#he judges himself by those same standards

[saviourkingslut]

YESSSSS FELLOW RUSSELL CROWE APPRECIATOR <3333

(the fact that the sixth former who played javert in my school's production looked exactly like russell crowe when he was in full costume and make up has revived my love for this damn movie (affectionate) and i am being so normal about it)

he's just so fucking good as javert. i can feel the inner torment like a physical presence every time he is onscreen. the way he is strict and ruthless with everyone including himself, and yet at the same time unsure as you feel his faith in the world as he knows and understands it becomes challenged and starts to waver. this is a man that i understand is so miserable, feels so out of place and worthless in the world and in the face of god as the foundations of his beliefs that he thought always guided him true turn out to be flawed, that he kills himself at the end of the story. i think he found a perfect balance between those different sides of javert.

[13eyond13]

One of the main things I dislike about book 2 Lestat vs book 1 Lestat is it just takes away a lot of the interesting mystery about his character in the first book to have him definitively answer everything like: "oh actually I WAS hiding a bunch of secrets of the vampire universe and rules and hierarchy and history from you the entire time, and actually I WAS also filthy rich secretly the entire time due to a treasure left to me by my maker and didn't actually need you for your money at all, and also I wasn't a bit insecure about my lower class upbringing and poorer education and trying to compensate for that by being both showy and secretive about myself I was actually a noble, and also I CAN do a bunch of other vampire things that I never taught you to do or did in front of you even though we lived together in the same house as a family for like 70 years, and yes I DO hate following rules and doing what I'm told and keeping secrets but I did it because Marius said your fragile minds couldn't handle the truth if I DID tell you anything else, and also I DIDN'T want any revenge on Claudia or blame her for attempting to murder me or think I maybe should undo what I did by making her one bit, I was just being forced by the even EVILLER vampire to have her condemned to death, and also almost everything questionable or problematic or cruel that I did within the first book was either a lie told by Louis or secretly actually a kind and heroic thing I did because I cared about someone other than myself, IN FACT I SECRETLY THE ENTIRE TIME HAD A STRICT MORAL CODE I WAS FOLLOWING every time I casually killed an innocent npc in the first book, and whenever you watched on in horror at my cruelty and toying with my victims I was actually only killing scummy evildoers and Louis was just too dumb and romanticizing of humans to ever see it etc..." like FINE WHATEVER, I GUESS hahaha but I actually kind of liked you better when you were a bit meaner and a bit petty and a bit imperfect and a bit lame

[autistic-demon]

They made that episode so they could say "Congratulations, Sam and Dean Winchester. You are both virgins" like that was the whole point

[comicaurora]

A bit of a strange question, but if there were any of your videos you were to "remake" today for any reason (ex: you feel like you misrepresented the original text or spread misinformation), which would it be and why? None of them is a perfectly valid answer

Again: bit of a strange question, but I've been thinking about my own creations and how I could have done so much better with some of them, but I also know that is a sign of my growth and constantly chasing "what if I did this instead" isn't always healthy for nurturing a creative mindset, and I was wondering what your opinion might be as a Creator of Things with a bit more experience than I

There's been a few trope talks where I've thought later of other angles I could've explored that might warrant sequels or part 2s, but I don't dislike any of the summaries enough to justify a rework.

I always find "I could've done this better if I made it now" to be a bit of a fallacy. I'm only better at making things now because I made all those earlier things. If I knew everything I'd learn from making a project before I started the project, it wouldn't come out the same.

I think when it comes to the "rework remake perfect" instinct, it helps to zero in on what the impulse is really grounded in. In my experience, more often than not, it's not actually about making the art better, except incidentally. It's usually about showing that you are better. It's demonstrating your competence and your higher standards and your skills, and more importantly it's overwriting the proof that you were once less than perfect. If people look at your old work and think that's all you're capable of, they'll be judging you poorly!

If that's the motivator, it's a very unhelpful one. You can't control for being harshly or incorrectly judged. It's a fruitless effort to stave off potentially upsetting outdated criticism, and it's not even going to work. Fear of critique is an unreliable and untrustworthy motivator.

If it really is about making the art itself better, perfecting your magnum opus with your newly leveled-up skills, that's a little more solid. But from where I'm standing, it's always better to use those skills to make something new instead of polishing something old. The older, unpolished work has already acquired its audience that finds it appealing for reasons that might never occur to you. Trying to bury or overwrite it just deprives that audience of the thing they like, and maybe makes them feel bad for having liked it in the first place. Also, usually when you look back on the older work, you'll conclude that the problem is everything and it'll need to be torn down and started from scratch. I know when I revisited the first three chapters of the comic, when I let my critic brain spin up, it wasn't shading or lineart I wanted to fix - it was panel composition, overall pacing, the entire structure of the chapters as a whole. I would've had to make them all over again to be happy with them, and they wouldn't be the same story by the end.

I've been thinking a lot about the Discworld through this lens lately. It ended up over 40 books long, but everyone agrees that the first two are not what you should start with, because they're the worst ones. They're entirely parodic, purely referential of at-the-time major fantasy series, and borderline mean-spirited in places. If you haven't read Fafhrd and the Gray Mouser and Dragonriders of Pern, you're not gonna understand like a full 50% of The Colour Of Magic.

It's clear that when he started in on them, Pratchett was entirely focused on taking the piss out of a genre he found mostly shallow and unimpressive. But the Discworld wouldn't leave his head, and everything he made fun of he clearly eventually found himself overthinking. He'd make little one-off jokes in the early books about Dwarves having no women and a hundred words for gold, and then twenty books later he'd have a Dwarf gender revolution make waves across the Disc, and then he'd write Thud!, a book that delves deeper into the nuances of Dwarf societal structure than Tolkien ever did.

If you look for them, there are continuity errors everywhere in Discworld. In his introductory book, Carrot defused a dwarf bar full of rowdy brawlers by guilting them all into writing to their poor lonely mothers back home. Shortly thereafter, Carrot will be outraged at the mere concept of an openly female dwarf. Pratchett even eventually wrote Thief of Time, a book that loosely explains that the Disc makes no sense because history has been broken and put back together incorrectly twice, and therefore any continuity errors are because of that.

He's the writer. He could've gone back and fixed it, edited the reprints to be less disruptively discontinuous with the later books. Instead he continuously moved forward and allowed the world he made to grow without cutting it off from its roots. And because he didn't bury his older, far worse work, we have the privilege of following the Disc's evolution from the very start, and seeing how this shallow, stock fantasy world parody became something incredibly rich and complex without ever pretending like its early installments never happened.

Anyway, that's why I think it's better to move forward. You make more good stuff that way.

[riality-check]

Viktor thinks his leg should go without saying. Everyone else seems to disagree.

He is a cripple, not deaf or blind. He is perfectly capable of hearing the whispers over the thud of his cane as he passes by, not so focused on walking that he cannot see the way their gazes track him as he shuffles down the Academy’s halls.

There are too many stairs in the Academy, he is finding. Every time he encounters another set, he grits his teeth, hefts his bag a little higher on his left shoulder, and climbs, despite the growing ache in his right hip and the inordinate weight of the tomes he carries.

There is only the work, he reminds himself.

The number of people does not shrink as he climbs up to the fourth floor. They eye him in a way he cannot easily describe. It is not… hate, that is in their eyes. It is not quite suspicion, though Viktor is sure it would be were it not for the too-loose, too-stiff, too-fine Academy uniform he is wearing. It was a courtesy of Professor Heimerdinger, who had sent it along with the books and a map of the Academy, annotated with Viktor’s class schedule.

Heimerdinger has worse handwriting than the “doctors” Viktor is well acquainted with in the Undercity. Hence the early-morning visit to his office, where he is the entertainment for the other early Academy students. The ones who are more assured of their belonging here, if he can judge by their jewelry and their shoes.

(He wears no jewelry, has never owned any, and he stapled the outsole of his right shoe back together this morning.)

The other students, congregated around classroom doorways in their impenetrable social groups, stare at him in the same way he used to look at strays back home. They were a good source of amusement, given the absence of human company that plagued his childhood. He liked those animals. He fed them when he could, pet them when he couldn’t, and learned early how to tell when one would bite.

He realizes, as he spots the plaque outside of Heimderdinger’s office, that these students stare at him like that. They smirk with bemusement or avoid his gaze altogether. They hide their remarks poorly behind their hands.

They regard Viktor as a stray. Something to pity. Something to be cautious of. Something to be nice to, if he can prove himself by rolling over enough times.

Viktor supposes he is a stray, with how Heimerdinger plucked him off the streets of the Undercity and gave him a new “home.” What, does he now need a bell around his neck? Perform tricks?

He breathes and takes a moment to unclench his right hand from around his cane before it cramps too much to be useful. He resolves to do what he has done all his life: ignore the way they make him a spectacle, though they are worse up here, like they have never seen a cripple before.

Maybe topsiders have not. Viktor cannot recall seeing anyone like him so far.

He knocks on the office door before his brain can take him too far down that path. Unproductive.

Heimerdinger answers promptly. It is odd for Viktor, at his height, to have a superior he must look down at. He supposes it is something else he must get used to.

“Viktor,” the professor says, surprised, though he does let him in. “It’s early. Very early, my boy. Classes don’t begin for another half an hour.”

Viktor stands in front of the massive, dark wood desk and waits for Heimerdinger to sit back in his chair before he says, “Your map is illegible, and there are too many stairs.”

Undercity habits beget speaking quickly and directly; in an environment in which nothing is wasted, words are no exception. Topsiders, however, can afford waste.

“Professor,” Viktor tacks on in a too-late attempt to adhere to topside standards of respectability.

Heimerdinger, thankfully, chuckles. “Terribly sorry. You’d think that after enough decades of scribbling on blackboards, I could use a pen well enough.”

Well, no. After seeing this map, Viktor began to fear for this man’s students, himself included. Professor Heimerdinger teaches his introductory engineering course.

He draws up a new map, humming as he works. With nothing else to occupy himself, Viktor leans his cane against the desk, placing both hands on top of the furniture to take some weight off his hip, and surveys the office.

A bookshelf, matching the dark wood of the desk, stands along the far wall. Its shelves are bowed under the weight of the tomes it contains. Most of the spines are in languages he can read, some are not, and his fingers twitch toward them all the same. He stands on a plush, patterned rug - that explains the instability of his cane, and of his leg, he should rest a little more weight on this immovable desk - that would be better used as a blanket down below. Trinkets and baubles clutter the desk, the biggest of which is a globe. It spins of its own accord, illuminated by… something.

Viktor wants to take it apart. See how it works.

He takes his weight off the desk to kill that temptation and barely muffles a hiss at the flare of pain that shoots up his right leg from ankle to hip. He stretches his right hand surreptitiously behind his back, preparing to grab his cane once again.

This office looks exactly as he had expected it to from his one previous meeting with Professor Heimerdinger. It is practical… by topside standards; it is as large as his kitchen and bedroom back home put together, and any one of the items on the desk could pay three months’ rent, though that is… “low-balling” it, as he has heard some people say.

“Here you are,” Heimerdinger says, handing him the new, blessedly legible map.

Viktor takes it and scans it quickly. His first course is on this floor, thank goodness, but the rest…

“Professor, these are,” he pauses, trying to think of how to phrase his concern. He cannot seem ungrateful, not when Heimerdinger has already helped him and when he has him later for class, and he cannot be annoying, not when he was already ignored when he brought up the stairs the first time. 

But his leg screams at him, and to prevent the pain from giving him a sympathetic headache, as sometimes happens, he grabs his cane. To hell with the hand cramps.

“Is there any way to have all my classes on the first floor?” he finally says.

Heimerdinger glances at his cane, and his furry eyebrows raise. This is not the first time he has seen it, but Viktor thinks it is the first time the professor remembered it was there, or that it meant something besides… well, he does not know. A fashion statement, maybe?

Perhaps topsiders haven’t seen a cripple before. They would see plenty if they ever went down.

“We can’t move classes this late, I’m afraid,” Heimerdinger says sympathetically.

Viktor hears the unspoken “but if you had asked earlier” and bites his tongue against excuses.

“I’m sorry.”

“It’s fine. I will manage.” And Viktor will, because Undercity habits mean that opportunities are not wasted either. A little pain is worth it. It will be no more difficult than anything he has already done.

Heimerdinger hops down from behind his desk and totters toward the door. As he passes Viktor, he pauses and makes an aborted movement to reach out to him before correcting course.

At least he stopped himself, but that was probably only for practical reasons. Unless Heimerdinger wished to replace his cane altogether - and what a shoddy replacement his bouncing steps would be for solid wood - there is nothing he can do.

And Viktor can walk on his own just fine. It is why he has the cane in the first place.

He grips the map a little tighter, hefts his bag onto his shoulder, and turns toward the door.

He makes it one step (on his injured leg, cane in his right hand) before Heimerdinger asks, “Viktor, which one of your legs is the bad one?”

He grits his teeth. There is no moral attribution to his body. It is neither good nor bad. It just has parts that work and parts that do not. He has one leg that works and one that does not. If he could chastise it into functioning by calling it “bad,” it would have been fixed when he was a child. But that is not how it works, and it is wasted energy.

“My right leg, Professor,” he says because he always wishes that any and all conversations about his leg be redirected to important matters as soon as possible.

Heimerdinger hums. “You’re using your cane incorrectly. You should hold it in your left hand, not your right.”

He mimes the motion, and Viktor tries not to feel… insulted? Ashamed? Coddled? Belittled? He cannot quite put a finger on it.

But there is no time for him to articulate it. Heimerdinger checks his pocket watch, squeaks, and runs faster than Viktor estimated his legs could carry him, leaving him alone in the threshold of the hallway.

He tries Heimerdinger’s suggestion, out of curiosity. The class is on this floor, and he has more than enough time to get there.

When he was a boy, no one taught him how to use a cane. He did what felt natural and what let him move the fastest. It was awkward, sure, but anything that caused him less pain was deemed a success.

It is awkward now, with the cane in his left hand. Slower as he walks down the hallway, because it is new. But it is more stable, he finds. A little less painful, as the pain stays localized to his ankle and knee, rather than his hip.

He could get used to it rather quickly, once he stops feeling so stupid about not knowing.

As he gets to his first class - it is in a room bigger than most big Undercity shops - the thump of his cane and his slow pace prompt more students and even his professor to stare at him. Viktor takes the closest open seat and is briefly, ludicrously, tempted to bark at them.

If they are going to treat him like a stray animal, should he not act like one?

No. He should not. Nothing is wasted, least of all this opportunity. He ducks his head down and opens a book on subjects he knows, matters he gets right, instead of wrong, like how to use his own cane, apparently.

Viktor thought he knew the comprehensive list of all his nonworking parts: the leg, of course, but also the childhood rickets, his lungs, his spine, the calcium deficiency that left his teeth stained slightly more yellow than topsiders’, whatever made him bendier than the average person, and not always in a good way.

Evidently, topside is intent on adding more to that list. Like the cane.

It does not matter. When he is the only one in the lecture hall who can answer the professor’s question - a leading one that she said they will know by the end of the semester - as a largely self-taught trencher, he relaxes. He even smiles.

There is only the work.

Read a continuation here. And another one here. And even more here. And another. And one more.

[rene-spade]

Ok but how are the crazy f1 dads with their daughters dating? Who on the grid do they like?

oof this is a loaded ask bc they really are all out of it 😭 they just love their babies fr

♤ ♤ ♤

dad! kimi | growing up räikkönen!

FIRST OF ALL kimi doesn’t really vibe with most people in general, let alone anyone who’s trying to get with his little lumienkeli. kimi was lucky to raise a little girl similar to him, who listens when he places a no dating rule lasting until she’s 21 (as far as he knows anyways). despises the guys on the grid trying to get with her; he was one of them once so he thinks of them as animals, especially leclerc who’s known for his brow-raising dating life. also hates pierre but he already didn’t fw him bc he’s french. he is SLIGHTLY more easy going with women around his daughter so any grid guys with girlfriends might have an advantage. he finds that he wants the im-a-dog-and-ill-do-whatever-my-girl-says type for his daughter, but he dislikes unintelligence. he does not like anyone on the grid, but he best tolerates:

mick schumacher!

oscar piastri (+lily)

he vibes with kika okay but hates pierre 💀

bonus! he actually really likes max but his hate/distrust for jos overpowers that so he’s not letting that happen

♤ ♤ ♤

dad! jenson | growing up button!

OK SO JENSON is a bit less intense than kimi, however he is much more publicly affectionate with his daughter which means that he has definitely gone on public rants about how no man is good wen enough for his baby. that being said, he is a decent judge of character so he doesn’t hate anyone on the grid. but he gets real serious when he notices people hitting on his baby. this is mostly bc he was def a whore when he was younger so he isn’t quick to trust guys who are living the same lifestyle he was. he kind of turns on dad-mode when he notices anyone eyeing her up. but alas, he raised his own mini-me, who attracts just about everyone, and who likes to flirt back. it takes warming up to, but he can see himself fine with most of the drivers. he most prefers people who are friendly and who didn’t act like him when he was in f1 like:

george russel

daniel ricciardo

lando norris

♤ ♤ ♤

dad! fernando | growing up alonso!

NANDO IS DEFINITELY one of those guys who thinks he’s a “cool dad” bc he’s a young father and his daughter is his best friend. but in reality he’s one of those intense, fiercely overprotective dads who have impossibly high expectations for his daughters partner. 100% the type to punch a mechanic for saying gross things about his princesa. he’ll be calm and in a good mood then someone on the grid (or any man ever) mentions his daughter and he’s like 😐. UNLESS! it’s carlos. carlos is the only one who meets his standards, sorry to literally everyone else. but even with carlos, he can be a little stern just to get his point across about not messing with his only child. he just feels the need to personally approve of his daughter’s partner bc he’s hyper-paranoid about someone hurting her. his list looks something like:

carlos sainz!!!

that’s it

i mean if you put a gun to his head maybe max bc he’s a winner but he needs to learn to speak spanish so-

♤ ♤ ♤

dad! jos | growing up verstappen! unfortunately

FUCK JOS VERSTAPPEN obviously, however this man is one crazy dad who we have to discuss. his love for his youngest daughter is wild and unpredictable, and it’s very different from the way he treats his other children. his baby has some extreme one-sided beef with him that he’s smart enough to know about, so he isn’t too forceful about bonding, it’s definitely more desperate since max found success in f1 and she sticks with her big brother now. her entire life, he’s never allowed her to date, and when he found out about her first secret bf, he got arrested for trying to kill the kid so. he has IMPOSSIBLY high standards for his daughters partner and definitely wants her to marry within the f1 community, but he hates losers and despises half the grid.

suddenly he’s charles leclerc’s biggest fan !

lewis hamilton but he’ll never admit it

MAYBE carlos sainz

bonus! max obvi likes daniel ricciardo best but jos doesn’t fw him like that

♤ ♤ ♤

Ren

[batmanlovesnirvana]

| BATTINSON HEADCANONS ! 🦇

A/N : old post from two years ago, but I’ve changed and added a few things since then

my boy is awkward as hell, but somehow, not at all—it really just depends on who he’s with and the vibe of the moment

sassy when he feels like it, but most of the time? he’s a total nonverbal enigma—half the time, all you’re getting are grunts and the occasional raised eyebrow

specially if you’re still just a stranger to him, or even just a friend

he’s ridiculously stubborn—dug-in-heels, won’t-budge-an-inch stubborn. and, of course, he inherited every ounce of it from his darling mama...

had a Star Wars phase when he was 9

he could’ve talked to you all day back then if you’d asked—about every character, every layer they had, his favorite, and why

I think his fave would’ve prob be Luke

but secretly, he’d have a soft spot for Darth Vader too—not for the evil he represents, but for the complexity of his character

he was definitely spoiled—lived the life of a prince, no doubt about it. but his parents made sure to keep him grounded, always lecturing him to be thankful for what he had and to value everything, no matter how small

he’s the last person to complain about anything, especially when it comes to material stuff

If your apartment’s not exactly perfect or if you don’t have all the fancy things, don’t feel embarrassed—he couldn’t care less about that

Bruce isn’t the type to judge people for their circumstances

what matters to him is who you are, not what you have

he traveled a lot and saw poverty up close. he didn’t just witness it; he experienced it and used it as a way to train and push himself

so I think he’d insist that you don’t let his wealth define you or make you feel small. he’d want you to focus on who you are, not what he has

but he’s still a billionaire

and sometimes it shows

Like if he takes you somewhere, he might be like,

“That place wasn’t good, not what I wanted for you, their steak was too dry”

or “The service was way below expectations.”

it’s not that he’s trying to flex, but his standards have been shaped by a life of luxury and privilege.

even if he doesn’t mean to, it can come off like he’s out of touch with the more everyday experiences.

listen, I’m pretty sure he was that kid in middle school—the one everyone liked. Popular, friendly, Shy, and effortlessly cool, he had a ton of friends and was the kind of person people just gravitated toward

but deep down, he was still an introvert at heart. No matter how many friends he had or how much people loved being around him, he always cherished his alone time—it was his way of recharging

probably teacher favorite

after his parents were murdered, he retreated into himself, becoming a loner—a shadow of the person he once was. the bright, sociable kid who could light up a room disappeared, leaving behind a quiet, guarded shell

he shut everyone out—his friends, his teachers, anyone who tried to reach him.

communication felt impossible, like talking to a wall ready to crumble at the slightest touch. he became volatile, quick to anger and prone to violent outbursts.

the smallest thing could set him off and it was clear he was battling demons far too heavy for a child to carry

he was always getting into fights at school, over the most ridiculous things—someone looking at him the wrong way, a comment that barely made sense, or a passing remark. it didn’t matter how trivial; he’d snap.

it was like he was itching for a reason to lash out, just to feel something other than the numbness that haunted him

alfred was absolutely fed up every time the school would call. It was the same routine—another fight, another complaint.

his patience was wearing thin but he never showed it.

he’d just sigh, straighten his tie, and head to pick Bruce up, trying to stay calm while his mind was racing with how much things had changed

alfred probably thought about quitting a dozen times, especially during those rough moments. he was already carrying the weight of guilt over Thomas and Martha’s deaths, feeling like he’d failed them in some way.

but even through his exhaustion, he couldn’t walk away.

he simply couldn’t abandon Bruce, not when his parents had entrusted him with their son’s care, not when the boy was falling apart.

bc alfred knew that no matter how hard it got, he had to stay—because Bruce needed him, even if he didn’t always show it.

it’s pretty clear that Bruce really doesn’t have time for small talk.

that man goes straight to the point, no beating around the bush. sometimes, it’s like he forgets there’s a filter between his brain and his mouth—so he comes off way too blunt.

but, honestly, he just doesn’t see the need to waste time on unnecessary pleasantries.

if he’s got something to say, he’s saying it, no fluff.

Bruce absolutely loves car races (it's actually canon in the prequel book)

he’s got that need for speed, and nothing gets his adrenaline pumping like watching or being part of a high-stakes race.

it’s not just about the cars; it’s the whole atmosphere, the precision, the thrill of it all.

you can tell he’s got a real passion for it—just one of those things he doesn’t talk about much bc he rarely even talks that is

and so, naturally, he’s got a huge interest in F1

He’s got a serious passion for mechanics too—like, borderline obsession

favorite car is, without a doubt, his grandfather's Corvette (the one that makes an appearance in that iconic funeral scene)

another phase he went through during his late teens—but never really left—was his obsession with Nirvana

It hit him so hard that he even picked up an electric guitar because of it.

spending hours alone in his room trying to replicate their sound, teaching himself riffs from songs like “Smells Like Teen Spirit” and “Lithium.”

it became an outlet for him, a way to channel his emotions without having to say a word

he wasn’t looking to impress anyone or form a band—it was just for him, a way to lose himself in the music. over time, he got pretty good at it, though he’d never admit it

and I think music became another refuge for him, a way to escape the chaos in his head

overall, though, he was a massive fan of Nirvana and Kurt Cobain

did date as a teenager, but it was never anything too serious

his heart was always more focused on Gotham—on his plans, his ambitions, and the legacy he was determined to create

relationships were never a priority for him back then; it was always about the bigger picture, the city that needed saving, the work that needed to be done.

gotham was always at the forefront of his mind, and nothing, not even the most charming date, could truly distract him from his ultimate goal

honestly, I don’t think he’s even a virgin. or maybe he is—who knows? but the prequel book did mention he knew his way around women, so it’s safe to say he’s no stranger to that side of things

was a straight-A student without even breaking a sweat. it just came naturally to him

fave subject was chemistry

he looks a lot like his mother but you could definitely see his father in him too—kind of a perfect mix of both, like a living blend of their best features

he inherited his mother jawline and hair

and his father eyes and nose

was really close to his paternal grandparents

they passed away when he was only seven, so his memories of them are more like faint impressions. but looking at the pictures on the fireplace, you can tell just how much they meant to him

according to Alfred, it was his grandparents who chose his name

never really knew anything about his maternal grandparents, except that they were long gone before he was even born. it was just one of those things he never thought to ask about, something his mother never spoke much about. it was as if they were just figures in the past, distant and forgotten, not even a whisper of a memory for him to cling to

he’s got a ton of distant cousins, most of them living over in Europe, but honestly he doesn’t talk to a single one of them. it’s not like he cares to, either.

that's another reason why Alfred ended up with custody. with all those distant relatives, none of them really stepped up and Bruce wasn’t exactly close to them anyway.

alfred was the one who had always been there, so it just made sense

didn’t mind being an only son, but deep down, he used to beg his mom for a sibling

comfort smell? It’s his mom’s perfume—lavender mixed with a hint of lemon

and Alfred cookies ofc

Bruce’s go-to comfort clothing is his dad’s old Harvard sweater—it’s just cozy and familiar.

as a kid, he’d call his mom "Mummy" or "Mama" and his dad "Papa."

most of his suits? Hand-me-downs from his dad. He’s only got a few of his own.His favorite sport is soccer—don’t ask why; it just makes sense.

Bruce has always been fascinated by his family’s history.

his dad used to tell him all these stories about their ancestors, and Bruce would listen so intently, always begging for more.

sure, the library had books on it, but hearing the stories from his dad just hit different. his dad’s voice made it all feel personal and alive.

oh, and he’s canonically descended from English royalty

his mom was really into gardening.

she loved her plants, especially lilies of the valley and Bethlehem stars.

Lily of the valley: sweetness and purity of heart.

Bethlehem star: hope and happiness.

she used to say they reminded her of his dad and Bruce.

Martha was also super into art and fashion.

she painted and was basically a Gotham fashion icon

because of her, Bruce was always dressed to impress as a kid

his dad, though, was the total opposite. Thomas Wayne’s tie was always crooked, and he had zero fashion sense

Bruce remembers how every morning, his mom would fix his dad’s tie and scold him about it, but Thomas would just kiss her to shut her up

at work, his dad was all about scrubs, and at home, it was pajamas and a robe

Bruce sometimes wears his dad’s robe now—it’s comforting

when it comes to fashion, Bruce is totally his dad’s son

if Alfred didn’t step in, he’d probably look a mess.

his dad loved photography and books

Bruce remembers how his dad used to take photos of his mom and him all the time

the library is packed with pictures of his family—mostly his mom and little Bruce

his parents’ love for each other was something else, and Bruce secretly dreams of having something like that one day

and deep down, he’s a total romantic. he gets that from his dad

he’s already decided that if he ever gets married, he’ll propose with his mom’s ring

a diamond blue sapphire ring

Alfred used to sneak him sweets before dinner (classic Alfred move)

they played chess a lot, though Bruce never actually won

Dory, his mom’s maid, was one of the midwives when Bruce was born

she’s also the one who taught him how to cook, and yeah, Bruce knows how to cook ( the essential at least )

everyone says he’s a cat person, but honestly, I feel he's more like a dog person. It just fits.

part 2 ?

or should I do dating headcanons ?

[lukolabrainrot]

Calm theory anon here.. I wanted a highlight something that I noticed. That I feel is definitely important that most people haven't talked about. Before I do though let's discuss these creators (mostly on Tik tok). There's a lot of creators that say that they are for Lukola but hold Luke up to this unrealistic standard. They openly criticize his decision-making. Decisions made in his personal life so they didn't like who he chose to date so they've criticized him to a point where people felt comfortable going to the man's profile and leaving hate comments on his profile. The man had to leave social media for two months due to all the hate comments he was getting for a personal decision he made in his personal life. The same accounts that have openly discussed his decision in his personal life have said we can't rush judge Nicholas dating JD they're hypocrites. I brought this up because I wanted to set the stage. Luke family, friends, and that girl have all received so much hate online. Luke has actively had his character in question for most of the summer. So much comments left on his profiles that he had to leave social media. Yet not once has spoken up for himself not once has cleared any kind of rumor he's let people think whatever they think. And it all At his expense. I don't blame him because to try to fix peoples narratives in their head. It's impossible like Nicola has said in an interviews no matter what she says people are going to believe what they want to believe so there's no point in addressing rumors. So we have today where he finally returns and post pictures after two months of not seeing him. What is the one thing that he clears up? That Nic was cut off of the picture that he Took of him eating the piece of cake. And he responded to that by posting the cake and people saw that there was no Nicola in the cake to begin with. He's been riddled with hate and rumors he has not once stuck up for him himself yet it bothered him so much that people thought he cut out Nicola that he had to clarify that right away. That alone shows how important Nicola is to Luke. He would never insult her. He left us so many Easter eggs in those photos just Like he use to do. I'm gonna concentrate on what he chose to post. Because what he chose to post is what he wants the world to know about. All this other stuff whether the girl was there or not doesn't matter because he only wants us to know what we see on his profile that is what he's announced to the world. Also I think he paid enough for his decisions

No notes.

[orcasoul]

Joel Miller Headcanons:

Joel When You Defend Him

Warnings: Swearing, violence, fluff.

Joel is always ready to protect those he loves so i thought it about high time he had someone look out for him.

Word Count: 1,694

Joel didn't want to be here tonight but he did it for you. He'd do anything for you, even put up with the exuberant crowd deafening his good ear. On a normal night at the Tipsy Bison, he'd be quietly nursing a glass of whiskey, relaxing in the company of two of the very few people he loves the most; you and Tommy. But tonight isn't a normal night.

A surprise birthday party had been organised on the quiet for one of Jackson's most senior patrol men. Joel knew you'd been itching to go as you hadn't stopped talking about it for the past week, even offering to help with the decorations. Usually he would pass on large gatherings like this, preferring not to draw too much attention and stares from some judgmental arseholes, who'd decided that his relationship with you was inappropriate. A dirty old man taking advantage of a younger woman.

In truth you look far younger than your actual age of 38. Most people assumed you were in your mid to late twenties when you'd arrived in Jackson with Joel and Ellie. After a little while, most people had become more accepting of his relationship with you, especially once it became obvious what you both mean to each other. But there's always a few bad apples in the bunch, who love nothing more than to gossip and judge.

If Joel was being honest with himself, he couldn't give a shit about people's opinions of him. He's not here to impress anyone, and if someone doesn't like him, he won't lose any sleep over it. However, he will not stand for anyone bad mouthing you. He'd be more than happy to rip the tongues out of anyone who dared to disrespect you, and Ellie for that matter. But at the same time, he wouldn't want to cause a scene when you're all trying to assimilate into a community with rules and standards reminiscent of a society long passed.

That's why he'd usually distance himself from most social gatherings, that, and to protect you from any unnecessary tattle. But after you'd all but begged him to come, insisting that you don't care what people might think, how proud you are to be able to call him yours and how much you want to live a normal life with him, including experiencing everything that normal couples do, how could he refuse you? Especially when you use your greatest weapon against him; your big doe eyes! Damn it, you knew just how to break him down.

So that's how he ended up here tonight, much to the astonishment of Tommy and Maria. And Joel had to admit it was worth it, just to see you enjoy yourself. He could bask in your infectious small all night long, his chest filling with warmth and pride at how easily most people have taken to you in your short time here. A group of women your age had pulled you into conversation and as a result you'd spent part of the night bouncing back and forth between them and the table where Joel, Tommy and Maria sat.

But you were never gone too long, seemingly unable to keep yourself away from Joel. That was just the pull you two had on each other, both the moths to each other's flames. Joel had noticed some glares and sneers from a few women at a nearby table, (women who'd tried gaining his favour in the past, and didn't handle the rejection well) while you obliviously snuggled under his arm, planting a chaste kiss on his cheek. But as long as you didn't notice and they kept to themselves, he'd let it go.

"Be right back, handsome," you cooed into Joel's ear before making your way to the group you'd been getting to know. Joel got up a few moments later to get another round in. The music from the jukebox close to the bar and the lively chatter of drunken patrons made it hard, but not impossible for Joel to hear his name being mentioned. Glancing over his shoulder he could see it was the three women who'd been watching him earlier. He turned his good ear to their conversation.

"I can't believe he shamelessly flaunts their... 'relationship'...," a dark haired woman spat the last word out as if it had the worst taste imaginable, "like it's no big deal." "You'd think they'd have the decency to keep their affection behind closed doors," another woman, a redhead scoffed. Joel gripped the edges of the bar, his knuckles turning white. These sour hags were getting dangerously close to crossing a line by referring to you as well. Joel could feel his his anger building, a fragile thread about to snap.

"Let's face it, creeps like him always go for the younger girls because nothing droops yet," a blond woman snarked, which garnered a giggle from the others, "She's probably some dumb, naive airhead with daddy issues. He probably controls her every move, and being a doormat, she probably likes it. I can't even imagine what they'd even talk about. He should try a real woman." The women laugh conspiratorially.

Joel has heard enough. He turns to the table, eyes blazing and fists clenched so tightly he can hear the crack of his knuckles. But before he can take even one step towards them, his brows raise in surprise. Blondie let's out a high pitched shriek as your hand buries itself in her hair, pulling her head back to look directly up at you, her two friends watching in horror.

"Let's get one thing straight...," you seethed, menacingly into Blondie's fear filled eyes, "Our relationship and what we talk about is none of your fucking business. I'm sick of bitter bitches like you...' you fix her friends with an icy stare, "judging us and painting Joel as some kind of pervert. You sheltered pussys have no idea what we went through to get here, and the last thing Joel needs or deserves is hate. He defends this settlement and this is how your repay him?! You three don't deserve to breathe the same air as him!"

Joel is frozen to the spot, mouth agape. A meteorite couldn't move him right now. He hasn't seen you this angry since you'd learned what the Fireflies had planned to do with Ellie, that same murderous look darkening your eyes, now reignited for him. No one has ever defended him with such ferocity before. He's not sure if he's even worth such love and devotion. A strange new feeling washes over him like a warm blanket, and he likes it.

He knows how much you love him, never doubted it for a second, and now watching you defend his honour, looking ready to kill this bitch for him, leaves him in awe of you. For the first time in... god knows how long, Joel feels important, significant. He never realised he could mean that much to someone. God, he loves you! He would burn the world to ashes for you, just like you would for him. A gratifying smirk dances across his face as he takes in, not just the shocked faces of the trio, but also the stunned expressions of those within the vicinity.

Clearly, everyone here had underestimated you, but they won't after tonight. His feisty, fearless, loyal girl! Joel is bursting with pride at your resolve and tenacity. Blondie begs for release while grabbing your fist full of hair. "Please, I'm sorry! You're ripping my hair out!" You tug back further, tightening your grip even more, just to make it clear who has the upper hand here. Lowering your head beside hers, you growl, "Let this be a warning to all of you; if you breathe one more bad word about him, hair loss will be the fucking least of your worries!"

And with that you yank out a clump of hair, just for good measure, as you finally release your hold, causing Blondie to yelp in pain. You purposefully walk over to Joel, softness shining behind your eyes again and gently lace your fingers with his. "Come on, let's get out of here, honey" you whisper tenderly, a juxtaposition to the fury lacing your words only moments ago. Still reeling from your impressive and, quite frankly, arousing display, Joel follows you outside, wordlessly, but not before throwing a glance over his shoulder to see Maria with her jaw on the floor and Tommy trying and failing to suppress an amused grin.

Once outside, Joel stops as you turn to face him. "I'm so sorry Joel. You didn't deserve that," you say shaking your head and looking to the ground. "What are you apologising for?" Joel asked, incredulously. "This wasn't your fault." "It is...," you insist, vehemently, "I made you come tonight. I know you stay home a lot cause of what people say about you and it was wrong of me to force you to-"

"Darling..." Joel tilts your chin up until your eyes meet his, "I couldn't care less what they say about me. It's you I was worried about. I only stayed away to protect you, but I was wrong to do that. Fuck them! I was about to fill their worthless mouths for them, but you beat me to it...," Joel slaps his hands to your arse, pulling you flush to his body, drawing a delighted gasp from you as he presses his growing erection into your belly, "and it was the hottest fucking thing, seeing you stand up for me like that."

Joel watches as you bite your lower lip, knowing exactly how this night is going to end. "Hmm...," you sigh, seductively, hands slowly travelling the broad muscles of his chest. "liked that did you?" Your tongue flicks out, barely brushing his plush lips. "What do you think!" Joel growled lowly, pressing his length against you even harder. "Then take me home and show me just how much you liked it." Joel chuckled darkly as he bent down and threw you over his shoulder, power walking to your shared home. Tonight, you are in for a treat!

[techramonic]

The Culture in Morality: Dylan Klebold Journal Analysis, 2.

Below is a quote from Dylan's journal that stands out to me. The first part: the evidence of desperation to cleanse impurities. With this, I can garner that Dylan seems to have a deluded sense of morality. Second: It looks like he is trying to blend in with the general population. It’s not only him who thinks this way, so do other individuals. It’s as if he is trying to attain unity or solidarity from the act of “cleansing himself morally”. Moreso, attempting to be "human". 

Humanity: Ethics and Morality

According to Emile Durkheim, one of the founding fathers of sociology, morality reflects the organization of society and binds it together. It serves as an agent that bridges the divide between individuals. Morality, in essence, consists of principles distinguishing between good and bad.

Charles Darwin’s "The Descent of Man, and Selection in Relation to Sex," published in 1871, asserts:

“I fully subscribe to the judgment of those writers who maintain that of all the differences between man and the lower animals the moral sense or conscience is by far the most important.”

Since then, an influx of questions has arisen regarding the relative importance of culture and biology in determining morality. Whether the moral sense is derived from either of two aspects:

the moral rules humans accept as behavioral guides (assessing right or wrong); or

the biological basis of ethics (consciousness of actions and consequences)

Ethics has an established difference from morality. It is the notion of doing a rather practical or pragmatic action, while morality is the idea of being driven to do good. An ethical code does not have to be moral to be justified, but must be feasible or convenient. This means that as long as an idea is practical, whether it is considered to be good or bad, it is ethical.

In an essay by Francisco J. Ayala titled "The Difference of Being Human: Morality," he proposes that the capacity for ethics is a necessary attribute of human nature, while moral codes are products of cultural evolution. Ethical behavior is a byproduct of man's intellectual prowess—a nurtured quality fostered by natural selection. Morality did not emerge as an adaptation but as an exaptation, developing into a function different from its original purpose. This is explained by the presence of three biological conditions for ethical behavior that allow humans to have a moral sense: ability to anticipate the consequences of one’s actions, to make value judgments, and to choose between alternative courses of action.

Moral codes, compared to Ethical codes, are outcomes of cultural evolution, accounting for the diversity of cultural norms among populations and their evolution over time. People accept standards according to which their conduct is judged as either right or wrong, good or evil. These norms vary, however, some norms, such as do not kill, are widespread and perhaps universal. This explanation suggests that while it is inherent to be ethical, morality arises from cultural and sociological factors created out of normative behavior. From this, we can assert that humans all inherently have the ethics that guide them throughout their lives. What makes them interconnected however is the presence of morality that acts as a framework to keep them bonded together and functioning.

Moral Exclusion

With that, it is easy to say that humans are human because of biological factors that distinguish them from the animalia kingdom. However, we can also observe that humans also deny others of the capability of being human even if we are from the same species. Time and time again, we can observe that humans are susceptible to dehumanizing others. So really, why is that?

Most cases, we confer personhood upon each other when we criticize others using a sort of check-list: morality. It is technically a learned culture that allows us to be bonded together and function as an entire whole. What I do, you do, and vice-versa. However, not always can it unite us because other times it can also alienate others. Sometimes, distorting morality itself by using it as a tool to exclude those who do not fit into certain categories of moral preference.

Since it is a culture that evolves through time, there are aspects of it that are different from individual to individual and culture to culture. This means that what can be bad can also be good to others and vice-versa. Not everything is in one standard that's applicable to all because not everything is practical for everyone. Ethically speaking, when we acknowledge other people’s complexities outside the standard black-and-white "good or bad " spectrum, we feel more connected. We realize that we are human because we have the ability to rationalize and do what is pragmatic.

Dylan’s Difference and Indifference

Dylan believed he was outside the norm, devoid of humanity, and different from everyone else. He was ethical in the sense that he understood the consequences of his actions and could make determinations about them. He knew the consequences of taking lives and taking his own life. With this, it is already enough to consider him as human. He could rationalize, therefore he is human.

One of the reasons why he does not feel that he is human is because he lacks the connection others have. Morality being a culture has brought people together and as I have previously stated, also excludes others. I believe that he subscribed to the belief that to be human, one must be moral so they could fit in with society. This creates an internal conflict. Humans are no strangers to latching unto vices because to them, it is pragmatic. We smoke, we drink, and we do things others consider immoral because we think it helps us.

With morality, a tangible framework is provided for achieving a purpose. It is an established system that offers a good reason to quit vices in exchange for acceptance. Dylan sees this difference as a weapon hindering him from being included. He acts like others to be accepted and, supposedly, be happy with this acceptance.

[queenlua]

hey lua what decks do phoenix aceattorney and miles aceattorney play in magic

PHOENIX WRIGHT

once upon a time, a friend bullied me into going to a Pro Tour Qualifier, which was probably the largest Magic tournament i’d ever been to at that time, right?

i was happy to be bullied, to be clear, but the problem was… i hadn’t played standard-format Magic competitively in about 2-3 years.  so my knowledge of the current metagame, what deck archetypes were popular, and what the current cards even were, was staggeringly limited.

“it will be fine,” said my friend.  “here, take this spare deck i built.  it’s super-straightforward and easy,” he lied.

he said this to me approx. 8 seconds before the first round began, so uhhhhh, i sure was playing a game of magical cards without ever having even looked at the damn deck before!

so, lo, literally in the course of playing the deck, i was learning how this shit was supposed to work.  “oh!” i’d exclaim with delight, halfway through my turn.  “THAT’S how those two cards are supposed to interact.  oh that’s super clever.  what a neat combo.”  and then i’d proceed to shiftily look at my opponent over my cards, riffle those cards a lil bit, and then say “pass” with as much of an enigmatic vibe as i could muster.

meanwhile, my opponent was Actually Prepared, and they were Trying To Win, and they were pissed.  they threatened to call Slow Play on me because i was taking so fucking long reading all the cards.  as in, he literally called a judge over, who stood there watching me the whole time, in order to determine if i was being Criminally Bad At Magic versus just A Regular Amount Of Bad At Magic, and i was sweating bullets the whole time because i didn’t know this deck or their deck or any of those cards and AHHHH why is the judge staring at me!!!

….which only served to make it EXTRA-humiliating for this poor fuck when i proceeded to eviscerate them 2-0.  hahahah get dunked onnnnnnnn nerd!!!

and then i also proceeded to eviscerate my next opponent???

sheer dumb luck.  i cannot overstate how ill-prepared i was for this tournament.  i absolutely did not deserve these wins.

meanwhile the friend who gave me the deck was having a much worse time with their deck, and they were like “what the fuck. you weren’t supposed to win. how are you winning with that shit, my deck’s so much better than yours”

anyway.  i think that’s the kind of scenario Phoenix would get into if he were an MtG player.  dude Gets Himself Into Situations And Then Uses Cleverness + Bullshit + Luck To Get Out Again.

(AA4-era Phoenix seems like he’s doing the same thing… but, in reality, he’s actually been meticulously crafting his deck in secret for the past six months.  he’s not even aiming to win the tournament, he’s just exploiting a known weakness in the opponent-matching system that lets him know with certainty who he’s going to get matched up against (spoiler: first round is Kristoph), and he’s hyper-optimizing his deck to beat Literally Only Those People.  meanwhile, Apollo, who built a tryhard hyper-optimized variant of Red Deck Wins, is lowkey annoyed that Phoenix's seemingly-random pile keeps vaulting him just one table above him in the standings, because Apollo knows his deck is better. he knows it!!!! just let him go 1v1 and prove it aaaaughhhh!!!)

((also, in case you want Actual Concrete Cards And Colors And Stuff: in general i think Phoenix prefers limited play (draft, sealed, "anything where you open booster packs on the spot & throw a deck together") to constructed play, because he doesn't like being tied down to any one game plan. when he does play constructed, i think he's less attached to a specific colors and more attached to specific mechanics. in particular: he's not a combo player exactly, but he likes mechanics that feel like bullshit. dude saw Madness for the first time & his eyes lit up & he was in LOVE, "you mean i'm discarding the card but then i can cast it for free??? hell YES." he absolutely ran a poison counter deck during New Phyrexia. ah fuck i just realized he was probably a huge stan for noted awful expansion Battle for Zendikar, i think i gotta cancel him now, sorry))

((and i think Phoenix also has a touch of Timmy in him! like, i went to a huge state tournament once with a bunch of really skilled players, and there was this one dude in our car who had a really solid deck, clearly adhered to a lot of the trends in the meta at the time... but his win condition was a Shivan Dragon. which wasn't a bad card at the time, it was a reasonable win condition, but it was... slightly suboptimal? not at all the obvious pick? sort of random? and multiple people asked him "why is that your win condition" & he shrugged and said "i like dragons." so the dragon stayed & that dude ended up getting second place in the whole tournament so FUCK optimal play, bring a dragon. i think Phoenix would sneak in a dragon now and again. just 'cause))

MILES EDGEWORTH

this one is trickier!!!

young!Miles is just going to play Whatever The Meta Deems To Be The Best Deck, right. the von Karma perfection thing and all. it's all very boring & micro-optimized to be the Best Deck Of Its Kind & he pours over the results of the big name tournaments week after week & does some math or whatever to hyper-optimize his own build of the Obviously Correct Deck. there is no soul in any of this, purely Executing On A Formula.

...but then he experiences Character Growth & has his big gay crisis & now he has to pick up the game again. he opens the latest tournament results... clicks around some win % stats for various cards in a desultory kinda way, and... his heart's just not in it, right?

enter 2-4 era Miles. 2-4 era Miles is playing some utterly unhinged Five Color Good Stuff thing. there's a lot of Planar Chaos cards in there, because that whole set was about Weird Shit & cards doing Stuff You're Familiar With (But In The Utterly Wrong Color!!!) & all that is resonating with Miles more than he'd care to admit. he cannot possibly talk about his unnecessary feelings but he can make a weird noise rock album about them. and by noise rock album i mean this fucking Magic deck.

and he's playing this deck with a 100% straight face, as though this is the exact same behavior that won him the Junior Super Series five years in a row & not a desperate cry for help from a madman. everyone else is like Miles... are you playing fucking singletons... in a fucking standard deck... you know your deck will be more consistent with four-ofs right... and then he gives a cool fish-eyed stare & taps out to cast some arcane bullshit legendary creature & gives a single rap of his knuckles against the table to indicate that he's passing the turn.

and it works, is the thing! all those years of training to be the Spikiest Spike Ever have paid off; this Five Color Good Stuff thing relies on some pretty clever insights to make the mana base work, and parts of what he's doing eventually get adopted by the larger metagame to become an Actual Serious Deck. but, like. it's still a monstrosity. any skilled players watching are still definitely wondering Are You Okay, Dude.

after 2-4, i think Miles settles back into playing something more normal. he still cares about winning, but he's going to do it with a touch of class. he wants a game that involves dialogue, some actual back-and-forth, because just trying to combo off is lame coward behavior.

aw yeah baby we're talking counterspells!!!

he's a blue player at heart & he's happiest when he's updating the autopsy report shutting down whatever his opponent's plan is. he'll splash other colors as the occasion calls for it, but he'd be happy running mono-blue the rest of his life. like, i ran a pretty fun Legacy deck back in the day which consisted of:

every kind of counterspell i could get my hands on,

propaganda because FUCK creatures,

thieving magpies for the card draw,

and a few silver wyverns to, y'know, actually win the game

...and i think Miles would appreciate that deck. just play counterspells until the opponent runs out of steam & then cruise your way to victory with a couple birds. simple. elegant. classic. doesn't involve any of this modern Planeswalker bullshit (Miles regards most developments that happened to MtG post-Time Spiral block or so as affronts to game design).

(i do think Miles has a secret fondness for sagas as a card type, however. they remind him of all that Character Growth, but in an abstract/subconscious/nonthreatening way. too bad most of them are a bit of poor match for the kinds of decks he likes to play)

FINALLY: i think Miles hates playing Commander with every fiber of his being & Phoenix loves it & this is a pretty serious point of contention in their relationship. poor dudes

[brucewaynehater101]

How the Bats argue against Jason's murder in fics

Now, Jason's murders vary in fics on a spectrum. There's murderous killing even common goons up to only those folks who are repeat, violent offenders that are not able to be contained/do their time (whether due to a corrupt system or them escaping).

We are gonna chat about the second one [in simple terms, Jason being particular and only killing the really evil bastards].

Side note, this is neither arguing for or against Jason's methods. This addresses how Jason may relinquish killing in fics in a more realistic manner than simply because he was told to or he wants to make amends

I've seen the Bats arguing shit like:

"Murder is wrong"

"This is not how we operate"

"We are not judge, jury, and executioner"

"This makes you a villain/evil/a murderer"

These arguments, frankly, are shit. This should not convince Jason to stop. Red Hood is killing from a logical-based moral standpoint (by neutralizing the threat permanently, he is saving inevitable future victims). Jason believes his option is frowned upon, but ultimately the right path. It's a "I'm doing what's necessary even if it damns me" mindset.

Arguing it's wrong will simply make him scoff or laugh. He knows the Bats don't like it, and he know they find it morally reprehensible. He still finds his actions to be necessary.

Jason isn't a child that needs to be told "right" and "wrong." He simply has a different moral code. Instead, these arguments in a fic serve as a reflection on the Bat that makes those statements.

This is not a diss to anyone's religion, but a similar comparison is to folks who base their moral code on holy texts and then try to tell other people what's "right" or "wrong" based on what their scripture says. If the other person doesn't have the same religion, you simply can not make moral arguments based on texts they don't believe in... Cause that writing has no weight to them. You would need to argue why something is "wrong" without resorting to: because [] says so.

By only declaring it as wrong, all that Bat is doing is showcasing their inability to communicate/be morally flexible. They are showing an unwillingness to acknowledge Jason's points or try to engage in counterpoints to convince him. These arguments usually predate the Bats trying to force Jason to stop killing instead of allowing him to make the choice for himself.

That is a perfectly fantastic fic idea to explore, but this wouldn't persuade Jason to change his ways. In fact, it may make him dig his heels into his methods more.

For arguments to sway Jason's opinion on how to pursue justice:

There is no oversight for Jason's murders

Cops enforce with killing (regardless of how you feel about the truth of this statement, Jason would hate this comparison)

Killing takes away chances for reformation

The threat of death causes false confessions/fear-based responses

Unclear standards on killing leads to innocents fearing Red Hood and not feeling safe

Escalation can occur (especially in fucking Gotham) when people feel their lives are threatened

Killing takes a mental strain and is thus harmful to Jason

Death is permanent and they can't suffer

There is no remedy for human error if they are dead

I'm sure there's more, but these are starting points to stop Jason's murders or ween him off of it [such as requiring Babs or Tim or Dick or Steph or the Outlaws or fucking Alfred to double check Jason's work before the execution].

Once again, I am not claiming any of these reasons are "correct" or that Jason's way is "incorrect." This is how a certain dynamic may be influenced by various conversation paths

[vidavalor]

Hey there :) I love your metas and would like to know why you think they decided to show satan as an actual being, but not god? Or do you think we will see god in the final episode?

Hi there! 💕Thank you & very interesting questions. *rubs hands together* This'll be fun. I know God is big on reminding people to not avoid salads but I also have chocolate cake so we can have a bit of both, yeah? *gets plates*

To answer your questions, I've got to share some ideas about The Voice of God that I've had lately that I think could come about in The Finale. If it winds up anything like this, it might not just change how we see God in the series but also completely upend our understanding of the novel at the same time...

So, throughout Good Omens the tv series so far, we've had what appears to be three beings who are the ones in charge of Heaven and Hell: The Metatron, Satan, and, kind of out here in her own world a bit, God. The Metatron claims to be the spokesperson for God but that is in doubt in a lot of people's minds, my own included. I think he's a fraud who cannot speak to God and whose power is dependent upon the angels believing that he can. I'm pretty sure that The Finale will see the main characters challenge him on this and expose his deception, leading them to be able to overthrow him and create a better system in Heaven.

Satan and The Metatron are dependent upon one another for power so if one of them goes down, they both do. Exposing The Metatron would cause the angels to realize that God didn't judge the demons-- The Metatron did. This would mean that the angels and demons would realize that they're all just angels and that they are on the same side against both The Metatron and Satan. I'm pretty sure that's why those two villains were working together to get rid of Aziraphale and Crowley in The Final 15 and want Gabriel dead-- they don't want the angels and demons to talk to one another long enough to figure it out and start a revolution.

So, let's say that all of that is close to (or is) accurate and we get to a point in The Finale when we find out that Heaven is a sham and The Metatron can't talk to God. This then brings up a big question that the characters in Good Omens aren't really seen asking a lot but that will suddenly be as big to these angels as it is to us humans:

Does God exist?

We might think we already know the answer to this, right? Of course she does! She's the ball of light that sounds like Frances McDormand! She's narrated S1 for us and she's talked to Crowley and Aziraphale and Job! When you ask if I think we'll see God in the finale, this is the being that you're probably asking about, right? The God we listened to who narrated S1 to us was crazy about humanity, yes? You'd think she'd want to participate since, as God, she'd know that would be what living really is. Does she, as you ask, have a body? Is she a living being? We might think she really does exist because we've heard what she sounds like but I think we might not quite yet have the full picture on that, as you'll see...

We can see what they're doing with The Metatron and Satan more clearly right now, I think. These two are two sides of an evil coin. Heaven and Hell are equally terrible. Neither has any sense of individuality, boundaries, or bodily autonomy. They are full of toxic, harmful ideas and are inflicting horrific abuse on the angels and demons. How they are presented to us as beings also reflects those horrors.

The Metatron is the only supernatural character in the story who does not have a full human corporation. He is just a floating head and that is the, well, pardon the pun, but the most meta thing in this story imaginable. He presents himself as above the other angels and nearer to God by virtue of the fact that he just needs a head to get around and doesn't deal with having a human body. His presentation is saying to the other angels that they couldn't ever possibly live up to his standards of holiness because they might all be magical but they have bodies, which are, by definition, unholy. They aren't supposed to feel or need anything that requires a body and what's extra fun for them is that everything does so the angels are made to feel like they cannot win from the get-go.

Fuck it up and wind up in Hell? Now, you are evil and belong to Satan for eternity. Violence, torture and assault from which there is no escape awaits you. I'd argue that while Satan is an actual being, as you put it, because he was an angel before, that we might not have actually seen that true form yet.

In 1.01, he attacks Crowley while being basically vapor and using the voice of Freddie Mercury. (That's definitely the most bizarre-sounding sentence I've written this week lol.) In 1.06, he is coming to claim Adam and Adam is told by Crowley and Aziraphale right before that this is what's about to happen so I think that Satan appeared as Adam would think The Devil would look like. He was eleven at the time, so, a giant, angry, horned, red devil cliche beast that sounded like Benedict Cumberbatch was probably about accurate. Satan has so far appeared not necessarily as himself but as whatever being might be most torturous to the person he's showing up to or whatever being might meet his end goals-- which is how he is appearing as The Metatron With A Body in 2.06. He's coming to tempt Aziraphale to Hell and Aziraphale would only ever think the offer genuine if he thought it was coming from The Metatron so that's who Satan made himself appear to be.

Both Heaven and Hell are, as Crowley puts it in 2.06, toxic.

But when you bring The Voice of God into this, things start to really interesting.

While it's not hard to see both Satan and The Metatron as evil, God is a little more difficult. This is some of the basis of the theory that The Metatron cannot communicate with God. One of the things that makes the theory have weight is that it's very difficult to see this God that is narrating the story to us in S1 as someone who would actually be behind the atrocities that Heaven claims are her will.

I think most of us like The Voice of God. She is very sharp, very dry-witted, and she's curious about people. She clearly loves all her beings. She really doesn't seem like a vengeful God that could be behind drowning people or casting all these demons to Hell or wanting to murder a laundry list of living beings around Job. The God we heard in S1? She wouldn't believe that Job's children belonged to Job in the first place, let alone want to kill any kids, let alone to do so only to win a bet with Satan.

There's a moment in S1 that I think solidifies that The Voice of God isn't a villain and that's when Crowley arrives at Tadfield Manor with baby Adam. God's narration introduces to us the baby swap plot about to go down by telling us (paraphrased) that it's helpful to understand that events in human history do not happen as a result of people being good or bad but just as a result of people being people. When she says this, Crowley is participating in the misunderstandings of the scene, alongside the humans in it, and God is counting him among the people of which she is speaking.

That's basically the moment that it becomes impossible to see The Voice of God as a villain because here she is, seeing Crowley as human. Here she is, narrating his and Aziraphale's story, and we the audience, for much of S1, really want to tell Crowley and Aziraphale that she is, right? If anything, this is the one thing we're angry with her about...

When Crowley is talking to God alone in his flat and not getting any response, we're angry at the God we also like because we know that she loves Crowley but he doesn't feel that and is suffering. We want her to tell him. We want her to be more clear with Aziraphale, too, after just appearing outside Eden. Even still, though, she's likable in her narration and seems separate from The Metatron and Satan.

There is the feeling that, if The Voice of God is God, that she believes that the universe is the dominion of her creations and that she cannot interfere because to do so would be to force them all to follow her will. She doesn't want to rob her creations of their free will. There is no plan from God but for them to all be free. This would make her a just god and go along with her narration so it allows us to be understanding about the fact that she cannot actually talk that much to her creations directly or stop any terrible things from happening-- because it's up to them to do so, not her.

That may all well be true but, as we will see, there might be some evidence that The Voice of God might have a more complicated identity than we might originally have thought.

If the main characters overthrow The Metatron and Satan in The Finale, it's going to be as a result of the characters talking and realizing that none of them-- including Gabriel and the archangels-- have ever spoken to God. As a result, they will all know that they don't know how to reach her.

They've only ever reported to The Metatron. God didn't even turn up for Gabriel's trial-- a big deal in Heaven, since he was The Supreme Archangel. All of this will lead them to the realization that The Metatron is a fraud but these characters are angels. They believe that they were made by the God they haven't ever actually interacted with entirely for the purpose of serving that God.

When they find out that The Metatron cannot contact God, they're all going to be wondering if God exists and it might be here that we'd think that Crowley and Aziraphale might share their experiences of hearing The Voice of God, yes?

Except...

...think about those known experiences for a moment...

The Voice of God has only appeared (key word: appeared) to speak to three characters: Aziraphale, Crowley and Job. In the first scene we see in which she speaks to a character, it's to Aziraphale, when he is alone outside the wall of Eden, right?

In this moment, Aziraphale has just rebelled more than he probably ever has before. He gave Adam and Eve his flaming sword and helped Crowley get out of Eden and now, here he is, standing outside the walls of Eden, having escaped himself and both thrilled and terrified to start a journey of exploring the Earth. He's been having an internal crisis as to whether or not he did the right thing. He knows that he did by his own moral compass but it's all very much against how Heaven works and he's unsure what it is that the God he believes made him and whom he serves actually wants him to do.

This is the exact moment when The Voice of God appears and has a short little chat with him about it-- dryly dubbing him "The Angel of The Eastern Gate" and asking him what he did with the flaming sword. This scene is fun because we all figure that, if this is God, surely she knows what Aziraphale did with the sword, but we get to watch as he lies straight to her ball of light. We think that she approves because nothing ever happens to Aziraphale as a result of this.

However, there's no real proof in this scene that The Voice of God was ever actually talking to Aziraphale. Aziraphale is the only other character in the scene and one could theorize that he has imagined God talking to him more than God actually talking to him.

We tend to never question the fact that, while God doesn't seem to be talking to anyone else in the story in S1, that she does briefly talk to Aziraphale. This makes sense to us because Aziraphale's role in Eden was a big deal in the whole series of events on Earth and we already feel like God feels that Aziraphale and Crowley are important because she's narrating their story. Not only do they appear to have been chosen to be in Eden to help jumpstart human life on Earth but they're important enough in everything for God to be telling us their story as she chats with us. Because they're our main characters we don't see anything off about God seeing them as main characters, too.

We actually use Eden in our minds as some of the foremost proof that God exists in Good Omens. These angels act like she must and Aziraphale's spoken with her so it must be true, yes?

Except... what if it's not?

What if Aziraphale was having a crisis of faith in Eden and basically imagined speaking with God?

What if The Voice of God isn't The Voice of Actual God (if God even exists) but rather The Voice of God in Aziraphale's Head?

We've never seen any proof that any of the angels or eventual demons have ever actually spoken with God, including prior to the creation of Earth. We assume that God is real because they all talk like she is but we've never been shown any concrete proof that they aren't all just believing they work for someone they've never met.

But, wait, you might say, what about Crowley and Job hearing her in the Job minisode, right? Isn't that proof?

Well... that's a bit suspect, too, and I'll show you why. It's largely hinted at in the sound mixing and context of that scene.

Like Aziraphale was outside the wall in Eden, Job was a man of faith in the midst of a massive crisis when we saw him. He and Sitis had been weathering what they believed was the wrath of God. Job's whole world was under siege and his children were in danger and his wife was begging him to go ask God for answers. When Crowley and Aziraphale come up on Job appearing to speak with God, several things are contextually important that suggest that this isn't quite what it appears to be.

Diluting the visuals is that, in this scene, the post-storm, dawn sun is starting to come through the clouds a bit, much in the way it was after the storm clouds of Eden were clearing when God appeared to Aziraphale in Eden. Job was under the light, praying and appearing to be communicating with God. Crowley and Aziraphale stop far back from Job and, when we're near them, we cannot hear God clearly. The key is in the sound mixing in this scene. When we're near Crowley and Aziraphale, God sounds like she's speaking in a wind tunnel ten miles away. We can catch snippets of words on the breeze but there's nothing tangible there. It would have been literally impossible for Crowley and Aziraphale to hear a single, complete sentence of any of this... and, based on what Job tells Sitis afterwards, he doesn't hear it, either. To add to this, Crowley is unreliable where this scene is concerned because, when it happens, he's drunk enough that we're shown him having trouble walking.

These two were drunk on food and wine in the midst of having moral crisis and watched a man pray under stormy, dawning daylight a half-mile away and think that, maybe, he might have been talking to God. That's it.

Job was in a state of madness and thinks he heard his own Voice of God when asked what happened the next day by Sitis. Crowley and Aziraphale think, from what they can see, that God really is talking to Job-- but they're so far back that they cannot hear basically anything that she's saying. They are both different kinds of intoxicated and likely seeing light and sound from the dwindling storm/emerging daybreak highlighting a man experiencing a kind of religious ecstasy and taking that for possible truth.

We hear her accurately when the camera gets closer to Job... but this all influenced by Aziraphale remembering these events as he reads them in his Bible in the bookshop, so the real is overlapping in this moment with the Biblical account... and it's also clear that Job doesn't remember much of anything he thinks that she said. He returns the next morning and tells Sitis that it was all too wonderful for him to comprehend and something something whales and ostriches. Basically, Job went a bit bonkers and convinced himself that he heard God and she was going on about different animals.

So, look at what we're saying here...

...if Job cannot remember what God said and Crowley and Aziraphale didn't hear it because they heard sounds on the wind and Crowley was drunk and Aziraphale thinks God had spoken to him before but was, that night, only speaking to Job... then from where, in the Good Omens universe, did the Job passage that is supposedly what God said to Job and was recorded in The Bible actually originate?

Who wrote it?

Who is the real Voice of God, when it comes to the Job passage and, likely, in general?

Who wrote the line that prompted Aziraphale to think back on the Job minisode in the first place-- the one that was the only thing which Gabriel could remember at first?

You know why this is all Gabriel can remember and why he looks awfully distraught at the recollection of it? Because Gabriel doubts the existence of God. He's been The Supreme Archangel for thousands of years and she's never spoken to him and The Metatron's a total bastard and God didn't even show up when Gabriel was thrown out of Heaven. What has he been clinging to all these years regarding her existence and his own sense of what the right path to take is? He's been clinging to the bit in The Bible that detailed what it was that God apparently said to Job.

Gabriel not only clings to this as proof of God's existence but he clings to it as proof that he is right to think what he does. Gabriel's own moral compass is at odds with The Metatron and Heaven, just like Crowley and Aziraphale's is. He is The Supreme Archangel of Heaven but he doesn't believe that the demons are all evil and beneath the angels. He actively works to keep angels and demons alike from The Metatron and Satan finding out that they are talking to one another. He wants to believe that God is not a villain and that she approves of this mentality and, as proof that she does, Gabriel clings to the line from Job where God told Job wistfully that she was there "when the morning stars sang together and all the Angels of God shouted for joy." He sees this as God supporting his mindset that the angels and demons are all angels of God and to mistreat the demons is wrong.

But... if The Voice of God is The Voice of God in Aziraphale's Head, then when we hear Frances McDormand, we're hearing Aziraphale.

When it came time to write what it was that God said to Job, though, it was Crowley and/or Aziraphale who actually wrote the passage below, which is why it sounds so much like how they view things:

Job, you've got questions for me? I've got questions *for you.* Do you know how I created the Earth? Where were you when I laid the foundations of the Earth, Job? Were you there when all the morning stars sang together and all the Angels of God shouted for joy? Do you know the rules of the Heavens? Did you set the constellations in the sky? Can you send lightning bolts and get them to report back to you? Did you give wings to peacocks, Job, or teach the ostrich to run?

What is credited to God here are actually things that Crowley and Aziraphale did, as suggested by the Before the Beginning scene, when we see that Aziraphale was involved in the creation of Earth and Crowley designed the stars. The line to which Gabriel clings is one that God didn't say-- Crowley and/or Aziraphale wrote it, explaining Crowley's hesitation when he says to Aziraphale: "your, ah, boss... said that to Job" in response to Gabriel quoting it, as well as what it is that Aziraphale wants to talk about when he says "Crowley" upon finishing reading the bit of The Bible recounting the Job minisode-- most of which was actually written by he and Crowley.

Ok, so, if The Voice of God is really more like Aziraphale's Voice of God? This explains a few things...

It explains why we haven't heard Frances McDormand's voice speaking to any other beings besides Aziraphale and ones who are otherwise unreliable. The only being who reliably hears her is Aziraphale and that's because she is how he imagines The Voice of God. She is the one that lives is in his head and talks to him.

It also explains why her conversation with Aziraphale in Eden opens the 1.03 Cold Open and why the two instances where she shows up to Aziraphale are both very early on chronologically in Crowley and Aziraphale's relationship. It's showing that Aziraphale's Inner Voice of God is something that is always within him-- because she is him-- but that hearing The Voice of God in his head was something that was probably happening with more frequency in the earlier part of Aziraphale's story-- back when he was more on his own for long stretches of time and before he had Crowley more frequently in his life to talk with about how he felt about things.

Interestingly, the last scene of the Job minisode begins with Aziraphale sitting under the sun/light of God alone, afraid that he's about to fall, echoing some of the scene outside the wall at Eden... but ends with the shot of Crowley sitting with him, after supporting him and their mutual admittance that they're both lonely without the other. The Voice of God can be seen as something of a feature of Aziraphale's loneliness but maybe he has those conversations with her/himself less frequently from the Job minisode on because both his perspective on Heaven/Hell has changed and, just as importantly, he has Crowley to talk to.

After all, remember how we said that she showed up as Aziraphale was having a whole inner crisis in Eden? The same was true in the Job minisode. Not only was Aziraphale having a whole moral dilemma over what to do about Job's kids when he apparently hears The Voice of God speaking to Job but he's just recently seen Crowley again and they are basically on a little date.

Aziraphale, in the hours prior to hearing God in the Job minisode, has just tried food for the first time-- a lot of food lol-- and is flirting his way closer to sex. He's literally taking a romantic walk with his demon love when Frances McDormand cameos so the possibility that, while he's having a very nice night, he's also internally having a bit of an ox ribs and lust guilt delusional freakout seems kind of high.

So, now, think about what else happens if Frances McDormand's Voice of God is Aziraphale's inner Voice of God... Gabriel has some scenes in S2 that could be seen as playing around with this a bit.

The first is Aziraphale bringing up the concept of an author when talking with Gabriel about the book organization project. While there is humor in the fact that Gabriel can't remember what an author is-- how could he when he can't fully remember who he is?--- there's also something else at play here, too.

Gabriel's idea for how to organize the books sounds balmy but it's secretly kind of brilliant-- especially when taken as a metaphor for how to view people. Gabriel can't be bothered with categories, genres, types, labels, or titles. All he's interested in is the first letter of the first sentence on the first page of every book. While we're laughing at this because we know that he's going to end up with most of the books just clumped together under a few sections like the one we see him spending time in-- the "I" section, full of "it's" and "I" beginnings of books-- that's also the point.

We have more in common than meets the eye and Gabriel is insightful enough to bypass the labels we put on others and ourselves and just get to the common origin stories and experiences. Aziraphale asks if his plan is to sort the books alphabetically by author and Gabriel says he is by the first letter of the first sentence-- ironically, Gabriel is sorting by author, really, but he's matching up authors based on what they've written, not by their similar names.

Why this matters is because we now have this scene between Gabriel and Aziraphale where the concept of an author is in play. Gabriel can't remember what the word means but his project is based around what is actually a really deep understanding of one. At the same time, Aziraphale knows what the humans refer to as an author but is struggling to claim authorship of his own life. The word author was also at the core of this struggle for him in S1 when he prayed for help in stopping Armageddon. What was it that Aziraphale said he was looking to reach when he prayed?

"A higher authority."

Aziraphale was looking to reach God or anyone with the power to stop Armageddon and his efforts to find someone else to be that higher authority were unsuccessful and that is because we are all the authors of our own lives.

We are God.

Aziraphale is his own higher authority. He is the author of his own plan-- his own life.

And, if The Voice of God in the series that we hear is really Aziraphale?

Then look at that moment when Gabriel pulled a book off the shelf of the bookshop-- one without a title or an author, though someone has written it-- and it turned out to be one with which we're very familiar:

As Gabriel works on his book organization project, we get this trippy moment when he opens up and reads from the first page of a copy of a book that we all know as Good Omens. There is evidence that this is different from just the "lol Aziraphale is a Doctor Who fan" joke elsewhere in the season. This Clue comes in the shot showing us the book itself from multiple angles in Gabriel's hands-- and the fact that the cover is not the same as our copies of the book. It is a red clothbound hardcover with no dust jacket and no visible title or author printed anywhere on it.

The show has already established that Terry Pratchett and that other guy exist in the Good Omens universe because their solo books are visible at different points in the series. When it establishes that the novel Good Omens exists within the Good Omens universe, though, it does so only by establishing that the text of book we know does. The title of it is not visible and neither are any evidence of its authors in our world, despite their existence in this fictional one.

Moreover, by showing us the first page of what we know to be the Good Omens novel, they're showing us a part of the book that we've already heard before, near its beginning. This bit highlighted on the screen to us-- the opening sentence and first, full paragraph of the novel-- were God's narration over the end of the Eden scene in the first episode. Most of the narration of The Voice of God in S1, as we know, is taken from passages of the Good Omens novel and the show establishes in S2 with this Gabriel scene that the text of Good Omens exists in an unmarked book in Aziraphale's bookshop.

I think it's all saying pretty emphatically that Good Omens, in the Good Omens universe, was written by Aziraphale.

The only way that works then is if the voice we've been hearing both read this book to us and seeming to speak to Aziraphale is of Aziraphale's own creation, which would then mean that Frances McDormand is also, essentially, playing Aziraphale. She is just what God sounds like in Aziraphale's head. She is what Aziraphale imagines God to be. She is, effectively, Aziraphale.

This then suddenly makes everything about God's narration make a lot more sense, right? God's love of humanity and her interest in behavioral science and her cheeky, dry-as-a-bone humor is all very Aziraphale. God's love of Crowley and the way that she approves of him and Aziraphale's relationship and sees them as people like her other beings is what Aziraphale believes would be true of the loving God that he believes in and is fundamentally true of how he views their relationship and Crowley himself. God's ability to speak Crowley and Aziraphale's language and the novel being written in it becomes less that God can do so because she's God and more because she's really just Aziraphale.

The whole novel itself takes on quite a different perspective if you look at it as the book above that Gabriel found when he was organizing the books. The one that, as of S2, it was too dangerous to have labeled at all but that we can theorize was written by Aziraphale and is wrapped up and bound in Crowley's signature color and that color of love-- red.

The book we know as Good Omens is, in the Good Omens universe, a book that Aziraphale wrote for Crowley in which they are two of the characters.

This is, more than anything else we've seen so far, the real book of life.

I think that it's saying that if you were to finish the series and find this to be true, you could then go pick up the novel again and read it as if Aziraphale wrote it, with the narrative passages maybe in his Voice of God Frances McDormand voice but with the knowledge that The Voice of God is really Aziraphale himself.

I love this idea because it means that the tv series that keeps giving us more information that reframes our prior understanding of things might wind up ending with a twist where the nature of The Voice of God in the series is such that it won't even just make rewatching the show a extra fun (although it will) but it'll make it so that you'll be able to go all the way back and read the novel in a different way as well, now with the perspective that Aziraphale is meant to be its author.

This also would be fun because it'd then be viewing the tv series as the canon and the book as what Aziraphale wrote happened and any discrepancies and changes as Aziraphale's writing choices. It means you get to read the passages in the book that are descriptive of Crowley or of he and Aziraphale together from the viewpoint that Aziraphale wrote them, which honestly makes them even funnier.

This would mean that God, as she's been presented to us so far in the series, is an actual being because she's Aziraphale and that we will see her in the finale because she's been a part of our main character all along.

So... there's then just one question left... and it's the same one we had earlier on in the meta:

Does God exist?

If The Voice of God is Aziraphale's inner Voice of God then is the story going to suggest that a real God does exist or is it going to suggest that she doesn't or is that going to be left as an open question?

There are a couple of paths that they could take-- two that I can see and likely some I haven't.

One is Agnes Nutter. I know a lot of people have theories that she's actually God. They could suggest or imply that a bit. In some ways, they might already have done so, as others have suggested.

The other path is the one that I think they might take, though, regardless of what they do or don't suggest with Agnes, which is to leave it so that Aziraphale is The Voice of Frances McDormand God and it's an open question as to whether or not an actual God exists.

The reason why I think it's that path that they're going to take is that Good Omens has a lot of themes around recognizing and claiming personal power and living to your own moral code. It's also very much aligning these supernatural beings in its story with the humans in it and it might just be the writer in me but I think it would be a stronger ending to have the angels and demons wondering just as much as the humans if God exists than it would be to definitively give an answer.

They're all going to know that The Ineffable/Great/Divine Plan in the sense that Heaven was saying existed for eons doesn't exist but the angels and demons will be left wondering along with the humans if they have a creator and if that creator made them for any particular reasons... just like how we wonder those things, too.

As much as the story is a religious satire, it's also a romance, and I can't see an ending of this story doing much to say that Crowley is wrong for his romantic notions that he and Aziraphale were made for each other. It's probably going to just leave the existence of God as an open question.

The story is already going to provide the characters with some much-needed peace from the fact that they'll know that what they endured was a judgement of The Metatron and not God. That and the resulting more peaceful system in Heaven will allow Crowley and Aziraphale to go live their life together without as much fear and they will do that. They might be able to put a name and a title on that book and own the authorship of their story. Even if some might label it as fiction, Gabriel, at least, sees it as belonging alongside the other, human-penned books on the I shelf in the bookshop, and he won't be the only one by the end of the story.

Not knowing then if God exists at all will yield just as many questions... but, if they had all the answers, where would be the sense of wonder in that? It will certainly give them some things to talk about for eternity together. 😊

[mirandasidefics]

Its more as if why Rhysand and Azriel behaves in a certain hostile way and passive aggressive towards reader. Especially Rhysand is so short tempered and quick to be angered when it comes to reader because he's scared he might lose everything he earned due to him suspecting reader of being smth

I think I had answered a similar question to this previously here, but I can expand or clarify in this post.

Rhysand:

Rhysand's actions regarding Reader are 99% driven by fear. He fully believes that she is in Prythian for a reason and was very likely brought to their world by a higher power. This is based on the fact that time and time again she has failed to demonstrate any capability to use magic and has showed no signs of having magical power.

This is a frightening notion for someone like Rhysand. He finally has everything he wanted in life and suddenly there's all these fucking people showing up in his court that aren't supposed to be there.

Bryce arrived by accident! And after she arrived she tells Rhysand that, oh by the way, the beings that used to enslave the Fae are wanting to come back to conquer your world again. Thus, they are very likely going to kill you (which would then in turn mean the death of his mate because of that asinine mutual death agreement they made in ACOWAR), the death of his son who's his only heir, and the enslavement and/or death of the rest of his loved ones. Rhysand recognizes that he is at risk of losing EVERYTHING now that people from other worlds have the ability to randomly arrive.

Those from Midgard are working on a plan to take out the Asteri before the Asteri find a way to return to Prythian. So, he offers them aid and doesn't pick a fight because they could just allow the Asteri right through the portal(s) and its on sight for all involved and likely ends with the destruction of Prythian as they know it.

The same cannot be said for Reader. For all Rhysand knows there is a stronger more formidable foe waiting for the right chance to strike because of Reader's presence. Therefore, she is the only target that Rhysand can take his fear fueled emotions out on. To his knowledge there is no reasonable explanation for Reader being there (even if he recognizes that the reason has just not yet been revealed).

Unfortunately, his frustrations and fear end up transferring over to Prythian's "on world" problems such as Beron and the Autumn Court, Tamlin and the Spring Court, and Koschei. So, he also starts blaming Reader's presence/existence for those issues having not yet been resolved. She effectively becomes the scape goat for EVERYTHING.

Does any of this make his actions right or justified? Hell no. Does it make for an interesting narrative that is not exactly the standard for how Rhys is portrayed in fanfiction. I'll let all of you be the judge. I will say that there is room for growth regarding his and Reader's dynamic, which may or may not include Rhys getting his ass handed to him by certain individuals.

Azriel:

Azriel does not hate nor dislike Reader to any extent. He was following orders when he interrogated Reader because that is part of his job as Spy Master. He didn't like having to torture her, especially when it became apparent that she knew absolutely nothing about how she got there.

He is, however, frustrated at the situation. He feels a pull towards her but cannot for the life of himself figure out what that is. This results in Azriel becoming jealous of Reader's relationship with Lucien and Ruhn. He sees how she has sought them out for comfort so easily and wishes that he could provide the same. He has convinced himself that he wants to make up for the pain he initially caused her. So, there are times when his jealousy unfortunately makes him be an asshole towards her via snide comments.

Reader has pointed out this behavior and explained what the differences and barriers are to them becoming close in the same capacity she is with the other males. Azriel is trying to be more mindful of her trauma that is directly in correlation to him and his actions early on in their shared history. He is also learning to adjust his behaviors and the way he interacts with her to ensure that she does start to feel safe and respected when in his company.

I personally feel that when it comes to matters of the heart, Azriel's personality and intelligence go out the window entirely. He is a different person from the calculating and intimidating spy master and mindful and courteous friend we all know he is capable of being in canon. His self-loathing and feelings of being unworthy take center stage and he becomes his own worst enemy. (I could write a whole post about how this is most apparent in his interactions with Mor and Elain, but I won't).

TL:DR- Rhysand's behaviors are based on fear. Azriel's behaviors are based on jealousy.

I hope that answers your question and provides some clarity on Reader's dynamics with Rhysand and Azriel.

[iamsherlocked-1998]

𝔽𝕆ℝ𝕄𝔸 𝔹𝕆ℕ𝕌𝕄 𝔽ℝ𝔸𝔾𝕀𝕃𝔼 𝔼𝕊𝕋.

SUMMARY: Beauty standards are difficult.

WORDS: 700

WARNING! ⚠️: SEXUALLY SUGESTIVE TOPICS. Male x Male. Body insecurity, Old Rome customs. Bisexuality.

Marcus Acacius was a formidable army general, known for his strategic brilliance and unwavering courage on the battlefield. Tall and imposing, he earned the respect of soldiers and struck fear into the hearts of his enemies. He had always considered himself a man of self-reliance and self-assurance, but lamented that time did not pass in vain.

His chest bore a scar that ran across the left pectoral, a vestige of a fierce battle that had nearly cost his life. To Marcus, the scar was a testament to his survival and resilience in the face of adversity. But to others, it was a mark of imperfection, a deviation from the flawless body that was idolized in Roman culture.

That was nothing new, beneath the armor and the aura of dominance, Marcus carried a burden that few knew about: The scarcely healed wounds that witnessed the battles won were no longer an honor but a cargo, his joints were heavier with age, but there was a specific physical characteristic that completely set him apart from the ideal of Roman beauty dictated by society's standards. What he was proud of, what made him a man, did not seem the same. His intimate area was…too big, it drew too much attention, he had the feeling that because of it was considered a barbarian or an animal that could attack or destroy with a stab. Certain spheres of pleasure and sex were eclipsed by the discomfort that would accompany the act.

Despite his external confidence and strength, after all his previous bedmates seemed more than satisfied, Marcus could not escape the constant whispers and glances of those who judged him based on his appearance. What had once been of no importance due to his status, when he was relegated to a simple gladiator everything took on a different color. People did not look at him in the same way nor did they have any qualms about speaking, something that went away with his freedom.

Men gave him malicious glances, their words loaded with veiled insults and barely concealed mockery. But between the jokes and grimaces, Marcus found comfort in the surprising admiration that came from an unexpected source.

Every time Marcus visited the hot springs to recover after long campaigns, he could not help but notice the way women and even some young and inexperienced men would sneak glances at him. Their eyes would linger subtly below his waist, where dark, curly hair gave way to something else, but instead of disdain, Marcus saw a different kind of gaze: one filled with curiosity, admiration, and even a hint of attraction.

Confirmation came from someone who had once been a soldier in his service, many years and less charged confrontations behind him that he showed as a reward when he ride the general's cock in the new intimacy passed to the bedroom, his moans could have alerted the gods themselves as his straight golden hair moved uncontrollably, with rosy cheeks and hands resting on the generous shoulders of his older lover, emboldened by the ecstasy of being reached in all the right places.

In the whispers of the women and the shy smiles of the boys, Marcus found a sense of acceptance and appreciation that transcended the superficial standards imposed by society. Their genuine interest reminded Marcus that true beauty did not lie in perfect features, but in what you could do with them, the strength of character and the resilience of the spirit.

And so, Marcus Acacius, the Roman army general with a singular characteristic, learned to accept his initially imperfections and to wear his differences as a badge of honor. Because in the eyes of those who saw him as he was, not defined by his appearance, but by the courage and valor that burned within him, a flame that nothing could extinguish. And as more than just his bearing stood tall and unwavering in the hot springs, basking in the warmth of acceptance and admiration, Marcus knew that true beauty lay not in conformity to society's standards, but in the authenticity of being unapologetically yourself.

NOTE: The story is based in this post, the comments are gold 🤗💕

[luke-o-lophus]

In Your Image, In My Eye

Marc Spector x Reader (Minors DNI)

TW: Allusions to child abuse and neglect, and to past eating disorders (nothing descriptive), body image issues, very minor talk of food controls, mentions of sexual activities and some innuendos

Prompt by @apollo-enthusiast: Imagine settling down with the moon boys, just living a calm and stable life without khonshu to bother you. You bake and cook a lot, and are really good at it. As a result, Marc gains a bit of weight and now has a little tummy. You catch him judging himself in the mirror one day, maybe fighting over it with steven and jake, maybe they're feeling the same way, and find out he's feeling insecure about it and needs some love

Word count: 1541

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"For the thousandth time, Steven, we have the same body."

Marc sounds exasperated. He looks exasperated. Just out of shower and towel wrapped low on his hips, he usually doesn't spend this long in front of the full length mirror in your shared bedroom. But today, Steven got his attention. "You still look handsome", he'd muttered. And refused to budge when Marc pointed out the obvious.

"You don't get it. I've got this...ugh", Steven hides his face in their shared headspace. "This thing. I have a..a pooch belly."

Marc mentally groans and pinches his forehead. "Steven I can assure you we're doing fine", he grunts.

"Are we though Marc, are we?" Steven throws up his hands. "Look at this." He incredulously points to his midsection. Marc tilts his head with a raised eyebrow. Steven's fashion in the mindspace is similar to when he's fronting. All Marc can see is the body swimming in a shirt three or four sizes too large, in a pattern that hurts his eyes.

"Steven I literally can't see anything", he sighs and turns to remove his towel and start getting dressed. That's when he sees it. A soft..chunky roll in his belly as he bends to pick up his t-shirt. He slowly turns back to the mirror, shirt in hand, and pokes his finger in his belly. Nearly two segments of the finger sink in easily, and the flesh springs back as he removes his hand. Marc's never seen anything like it on his own body.

Here's the thing. Marc Spector in the past has never really eaten. He's consumed food in order to sustain. In the army and as a merc, he had standard rations and a standard body type he had to maintain. And before that, he had always been a skinny kid. It's no secret he wasn't exactly nurtured at home. And he's even starved himself to points where Jake has had to step in to take care of the body. Until quite recently, actually. Until he met you. Or rather, three months into meeting you.

You'd brought a tupperware of chocolate cupcakes to your fifth date. You were meeting after nearly a month, a month of thinking Marc is going to ghost you. That day Marc came bearing a harrowed guilty face, and you came bearing cupcakes. Who does that? Marc wondered as he bit into one. And almost forgot to chew. It already tasted so, so good he stared at you with wide eyes. You giggled bashfully, a shy finger wiping away ganache from the side of his lip. Later that night those same lips had devoured you over and over until all the tension of the month prior was forgotten.

It had never even occurred to Marc it is possible for the body to gain some stomach fat. And it damn well had never crossed his mind, that would be what's bothering him when he looks at his reflection. But here he is. He can almost hear Jake groaning somewhere in the depths of the mindspace. A groan of "Here we go again".

They moved into your apartment a month later. Steven still kept his, and turned it into a library slash workspace for them. Your place was home. With your warmly lit study, kitchen that always smelled good, the eclectic wooden chandelier in the living room, and the twelve pillows on your queen bed: it was a better home than marc had ever seen himself living in. And then there was you. Who had given him so much love, so much grace, so much understanding. Because of him, you had moved away the large full body mirror to your study the day before he had moved in. The men liked having mirrors around, mirrors made it easier to communicate, but just...smaller ones. It took Marc a long time to be able to look at all the scars and marks on the body without feeling sick in his stomach. The day he asked if you could move the mirror to the bedroom to make dressing up easy, you'd hugged him and kissed him silly. And later baked a batch of apple tarts as a treat.

"Maaarc what's taking you long?" your call sounds impatient. He can hear faint muttering coming closer and your head appears in the doorway. Marc's instinct is to quickly cover his torso with the t-shirt in his hand, almost letting loose an embarrassing squeak.

"You haven't dressed? We gotta do a grocery run quick or we'll get very late for lunch!" you whine with your hands on your hips.

"I don't want lunch", Marc mumbles and you pause in the midst of your woeful rant of delayed lunches.

"What..why? Is your stomach upset? I told you that fish tasted funky, Marc, I swear.." you immediately start fussing over him, coming close and checking his forehead for a temperature.

"No..no...I'm fine. Just ... not hungry" he shakes his head away.

You were familiar with Marc's 'not hungry'. It could mean a lot of things, but very rarely the fact that he actually wasn't hungry.

"Everything alright, bubba?" you ask, hand moving down to caress his cheek. Marc sighs and smiles wryly,"Yeah..yeah don't worry. It's just...it's silly..."

You raise your brows in question, egging him to go on. "It's just...I have this thing.." he rubs his neck and moves the tshirt from his torso slowly, as if revealing the deepest darkest secrets. You blink owlishly at the display, then back up at him. "Honey...uh..I'm sorry but....what am I..looking at?" you ask.

"This!", Marc almost whines, poking indignantly at his belly. You look just as lost, helplessly staring. "Does it..hurt there or something?" you offer with concern.

Marc doesn't look convinced so you prod a little further, asking if that's something that feels uncomfortable or just...looks different to him. "I..I've always been skinny...before the army and the...Khonshu." he sighs, head hanging. "Didn't really have someone cooking me a three course meal every time."

"No...I'm...I have...this..." he bends over to a side and pinches his tummy roll between his fingers. You stare at that for a few moments before it clicks. "Oh honey", you call with adoration, gently prying away those fingers and kissing the tips. "But your tummy looks so nice. So healthy. You look so nice and healthy"

You take a cautious pause at that, almost hurt for a moment. Marc catches onto it quick, and stumbles directly into an apology. "No..no...that came out wrong. I love that you cook, I love everything you make, I'm so grateful. You're..., baby..please..."

It always breaks your heart when Marc apologizes, because of the way he does it. He says sorry for a simple slip of tongue as if you'd be packing your bags and running off before he had a chance to finish his sentence. So you smile at him, a cheeky little smile.

"You like my cakes?" you ask him innocently, a playful glint in your eye.

"Huh? Of course I do...yeah? The...the one you made on my birthday, and...and.."

"No no no...", you stop him, moving closer. "I mean, do you like my cakes" You give your butt a playful wiggle. Marc stops in his tracks, then groans at that awful joke. "Babe!" he groans. You giggle and wrap your arms around him. Your head nestled in the crook of his neck with practiced ease, you mumble softly,"You look great. If you feel healthy, and enjoy what you're eating....you're good. Okay?" You pause a bit then sigh. "I...I can't see you starve yourself again, bubba. It...hurts to see you like that." You still remember when Marc had showed up on your fifth date with sunken cheeks and hollow eyes, looking like he's missed half his meals the past month. It's an image you can't get out of your head: him standing with a small souvenir clutched so tight in his palm the packaging was ruined, looking all shades of tired and starved.

Marc stays quiet, but he holds on to you tight, kisses the top of your head. "What's for lunch?" he mumbles meekly after a while. You pull back and smile wide, eyes shining, and continue your grocery run rant. From the increasing price of eggs to the doubtful durability of milk, this new meatball hack you want to try, and a vegan substitute idea you'd just gotten. You follow Marc around the room as he gets dressed, talking a mile a minute. He takes a last glance at the mirror and rakes back his curls, then swiftly pulls you closer. You squeak and hold him on instinct, and he laughs softly while nuzzling the side of your face. "So...remind me the plan. We...are getting groceries, making lunch, so...after eating.." He pauses but you can hear the laugh in his voice. The laugh and the shyness.

"What, Spector?" you tease. "What do you want after lunch?"

"Well maybe you....you can show me how good you think I look?" he says hopefully. You turn around to kiss him, nodding excitedly. "Deal", you whisper, before pulling back and giggling. "I thought you're about to ask me to have you for dessert"

Marc facepalms with another groan.