#heaven disguise crowley you are an icon

[musicawizard]

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[zero-is-nebulous]

Uuuh here's my art dump for the reverse omens au I made

I can't remember which artist came up with the moth demon Aziraphale but credit goes to them, I just liked it and decided to run with it (I'll see If I can find them to drop a name sometime l8r)

Text ver under the cut

Aziraphale - really a quite terrible demon (original temptor)

Moth broach

Walking stick

Same outfit p much

Hair pattern silly

Majic man style coat

Eyes...

Moth antenna

Raphael - bored Archangel, human expert and healer (Crowley)

Outcast Archangel

Azi's pocket watch

Moth pendant

Devious smirk

How 2 draw skinny jeans?

Shoes...

Snake tattoo

(Text pages at the end, typed out below)

The story goes like this...

Aziraphale, thinking that keeping the diffrent between right/wrong from life is silly. He believes it's the right thing to do to introduce it to the humans. He is past looking to the all-mighty for morality, and really just does what he thinks is right. He disguises himself as an angel to offer the fruit to Adam + eve, and then discorporates the angel of the Eastern gate (unnamed angel, soon to be demoted for being bested so easily) to give the humans their flaming sword. He watches them go from the top of the Eastern gate, now non-disguised

Archangel Raphael is bored, hating how heaven is run but not wanting to ask questions after the fall of their last 'example'. He loves his stars, and wishes the world would be as interesting as them. He often visits the garden, so he sees Aziraphale on the wall and, bored, goes to be nosey

Crowley: the principality for this post taking a break?

Aziraphale: looks it, doesn't it? Whoever they were, they did quite an awful job. The humans are already a mile beyond the wall. Perhaps heaven is doing it all wrong then, hm?

It turns out, demons are quite talkative. And interesting

Crowley: hm, so you're saying you don't know what happened here?

Aziraphale: not a single clue. I suppose that's to be expected though, no?

Crowley: oh? What makes you say that?

Aziraphale: well, it's as she said. I'm not quite meant to ask questions. Her plan is ineffable, after all

Crowley: ineffable?

Aziraphale: quite. Silly, isn't it?

Crowley: I never said a thing, uh,

Aziraphale: Aziraphale

Crowley: Aziraphale

Crowley: how tf did u get captured by the Spanish inquisition?

(Dressed 2 the nines)

Crowley: I'm gonna myrical u outa this bc I have a heavenly duty but let it be known I think you're one of the dumbest motherfuckers I have ever met

Aziraphale: teehee

(No longer a fashion icon)

Crowley: dramatic ass demon

Sorry this is so terribly layed out tumblr kept changing it after I posted

[iijones]

After watching Good Omens trailer, I was like why in hell did Crowley (Fashion Icon) willingly choose to wear that outfit as disguise in Heaven. Yeah probably he did it cause he doesn't care at all, he is there to create chaos. But me being (delusional) a "Crowley was Raphael before fall" believer , think he went "What angel? You want me to go to heaven, but they will connect dots... You now what, it's a great opportunity to mess everything up. I am gonna leave such impression that they wouldn't even consider me being Raphael. Oh I am such a genius..."

[laufire]

Various Supernatural icons (25 in total) from Dabb’s era (season 15, part 4 of 4). They include images of some of my old and gone favourite characters from the recap at the end of 15x19, and from the finale.

Do not edit them or claim as your own. Like/reblog if you use them or save them. Credit is appreciated. More on my icons page.

[15.19. Bela in her introduction, after removing the wig she used to disguise herself and steal from the Winchesters.]

[15.19. Crowley pointing the Colt at Sam and Dean.]

[15.19. Anna in a blue jacket, looking up at the sky.]

[15.19. Ruby opening the door of the motel for Dean and Bobby, pretending to be a random girl.]

[15.19. Kelly smiling and touching Jack’s face in Heaven.]

[15.19. Castiel in season four, staring intently at Dean.]

[15.19. Rufus with a shovel in his hand, trying to get out of digging.]

[15.19. Close-up to Missouri in her first episode, looking pensive.]

[15.19. Rowena in the moment she was staring seductively at Gabriel.]

[15.19. Meg in 6x10, looking at Sam over her shoulders, taken aback.]

[15.20. Dean sitting up in bed, hugging Miracle.]

[15.20. Sam out of the shower with a towel wrapped around his head.]

[15.20. Dean ready to fight, with the rebar that’ll kill him later on display in front of him.]

[15.20. The rebar.]

[15.20. Dean, impaled on the rebar, touching his chest with a circumspect expression.]

[15.20. Dean’s corpse burning in a pire.]

[15.20. The job application on Dean’s desk.]

[15.20. Close-up to the table with Sam, Dean and Mary’s initials carved, as well as Castiel’s and Jack’s names.]

[15.20. Dean looking down, with a bit of a smile, after hearing Castiel is out of the Empty and helping Jack in Heaven.]

[15.20. Dean Jr. as a kid with overals that say “Dean” in yellow letters.]

[15.20. Sam with glasses, smiling and affectionately patting teenage Dean Jr.’s head while he helps him with homework.]

[15.20. Young adult Dean Jr. looking solemn as his father dies. He has black hair to his chin and dark eyes.]

Aaaaaaand the total three (3) women that appeared in the series finale.

[15.20. Close-up to the unnamed mother at the beginning of the episode, screeaming before she’s killed by mime vampires.]

[15.20. Jenny the vampire, in the moment she’s beheaded by Sam.]

[15.20. The Blurry Wife observing Sam and Dean Jr. play at a distance.]

[cobragardens]

Things I love about this:

The mix of iconography and portraiture is really doing it for me.

The way the black smears and splashes in Crowley’s background look like smears of ink and expand the form of the snake to outline a suggestion of Crowley’s wings. The way the white filigree and Aziraphale’s wings in the background are rendered to match those black ink splashes but look like curled feathers and clouds. The parallel curl on Aziraphale’s forehead with the curl of the wing behind his shoulder.

The way the dove and the snake have both been rendered accurately—no venom-dripping fangs or evil look on the snake, but instead a snake as it really is: a beautiful and fragile animal that intends no harm to anyone. The scales are beautifully done and reminiscent of feathers.

The dove. I have been waiting for someone to use the white dove of Christianity/the Holy Spirit/mercy in an Aziraphale icon, because it’s perfect for him; this is the first time I’ve seen it, and I think it fucking rocks (more on why later). Snakes and birds have been associated in many cultures throughout the world with divinity because in a literal sense each one is capable of crossing between worlds: the snake from the human world to the underworld and the bird from the human world to the overworld. In the West (by which I mean the ancient religions and art of the Middle East and the ancient and contemporary art and religions of Western Europe, including Christianity) both snakes and birds are invariably associated with female divinity, so these symbols are perfect for an angel and a demon in a universe where the Divine is female-coded.

Their faces. I’ll get to their facial expressions in a sec, but just in terms of their faces, both of them are rendered to be as beautiful as possible, and very successfully so. Crowley’s mouth is soft rather than in his characteristic upper-lip-eliding frown, his skin is dewy. I’m not a visual artist, but I think it must be very difficult to render both Aziraphale’s beauty and the characteristics that make him Aziraphale at the same time: his unassumingness; his disguise as pastel, which so poorly suits him; the way he’s remarkably pretty if you look at him for a moment and the way that beauty sits beneath and within a thin veneer of wornness. I love the way @murmaladeee uses the latter to enhance the former here: are those crow’s feet, or is it holy light glancing off the top of Aziraphale’s cheekbone? Are those shadows around his eye literal or symbolic or a technical choice to make the silver eye stand out? In art they can be all three at once.

The almost-grey purple bow tie on Aziraphale and how that both hints at his new Supreme Archangel status at the end of S2 and blends into the background of his other clothes, leaving all the focus on that eye and from there his facial expression.

And let’s talk about that eye! Aziraphale's actor Michael Sheen’s eyes are hazel, but blue eyes are a ubiquitous iconographic feature for Aziraphale, because his personal code color is blue the way Crowley’s is red and because British Christianity and art have associated light features with Heaven and purity since Christianity’s earliest incursions into the British Isles. I love @murmaladeee’s eerie silver-blue eye for Aziraphale; it’s the palest possible color without draining color completely, which suits him perfectly; it forms an absolute color contrast with Crowley’s eyes (gold/silver like black/white and red/blue), but it’s also a color that in irises suggests the uncanny.

And that uncanniness matches his facial expression, which is fucking striking. That is the face of someone who has secrets and is up to Trouble. Which brings me back to the dove, that symbol of mercy and of the Holy Spirit. Is she alighting on Aziraphale’s shoulder, or is she leaving him? That is a delicious ambiguity.

Both their expressions here are complete reversals from the way Aziraphale and Crowley are usually depicted as icons. Crowley looks guardedly melancholy, which in iconic (as opposed to narrative) art of him is so rare as to be unheard-of. Aziraphale looks dangerous, which is just as rare. And that—the reversal of their usual facial expressions, and the crystal clarity of those expressions--is my very favorite part of these pictures.

[steven-thefish-burnsides]

Good Omens and The Sound of Music

On the first day of class, my professor told us that experts in Escapism generally concur that The Sound of Music is the quintessential example of escapism and that it appears as an allusion representing escapism (successful or unsuccessful) in several novels. So, I thought, huh. You know there’s a lot of Sound of Music references in Good Omens? Like, a lot? And on my 4th screening, I have determined that there’s even more than I thought.

The first Sound of Music reference is Crowley’s iconic inebriated convincing of Aziraphale, where he points out that Heaven really loves The Sound of Music. In this scenario, the Sound of Music is not escapist. Or is it? It’s presented as a punishment, as torture; so how could anyone think of it as an escape? But, we’re not talking about escape, we’re talking about escapism. Crowley shows The Sound of Music as an antithesis to his plan where he and Aziraphale confront the end of the world and do something to stop it. The opposite of facing a problem is escapism.

Furthermore, Aziraphale’s copy of The Sound of Music is just paper. I don’t care if that’s the way most plays/musicals are sold or not; it looks flimsy. It has no cover to protect, no safeguard. It bends. It burns.

The second reference is when Aziraphale goes to heaven to disclose his intention of influencing the Antichrist for good. Gabriel and Saldophon explain the futility of Aziraphale’s plan and close with a quotation from The Sound of Music: “Climb every mountain. Ford every stream.” From the Angels, these words sound cheezy and disgusting even. They sound like a confirmation of Crowley’s warning. But, they are preceded by “As the Almighty likes to say” and Good Omens never discredits God. Even by the end, Crowley and Aziraphale wonder if she intended all that to happen in the Ineffable Plan. So, we can conclude that while the Angels are mixing up the meaning behind it, God really does believe these words and believes Aziraphale needs to hear them. The Sound of Music isn’t about trying; it has an implied success, and the song that quotation comes from, “Climb Every Mountain” has a clear finish line: “until you find your dream.” The plea is not for Aziraphale to struggle; it is for him to figure out where his dream is.

Reference three is when Aziraphale finally figures out what he’s fighting for. When he asks for a higher authority and finds no one worth talking to. When he understands that the solution to Crowley’s problem of “there aren’t any right people” is to become the good people. That decision is marked by fire, and the first thing in Aziraphale’s bookshop to burn is The Sound of Music. That burning signifies Aziraphale’s choice to forgo escapism and choose his own side.

The final reference is when the Angels come to collect Crowley-disguised-as-Aziraphale. They quote, “These are a few of our favorite things,” and Gabriel refers to this as an amazing rendition. Is it? Heaven certainly encompasses some of the ideas surrounding The Sound of Music. It’s got the white/clean/holy vibe. It also shares the musical’s escapism quality of ignoring cruelty in exchange for a simple narrative. But, the Angels seem confused. What purpose does that specific line have in a kidnapping? It seems misplaced. It seems to me that the Angels only understand half the themes. That song is about using love of the little things to get passed the storm. That’s Aziraphale with his bookshop and food. That’s Crowley with his Bentley. That musical is about finding a family and relying on each other. That’s Adam with his parents and friends, and it’s Aziraphale and Crowley, and it’s Newton and Anathema, and it’s Shadwell and Tracy.  Gabriel is right: it’s an extraordinary rendition, but the Angels do not have the starring roles. That’s Aziraphale and Crowley, who pulled a daring trick to escape at the last minute into their assumed happily ever after.

These are the explicit references, but there are overarching themes, too. The idea of being called to fight for a cause you don’t believe in. The idea of redemption, and whether or not it can be achieved. The idea that maybe we have to indulge in escapism if we want to survive long enough to fight. The Sound of Music and escapism both have their boons and compromises, and Good Omens takes everything and reorganizes it in such a way that the audience is left to choose what parts are worth saving, and what’s worth burning.