tip is not on screen, that strand tip that swung back is on the border of where the jacket meets the vest area. The joint of the left thumb is touching the front of the jacket. The back of the jacket behind that front can also be seen.

The tie strand then keeps swinging back toward the right side of the jacket. At that point is where the left thumb joint is doing another vertex thing with the jacket, akin to the first touch, but it's still not really the same due to the front angle and part of that front visibly in front of the back behind it. That tassel hitting that arm likely transferred a touch from the left hand digits that didn't really touch anything but visually each other. For imaginary touching, it was wet spot. This vertex touch is part of yet another sleeve pocket shared between the left hand and the left jacket sleeve, now with the watch added into the mix.

The tie strand still generally syncs with the left hand too because it doesn't really settle into the vest area with the other strand until the cut is nearly over when the actual left hand is no longer on screen. Then it still moves just a little bit more to make sure it's on the left side where the bottom of the left lapel is for the jacket.

The strand that did not swing as strongly looks to be somewhere in the middle of the vest. It's hard to tell with Crowley's clothes being as dark as they are, even when a video clip is brightened.

The touch on the belt itself may have changed in subtle ways too, but even brightened, I can't really tell what's going on, let alone describe it.

During all of this swinging and digits showing and hiding accordingly, Crowley had a moment where he had not yet passed the edge of his car. I believe that is the Pocket Frame touch point.

The earlier mentioned human has a shadow behind Crowley that helps box him into a frame with the car behind him, such that is he is between his car and that other car visually from the front. Not only that, his head ends up conveniently framed over a part of the bookshop with its own set of windows from across the street.

There is some lighting to clue us into the over-the-rainbow touch happening between both Crowley's right arm and the human's right arm. It doesn't seem to be exact, but that could be a requirement or allowed because of the lighting and probably the alignment with the car wheel behind both.

The woman with the shopping bag when Crowley was talking to Nina has her shadow connecting to the human using the cell phone. I don't know the purpose of connecting her shadow to that extent since I am relatively certain she is not part of the Pocket Frame. It could be that it helps the bags thing be part of the Pocket Chain because several humans carrying a bags are crucial to the end of The Door Trick. No other woman with bags do anything like this visual for the other scenes. It could also be that her left hand is fully visible and a little bit of her right hand is visible. The human connected by Crowley's arm has some of his right hand visible. The scene wants these specific different hands connected to Crowley even if one of the humans with those hands is outside the frame itself.

Crowley's left shoulder is also doing an imaginary touch with a human along the sidewalk near the bookshop. That human has their legs open to make that an imaginary extra pocket for Crowley with Crowley's own imaginary touch.

In this particular touch, Crowley's own visible digits don't seem to touch anything except for the visual of the thumb over them at the start, which seems to have been enough. After that, the tie strands did their thing, from one arm to the other. Since the human behind Crowley was holding a phone in his hand, that might be a relevant touch that still counts because of the over-the-rainbow touch between arms.

The jacket itself must have been positioned as necessary to receive credit for the touch.

Even though both Crowley's hands are not on screen, his watch is visible through the reflection in the car's window. Not only that, there is a left jacket sleeve pocket in the reflection that reaches down to the car's window frame. It includes one of the leaves of Crowley's plants from inside the car.

An actual rainbow has been present since the cut started and moving toward the camera's right. If this rainbow has a target, it is the plants inside the car. As stated early, it's just a theory that this touch is a special way to trap this particular Green. The rainbow is mostly visible in front of the window, and the plants can be seen through that window.

I think, as a general default, Black blocks. So with that in mind, for this touch, I think the Black on Crowley's clothing is helping to block the rainbow in as it is visually pushed that way with Crowley's own movement. While I also think White keeps or holds something, the White on the human puppet is no longer visible before the trap itself is done. While not grasping the finer mechanics, I still think the human puppet is holding off the switch from Green to Blue due to his movement and neck position as part of a pocket shared with Crowley. I'll credit the watch since its reflection visually touched the rainbow before the White disappeared and was presumably still part of the reflection, just harder to be sure until the end of the cut.

Here is the video frame I suspect is the exact frame that should be found as the Pocket Frame touch point due to the way Crowley is framed with his arm, the bookshop building lined up with his head, and him being at the edge of his own car:

Here is what my gut tells me the pocket frame is supposed to look like based on cars, humans, and Crowley's head against the bookshop itself, likely thanks to the pocket chain:

The red lines are for the cars and humans. The yellow lines are for the bookshop.

The Pocket Trick: Basics

#crowley #good omens 2 #good omens s2 #good omens #david tennant #good omens season 2 #good omens analysis #good omens meta #good omens earthly objects #good omens thresholds #good omens multiplicative threshold tricks #good omens threshold tricks #crowley good omens #good omens crowley

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sonkitty · 10 months ago

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The Pocket Trick Touch #1 - Triple Part 1 - Between Building Windows

This post was last updated 01/27/2024.

Touch #1 (Episode 2; Triple Part 1; Between Windows)

Newer version: The Pocket Trick Touch #1 - Triple Part 1 - Between Building Windows

The first of these pocket touches appears in episode 2 as Crowley is walking by himself and before Nina will notice him.

Alright, let's take a look at this thing brighter and slower, much like my post about the Tied Hands. I'll be reusing a lot of the images from that post since it helps to slow things down and give a closer look at given moments.

The first thing to get out of the way is that this touch introduces us to the concept of the Tied Hands, the Rainbow Connection, and that a Rainbow Connection Reflection can flip the mirror of the Tied Hands.

Yikes.

Since that's a lot to cover, even beyond what was already noted in the Basics, here are some links:

Tied Hands

The Pocket Chain Rainbow Connection

...

Alright, so we covered those things.

What else does the GIF tell us?

It tells us that Crowley possibly pocketed some black bars, a bush, some concrete, a long green bar that's like a frame with nothing to frame, a sign, a garbage bin, and maybe even his own pants if we use our imaginations. All we have to do is watch his left arm move, what his left hand digits are up to, the rest of his body, the background of the scene, and just let those imaginations run wild.

But let's reign it in a bit because maybe he didn't do those things since we're just imagining them, and we're getting ahead of ourselves. Only some of these make a faint appearance within an apparel-to-car pocket at the start of The Door Trick in episode 6.

I am logging a lot of details further below in the hopes to give myself a chance at better figuring out this massive puzzle. My chance is slim, but I still want it.

...

When the scene initially starts, the right thumb is visible, and it's not clear just yet that the other four fingers are in the pocket. The left hand is partly visible but not showing its fingers yet. The watch is visible.

The part of his thumb that is visible is touching over the snake belt while being touched under the vest.

Due to how everything is positioned, visually, with a brightened screenshot to make things more apparent, there is a pocket between the vest part that is touching the thumb, the belt part that is being touched by the thumb, and the left front side of the jacket that is definitely not touching the thumb.

Since the belt is connected to Crowley's head, let's go look at Crowley's actual head in the first frame. There is a pocket of light due to the shadows on his left cheek and then more light outside the shadowy border of that pocket of light. That is...right, okay, fine, that's something we can just note. This group of puzzles is so silly.

Even still, the inner part of the front of his jacket's hanging out along the side edge of all of that, making sure it is not touching the pants.

One tie strand is attached to the right side of the jacket, and it's the one that will be more obviously following along with the left hand soon. The clasp that is its thumb joint is conveniently hidden at that exact moment. This tie strand will act as if linked to the jacket as well.

The other strand is down and looks strongly aligned to the left lapel of Crowley's jacket. The top clasp before the tassel tip even seems to start at about that point. Despite that, it's also generally over the edge of the vest. The vest is what this tie strand will act is if it is linked to.

Behind Crowley is a window that is to the camera's right. The window's right window frame is aligned to be be just to the right of Crowley's left arm. It's an edge, a threshold, to alert us that this touch is going to be putting Crowley between Building Windows. That is the designated Pocket Frame. He's going to do certain things before reaching the physical threshold of the next window that credit him the touch within this Pocket Frame.

Ahead of Crowley and to the camera's left is a door. This touch is the first one, so it's not chained to past touches. As such, we start from the basic understanding that thresholds are doors. He is going to be in front of a threshold eventually that seems to allow him to do certain things once his fingertips are more clearly visible.

But not yet.

Crowley moves in a way that eventually his left hand becomes more clear and on screen.

Here is a brightened GIF for further assistance:

With that one little movement, a few things happened.

Quite early in the overall movement, the snake belt disappeared behind the left front of Crowley's jacket. Let's check this Belt Head thing. Did anything happen to that pocket of light on Crowley's actual cheek on his actual head? Yes. It fully disappeared at the point of stronger clarity for this part of the cut with the watch and the fingers. You have got to be kidding me. What is that supposed to mean? Well, we're still going to see that belt without that pocket of light once the belt is seen again.

So, with that pocket between the vest, belt, and jacket gone, instead there is a large shadowy area within the jacket itself except the an edge where the vest meets the shirt that's presumably supposed to be yet another pocket. Likewise the left jacket sleeve has its own little hole indicating a pocket by the watch.

All four "thumbs" are off screen so that we can look at four fingers that aren't showing their fingertips yet. Those fingers just so happen to be in the area the jacket was avoiding with the area between the ring finger and pinky finger visually over the edge of the pants.

It is probably not a coincidence that there's some sunlight hitting the edge of the hand and pinky along with the edge of the ring finger, the two fingers at that edge.

Based on what happens, that's like marking the target for the illusionary touch that is going to happen on the pants with the index and middle fingers eventually. It will be passed along when the time is right. For now, with no magical left thumb joint vertex touch, that's what this thing seems to do.

Pocket touches use lighting as clues, and a little light seems to tell us one of the black bars behind Crowley is broken. These black bars are in front of a bush. I haven't figured out how or why that might be relevant to anything anywhere.

Time to move again.

This time we're starting with a GIF to see some movement:

And now a specific brightened screenshot from near the end of what the GIF itself is showing:

Crowley moves some more such that the left hand is not clear, but we should certainly stop at this point because something important is clear anyway.

The left thumb became visible even if blurry.

The blurry thumb joint is now by the edge of the jacket. In fact, it's by where the lower edge of the bottom jacket meets the edge of the back that's receiving the sunlight. This part is a blurred vertex touch from the left thumb joint to the jacket. Is it an actual touch? It doesn't look like it is, but everything's responding as if the illusionary nature of it doesn't matter.

Blurs in Earthly Objects mean something like pass or share. We are going to see a different type of vertex later involving the thumb joint, so this part is, again, like marking a target for what will eventually happen.

Both the actual hand thumbs are on screen and now so are the tie tassel tips. The strand that was on Crowley's right side of the jacket—that's going to follow along with the left hand—is still on that part of the jacket. Its tassel clasp is at the edge of where the sleeve meets the jacket. Yes, we found another edge, which makes sense because its parallel hand has the thumb joint on an edge.

Meanwhile, for the right hand, it's doing edgy stuff as well. That thumb joint is now touching the edge of the vest, which is touching the edge of the snake head of the belt. The tip of that vest is positioned between the right thumb joint and the snake belt to give us yet another vertex.

The part of the jacket that was along the side edge of so much happening is now showing its outer part, and it too is at the edge of something. Visually, it is at the edge of a nearby garbage bin.

Edges! Edges everywhere! Now with vertices!

The vest now also has a visual pocket between itself and the snake belt over part of the shirt.

That tie strand linked with the right hand is hanging out over on the right side of the vest, and its tip just so happens to be along the edge of the vest and the shadowed area in the jacket. Shadows seem to allow leniency, so it must be doing its job of keeping that tip at an edge when it needs to be.

Are there any other edges that we missed? Probably. For instance, the left front outer edge of the jacket is covering the left pocket, probably at its edge. Crowley's left side of his vest has its tip slightly past the bottom edge of the snake belt. It is partly touching a belt loop too.

The top tips of Crowley's lapels of his jacket are just past the edges of that part of the jacket., Fascinating.

Not long before this vertex touch took place, a jacket sleeve pocket formed. There was a little space between the left elbow of the jacket sleeve and the torso of the jacket itself. That space grew and is still present in the vertex touch itself.

I'm all out of energy looking for edges so instead am going to bring up that it is now more clear that the right hand fingers are in the pocket.

As for lighting, the left hand has lighting up until the index finger, and yeah, there's going to be something with the index finger soon. The left sleeve and left back area of the jacket are also receiving light.

During this pivotal moment, Crowley's partly in front of that first door mentioned earlier. That door is acting like permission for this part to initiate.

Let's move on.

Here is the earlier GIF again since the above screenshot is where that GIF ends.

In the next more clear shot of movement, part of the left hand is partly off-screen. It seems to cut off at where the middle phalanges would be visible for the fingers and keeping the proximal phalanges visible. The thumb does not have a middle phalanx so is basically cut off from showing a thumb tip. As such, the tie strand corresponding to the left hand has decided that its tassel tip should shift its tip off the jacket to be partly over the vest since the left thumb tip is indeed part of what has become off-screen.

The tie strand linked with the right hand is on the right side of the vest and just along the inner middle border of that vest. A tiny bit of its tip has ventured over to the left side. The tips of both sides of the vest seem to be content along the lower edge of the snake belt. The right tip that was at the snake belt's edge has shifted a little more to Crowley's left, so it's not directly on the edge anymore. It also has more shadow over its own right side.

The left jacket sleeve pocket that formed has opened. It is no longer fully closed in within the jacket, though it is fully closed in between the jacket, Crowley's left hand, and the bottom of the screen.

Indeed, everything probably still matters, but a lot of edge-concerned items are no longer at their concerned edges.

The first door behind Crowley has not been passed yet. In fact, if we take an extra look, we can see that Crowley's shoulder aligns itself with a panel edge on that door.

Onward.

GIF for some extra assistance:

Crowley moves some more, and we're going to stop when the left hand becomes clear again, including those pivotal fingertips.

They have at last revealed themselves perhaps thanks to the blurred thumb from earlier.

Since so much happened before, let's take a look.

An overhead light to the first door is shown on screen. It is to the camera's right. While it is not directly above Crowley's head, we can tell that it is above his head. Eventually, Crowley is going to turn his head, and that might be significant in making sure an overhead is assuredly to the left side of his actual head.

Meanwhile, another light is more visible on the camera's left. This light is not above Crowley's head, but it is above where the snake belt buckle would be, if it were visible. The lighting in pocket touches is quite intentional, so we should take note.

The left thumb is not visible at all. The right thumb is only partly visible, but its thumb tip is obscured by the left hand. In fact, the part of the hand obscuring it is where the left thumb joint should be, if we could actually see it. With both thumb tips and both thumb joints not visible, the tassels and the clasps have hidden themselves too. The belt is not visible.

The left jacket sleeve pocket is gone.

Is there an edge we should concern ourselves with?

Yes, indeed. We have some lighting to help remind us of where to look. Three fingers are visually over the right pant leg. They are the middle finger, ring finger, and pinky finger. The index finger just so happens to be not over the pants with them. Instead it's visually over the edge of some edge of the building behind Crowley. Now we have to look at the index fingertip and the middle fingertip because do you know what is visually in between those? The right edge of the front of Crowley's pants! The pass from earlier is done.

The first door behind Crowley is still partly visible as behind him. He has not finished passing it yet and reached the next door.

I want to move on again, so we will.

This time we're stopping when the left hand is blurry again because of a thumb joint thing again.

Crowley has turned his head. Things have changed.

The overhead light is now given a chance to be to the left of his left side of his head.

From the Tied Hands post, relevant enough to be re-stated here:

There is a pocket between Crowley's left hand, the watch, the left jacket sleeve, and the left jacket side-to-back area. It's a lot like our previous vertex touch but not quite. This pocket is special because the left jacket sleeve is more evident to be over the edge of that back area of the jacket. Their connection is not direct edge-to-edge, or close enough anyway, like the earlier version. One edge extends over the other. Other parts of the apparel were more evenly lined up with edges before too, but here, they are not trying so hard. Due to the lack of a helpful manual for The Pocket Trick and the need to use my imagination with word play, we are calling this thing an over-the-rainbow touch.

End quote.

This part was where the tied hands' mirror flipped with a Rainbow Connection Reflection.

A human using pockets has become visible. They are facing the window pane. I have only one guess on their significance. They are a clue for the touch point of the Pocket Frame. I'll wait to explain then.

Let's move on.

These frames are more clear, so I'm using my best judgment on the next place to stop.

I've chosen the frame where the line between the left thumb and the rest of the hand is no longer visible.

The tie strand on the right part of the jacket is still on the right part of the jacket, mostly. The clasp is at the edge of a lower part of the right lapel of Crowley's jacket. The tassel has swung enough so that its tip is over the right side of the vest. The right thumb tip is still visible, even if only slightly.

The tie strand on the vest has also shifted over, now finding itself on the left part of the vest instead of the right. Its clasp and some of its tip is still visible, but it takes only 1 more frame for that to change. That clasp meets the edge of the bottom of the left lapel. Given what's happening with what is and is not visible of the left thumb, this makes sense—only if you catch that the strands swapped with the joint movement and mirror flip.

Crowley's right front of his jacket is covering up a good amount of space over the right thumb, leaving at least its thumb tip visible. That jacket's shadow also seems to be over the snake belt head some. The belt itself is visible, especially more of what's between the back of the snake head up until the left bottom tip of the vest. That first door can no longer be seen. We are not going to see those fingers do any more illusionary touches.

The lighting is suggesting we pay attention Crowley's left side in general, so we will.

Moving on.

After some more movement, I've decided the next clear shot where we should stop is after Crowley's head has moved even more, and the left hand itself has hit stronger clarity.

The edge of the left thumb is quite likely behind the index finger. The tassels are really sneaky here. They switch so that the strand tied to the right hand gets hidden, and the strand tied to the left hand comes out again. It's easy to miss if you're just looking for the more key frames and not watching them do that. I speak from experience. So, is our visible tie strand at an edge? Yeah, go find the shadow of the jacket by the vest, and the tip of that tassel is probably at the edge of the right side of the vest and the jacket, which is positioned in just the right way to allow it.

It is really hard to tell with the dark clothes, but there does appear to be a vertex touch between the little bit of left thumb visible with the belt and vest.

Much like earlier, there is now a pocket between the vest and the belt itself. Likewise, the pocket of the left jacket sleeve near the watch is visible.

The index finger is not showing its tip. Both it and the middle finger are showing part of their middle phalanges with the index finger showing more. The ring and pinky fingers are not showing their middle phalanges.

Some of the snake head on the belt is visible with a little hidden on each side of that head but not much.

Now let's look for more edges.

The left jacket sleeve is layered over the more general left side of the jacket itself. At the exact point where their edges meet is that same garbage can from earlier, just its other edge from a front view of it.

We have found another vertex.

There's also a little stand of some sign that's near the elbow. I can't figure out why that's important or going to be important beyond maybe it was a clue to the Rainbow Connection Reflection earlier due to framing and timing. If I go back a few frames, I can lighting hinting there is tiny unseen pocket between the jacket and the sleeve where they meet. Going over that bit again and again, it looks like the right thumb joint is at the vertex of the vest and the jacket. However, the edge of that vest is ever so slightly over the edge of that right thumb. So, there's still more left to happen.

Crowley is in front of the second door for this part.

The right pants pocket just passed the edge of some visual thing on the building behind it.

We are so, so close to being done.

Okay, Crowley has moved, and things happened.

GIF for some assistance. This one actually covers movement from after the mirror flipped:

What happened?

So much happened.

The most crucial thing to know is that the Pocket Frame touch point happened. I will show it later. For now, we'll go over numerous other things.

The thumb and fingers of the left hand have collectively moved themselves out of the way and are no longer on screen. In the process, that left thumb joint hit that same vertex area it had before, or was very close to doing so.

Early in the movement, both tassels revealed themselves together, swapping their tips back to what they were before the tip tied to the right hand was hidden. Soon after, there was a frame of both on the vest. The left tie strand was more closely aligned with the left part of the jacket though, from the clasp down, not touching the edge. Above the clasp, it does look aligned with the edge of the lapel. The right tie strand, meanwhile, was more close to the inner part of the right side of the jacket and the vest. The actual left hand was mostly off-screen.

Only one frame after those tassels were on the vest, the watch met with the edge of the light on Crowley's left side of his jacket that was just behind that hand.

At that same time, both tassel tips started to leave the vest and swung so that their tips moved over to an area of the right front of the jacket, not quite reaching any edges.

Generally, the actions by the tie strands indicate those hands were being untied. I think that is the case because I think they re-tie themselves when encountering Nina soon.

That right bottom vest edge moved itself even further onto the thumb while making sure to not touch the thumb tip. It landed about the center of that thumb before deciding to go back up and then touch the edge of the thumb. When it was centered along the thumb, the tie strands were centered along the vest itself. The tie strand for the left hand on the left was a little further down than the right. Interestingly, that matches the camera positions of the visible hand parts. The left actual hand is further down than the right actual hand.

Once that vest edge finally touched that right thumb edge, the touch finished.

By that point, Crowley is just outside the edge of the next window.

The human mentioned earlier is providing a clue to further confirm that this touch is at the Pocket Frame touch point. The human's reflection is in the upper right torso area of a suit jacket. If you look toward the upper right torso area of Crowley, you can see that the tip of his right lapel is lined up with an edge of the structure behind him. It is an edge that is not at the second door or the second window, but a large frame around that second door. This frame sticks out and connects to the overall outside from of the window.

The overhead light above the first door is slightly visible. It will no longer be visible in the next video frame.

We have cues that the Pocket Frame has reached its touch point even if Crowley's going to pass that window frame edge with just a few frames left.

Here is that point:

After passing by the human using pockets and facing the window pane, the car hit another red alert to inform us that Orange in the Rainbow Connection is ready.

Yet another thing that happened, as if we didn't have enough to deal with, was that still another human entered the scene. That human is blurry, and their clothing, presumably a shirt or something like that, is blurry. That clothing has multiple colors. The purple is the hardest to find, but otherwise, this piece of clothing is the rainbow. The colors are not in the order of a rainbow, but they are there. There is red, orange, green, yellow, purple, and blue. They are also using a phone. Phones show up again, and if they have a specific function or meaning within this Trick, it is beyond me.

Another human entered the cut behind the rainbow one.

I am going to talk about another human not mentioned earlier. Way, way back at the start of the scene for this touch, all the way to the camera's right was a human holding a red purse. That human was never fully seen. They disappeared fully from the camera's view before the first vertex touch and re-appeared as the fingertips were reaching clarity for their illusionary touch. Once Crowley reached the presumed exact frame of that touch, the human had not passed the window frame of the first window.

Their red purse was at least a clue about the Rainbow Connection. Beyond that, they might be yet another clue because there are several humans, especially women, with bags in The Door Trick that seem to act as a chain reference to this one and probably others in other touches.

That's it for this post.

The Pocket Trick - Basics

#crowley #good omens 2 #good omens s2 #david tennant #good omens #good omens season 2 #good omens analysis #good omens meta #good omens earthly objects #good omens thresholds #good omens multiplicative threshold tricks #good omens threshold tricks #good omens crowley #crowley good omens

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sonkitty · 9 months ago

Text

The Sideburns Scheme Post #4 v2

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 1, The Arrival, The Perfect Entrance Trick

The entrance is part of the coffee shop scene, but it is so special, I am giving it its own post.

Sideburns Check

This show has treated us to something. Crowley does a full spin so that we can get a really good look at the hair from multiple angles. It's not that close up but still good. Thank you show and Crowley!

The sideburns are short. They are the intended shortness after driving. In turn, they are the shortest they have been up to this point in the present day storyline.

Short sideburns happen around human spaces most of the time, at this point in the story.

...

Brighter Red Streak Check

It's easy to think the brighter red streak is not there because of its position. The above image is brightened and more saturated with white rectangles to indicate where I see the streak.

I often find the streak above the center of his left eye and going up from his forehead. Here, the streak actually starts from his part on the top.

...

Hairstyle Changes

In both the Bentley and here, the top hair flared upward. Just outside the coffee shop, the flare has shifted further to his right instead of straight upward and lining up with his nose as it did in the Bentley. There is no extra saturation streak on the right side of his forehead.

Earthly Objects: The Perfect Entrance Trick

(For reference: Earthly Objects)

We have arrived at our first Threshold Trick!

This part is going to be very detailed because of pockets and thresholds.

Here are some GIFs to start us off:

This sequence is The Perfect Entrance Trick. Way, way back before I thought there might be an Earthly Objects game and was just exploring the sideburns, trying to figure them out, I remarked on my appreciation for the camera work and music for this segment. I always compliment those parts because they are so good. They contribute beautifully to the idea here.

While setting aside the Sideburns Scheme and trying to figure out Earthly Objects, I made a "Bonus Round" part of my main post because this sequence had me so amazed. It looked like threshold-only touches and avoiding earthly object touches, but I couldn't be sure due to some specific questionable things I will explore further down eventually. Nonetheless, it sure seemed to me like Crowley knows how to play the game as an expert, so if he is aiming for threshold-only touches, there must be something to his methods that gets the job done. These Threshold Tricks might even be special supernatural bonus points he's earning in the game.

My understanding of the game at this point in time is like so: In this sequence, they are threshold-only touches, but how are they threshold-only touches with this game's mechanics? That's what an audience player is supposed to figure out in the puzzle.

The Perfect Entrance Trick is actually the third Threshold Trick I found without realizing it because I did not have the words, "Threshold Tricks" for myself then. It felt like the first one I found when I was trying to understand Earthly Objects. I had already found The Bigger Thresholds Trick and The Door Trick without realizing they were Threshold Tricks too. I didn't have names for them then. I just knew there was something special about sideburns and thresholds so caught onto those parts. It took something more than weeks to put these ideas together because I spent a lot of time just thinking and making pictures while readying myself for making posts about sideburns.

Before we go over this particular sequence in more detail, here's something I think the game is putting forth as a challenge. The Pocket Trick is a hidden giant with a giant impact on many things. While I am at a point that I do not think I will ever solve The Pocket Trick to my satisfaction, I believe a significant one of its hidden messages is, "Pay attention to the pockets."

As stated in my main post for The Sideburns Scheme, pockets are a big, little thing in GO2. They are easy to miss and to dismiss. One should also pay attention to doors and windows, but because the pockets are so easy to overlook—even more than windows, it's a good idea to mind that message on pockets specifically all the same. Between doors, windows, and pockets, pockets are the hardest to see and to understand.

In Earthly Objects, a pocket can be a hole created by a character's body between their own self, part of the screen, part of an earthly object, or even part of a threshold. A pocket can be two or more characters surrounding something or someone on the screen in the framing. A pocket can be a character surrounded by things in the framing. A pocket can be the actual literal pockets characters can have on their clothing. That includes the ones we understand are actual pockets and even little holes the clothing can make on itself. Pockets are everywhere, but making sense of them for how they count, when they count, and what they count for, is another story. It is overwhelming—as if "think outside the pocket" wasn't hard enough in The Pocket Trick to begin with!

I think chances are good that pockets are somehow related to every Threshold Trick, and a big part of this challenge I do not expect to pass is to figure out how. That means I won't ever fully solve every Threshold Trick. So, I will pay attention to the pockets, tell you about the pockets, and admit freely, once again, my understanding of them is limited.

Okay, so here's the sequence in more detailed text form with paying attention to the pockets. It is very quick and heavily based on movement. Parts are also blurry. I won't swear everything below is correct because to play, I mainly have to guess based on clues.

With the car on screen before it is parked, I can find multiple different humans using pockets. However, one in particular catches my interest because he put his left hand in a pocket near where Crowley will park, and I recognize this human:

That guy shows up three different times in episode 6 during The Door Trick and The Door Catch. He is responsible or the Purple in the Rainbow Connection on Aziraphale's part.

Nonetheless, Crowley parks the car. The camera work is doing amazing things by going under the car, then around a wheel, focusing in on the shoes of the nearby humans before Crowley himself starts.

The door to the car opens, and Crowley touches the edge of the sidewalk with only one shoe. The heel is touching nothing behind it. The front tip is avoiding the rest of the sidewalk. That is the Single. The edge of the sidewalk is one threshold, and it was touched by only one shoe.

The camera pans up.

Crowley touches two different thresholds with his right hand. They are the window frame and the door panel for the door to his car. The fingertips avoid the window pane. That is the Double.

One of the tie strands becomes visible, including a clasp and a tassel. That's a thumb and thumb joint of one of the Tied Hands. Crowley's left hand moves forward such that the tie strand is visually in front of that hand. The left hand is important because it's the one that's going to do the Triple part of this Threshold Trick. I don't know the watch's role in pocket mechanics. It generally likes to be seen and seems to also watch things, like it's some kind of "lookout," but something more too.

Getting back to the left hand's movement with the tie strand, at the exact frame that thing happened, I can find a human visually behind Crowley's right elbow using a pants pocket with their left hand. They are wearing a white shirt over a darker one.

This part is a clue that this tie strand is going to be tied to the left hand and that it is the longer tie strand when both are seen together shortly.

Instead of moving ahead to get to what is going to be the Triple, Crowley has his back to the camera. He takes some steps and moves his arms around. I don't have it in me to log every pocket they make and close and what they might frame, but they do such things.

A light briefly pops out in one of the trees trying to communicate something, and I'm going with saying it's a little overhead light for Crowley since it's above his ear and to the left of his head.

There is a nearby car with red rear lights. These types of lights are often used to alert about a color switch in the Rainbow Connection when they light up a bit more. So, the main thing I see it to be an alert for is that pocket user already mentioned and knowing what we'll see soon for switching without an active Rainbow Connection. The pocket user is even pocketed briefly between these red lights. In fact, that overhead light mentioned above lights up at the start of when this human starts to pass the first of the two red rear lights. If those red lights mean anything else, I don't know what it would be.

When that human pocket user that was visually behind Crowley is finally completely off-screen, Crowley's left hand and the watch also go off-screen.

Crowley spins.

As he spins, both tie strands become visible. The longer tie strand is on Crowley's right. That means it is mirrored for now. The left hand becomes visible again too. During the spin, the tie strands switch. The longer tie strand becomes aligned with Crowley's left side. Generally, these things have a special mirror that flips through a Rainbow Connection Reflection, or whatever that Connection allows, in the Pocket Chain of The Pocket Trick. However, The Pocket Trick hasn't started yet, and this Trick is not linked to the Pocket Chain.

Well, without the initiating power of The Pocket Trick or a Rainbow Connection, it looks like a little spin switch is allowed this time.

The belt—which is Crowley's Belt Head—also became visible, and Crowley has his mouth open during this spin. The vest tips are surrounding the Belt Head to have it pocketed between them. Additionally, the longer tassel tip just so happens to brush along the belt during the switch. There is even another self-made pocket of hair like there was for the newspaper door. With the movement, the vest tips and their pocket over the belt shift further towards Crowley's left as well.

The left hand and the watch hide behind Crowley's jacket. This action is part of closing pockets between Crowley's torso and both arms.

Crowley finally starts moving toward the door.

The right arm opens a pocket between his torso again, this time by itself instead of with the left arm.

The left arm forms a pocket between Crowley and the main part of the jacket.

The pocket between the right arm and jacket closes.

Soon after, the pocket between the left and jacket closes.

Then the left arm hides behind Crowley. In the blurred movement, that longer tie strand connected to the left hand pushes off the vest temporarily and becomes visible in the air. This action creates yet another temporary pocket.

In motion, all of these pockets amount to looking like pocket-to-pocket passes in the animated GIF shown further below.

Once the tie strand has presumably returned to where it belongs, the left arm is finally ready to make its move on the incoming threshold.

Crowley's left arm reaches out for the door panel. There is a lock that is extremely hard to see in the blurred movement, but it is there above the push plate. Crowley's palm of his left hand covers it completely. He pushes the door on the lock instead of the push plate.

Some video frames reach a nice, stronger clarity. Here is the one that strikes my own interest most:

There are three digits touching the door panel. That's what makes this part the Triple. The index finger and middle finger are touching the front. Most of the thumb is touching the side. However, the ever so vital and important thumb tip is on the edge of where the door panel meets the window pane. Edges are thresholds, and pocket trickery loves edges.

The reflection of Crowley's left hand has pocketed the lock on the other side within the palm that is covering the covered lock. In other words, the palm has the locks covered.

The Tied Hands are making this acceptable because of their link to reflections. Plus, all those words I just had to write out because word play is a key mechanic for pocket trickery.

And there's more!

With the palm being busy with the locks, the thumb tip touches its own reflection while doing its edge touching. All of the digits, the real ones and the reflected ones are pocketing the door panel and its reflection because of their framing. Any issues with that window pane have been neutralized. There is a small bit of Crowley's right sunglasses lens past the door frame but not much.

The watch takes over in the next video frame to keep everything in order because that real covered lock becomes slightly visible. The watch's reflective surface lights up to say that everything's still as it should be. Parts of Crowley's face—and more of the sunglasses themselves—visually passed through the door frame at the same time that real lock became slightly visible, so this threshold has been effectively tricked. We must recall the Belt Head had a role to play in the matter.

The Perfect Entrance Trick is the easy one! But the pockets have increased its difficulty immensely.

Something that is missing in this first Threshold Trick is a rainbow. Four of the others have one. The Sunglasses Trick does not, but it does have a notable white light reflected on the watch in its last touch. Rainbows can take shape through refraction in white light. The lighting on the watch here is not as white as what appears in The Sunglasses Trick. It has a tinge of yellow.

Well, Earthly Objects is a game with puzzles—and some silly puzzles at that, so I'm going to say that this Threshold Trick is excused because the Rainbow Connection within The Pocket Trick has not started yet. The Rainbow Connection starts in episode 2. In fact, the way it goes is that The Pocket Trick gets its official rainbow first. It and the other Threshold Tricks finish in episode 6. In episode 6 is where all of the other rainbows appear for the other Threshold Tricks.

The Perfect Entrance Trick is the only one that both starts and finishes in the first episode. It is the first of three Simple tricks. The Simple tricks are the ones that start and finish in the same episode.

Another way I like to play this game is that these Threshold Tricks are based on simple ideas even though they get so complicated—especially once pockets are known to be so important. I call these simple ideas "core concepts" because these things are indeed conceptual. While I don't like word play as much as The Pocket Trick does, I do like it some. So, let's toss some alliteration in here too.

My best guess for this one's core concept is, "Make a Perfect Entrance while making an entrance." The idea is also to introduce the Threshold Tricks. Each one is required to have a primary Single, a primary Double, and a primary Triple. A single is 1. A double is 2. A triple is 3. Add up 1, 2, and 3, and you get the number 6. That equation of 1 + 2 + 3 is what makes the number 6 a perfect number.

A standard set in Earthly Objects is 3 points. A Threshold Trick has a minimum of 6 points for its theoretical bonus rewards and must be done in this special format.

I had to look that up that part on "perfect" because that was the word I wanted to use to describe The Sunglasses Trick when I put those pieces together. I am familiar with the Tekken franchise due to a past stronger obsession with Devil Jin. In Tekken, a PERFECT is when a player wins a round without taking any damage.

So, once I grasped that 6 is a perfect number, for me, it was like "Oh! That's what the first one is! It has a name! It's a Perfect Entrance!" I had described it as a "beautiful entrance" in my Bonus Round section. Again, that took something more than weeks to figure out.

Also, David Tennant is perfect for the role of Crowley. I love this actor-character combination so much.

...

When Crowley enters and sits down, Aziraphale is sitting down, but there is no actual visible back of a chair for Aziraphale. I am reminded of Crowley's remark in episode 5 of "Looking where the furniture isn't." In one of my posts on Earthly Objects, I note this type of thing as a mysterious vendetta Aziraphale has with chairs. A lot of times, the back of one cannot be seen for Aziraphale. When he's in the bookshop and a back of a chair can be seen, his back will still not touch the back of the chair.

...

Story Commentary

Setting aside the threshold trickery at play in Earthly Objects, Crowley's open mouth could also be interpreted as him using his snake demon senses to find Aziraphale's precise location.

After the Threshold Trick itself is done, Crowley's body is briefly fully obscured, and suddenly the door's moving for him without his hands doing anything. The left hand that was on it is gone. He may as well be using telekinesis on the thing.

Crowley continues onward until he passes Aziraphale on Aziraphale's right. Aziraphale himself glances to his own left first, as that's generally where Crowley is expected for him. This movement also allows Crowley's body to be obscured briefly. He could even mouth something to Aziraphale without us seeing it.

The red on the back of the collar on Crowley's jacket is briefly visible before Crowley himself finally sits down and says, "Right, what's the problem?"

The car transformed a little. There's an extra part of a window frame on the window pane that wasn't there before.

...

Muriel

(For reference: Bookend Buddies - Crowley and Muriel (Part 2))

Muriel's first scene preceded this one. That makes their first scene the front bookend to the first Threshold Trick. Their last scene will act as the back bookend to the last Threshold Trick (The Window Trick).

In turn, Crowley's first Threshold Trick is the back bookend to Muriel's first scene.

...

That's it for this post. Way back when I started to track these things, I did have a tendency to update even these posts, so that could happen again, just FYI.

...

Main post:

The Sideburns Scheme

...

Past version of this post:

Post #4 (entering the coffee shop)

#crowley #good omens 2 #good omens #good omens s2 #david tennant #good omens season 2 #good omens meta #good omens crowley #crowley good omens #crowley s2 hair project #crowley sideburns

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sonkitty · 5 months ago

Text

The Sideburns Scheme Post #89

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 6, Every Day, removed

...

Sideburns Check

The sideburns are still a long length. It's questionable if it reaches longest-length, but I think the game's intent is that the sideburns are never quite longest-length in the larger thresholds. That's because The Bigger Thresholds Trick is one of the first three Threshold Tricks completed before the Final Fifteen of this episode.

Longer and not reaching longest-length is the standard during this visit, as is having the red streak visible and the hairstyle remaining the same.

...

Brighter Red Streak Check

The more saturated red streak of hair is harder to find than the previous Heaven scenes, but it can still be found.

...

Hairstyle Changes

Due to maintaining his "disguise," Crowley's hair does not change style between this scene and the last.

...

Earthly Objects

(For reference: Earthly Objects)

My guess is Saraqael being shown in full view with their wheelchair is the initial earthly object touch and assist during the scene.

Crowley's touch is on another file that probably requires higher-ranked access.

I think there is an interaction set with Crowley and Muriel when Muriel says the number "37" as part of "37th class" and the number "one" for "one down. If the number having the additional "-th" negates the number in any way, Muriel could have a statement of place instead by naming their rank.

Crowley closes out the set by giving Muriel a fist bump on Muriel's right shoulder.

...

Time to pay attention to the pockets.

The Tied Hands are still busy being a gold tie pocketed into Crowley's gray jacket. Signs of retying while they are pocketed nonetheless are limited. Crowley extends his right index finger when accessing the file. His watch is visible as during and after the files pass over the watch.

While I usually look for thumb joints to align with an edge, they are avoiding edges or over edges. Still, I can't say I see perfect edge alignment every retying instance for the thumb joints and sometimes just look for them to brush up against Crowley's jacket. While in Heaven, Crowley's jacket does not extend below where a belt would be, if he were using one, so thumb joints have been lining up with the pants instead. They do something like that here.

Plus, there is at least one special little something with the thumb joints. Crowley's left thumb joints are visible with the fist bump. The hand itself lands on a seam of Muriel's jacket. That seam is an edge, and pocket trickery loves edges. Muriel's pocket chain is visible too. During this action, Muriel is making little pockets with their arms.

So, I'm not sure if the fist bump is retying-related, but it is something special to the scene and stuff I know to look for.

Crowley and Muriel receive multiple back shots, with Saraqael added to the mix.

Muriel's pocket chain is partly cut off before the fist bump, fully visible during the fist bump, and gets one extra cut to be fully visible after the fist bump.

Muriel's hands are visible in only one cut during this scene.

Saraqael's hands are doing subtle things throughout the scene.

Given the framing, Overhead Lights for Crowley probably happen in the first two cuts before the projections form. Lights from the ceiling can be found above and to the left Crowley's left ear.

...

The Window Trick clues continue. Lights are reflected in Crowley's sunglasses multiple times during this scene. Sometimes the lights are a little blurred. Notably, these reflections still do not include the actual angels or the Metatron being watched on the lights from the recording.

When Crowley gives his friendly fist bump to Muriel, the reflections are ensured to not match Muriel's shape, so it's established that lights are the reflections in the sunglasses instead of the angel Muriel.

...

Story Commentary

(For reference: Bookend Buddies - Crowley and Muriel (Part 2))

While Crowley is here to find answers about Gabriel, the urgency of when he left the bookshop behind is still gone.

...

Finally, at long last, after names were said in the preceding two scenes, the Metatron appears within this story as part of these past recordings.

There are 5 total beings in the projections, 4 of them being angels. Each angel has a corporal body that exists both in the recording and has been seen in Heaven.

The Metatron, however, does not meet this criteria. He is projected as a floating head. He lacks a neck or any other indication of a corporal form. This floating head form emits light that beams outside his own rectangular projection.

In season 1, the Metatron was also a floating head and not encountered by Aziraphale when Aziraphale's own body was discorporated and forced into Heaven.

This depiction establishes that the Metatron is notably different and possibly not an angel in this story. I think the floating head is an intended clue reminiscent of The Wizard of Oz. I have not read the books, but in the movie, the wizard from The Wizard of Oz is a projection manipulated by a man behind a curtain to evoke an image of power beyond what he actually is or has.

In this scene, the Metatron's power is similar in that his power is that of authority. He makes the decision about what to do about Gabriel's memory. None of the angels argue this point.

No one in the scene shows any surprise or horror about it. Muriel, as an observing angel watching the recording, even goes so far as to call the demoted rank, "pretty good, actually."

Crowley actually stated Muriel's rank earlier, so Muriel saying it doesn't really show us how Crowley could have gotten it from another source. Without resorting to a time reset or another draft, given the chronological context we have, it could just be a power Crowley has, especially given the clues about his past rank and connection to Gabriel.

Saraqael manages to look neutral from both the recording, while watching the recording, and while watching Crowley and Muriel interact.

...

The Bookshop

The next bookshop scene has returned to having no mention of Crowley, his lacking return from escorting the humans out, or any explicit awareness that he left.

...

This scene's focus is that the fire extinguishers have run out, so it's time to start throwing encyclopedias.

For the one cut of Shax in the scene, the framing has again closed in around her, this time with part of the staircase, the books in the bookshop, and the struggling demons.

Again, instead of being reminded that the doors are open, and the window is broken, we are reminded through the lighting that the circle is still active. No demons are visibly discorporated during the scene.

Gabriel is not in the scene at all.

...

That's it for this post. Sometimes I edit my posts, FYI.

...

Main post:

The Sideburns Scheme

#crowley #david tennant #good omens 2 #good omens #good omens s2 #good omens season 2 #good omens meta #good omens analysis #good omens crowley #crowley good omens #good omens clues #good omens theory #good omens theories #good omens speculation #ineffable mystery

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sonkitty · 14 days ago

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Just some notes

These are just some notes from my most recent reading of the book and things I've had in mind for a while. I don't have a general point in here.

From the book:

"That bloke behind the counter. Does he remind you of anyone?" "No," said Sable. He gave the man a tip—five dollars—and opened the package.

That right there. That's an Earthly Objects set. One point for the question, "Does he remind you of anyone?". One point for the number "five." One point for the touch of opening a package. That's a set of 3 points with at least 1 earthly object touch among them.

I think some version of Earthly Objects is in the book.

Tangent on this idea...

Crowley has something like Threshold Tricks in the book though they do not have the multiplicative format that Good Omens 2 has.

First is The Bucket Trick. Crowley tricks Ligur into dropping a bucket of holy water on his head due to where Crowley positioned it on the door. Hence, it's a trick at a threshold and the easiest understood form of a threshold.

Second is The Phone Trick. Crowley tricks Hastur into following Crowley through the phone line. This Trick gets its own Ground Zero with Crowley saying, "Here goes nothing." The phone threshold is a bit harder for me to word, but I think one is supposed to be there as at least an idea.

Third is The Car Trick. Crowley tricks himself into having a functioning car that can keep driving while being on fire. Since edges are thresholds, the threshold here would probably be the ring of fire that is on the M25 that he had to pass through. I'm not quite as sure on this Trick compared to the other two but it kinda fits.

You might even call these things Demon Tricks instead since Crowley tricks all 3 demons from that meeting in the graveyard 11 years ago. Maybe Demonic Threshold Tricks?

...

Something I think I picked up on from my most recent reading is that Crowley is associated with Death and Famine of the Four Horsemen of the Apocalypse. Meanwhile, Aziraphale is associated with War and Pollution. I don't feel like writing out all the how and why of it, but that's what I see. A really basic one is that Aziraphale and War both described as having well-manicured hands. A not-as-basic one is that both Crowley and Famine are creative.

#crowley #david tennant #good omens #good omens meta

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sonkitty · 10 months ago

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The Perfect Entrance Trick Visual Representation v1

Newer version: The Perfect Entrance Trick Visual Representation v2

Core concept: Introduce the Threshold Tricks by making a Perfect Entrance. Or something like that. You could also say, "Make a Perfect Entrance while making an entrance."

The Threshold Tricks are based on simple ideas even though they get much more complicated later.

Onward! We're here for pictures. This one is heavily based on movement, and it is fast. As such, you're stuck with animated GIFs from me. I tried to slow them down to what I hope are appropriate speeds to show just what is happening.

Ready? Here we go..

One foot to the edge of the sidewalk, which is a threshold. Note the heel and the front tip are intentionally not touching anything else. Single:

Four fingers touching both the door panel and window frame while avoiding the window pane. That is two thresholds at once. Double:

Don't mind me. I just love this sequence and David Tennant as Crowley period.

Three digits on the door panel with a touch the game still considers as threshold-only despite some factors one might question. Triple:

I assure you, Crowley is precise and earns credit for the Trick.

Note that each touch was not the same. Instead of three thresholds in the last touch, the Triple was actually the three digits on the door panel.

The point is the multiplicative element to get a Single, a Double, and a Triple. This one is the first, the easiest, and the only one even fully completed before episode 6.

As for the "Perfect"?

That's because 1 + 2 + 3 = 6, which makes 6 a perfect number.

Every Threshold Trick must have a Single, a Double, and a Triple. There are 6 Threshold Tricks total in Good Omens 2. Of those, 3 are simple, and 3 are complex. One down, five to go.

Back to this one, the music and camera work were really well done, further contributing to the overall concept. Have I ever mentioned how perfect I think David Tennant is for this role? There's that too.

#crowley #good omens 2 #good omens s2 #good omens #david tennant #good omens season 2 #good omens 2 threshold tricks #good omens earthly objects #good omens analysis #good omens meta #good omens 2 crowley #good omens crowley #crowley good omens

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sonkitty · 11 months ago

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Earthly Objects Study - Windows Part 2 (Good Omens 2)

Below is a post that I wrote about The Window Trick without fully recognizing it for being a Threshold Trick. It is one of my favorite posts I've written on Good Omens 2, so I am saving it for posterity. Feel free to read it, but here is a more updated take on The Window Trick: The Window Trick

...

If you have no idea what I’m talking about, it’s best to start with my main post:

Good Omens 2 - Earthly Objects Main Point of Reference

And the windows post:

Earthly Objects Study - Windows Part 1 (Good Omens 2)

Let me start by saying I do not understand the simplified window looks that Crowley does during episodes 5 and 6. He has several compared to any other character in the show, including Aziraphale (I think).

In episode 5, Crowley looks from outside the bookshop toward Aziraphale when Aziraphale brings down the chandelier. The camera starts from outside and behind Crowley before showing his front from inside. He later looks out from the window inside the bookshop with the demons outside and surrounding the place. That particular one can at least be a standard 3-points earning in the game because of his hand visibly touching a flat surface, the window panes and wooden lattices being the simpler window look touch (if such windows grant such points).

In episode 6, there are multiple cuts of him looking from outside the bookshop toward Aziraphale though the camera is from inside the bookshop to see Crowley looking. He smiles. A strange little thing that happens is that when he later passes the open broken window, most of his body has already passed it.

If these things have a deeper meaning in all of this other stuff I'm about to say, it's beyond me at the moment.

Likewise, if the nightingale song adds anything to what's happening with the windows or thresholds, it is well beyond my capability to analyze.

I'll also acknowledge past theories on one point of what I'm going to talk about have been "He's shut the door on another level. That's so sad!" and "Maybe its' an after-effect of the stillness." So, minds do change, you know.

Now, we're going to focus on the latter half of episode 6 and the format of more complex window scenes.

If you've read the previous windows post, the latest version, you'll catch that I found what seem to be three requirements for earning earthly object points by looking through a window in these more complex scenes.

Simplified steps:

(1) The looker looks

(2) The window sees

(3) The looker is seen clearly behind the window pane. Possibly, this requirement also wants the window's physical threshold, such as a window frame, to be partly visible.

If you're not familiar with my basic rule-breaking theory for episode 6, it goes something like, Crowley and Aziraphale are intentionally avoiding touching earthly objects as much as possible. The kiss is something exceptional in it all between the two of them, but they are otherwise doing a lot of not touching things. There have been other extended conversations between them with no touching but this one is different. There's no three objects at the start like in Before the Beginning. There are no goats at the end like in the Job minisode. There's no chair at the end when deciding to leave Aziraphale on his own. And so on.

Some semblance of a visual physical touch on something they aren't wearing is not what happens during the bookshop scene at the end of episode 6.

Even so, we're actually going to start just before that with the Metatron.

After the Metatron talks to Muriel, his gaze suggests he is looking toward the bookshop, possibly even into the windows of the location, meaning he might be watching the intense conversation that's about to happen.

The story does something important here. It doesn't show step 2 for a complex window scene. We do not see what the window sees.

Not only that, every time Aziraphale or Crowley seems to look out the window during the bookshop scene, step 2 still does not happen. We never see what the window sees. We can see some stuff from within the bookshop through the window. It's not the same as a shot of what's happening outside and a window frame or something from within the structure to tell us that's the window seeing things. The story never tries for that specific step to reach that specific type of earthly object touch with step 2.

That is to say, it never tries during the bookshop scene.

The truly startling thing is that after Aziraphale has left, we actually do see step 2 is reached when Crowley looks at Nina. Step 3 is not reached, but step 2 is. He's allowed a faint differing touch on the door threshold with movement in his fingers. Then he looks at Maggie. Again, step 2 is reached but not step 3.

Those are two threshold-only touches onto windows.

The Earthly Objects game loves the number three.

Is there going to be a third threshold-only window touch and if so, how?

Yes, and not only that, it's going to be a 3-in-1 to reach #3.

What?

Am I sure?

Goodness no. Reaching this conclusion was unbelievably hard. It would be so easy to just tell you that Crowley is a demon so of course the windows at use here are just plain not earthly. Look at those supernatural-indicator long sideburns! I have some other excuses too, but let's focus on the hard answer for now.

Earlier, Crowley touched a threshold within itself by already touching a door before the camera saw it and then touching that door again when the camera wasn't looking. There are actually more touches in their own complex format, but the point is he touched the door while touching the door.

If we want the same thing for a window, how is that done? Greatly simplified, again, without accounting for thresholds and step 3, the idea is: Look through a window while looking through a window.

The first two windows we'll focus on are the lenses on Crowley's sunglasses. They are going to be an inner layer for the look, so the second "window" in the above stated sentence for the concept. The lenses are the windows on Crowley's door to himself. They present quite an issue for preventing step 3 since they are small, and Crowley is always behind them when he wears them. The third window is the driver's window on the door to his car—specifically in season 2, this car is also his home. That's going to be the outer layer, and the major assist to get it all done.

The first threshold touch that initiates the whole thing is the one for our inner layer. It is theoretically the two little dots of white light that appear in Crowley's sunglasses after he looks at Maggie.

Crowley's sunglasses don't usually reflect anything, but when they do, the most common type of reflection is light.

That is our very much theoretical step 1 for our eventual 3-in-1 threshold-only touch. For now, it is only 2-in-1. We aren't at the third window just yet.

The dots disappear as he starts to move and enter the car.

When steps 1-3 happen for a complex window scene, there isn't a threshold cross through a door in between, in the scenes that I've taken the time to analyze.

Presumably, that means that this threshold cross bears some significance. It also brings us to window #3 of this particular set. By now, step 1 is done through both together. We are at the threshold for our window set. Crowley is looking.

Now that we're layered further in, we can finally start on step 2. We must see what the window sees.

The outer layer of the look is deliberately blurred. It is blurred in a way that one would assume means the car window is actually closed, not open. It is incredibly difficult to find that the story at least intends for this to be a blur for its game that's passing or sharing the look with the sunglasses. The story is also trying to deceive us after all.

The biggest clue is the lacking bullet-holes sticker, which might have disappeared during episode 5 around when the demon invasion was starting. If that sticker just plain disappeared, I have found only one other ridiculously tiny clue.

Before Crowley closes the door, one of the people to his right is wearing a white shirt and orange over-shirt or jacket. The blur level looks the same for below the upper part of the door frame and for above that upper part of the door frame. Below the door frame is where the window is. Above the door frame is not where the window is. There is a person right before the one I'm describing who has a similar color scheme, but it's much harder to gauge if that's the same blur level happening. As such, the main clue is the person with the orange jacket or over-shirt. The blur level should be different if the window is closed.

I suppose the little lights that are presumably from the coffee shop are also about the same blur level.

The window behind Crowley also looks blurred, and you can't really tell it's blurred as closed instead of open because the blur levels look so similar to each other. I assume that's part of the deception and deliberate.

We, the audience, see what the window sees from the inner layer. The sunglasses have reflections of what is happening outside the door to the car as reflections. These are very unusual for Crowley at all and not direct. They seem to be slightly ahead and to the right of where Crowley's eyes would be looking.

Are they all the way up until the front of the window that we can't quite see? The story won't tell us directly. Instead, it's going to tell us nothing to his left is reflected, and when we get anything resembling the front, it changes significantly from what's outside the door to his car. When Crowley turns his head to turn off the music, those car door reflections disappear. They are not gone completely for every single frame, but they are gone completely for a significant amount of those frames. The main reflection that becomes visible looks like some combination of light and darkness that can't possibly be in front of him at all (or if it is, I can't figure out how or what it is).

Crowley's sunglasses rarely reflect people, and when they do, it's usually a person deliberately showing him an object they are holding.

That said, we are at step 2 of our 3-in-1 threshold-only touch for window #3.

The next cut is where step 3 is canceled out. The reflections are gone, and that window to the door of the car is more clearly shown as open. The blur pass or share from within is gone. There is no window pane, but there is a completely clear full window frame for it. Crowley was not behind the window pane of the outer layer, just the inner one. That's enough for his 3-in-1 threshold-only touch on window #3 before finally driving away.

That requires a lot of faith in the deceptive blur and the necessity of a lacking outer window pane to reach this conclusion.

A few other things worth mentioning are that my initial logic was suspecting it was related to how carefully he put his sunglasses on back in the bookshop. His thresholds for those are the end pieces, but he touched the areas around them, which I've taken to mean the thresholds of his own thresholds. I took that to mean he was protecting himself, possibly for what happened in the scene.

The main thing that changed my mind to this layered window concept was that as I was drafting my post, I would ask, "How do you tell the audience that this thing is happening?" and at least part of the answer was within the given scene itself (two dots of white light for step 1, reflections for step 2). I had no answer for what you can find within the scene on how to mitigate step 3 until I focused in on that car window.

There's probably some meaning to the fact that the window threshold-only touches were reserved for humans. The humans in the story have a fake dimension to them. Maggie and Nina do not have last names. They don't address Crowley by his name. The extras have some disturbing patterns in their repetitions and suspicious cuts throughout various scenes. So, while that rather sours what I believe is the story's intent, in my own opinion, I think the intent here is to show Crowley's love for humanity in whatever is really going on. Such thinking, besides the structure overall, comes from the music and David Tennant's acting.

Another question that might arise from all of the above is to ask what it means for Crowley's own sight. He senses people and things with his eyes to the point it very much looks the same to an outside observer as how seeing works. The story puts effort into what is and is not reflected in those sunglasses to indicate it's still not quite the same thing as seeing.

So, do the reflections mean Crowley can see, as in the more understood form of seeing, if he wants? Or just that he needs this specially created scenario to do it? I have no answer. Until the story says otherwise, go with the answer you like best. If you want to know my personal preference, it would be that Crowley just does what he wants. He could see, but he doesn't because he uses his own snake eyes in a way that suits him. It might even be to his advantage. Analyzing him as a character, for season 2 at least, shows a deep precision and strategy in his choices.

Plus, you know, those snake eyes are part of why I love the actor-character combination as much as I do.

The end.

I actually hope I never have to drastically change my mind and update this post. I'm rather proud of it because of the challenges involved, but past posts have suggested that's simply not going to happen. Sorry. So, please keep that in mind. I do update things if I feel I've figured more out though I usually make a post to say so and link the post that is being changed.

#crowley #good omens 2 #good omens s2 #good omens #david tennant #good omens season 2 #good omens analysis

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sonkitty · 11 months ago

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Earthly Objects Study: The Pocket Trick (Good Omens 2)

NEWEST VERSION HERE:

>>>> https://www.tumblr.com/sonkitty/740091087358656512/the-pocket-trick-basics?source=share <<<<<<

SEE THE LINK ABOVE

The below is saved for posterity. This Trick is so complex, I ended up making multiple posts because my draft became so long. If you have no idea what I'm talking about, it's best to either just take my word for it or read these three things.

The Earthly Objects Game

Earthly Objects Study - Crowley's Sunglasses

Earthly Objects Study - Multiplicative Threshold Tricks

This post was last updated 01/18/2024.

Edit-I truly thought I had given up. I've made progress. It's not fantastical, but it's something. More on the way when I can. For now, know that the left pocket is shown much earlier than I said in the description for Action #1. Oops. -01/19/2024.

Introduction

Alright.

Here it is.

This Trick is the missing Multiplicative Threshold Trick.

I found a Triple, a Double, and a Single.

I also admit defeat.

I don't get it. This pocket thing is a puzzle, and it is a very, very difficult puzzle that I do not expect to solve. I see a process, but this process decided that if we're going to allow pockets to be little doors that can have threshold-only touches, let's get everything, or at least a lot of other things, involved.

It's not just what the hands are doing and especially the thumbs. Those are of great importance.

It's matters how the strands of the tie move in alignment with the thumbs and a given hand.

It matters how those tie strands strike or rest on the vest when they do.

It matters what the tassels at the end of those tie strands are doing.

It matters how things are managed around the belt.

It matters how the jacket is positioned and what that is showing.

It matters what the clasps of the strands on the tie are doing.

It matters what the watch is doing.

It matters if the shirt decides to get involved.

Shadows and lights hitting the right way at the right time? Those things matter.

Windows nearby? Those things matter.

Crowley's reflection? It matters.

How Crowley's head or body is framed during the touch? That matters.

In addition to usual hand things to look for, now it matters what the thumb joint is doing. It matters so much what the thumb joint is doing,

Everything matters when it comes to the pockets.

Everything matters.

I made a ton of progress on so many aspects only to realize that after so much of it, I had not been minding the windows of each scene. Then I go look up "pocket windows" and find out they are for new windows installed within an existing window frame. Windows were hard enough just for looks the first two times. I cannot keep up with something of this scale. I simply cannot.

Summary

So, get ready for a long haul that amounts to "I don't know what's really happening here" or just take this summary at face value. There were threshold-only touches on pockets or using pockets by Crowley in Good Omens 2. Yes, really.

Action #1 (Episode 2; Triple Part 1)

Crowley walking alone before encountering Nina.

Action #2 (Episode 2; Triple Part 2)

Crowley walking alone after encountering Nina and encountering Aziraphale. "Do you need a lift somewhere?"

Action #3 (Episode 5; Double)

Crowley standing against the door of the music shop.

Action #4 (Episode 5; Triple Part 3 that has its own two parts)

Crowley standing and watching Aziraphale invite Justine.

Action #5 (Episode 6; Single)

Crowley walking into the bookshop after escorting Maggie and Nina out. He has a potential two Triple multipliers on the door panel for shifting the fingers and whatever else was necessary at the right times.

Definitely Not a Summary

Are you still here?

Alright, fine.

This Trick is part of a game, and this part of this game is too hard for me.

I'm not going to throw away all my progress by deleting my save, so I'm still making this post anyway.

I am going to miss things because it is really hard to pay attention to everything when you don't really know what's going on but know enough to sense something's going on. It just is.

Once the window thing for this Trick hit me, I knew it was over. Some of this thing will be more detailed than the rest, but I refuse to take this challenge any further. Sort of. I'll probably still think about it in the background. If I'm lucky, as I have been with eventually realizing The Sunglasses Trick was a thing, I'll update this post.

Crowley's dark clothes, the show's lighting, and my own PC monitor not being really optimized for getting the visuals I would like also make this difficult. I have tried to compensate with some editing, but sometimes that's still not really good enough. My TV and iPad are better, but I can't check frame-by-frame on those devices as I can from my PC. The app I used to use for my iPad to do things frame-by-frame is no longer any good, and I haven't been able to find a replacement.

I'm going to say "strand" because I understand it better even if "strand" might often mean something thinner. The word "cord" seems the best alternative, and it doesn't feel right.

The Door Trick

The Door Trick gets a special mention here because it is not part of the Pocket Trick but is clearly using some form of the mechanics involved just differently to enough to get what it wants. While the touches in this Trick require the fingertips to be definitively shown on screen at some point, The Door Trick does not. It has one curled pinky with a tip touching that pinky. The pinky is touching the ring finger, which is touching the middle finger. That version is still allowed for a Triple multiplier within The Door Trick as part of the skin contact touch.

Presumably, that's because those fingers are handled the way they are in an acceptable manner.. The Door Trick handling the tie, the belt, the shirt sleeve, the watch, and jacket somehow helps lead to the left index finger and right thumb to touch the pants where the legs are touching each other and earning a Double multiplier. Or some variation of that. That's also while making sure Crowley's entire body is positioned exactly the way it is with regards to the what he is wearing, the car threshold he is touching, the humans behind him, and so on.

Core Concept

Every Multiplicative Threshold Trick has a core concept. Despite their complexities, they start with a simple idea.

The Perfect Entrance is a basic introduction to the Tricks. Crowley, or even just this idea, makes an entrance by making an entrance. It's perfect because 1 + 2 + 3 = 6, which is how many points he could theoretically get with a Single, Double, and Triple being done.

The Door Trick is touching the door while touching the door.

The Window Trick is looking through a window while looking through a window.

The Bigger Thresholds trick is Crowley managing thresholds that are bigger than him.

The Sunglasses Trick is Crowley's sunglasses are the door to himself. He touches the thresholds of his own threshold. It begins with him opening the door, and it ends with him closing the door. Still, the Trick boils down to that initial, simple idea.

What is the core concept of The Pocket Trick? I don't know. I know my own goal is finding out how the touches on these special little doors get their threshold-only touches, and that the answer is a complex mess of other thresholds, other edges, framing, windows, and so on. I know that Crowley himself or parts of him end up framed in certain noticeable ways once I sense to look for it. I know certain things need to move certain ways for the touch to be done the way it is. Where's the concept that leads me to saying a pocket touch means Crowley or some of him is put in a frame? Is it a Crowley pocket of its own? Where's the core concept that leads me to say that his clothes need to touch the hands when and where they do? The pockets are smaller than him, but they are not just smaller. They are a specific thing on clothes with touches that keep involving other clothes. There is no touch in this Trick that does not involve touching his clothes or being touched by his clothes and the hands partly in the pockets. It's the latter more often than the former. The pocketed hand gets touched by the clothes if it's already in. The hands touch clothes if they are entering the pockets.

There is some basic idea, some basic reasoning for those requirements.

This is The Pocket Trick. It's not The Frame Trick. It's not The Pocket Frame Trick. It's not The Pocket Window Trick. It is The Pocket Trick. So, whatever is going on, somehow, it should amount to a basic idea about touching pockets. If they are not literally touched, there needs to be an Earth-based reasoning behind it. Windows are touched by looks because people look through windows to see things on Earth. As such, the concept should be like pockets are touched by something because people do something with pockets on Earth.

Even if I eventually get the concept, I'll still struggle because this thing is so intricate.

Hands

For most humans, we have two hands with 10 digits total. Of our digits, we have 4 fingers and 1 thumb on each hand. That's 8 fingers and 2 thumbs.

To use more than half the digits of one hand requires 3 digits.

To use more than half the digits of two hands requires 6 digits.

We use our thumbs for a lot of things differently than how we use our fingers, and that's important.

Crowley may not be human, but he chooses the shape of a human with two hands, much like most humans.

As a snake-eyed demon, he actually has a very special touch to his own sunglasses that involve thumbs. If he wants to switch them from an accessory to a door or a demonic tool as he removes them from his face, he has to have a thumb tip visible in the motion, even if the motion is blurred. That thumb tip is a requirement.

All of these pocket touches involve at least the right pants pocket and one of them adds in the left pants pocket.

They all involve both hands.

This link is probably a good point of reference:

https://www.neuro-spine-ortho.com/health-services/neuroscience-spine-orthopedic-institute/orthopedics/hand-wrist-care/hand-anatomy/

Since links go down sometimes, here are some notes that are very much copied and based on the above:

Working our way from the top down if you raise your hand with all digits extended as if counting to ten, the digit tip bones are the distal phalanges. For the fingers, below those are the middle phalanges. Thumbs do not have middle phalanges. Below the middle phalanges for the finger bones and below the distal phalanx for the thumb are the proximal phalanges. The singular form of "phalanges" is "phalanx."

The bones in the hand are called metacarpals. The thumb metacarpal makes a joint with something called the trapezium that "allows much of the thumb motion."

Now using this reference (https://orthoinfo.aaos.org/en/diseases--conditions/thumb-fractures/), that joint is is called the carpometacarpal (CMC) joint. I will simply be saying "thumb joints".

Thumb Joints

For these special pocket touches, the thumb joints act like catalysts for things to happen and what clothing item is linked to a given tie strand, even if that link seems to happen earlier. There's still something significant about these joints in getting things connected or managing the connections. Sometimes accessories are involved, but it's almost like the accessory is more of an assist with the clothes. The thumb joints could be something like metaphorical hinges.

Tied Hands

The header is an intentional pun, and I do believe it is something meant to be communicated by this story with this game.

Each tie strand below the knot of Crowley's tie ends up connected to a hand in some way, but it's not as simple as a joint from one strand to the other because a thumb joint might actually be avoided instead of overtly displaying a link to something. The tied strand still has to behave in correspondence with the hand of the avoided thumb joint, such as suddenly seeming to have its entire tassel missing or the lighting makes it look that way.

The strands can swap what hand they are tied to because of the thumb joint.

Speaking of the tassels, those seem to be most closely linked with the thumbs.

The tips of the tassels are like thumb tips.

The clasps above those tassels are like thumb joints.

I think the tie strands don't have fingers, but I can't really tell. For all I know, the fingers are the part above the knot.

Threshold

The threshold seems to be the front outside area of the pockets and requires extra care in fully qualifying itself to be touched in a threshold-only form.

This care is concerned with things like visual touches that show the fingers touching a threshold and the edge of that threshold, because after all, edges can be thresholds of thresholds. The Perfect Entrance Trick's first move was to communicate that the edge of a sidewalk is a threshold. The final move in The Sunglasses Trick is to touch the areas around the thresholds, so thresholds of thresholds is a thing this game allows.

The first touch in this trick should have its own special name of Edges Everywhere.

Action #1 (Episode 2; Triple Part 1)

The first of these pocket touches appears in episode 2 as Crowley is walking by himself and before Nina will notice him.

The part of his thumb that is visible is touching over the snake belt while being touched under the vest.

Even still, the inner part of the front of his jacket's hanging out along the side edge of all of that, making sure it is not touching the pants.

One tie strand is attached to the right side of the jacket, and it's the one that will be more obviously following along with the left hand soon. If the clasp is indeed the thumb joint, it is conveniently hidden at that exact moment. This tie strand will act as if linked to the jacket as well.

Crowley moves in a way that eventually his left hand becomes more clear and on screen.

With that one little movement, a few things happened.

The tassel tip on the right side of the jacket disappeared behind that part of the jacket. The left thumb tip did not become visible and is more understood to be behind the left hand. The right thumb disappeared behind the watch. Quite early in the overall movement, the snake disappeared behind the left front of Crowley's jacket.

I'm telling you this thing is confusing.

It is probably not a coincidence that there's some sunlight hitting the edge of the hand and pinky along with the edge of the ring finger, the two fingers at that edge.

It's like we're passing along threshold touches here.

The sunglasses are looking ahead, and the sunlight is hitting the back of the right side of the jacket, in case we later find those things are important too. Oh, and the strands above the knot of the tie are visible.

Time to move again.

Crowley moves some more such that the left hand is not clear, but we should certainly stop at this point because something important is clear anyway.

The thumb became visible even if blurry.

The blurry thumb joint is now by the edge of the jacket. In fact, it's by where the lower edge of the bottom jacket meets the edge of the back that's receiving the sunlight. What's it called when two edges meet each other? I had to look it up. It's called a vertex!

Both the actual hand thumbs are on screen and now so are the tie tassel tips. The strand that was on the right side of the jacket, that's going to follow along with the left hand, is still on that part of the jacket. Its tassel clasp is at the edge of where the sleeve meets the jacket. Yes, we found another edge, which makes sense because its parallel hand has the thumb joint on an edge. Indeed, we are officially joined, if we weren't already.

The part of the jacket that was along the side edge of so much happening is now showing its outer part, and it too is at the edge of something. Visually, it is at the edge of a nearby garbage bin, or something like that.

Edges! Edges everywhere! Now with vertices!

Should we keep moving?

No, not yet. I almost forgot about the tie strand linked with the right hand.

That tie strand is hanging out over on the right side of the vest, and its tip just so happens to be along the edge of the vest and the shadowed area in the jacket. Shadows are totally a thing in the last part of this Trick, so this shadow must be doing its job of keeping that tip at an edge when it needs to be.

Are there any other edges that we missed? Probably. For instance, the left front outer edge of the jacket is covering the left pocket, probably at its edge. The left side of the vest has its tip slightly past the bottom edge of the snake belt.

The top tips of Crowley's lapels of his jacket are just past the edges of that part of the jacket., Fascinating.

I'm all out of energy looking for edges so instead am going to bring up that it is now more clear that the right hand fingers are in the pocket.

As for lighting, the right hand has lighting up until the index finger, and yeah, there's going to be something with the index finger soon. The left sleeve and left back area of the jacket are also receiving light.

Okay, fine.

I give up.

Let's move on.

That was just the one frame where we could see the left thumb joint touch a vertex of the jacket.

In the next more clear shot of movement, part of the left hand is off-screen. It seems to cut off at where the middle phalanges would be visible for the fingers and keeping the proximal phalanges visible. The thumb does not have a middle phalanx so is basically cut off from showing a thumb tip. As such, the left hand corresponding strand has decided that its tassel tip should shift its tip off the jacket to be partly over the vest since the left thumb tip is indeed part of what has become off-screen.

Indeed, everything probably still matters, but a lot of edge-concerned items are no longer at their concerned edges.

Onward.

Crowley moves some more, and we're going to stop when the left hand becomes clear again, including those pivotal fingertips.

They have at last revealed themselves perhaps thanks to the blurred thumb from earlier.

Since so much happened before, let's take a look.

The left thumb is not visible at all. The right thumb is only is partly visible, but its thumb tip is obscured by the left hand. In fact, the part of the hand obscuring it is where the left thumb joint should be, if we could actually see it. With both thumb tips and both thumb joints not visible, the tassels and the clasps have hidden themselves too. The belt is not visible.

Is there an edge we should concern ourselves with?

Yes, indeed. We have some lighting to help remind us of where to look. Three fingers are visually over the right pant leg. They are the middle finger, ring finger, and pinky finger. The index finger just so happens to be not over the pants with them. Instead it's visually over the edge of some edge of the building behind Crowley. And worry not, the lighting is doing just a little more than that for our alert. Now we have to look at the index fingertip and the middle fingertip because do you know what is visually in between those? The right edge of the front of Crowley's pants!

I want to move on again, so we will.

This time we're stopping when the left hand is blurry again because of a thumb joint thing again.

Crowley has turned his head. Things have changed.

Something that is not evident until drafting a post like this one is that the tie strands have swapped which hands they are corresponding to.

A lot of things actually look familiar from the first time the thumb joint was by this part of the jacket with subtle differences in being near the edges. The left thumb joint is ever so slightly over the edge of the jacket it was at the edge of before. The same goes for where the left sleeve meets the jacket visually. Our vertex is gone. The tie tassels still seem concerned about edges in their same areas as before or are just slightly off like everything else, and I simply can't tell. The vest tips are ever so slightly past the snake belt. The right outer front of the jacket is decidedly not at the edge of anything.

Let's move on.

These frames are more clear, so I'm using my best judgment on the next place to stop.

I've chosen the frame where the line between the left thumb and the rest of the hand is no longer visible.

The tie strand on the vest has also shifted over, now finding itself on the left part of the vest instead of the right. Its clasp and some of its tip is still visible, but it takes only 1 more frame for that to change. That clasp meets the edge of the bottom of the left lapel. Given what's happening with what is and is not visible of the left thumb, this makes sense, only if you catch that the strands swapped with the joint movement.

The lighting is suggesting we pay attention Crowley's left side in general, so we will.

Moving on.

After some more movement, I've decided the next clear shot where we should stop is after Crowley's head has moved even more, and the left hand itself has hit stronger clarity.

Some of the snake head on the belt is visible with a little hidden on each side of that head but not much.

Now let's look for more edges.

There's also a little stand of some sign that's near the elbow. I can't figure out why that's important are going to be important, but it likely is. If I go back a few frames, there was a tiny gap, presumably thanks to lighting, between the jacket and the sleeve where they meet. Going over that bit again and again, it looks like the right thumb joint is at the vertex of the vest and the jacket. However, the edge of that vest is ever so slightly over the edge of that right thumb. So, there's still more left to happen.

The right pants pocket just passed the edge of some visual thing on the building behind it.

We are so, so close to being done.

Okay, Crowley has moved, and things happened.

What happened?

So much happened.

By the end of the movement, the left thumb joint is close to that jacket edge area but just far enough away for this touch to be over. It's done. We just need to look at what else changed.

Early in the movement both tassels revealed themselves together, swapping their tips back to what they were before the tip tied to the right hand was hidden. Soon after, there was a frame of both on the vest. The left tie strand was more closely aligned with the left part of the jacket though, from the clasp down, not touching the edge. Above the clasp, it does look aligned with the edge of the lapel. The right tie strand, meanwhile, was more close to the inner part of the right side of the jacket and the vest. The actual left hand was mostly off-screen.

Only one frame after those tassels were on the vest, the watch met with the edge of the light of the side of Crowley's jacket that was just behind that hand.

At that same time, both tassel tips started to leave the vest and swung so that their tips moved over to an area of the right front of the jacket, not quite reaching any edges.

Generally, the actions by the tie strands might be indicating those hands were being untied.

Once that vest edge finally touched that right thumb edge, the empty left pocket was revealed. There is one or two last frames to get that vest edge off the edge of the thumb.

In that final frame, there is yet another thing of significance that happens and was happening while looking at all those edges.

The cut stops just after a little bit of Crowley shifts past the window frame and overlaying onto a window pane of a nearby window. That rack is partly acting as a border as a little sticker near the bottom of the window pane. Remember the sign and the garbage bin from earlier? They allow the visuals so that Crowley himself is still in some type of special frame for the building behind him because the building's structure would cut him from within the frame otherwise.

Not to mention the car with a window in the reflection of the window!

Or how about Crowley's fingertips becoming clear just after his reflection passed some of a rack in the window so that Crowley himself became more clear.

Or that his reflection and the reflection of the car nearby get obscured by humans and whatever else is behind the window at the just right time at the end.

ALL of that was what this first threshold-only touch of The Pocket Trick needed to be complete.

Based on the first frame of the scene, each tie strand was already linked with a hand despite what any thumb joint had done yet. These metaphorical extra hands were already tied by the pocket touch. They then behaved accordingly until they could get untied for the threshold-only touch through a lot of edge touches passed along or shared.

The thumb placing itself between the snake belt, and the vest seemed to allow those passes to go where necessary until both the thumb and vest edge were truly ready together.

Why? Why did these things have to happen the way they did?

What is the actual pass from one place to the next? What is all this trickery really doing?

Visually, without considering all these edge passes, the tie strands, and the clothing touches, the windows, the car, and the reflections, I could at least see the six digits that amounted to not physically touching anything except the right thumb in the pocket. The left fingers and left thumb had their separate moments, but they all added up to those six digits touching only a pocket or nothing (physically).

If you add in the visual touch to the pants with the index finger at the edge, and the known thumb or whatever the tassels are doing, then the next question is, why does everything else have to keep going until the tie strands do the more they do and the left pocket is revealed? Why did everything before it happen? The touch isn't really considered done until that left pocket is seen and an extra frame. The next touches are not quite the same way, but there is a similar premise. If the digits are on screen, they are touching a threshold, which can be an edge of something or the front of the pocket itself, instead of nothing. If they are not on screen, they had to get off screen to finish. That could be them being figuratively pocketed away, but a lot of things have to happen before they are allowed to reach that point.

A window of some kind is involved every time. There is not always a reflection or a car, but they happen often enough. There were two doors passed just in this touch that I never mentioned, so those are probably a thing too.

It does not get any easier.

Action #2 (Episode 2; Triple Part 2)

Not long after Crowley encounters Nina, he encounters Aziraphale. A sidewalk is behind him, suggesting a threshold should have been passed before trying this next part of the Trick.

It's even far enough away that any edge touches will not be happening there.

Much like before, Crowley has his four right fingers in the pocket with the thumb not in the pocket. The left hand is positioned downward as if it's grabbing nothingness. It has its thumb straight down, hiding the fingertips of the pinky and index fingers. The middle and ring fingers peek out behind it. The left thumb joint conveniently aligns itself almost with a presumably more wet spot of the road.

The left front of the jacket is aligned vertically with the pants.

This clip is quite strange. The humans are moving in a way that syncs with Crowley himself. It's not direct in steps, but it's enough to be noticed. One of them is quite close to him and likely to be noticed. He's some kind of representation of something because of how he's going to note quite match the movement of Crowley's own reflection. That human has no visible shadow in front of him, but he's in a place where I would hesitate and then say yes, actually there should probably be something in front of his left foot and next to his right because of where he is. His hands are weird too. Nonetheless, humans behind Crowley do have shadows, as does a car. There are even more humans across the street who also look to be missing shadows.

Well, anyway, we're here for the touch in this Trick. We're not going to solve all the greater mysteries of Good Omens 2 in this post. I can't even figure out what's really going on here anyway.

For the right thumb, the shading and lighting make it impossible for me to see if it's touching the edge of anything. At a guess of just where things are on Crowley's clothes in general, the right thumb joint is probably touching somewhere on the snake belt but not an edge. The thumb tip is touching the pants. Due to how this scene goes, it seems to transfer or share a link with the vest.

Instead of having so much of the right hand hidden, the jacket is actually behind the right hand. Since things in this Trick can never be simple, that part of the jacket is also folded, or something like that, such that a tiny bit of the back of the jacket is there, in addition to the front that is touching behind the hand. This front is touching behind the metacarpal for the pinky finger, so it's like the opposite end of where the thumb joint is.

Both tie strands are on the right side of the jacket, and one of them is going to swing more than the other. The one further to Crowley's right is the one that is going to do that. It's going to be linked with the left hand for most or all of the sequence. The one further to the left might indeed align with an edge of the jacket, but there is no way for me to tell with the lighting and dark clothes. If there is any such edge touch, it's quite likely involving the tassel tip or about to be.

Only one frame in, and things have changed. That thumb is no longer hiding the pinky fingertip or the index fingertip. The tie strands have slightly moved, and the clasps are not as shiny.

Crowley starts to talk. His line is "Do you need a lift somewhere?"

This touch is the only one in the Trick with dialogue, so that might be a clue. If it is, I don't get it. I just know a bunch of things are going to move to credit him for the touch eventually.

It might be a hint to watch his head because it's going to finish framed within the bookshop. That's so funny. It's like foreshadowing since Aziraphale's going to bring up, indirectly, that Aziraphale borrow the car while Crowley borrows the bookshop. I digress.

Starting from here on out, much of this post is simplified because I truly cannot keep up with the details. It is overwhelming.

As soon as the left thumb hides itself behind the jacket, the strand closer to the vest moves to then reach the vest.

Meanwhile, the other strand soon follows but swings more strongly such that it's off the vest and over the other side of the jacket (the left side) the next time the left thumb becomes visible. It swung so far as to be visually over the left arm.

This strand that swung more strongly to the left side continues following along with the left thumb.

It starts to swing back toward the right. After being over the sleeve and reaching the border of the left torso of the jacket, a tiny white dot appears over the belt that be an intentional light reflection added into the mix.

That strand still generally syncs with the left hand too because it doesn't really settle into the vest area with the other strand until the cut is nearly over when the left hand is no longer on screen. Then it still moves just a little bit more to make sure it's on the left side where the bottom of the left lapel is for the jacket.

The strand that did not swing as strongly looks to be somewhere in the middle of the vest. It's hard to tell with Crowley's clothes being as dark as they are, even when a video clip is brightened.

The touch on the belt itself may have changed in subtle ways too, but even brightened, I can't really tell what's going on, let alone describe it.

During all of this swinging and digits showing and hiding accordingly, Crowley ended up being partly reflected in his own car window and stops at the edge of it. He is otherwise framed on his back, starting from the neck down, thanks to a vehicle, walking human, and that human's shadow behind him.

Action #3 (Episode 5; Double)

This action takes place in the music shop which has its own set of other touches needing to happen for other things besides this Pocket Trick. Crowley is handling a touch for The Bigger Thresholds Trick and three different touches for the ball invitations. He is multi-tasking all over the place here.

He at least gets to use the pockets for both The Pocket Trick and the self-skin-contact part of the ball invitations mini-game, so long as he does it right, which I assume he does.

For positioning himself, he has four fingers visibly over the right pocket. While one cannot see the right thumb, one can sense that he is placing that thumb in the pocket. In the process, that unseen thumb is touching the front of the front right side of his jacket. That might be a required clothing link for that thumb.

Over on the left, that thumb visibly enters the pocket and touches the inner edge of the front of the jacket. As such, that must be the clothing link for that thumb, helped along by that ever important left thumb joint.

Instead of swinging as necessary this time, the tie strands actually rest over his vest, but they make sure to do so on the right side of the vest, where the thumb was not visibly shown as going into the pocket.

The left strand extends further than the right, and it seems the tips cross themselves at just the right place to touch each other.

If the strand tips are representations of thumb tips, this touch might be an intended visual representation of the thumbs touching each other since they cannot be seen while inside the pockets.

The framing of this touch is different from the first two. The pockets are assuredly outside of the window frame. Due to the length of this scene, I mainly focused on when the pocket touch is happening, but something important happened before the left hand went into the pocket that's probably related. Those fingers touched the frame of a panel for the door. They touched different edges of the same frame.

If the head shots of Crowley are for The Pocket Trick, that's just too bad. It's too hard. I'm ignoring them and focused on the hands and pockets.

Anyway, that frame for that panel seems to be where Crowley is trying to keep his legs to keep that part of him framed. The rest of him is generally framed by the door. His shadow extends to the door frame, but I can't be sure it extends past it. Aziraphale's arm is probably obscuring things at the right moments during the scene as well.

The right pinky tip is not as clear or evident due to shadows in the scene, so there's probably a reason for that. If it gets a special required exclusion, we end up with three fingertips on the threshold of the right pants pocket, four fingertips on the left threshold of the left pants pocket for a total of seven fingertips.

We shall take a moment to remember how Michael said, "You know how God likes sevens," earlier in the season.

The left vest tip put some of itself over the snake belt, and there was an actual visible belt loop near it too.

Anyway, some more complex and detailed combination of all of the above got the touch done. I never saw Crowley's reflection or a car, for whatever that's worth. The shade at the top of the window and the brick walls behind it are probably important too.

Action #4 (Episode 5; Triple Part 3)

This scene was one I had to look for to figure out a Triple existed for this overall Trick.

The action takes place in an area between the coffee shop and the restaurant in front of the music shop. Aziraphale is inviting Justine. Crowley will eventually sit on the bench to handle his touches for the ball invitations.

It has two parts.

Crowley is first shown from the back with his left thumb, ring finger, and pinky finger. visible. He looks positioned to have his pocket touch in place, which will be confirmed soon. For the ring finger and pinky finger, their tips can be shown. The thumb tip itself seems to be there.

Crowley's shadow is encompassed by shadows around him.

Additionally, the camera zooms until it looks like the shadow or edges of the thumb and pinky meet each other. The ring finger is more aligned with the edge of a bicycle wheel, near the edge of Crowley's pants. I don't think it's quite there yet.

The window from the music shop and the hole in the wall threshold for the music shop probably matter somehow and can be seen ahead of Crowley.

The joint of the left thumb is touching the bottom outer right edge of the jacket.

The camera gives Crowley a little break with a blur to show the front and confirm he is indeed standing with that pocket touch that will become clear so on enough. There might be more that blur, but I'm not going to waste my time with it.

Once ready for the front view, Crowley can be seen with his shirt sleeve partly extended over the joint of his right thumb.

With no visible right thumb joint, the tassel of the tie strand on Crowley's right is conveniently not even there. If it is there, the lighting has done an excellent job to the point I simply cannot see it, and that too is probably intentional.

This time, despite its position and the missing other tassel, the strand closer to the left hand looks like it is actually the strand meant to link with the right hand. It goes down the middle of his vest such that the tip just barely reaches the shirt under his vest. The shirt is what is touching his right hand.

Meanwhile, the other strand that is presumably linked with the jacket looks to just be trying to stay out of the way on the right and not as extended while being over the vest, thanks to its missing or very difficult to see tassel. This change might be related to how the left thumb joint is actually over the jacket instead of at the edge of it, when viewed from the front. It did its own separate thing from the earlier back view.

The index finger and middle finger tips are visible at the border of one of the lights from the restaurant. The visual from the front even makes it look like his hand is clasping the side edge of a sidewalk behind him. That way, all visible digits still on screen are touching thresholds and making sure they are different thresholds too.

Unlike the touches from before, Crowley is mostly standing still but not completely still. He makes a subtle head movement in feigned annoyance.

I can't tell you much about frames and windows. By my best estimates his reflection cannot be seen thanks to a window frame from the coffee shop. It's a smaller frame above the middle of the bench that I could only find by closely watching the human who partly obscures his body by the end of the shot.

Speaking of that human, by the last frame, they conveniently cover Crowley's tie and left arm, including that right thumb in the pocket.

Crowley being partly in front of his own car and yet another passing vehicle is probably important too.

As an overall frame of Crowley himself, it changes due to the human who eventually obscures him, but it's generally concentrated below his shoulders to about where those fingertips are at the edge of the lights. I'm not going to name everything, sorry.

Action #5 (Episode 6; Single)

This part is beyond me. It is so, so beyond me.

In episode 6, Crowley is returning from escorting Maggie and Nina out.

It probably starts before one might think when searching for this touch.

After Crowley looked in from the window and smiled while looking at Aziraphale, he can be seen as mostly having already passed by the open broken window.

However, his right arm aligns nicely with the window frame, to the point that it is probably intentional for this touch. There is a car behind him that is following along with his movement. That car also has windows. Part of his jacket is indeed layered over the window frame, which is going to be important for the last frame of the touch.

His arms are positioned such that both hands could be in pockets or maybe his left hand is in his left pocket, and he's putting his right hand in his right pocket. You can only guess since you can't see his hands or his pants.

This sequence is specific, so I am going to have a hard time breaking it down, because a lot of the below was written trying to be detailed while still missing details like the tie strands linking to the hands, not that you can see it much in this one.

When looking for a thumb joint, it's possible the left thumb joint links with the watch quite early as the door is being opened by barely being visible.

Crowley's own jacket has its own specific alignment by the other door that's assuredly important and doing something resembling a vertex touch and probably reaching such a thing at a key point.

I'm not sure if the current point in the touch means we are at threshold-only yet or not for the door. If it weren't for the astragal and the pocket, we assuredly would be with three out of five digits. It might be a Triple multiplier for the touch, but that's to consider more deeply later.

Nonetheless, Crowley keeps moving.

The thumb tip of the right hand is not visible yet.

Meanwhile, the four fingers on the door are shifting down to get that index finger closer to being off that push plate edge, but they still haven't managed it yet.

The right thumb tip just outside the pocket finally becomes visible. The vest is touching the thumb while making sure to not touch the tip of the thumb.

Back to the digits.

There are still three left fingers on the door panel, a left thumb with a shadow over the astragal, and a left index finger barely touching a push plate edge.

He keeps moving.

The right hand grows increasingly visible while the left hand's digits haven't fully progressed to what they are ultimately going to do. It becomes evident that the sleeve is partly out of the jacket so touching the top end of the hand. I'm not sure what the right thumb joint is being touched by, if anything. It's all dark because of the clothes. Logic suggests it should be the shirt because of how the jacket, vest, and belt are positioned around the general blackness behind that thumb joint. Also, as noted, his shirt sleeve is partly out of the jacket touching another part of the hand.

The left thumb moves and eventually manages to visibly pull itself away or off the bookshop door astragal so that it is clearly not touching anything. It's also starting to hide itself.

When the left index finger successfully reaches that point, four fingers are on the door panel. Aside from the pocket, that on its own would be a threshold-only touch on the door.

The right hand is there with its pocket touch, but Crowley isn't finished.

Again, he keeps moving.

The left pinky has joined the thumb in pulling itself off and away from the bookshop door touch.

The next three frames have a heavier shadow around that area of the door, so that it is then not as clear if the tip of the pinky finger's shadow is meeting itself or not. With increased brightness as best I can manage, either that shadow is supposed to obscure things enough, or that pinky is intentionally meeting the edge of its own shadow to qualify things for this last touch.

At some point a red light from the car following along with Crowley probably did something.

Once all is truly said and done, the tiny bit of the left thumb that is visible aligns itself visually with a window frame edge of the car behind Crowley. Crowley's own head on his left is framed in a specific way in front of the door panel to avoid the windows and shades of that door.

There is no doubt a ton I'm missing like the snake belt and the watch and the nearby light fixture from the ball and the door itself still being partly open.

As for the Triple multiplier, I would guess he got at least one, maybe two, depending on what that index finger was truly trying to accomplish.

Help

If you enjoyed this post, or just found any value in it, and are wondering if I want any help in solving the puzzle, the answer is yes, absolutely. I would be grateful. Even if not grateful, I would be so glad if my own analysis was enough for someone to figure out what I could not. I found a lot, even if I can't quite piece it together for a proper fit.

The End.

I have a tendency to update my posts, FYI. While I have admitted defeat, I doubt my own mind can truly let this one go. If I ever am so fortunate as to find that missing core concept, I will definitely be updating this post.

#crowley #good omens 2 #good omens s2 #good omens #david tennant #good omens season 2 #good omens analysis #good omens meta #crowley and pockets

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