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halemerry · 1 year ago

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I’m doing it. I’m breaking down the Scene. You know the one. I've been tearing it apart for a week straight now in discord and figured I should leave my observations here. So, uh, yeah, this one's a big one so buckle up folks!

I want to start with the build up because I can never leave well enough alone and because I think the framing we have coming into this sequence is important. We start with the camera on Mr. Acts of Service himself. Crowley, after banishing Muriel, starts cleaning up the bookshop. The music playing is the soft slow rendition of the opening theme. He is returning this space to the status quo, resetting back to normal, fully intending to do this for Aziraphale before dragging him out to the Ritz, falling back on their typical pattern of going out together for food and drink.

Now in a moment he's going to get interrupted by Nina and Maggie but before we get there I want to take a second to draw attention to the area of the bookshop that Crowley will be operating in for the bulk of this. This space is one we very frequently see Aziraphale in. It's his desk behind the till - a spot linked intrinsically to him, even down to the fact that it's located on the east side of the shop. The windows are throwing beams of light onto Aziraphale's chair and onto the same spot Crowley will stand during The Scene. This lighting choice will not change from now until our last shots in the bookshop and the way the blocking plays around these sunbeams is very aware (as Good Omens nearly always is) of exactly where they will land.

Nina and Maggie enter the scene to have a chat about boundaries and communication. Maggie, his own mirror, tells him flat out that he can't play with their lives like that. Maggie and Nina then both tell him that he and Aziraphale need to talk. And I don’t think they're wrong, exactly, but I do think that Aziraphale and Crowley are actually a lot better at communicating in general than they are in these following high stakes scenes. But that's some meta for later - for now I want to just focus on the particular way Crowley's been primed for the conversation he and Az are about to have. Nina in particular does something really interesting. She does exactly what we as the audience did when we first saw Nina and Maggie: she mistakenly projects herself onto Crowley. She says he has trust issues because she does and in the process accidentally frames the core of their problem as Crowley needing to allow himself to trust Aziraphale, a thing that he actively already does and has done for quite some time and has been shown to us several times throughout the two seasons.

Now the build up we get for Aziraphale going into this conversation is very small. By which I mean practically non-existent. We start at the end of his conversation with the Metatron who tells him to go tell his friend the good news - which notably does not imply that the news is something that would require Crowley to make a choice - and sends Aziraphale on his way. Now the most crucial thing in this sequence, to me, is the expressions Aziraphale makes when he thinks the Metatron isn't looking at him. While polite and smiley when engaged with him, Az's expression falls as soon as he doesn't have eyes on him. Something is wrong and Aziraphale knows it.

Aziraphale enters the shop. The doorway is dark and shadowy and he hasn't composed himself yet - though he does give Nina and Maggie a little smile as they leave. Then, as soon as they're not looking at him, but before he approaches Crowley, the tension is back.

He hesitates, then smiles and approaches Crowley. Crowley, planted dead center in that beam of light from earlier, takes off his glasses and promptly starts nervously rambling. The music cuts off here entirely, giving us nothing to focus on but the noises coming from our lead actors, the background noise from the street, and the ticking of the clock in the background. Aziraphale puts up his hands like he's going to interrupt then lowers them again as Crowley keeps talking, his face shifting into this helpless sort of smitten look.

Now look at the light and how it hits the bookshelves behind Crowley as he tries to get his confession going. It's in the shape of a wing. Keep an eye on that - when the camera chooses to show us this one wing of light is important.

Aziraphale then interrupts and there are two things I want to draw attention to here as Aziraphale fumbles for words. First of all is the fact that he glances in the direction of the door (and the Metatron) at least three times as he's struggling to speak.

Secondly, I want to draw attention to the words Az actually says here. He first echoes the Metatron's earlier statement about good news. He then does not roll into the news itself and instead glances at the door and says the Metatron. He starts rambling about the Metatron to a very confused looking Crowley and evetually talks his way into that the Metatron said something. He then hits a wall again, scrambling to find words and instead of explaining the context of what the Metatron says he lands on Gabriel. His brain latches onto someone obviously on the forefront of both their minds and something vaguely relevant to the news he's about to share. He rambles more about Gabriel's job, glancing once again at the door in the middle of this, still avoiding getting to the actual point or perhaps even synthesizing said point as he goes.

We then cut to what is framed as a flashback. I think it is very notable we only see this as Az is telling it to us. In other words that this is not us witnessing an event happening but us witnessing what Aziraphale is telling Crowley. This sequence is the single scene where the Metatron calls Crowley by name despite actively avoiding it in any real time continuity sequences. He uses it twice here which I think also is the strongest thread in here that tells us that we are seeing what Crowley is being told not necessarily what actually happened.

The instant the idea of restoring Crowley comes up the wing of light behind Crowley loses visibility. Crowley's speechless for a moment so Aziraphale fills the silence, already looking like he wants to cry as he talks about the old days. (I also can't help but to notice that the lights behind Az in this shot look like eyes.) Crowley finally speaks and circles around the beam of light he's been standing in like an object seeking to re-establish a source of gravity. The music cuts back in here with tense drawn out notes.

Crowley talks about how Hell offered him his place back and he turned them down. Aziraphale in turn presses on ideas that we know he doesn't really believe. It's a echo of the bandstand and uses a lot of the same language of that fight - another fight we know features Aziraphale saying things he knows aren't true. By now, we have seen him multiple times this season express he does not want to go back and make it abundantly clear that the side they have made for themselves is important to him. We see him actively calling angels bad and incompetent, contrary to everything he's telling Crowley here. We see him be the one to repetitively remind Crowley that they are on their side and be the one that always draws attention to that first. Yet here he says Heaven is the side of light to Crowley - who by the way is literally framed in light. The frame is telling us outright that Crowley is already Good as he is, while Az's expressions are telling us he knows Heaven isn't.

Aziraphale can't tell him that he did not turn down the job and Crowley does another orbit. The music cuts again. This time, he stops with his back to Az, tilts his head upward and decides to ruin me by invoking God.

Here he is, hearing these awful things that he was sure they had moved on from, hearing these things he has tried for so long and so hard to help them both unlearn. But these sorts of habits and lessons are insidious and he knows that and he himself is even a victim of that himself. I mean, don't get me wrong, he recognizes this is weird, I think, but between his own self worth issues and the stress of the few days they'd had can't work out what exactly is off here. He's confused and lost and just been told, in his mind, that he is not good enough as he is - a thing he has always on some level also believed. Yet he reaches out to the parent that taught him that lesson in the first place for strength and grounds himself with that. He circles back to stand in the beam of light and, with that wing of light finally backlighting him again, he is brave and tries to be enough anyway. He bows his head downward, fully emerging the line of this body in the light and tries again. Because even now, even after that emotional blow, Crowley is an optimist who can't help but to try.

At first Aziraphale can't figure out quite what is going on here. He squints at Crowley and glances at the door again. Crowley meanwhile keeps continually glancing upward, whether at God or to hold back tears or some combination of both. In most of these shots Crowley bisects the room, creating a dark half to his left and a light half to his right.

Crowley says he relies on Aziraphale. Even here, even now when he's just hurt him. Because it is the truth. Because Aziraphale makes him feel less alone. Because Aziraphale proves to him that no matter how fucked the system is that there is still good in the world, even if he doesn't always agree with it.

It is only once there is no doubt what Crowley is doing that Aziraphale starts shaking his head in very small quick shakes. He looks panicked even as they both physically draw closer to each other. It's huge not here, not like this energy to me. Aziraphale asks Crowley to come with to help him run Heaven. This is the point where Crowley starts tearing up.

Crowley then says you can't leave this bookshop, trying to say you can't leave me. Az, nearly in tears himself, says 'oh Crowley. Nothing lasts forever' as a means to convey that the books aren't what is important here. Crowley, naturally, hears 'including us.'

Crowley looks down again, quietly agrees, and puts on his glasses, covering himself up again. He then wishes Aziraphale good luck and the music starts up again, still tense but sorrowful now. He leaves the light and heads to the door. Az can't help but to call after him. Please wait. And Crowley can't help but to listen. It's worth noting here that even as he rotates toward the north door, the light still gently hits his face. The shots in general are darker though. He's moved away from the light but it still can't help but to touch him.

"Come with me," says Aziraphale and then after a pause adds "To Heaven." Aziraphale, looking heartbroken, starts one of two 'I' statements he will struggle around in the next few moments. He lands on I need. Which. I want to pause there a moment because holy shit. That is not something they say out loud either. Az looks at him a moment, visibly struggling before he says his dialogue about Crowley not understanding his offer. Like he's said something he didn't mean to and needs to cover it up or like he can't handle the silence after such an honest statement. And on some level he's not wrong there. Because Crowley doesn't understand what Aziraphale is trying to say. But Aziraphale doesn't understand the way Crowley is reading it to course correct either.

Crowley says that he does understand and that he understands better than Aziraphale does. And he also isn't wrong either, from his perspective. Because he does understand the implications behind the offer theoretically in play here. Because he does know that the position Aziraphale is presenting him is not going to result in the outcome Aziraphale is presenting him with. There are some things you can't undo just like memories slipping through the cracks.

Az says there's nothing more to say, trying to dismiss Crowley despite having been the one to pull him to a stop moments ago. He puts on a fake polite smile for a beat but then his is jaw sets, mouth working as his eyes drop - unable to look Crowley in the eye.

Crowley tells him to listen as the music fades out and points upward. Aziraphale humors this, glancing up a few times before looking frustrated, saying he can't hear anything. The light from the window shines down in his direction without actually touching him. Crowley tells him "That's the point. No nightingales." The shot he's on here is a dark one without even any of the book shops pillars visible in it to brighten the shot.

Aziraphale looks frozen a moment here and then as Crowley calls him an idiot and says 'we could have been us' his face completely crumbles. He rapidly glances away to hide his face and Crowley moves and reaches to pull him back. They're both distraught. Az is clearly already holding back tears even before Crowley touches him. The angle of this shot frames Aziraphale in the light of the window. For the first time in this whole sequence Aziraphale is in the light, literally being physically pulled into it by Crowley.

The music swells, playing a similar theme to the one that plays as the Pillars of Creation are formed at the start of the season. They shift back and forth, the camera focusing on Aziraphale's face and hands. His hands move uncertainly, trying to reach out even as he's struggling emotionally. He is visibly shaking but he crucially does not pull away, not even a little.

His hands settle on Crowley's back, right where his wings would be, and for a brief moment gets taller, like he's allowing himself to lean into the kiss. They press together tightly, their mutual gravity sending them crashing together before they break apart. When they do Aziraphale looks devastated and his eyes move pretty much instantly to look out the window where the Metatron would be.

Crowley's glasses make him harder to read here, but he looks at Aziraphale like a man awaiting judgement in a trial he knows he's already lost. He's sad too, but as always, is waiting for Aziraphale's reaction. Because he might push continually at he boundaries of them as a unit but he has always let Aziraphale decide where to set them in stone.

Az fumbles over words here. He gets stuck on "I" here and lets it hang in the air. He then visibly thinks his words over, his expression slowly filling with resolve as he comes to some sort of conclusion. Then, like it's difficult to say, he falls back into old coded language. "I forgive you." A thing he has always said in response to things that he agrees with but cannot or should not allow himself to have.

Crowley sighs and tells him not to bother, refusing to fall into the old pattern that Aziraphale has. He is setting a boundary, for once, and even if it is one born from misunderstanding I am proud of him for being able to. He turns away and leaves. And this is where Az seems most in danger of falling apart. His lips move as Crowley goes, forming the start of a 'no' after him. He draws back from the door and turns his body away from it, physically distancing himself from anything that would feel like following Crowley. Except he can't help himself. With shaking hands he reaches up to touch his lips. He presses in, like he's trying to recreate the pressure and then his jaw works a moment and his expression sets as resolved.

The Metatron enters through the front door, which is framed in dark lighting. Aziraphale looks panicked and immediately turns his whole body away from him to hide his face while he collects himself.

He turns around after a beat and the Metatron asks 'how did he take it?' This is an odd question that only sort of half fits the fact that we are meant to believe at this point - that Aziraphale should be obtaining a yes or no from Crowley. It's not asking Crowley's choice at all. It's like the Metatron assumed a different conversation had happened or perhaps that he already knew the answer.

Aziraphale says he took it badly and the Metatron just takes a moment to direct a few casual digs at Crowley. He references him being stubborn and too curious - all the while avoiding the use of this name. At this point Az's eyes are locked out the window in the direction Crowley vanished to. The Metatron asks if he's ready to start despite originally having promised Az time to think over his answer. Aziraphale keeps glancing out the window.

For a moment he cracks, stepping away from the Metatron and back toward the east side of the bookshop. For the only time in this whole sequence he steps right into the sunbeam Crowley started in. It notably never illuminates his face as he mentions the issue of his bookshop (a statement absolutely not about the bookshop).

The Metatron explains Muriel will take care of it. Aziraphale looks back out the window with the start of an objection.

The Metatron interrupts him asking if there's anything he needs to take with him. Az's mouth takes a moment to try and form words. He steps out of the light again, starts to object, and then cuts off, eyes back to the window. Then his expression shifts again, settling in another state of resolve before he puts on his falsely polite face and follows the Metatron out.

As they leave the shop we cut back to Crowley. Crowley, who could've left to go handle his own emotions, did not leave. Instead he planted himself there, nice and noticeable. Like he wanted Aziraphale to see and know that he still has a choice. Like he needs to see Aziraphale make that choice for himself. Like he can't quite bring himself to be the one to close that last door. He stands there, framed by light, and doesn't move until the doors to the elevator to Heaven close behind Aziraphale. He then glances at Nina and Maggie and then gets in the Bentley, which starts playing the song that we now know he knows is supposed to be theirs. He turns off the music and drives away.

So there's a lot in these sequences and most of it probably won't help us figure out exactly what comes next, but there are definite signs that all is not as it's being presented to us. Whether he's actively lying or not, something is wrong that Aziraphale either can't or won't talk about frankly with Crowley. I suspect, whether it's under stress from a literal threat or because he believes that it is the safest option for them, that Aziraphale is doing all of this to protect Crowley.

There are also all sorts of signals here, especially in the lights, that gesture at the fact their togetherness is a net good. Together they are balanced and stronger for it and likely more in alignment with the Ineffable Plan. And, more importantly than that, that said togetherness is so clearly what they both want. They have loved each other longer than anything alive has ever loved anyone and none of this changes that. They both are saying that in their own ways here, even if those ways are not ones the other is particularly good at picking up and I for one cannot wait to get to see the payoff of them learning how to.

#good omens #gos2 spoilers #good omens spoilers #good omens meta #kind of #is it meta if its mostly me pointing and yelling?#come suffer with me #you have no idea how many times i had to watch these sequences for this #crowley #aziraphale #the bookshop

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lovaboy · 1 year ago

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anyway i love muriel so much, they looked terrified on the elevator ride down to earth with their bosses and crowley but the second they all step into the bookshop muriel's like oooh BOOKS! and completely tunes out of the conversation 😭 they literally don't look up from this book until aziraphale rings that bell to call for order, and then they go right back to it when shax starts talking i'm DECEASED.

me when i've just been caught helping a demon access sensitive files by one of my bosses, exposing the mystery of the entire season, and then get dragged into a fight between my bosses and the bosses of hell but i'm autistic and very nervous so i just read this book for the entire debacle

#my BEST friend muriel.#good omens #good omens 2 #good omens muriel #good omens spoilers #muriel #jess.txt #go: originals

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hoarder-of-dragons · 11 months ago

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Crowley: Well well well, look what the cat dragged in.

Crowley: Wait should I say hellhound instead, cause you know Armageddon and all.

Crowley: Wait let me start over.

Crowley: Well well well, Look what we have here, Archangel fucking Aziraphale.

Nina from the sidelines: Oooh burn.

Maggie: You're doing great sweetie.

Muriel: Mr. Crowley perhaps you should take some rest from practicing. You have been threatening that picture of Aziraphale for the last 4 hours.

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melbatron5000 · 7 months ago

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The Big Damn Kiss

Buckle up, my fellow Good Omens Ineffable Mystery Puzzlers, Crackpotters, and Assorted Brainrotters, because I learned something HUGE yesterday.

This will be a bit of a long post, because I want to show you exactly how I got where I am. I want you to understand. I want to put all the naysayers to bed (ha! But I'm still gonna try), and settle this once and for all.

I know (almost) exactly what Crowley gave to Aziraphale during the kiss.

DO NOT TAKE ANY OF MY THEORIES TO NEIL! PLEASE!

Okay? Okay. Thanks. Shall we begin?

Ahem.

Firstly, whether you believe me or not, I am 100% certain that Crowley did, indeed, give something to Aziraphale in his mouth during The Kiss. I've covered that in the link previous. Okay? Okay.

I did not know what it was. I've now heard theories that it was a bullet (nope), a ball bearing (nope), hellfire (nope), and no one, NO ONE has suggested what I see. (If you have, hello! Talk to me!)

Here's our first foreshadowing Clue:

And here's our next foreshadowing Clue:

And the next:

And our last Clue:

With me so far? Well, that first GIF is a bit off, I couldn't find one of Crowley actually spitting out the flies. But he does. When Beelzebub first drags him to Hell, he actually goes "Pleaugh!" and spits out four or five flies. Edit: Found it!

Moving right along, we come to Crowley in Heaven with Muriel, looking at the trial. We learn two important things here:

One, Gabriel doesn't have a desk.

Two, Muriel does. Where they keep the records. And it's a bit lonely. Every few hundred years, someone comes and asks for something. Muriel can't access the sensitive ones, you have to be pretty high up. A throne, dominion, or higher. Like, maybe Supreme Archangel?

So if Gabriel doesn't have a desk, whose desk is he at when he's getting ready to leave Heaven? Of course I can't find a damn picture of Gabriel at the desk, but it's Muriel's. Where they keep the RECORDS.

Gabriel puts his memory into the fly, then gets on the elevator to go to Earth.

Now, when Gabriel opens the fly with his memories inside, we find out that it's a container. Bigger on the inside. You can put thing(S) in it. The bit we see of him remembering is shot in two parts, one where he's flying down a red tunnel, one where he's flying down a blue. If you slow this scene down and watch, you can see that he is NOT looking at just his own memories. There is more going on here, more that he was not present for. @embracing-the-ineffable put up a great meta about that here. Go look!

Now I figured Gabriel must have taken something else. Something important. Something useful. Something he meant to give to Aziraphale, except he forgot.

I also figured he must have left whatever it was in the fly when he took his memories out. Crowley must have realized while watching the trial footage that Gabriel also grabbed something else. I don't know when Crowley grabs the fly, but he does. And that is what he gives to Aziraphale in the kiss. Why? Well.

I had no idea what Gabriel took until I started working on the chiastic structure of season 2. I'm not done with that analysis yet, but let me show you one thing that I have found so far:

(The numbers are just to try and help me navigate the story and its events without time stamps)

My note #357 of what happens isn't quite right, but when I saw the only two times Aziraphale says "I forgive you" are towards the beginning of Season 2 and towards the end, I realized I had something.

Rephrase line 357: Crowley's kiss is forgiven IN EXCHANGE FOR RECORDS.

(Not that I think Crowley's kiss needs to be forgiven. It's just what Aziraphale says, and had to say at that moment, because the Metatron was listening in.)

What does Heaven in Good Omens remind us of most of all?

A big corporate entity. And what do powerful people do when they get fired from a big corporate entity? They download all their emails while they're cleaning out their desks. Damning emails. Emails that can be used to black mail or even destroy big corporate entities. Or, ya know, maybe they swipe some sensitive RECORDS?

Oh yes.

Records that Gabriel meant to give to Aziraphale, but he forgot. Records that Crowley realized Gabriel had put in the fly. The fly that Crowley grabbed once Gabriel had his memory out. The fly that he gave to Aziraphale when he kissed him. The fly that no longer held Gabriel's memory, but did still contain those damning records.

Here's Aziraphale reading the records:

Here's Aziraphale being horrified and outraged by what he's reading:

And here's Aziraphale realizing he has got some GOOD DIRT on Heaven. Maybe enough to bring them down:

That's it folks. I have no idea what the records actually say, and maybe we're not meant to know until season 3, but whatever it is, it's GOOD.

That's my story, and by God Herself, I'm sticking to it.

#good omens #good omens 2 #crowley #good omens meta #aziraphale #ineffable husbands #aziracrow #good omens analysis #good omens fan theory #ineffable mystery #aziraphale elevator #corporate heaven #the big damn kiss #the kiss #good omens muriel #good omens gabriel #good omens beelzebub

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iliveforyouilongforyouvesuvia · 9 months ago

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Vesuvia Weekly: What it's like to hold the M6

~ my submission for this week's prompt - have some sappy headcanon drabble ^.^ ~

Julian

The sounds of leather folding and bending and creaking, of a pent up sigh, of a noble, anxious, too-big-for-its-own-good heartbeat fluttering against those thin, bird-like ribs

The smell of - yes, more leather - with a slight hint of sweat and the faded scent of the crushed herbs used to stuff doctor's masks

The feel of a well-worn, weather tested, oversized coat falling around both your frames, a cold set of bony fingers tangling into your hair through protective gloves

The sight of folded black cloth and slightly dulled metal buttons, a pale neck cradling your forehead, auburn stubble shivering over a bobbing adam's apple

The bitter taste of sea-salty lips, self-sacrifice, and coffee

Asra

The sound of an airy chuckle, a curious whisper, a deep, relaxed sigh, a heartbeat that touches your own with every gentle thump

The smell of smoking incense, sparkling spices, and syrupy vanilla, lurking beneath the petrichor of sunny spring rains on the dust of a far-off highway

The feel of a soft shawl on your cheek, sturdy linen body-warmed and slightly rough under your arms, heavy, heated hands running soothing pathways along your spine, cloud soft curls on your ears, a deceptively slight frame

The sight of golden metal and silvery blue stone on smooth skin, the barely-there rise and fall of a body slowly relaxing into yours

The taste of smoky tea, home, and desperate dedication

Nadia

The sound of rustling silks, the quiet clink of bracelets and rings, the hush of long, thick hair falling over chiffon-clad shoulders, a contented, throaty hum, a lofty heartbeat

The smell of jasmine, rose, pepper, and amber, of warm silk and chilled white wine, of flower gardens and powdery cosmetics

The feel of a heavy curtain of hair against your face, body warmth passing quickly through thin, gauzy sleeves wrinkling under your movements, of strong fingers tilting your chin into her collarbone

The sight of glinting gemstones and finely crafted metal, intricate embroidery stitches swirling across lustrous fabric, scalloped hemlines along sculpted shoulders

The taste of spiced fish, wine, and plush, commanding adoration

Muriel

The sound of heavy, rough cloth slowly dragging across itself, breaths hitching deep and slow, a grumble quiet and low enough to shake the earth, a nervous, powerful heartbeat

The smell of myrrh hanging around you like a cloud, of warm fur and chilly forest air, of falling leaves and running water and smoke

The feel of muscle and scruff, of radiating body heat, of massive, calloused palms alternating between gently splaying over your shoulders like blanketing weights and hovering cautiously around your waist in fluttering, feather like touches

The sight of thick, dark hair falling in choppy lengths over stubble and scar tissue, of thick green cloth over sinew

The taste of grilled forage and mead, of healing and steadfastness

Portia

The sound of an excited giggle, springing footsteps and jingling keys, a happy gasp and unstoppable heartbeat, a mischievous secret getting laughed into your ear

The smell of air-drying laundry and soap, hair oil and cocoa butter, fresh bread and sizzling butter and caramelizing berries

The feel of strong forearms, small, calloused hands, the push of energetic bouncing against your shoulder, of hair flying around your face, the plush squish of a no-holds-barred bear hug

The sight of fiery curls spilling over clean, pressed cotton, freckles speckling creamy skin, the occasional grey and white cat hair clinging to black ribbon, the dusk of a happy blush

The taste of yeasty bread, and the comforts of adventure

Lucio

The sounds of nearby dogs panting, a cutlass clanking in its sheath, the mechanical whir and musical hum of an alchemical arm, a confident, snorting chuckle and a devoted heartbeat

The smell of fresh sweat, warm metal, cinnamon alcohol in a journeyman's flask, hair gel and worn cologne

The feel of a padded, quilted vest, the quick rise and fall of an active chest, the slight tilt of a shoulder forever sloped in favor of a heavy arm, the sinewed grip of a warrior's touchstarved fingers and the cool, metallic touch of a careful clawed hand

The sight of sharp collarbones and glinting curved gold, fine flaxen hair at the nape of a snowy neck, crimson cloth and leather straps

The taste of grilled meat, traveler's wine, and new beginnings

#vesuvia weekly #hold the LI #ask arcana brainrot #the arcana #the arcana game #the arcana headcanons #the arcana hc #asra the arcana #julian the arcana #nadia the arcana #muriel the arcana #portia the arcana #lucio the arcana #asra alnazar #julian devorak #nadia satrinava #muriel of the kokhuri #portia devorak #lucio morgasson

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sxftkxssxs · 2 months ago

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If you are free and in the mood, can you write about the M6 or just Asra, lucio, and Nadia reaction to MC donating third of what they make from working in their magic shop, like they donate it to charities or families that need money.

I can never resist adding the slightest bit of hurt to Asra's part (he makes me violently ill.)

I don't really know how I ended up having all of them giving to charities themselves but they all definitely would at one point or another.

M6 with a MC who donates to charity

Asra

He'll offer more ideas on how to donate or give to the charity of MC's choosing. He'll try to slip some goofy things in if they're donating to kids, he wants them to have fun!

They definitely kept this tradition up if MC started it before the Plague, since it was something important to them. Though, he'll always be a little teary eyed while he does it.

Once MC is able to walk and talk on their own, they'll ask them to pick charities every so often to give to. If they pick one they used to give to a lot he gets a sad look on his face they can't understand.

When they go on their trips they make sure to bring enough supplies back to donate a good amount and still have some for themselves.

Asra likes to donate to charities that focus on kids. Especially ones that include orphans.

Julian

He'll mostly tease at first.

Even though he's teasing, he gets a warm feeling in his chest seeing you be so kind to all these people.

Julian gets somber when he sees families struggling to stay together. It reminds him of having to leave Portia.

He'll absolutely want to be part of it but uh, MC, what do you expect this man to give?? He's been on the run for years!!

He likes to donate to medical related charities, but still varies often. His second most donated to is family charities.

Nadia

She loves that MC cares so much for her (and possibly, eventually, their) people so much.

She knows that the time she was asleep and with Lucio, she neglected her people. Even if she never meant or wanted to, it happened.

It warms her heart that they still cared enough to help others less fortunate.

She'd love to join! Just, tell her not to overwhelm these people. Please.

Muriel

He's honestly not thought about charities for...a long time.

Before him and MC get close he'll be on edge about it. He doesn't trust apperances.

Once he gets closer and realizes MC just wants to do it to be a good/nice person, he relaxes.

We've seen this man be so kind when he's finally allowing himself to be his own person. Apply here!

He likes to make things for charities. Blankets, Furs, etc.

Muriel would likely want to donate to charities that focus on family or orphaned children.

Portia

she is ecstatic!!

This woman has donated since she got herself into a good stable position and you cannot tell me otherwise.

She's been donating to charities that revolve around keeping families together or children. She understands the pain of losing family more than they realize.

She would want MC to donate to wherever they wanted, give as many people a chance as you can!

Pre-Upright Lucio

He's genuinely confused

They'd rather give that money away?? They could've spent that on something extravagant for him themselves!

The whole idea confuses him immensely.

Once MC starts dragging him through the magic realms and lovingly forcing him to face his own consequences, he'll start to grasp the concept much more.

Post-Upright Lucio

This is a new and improved man right here!

He'll even participate with you! if you help him decide on what all to give? He's still lost on what is best there

Surprisingly, he's the one to suggest donating to families or children.

He still holds so much guilt over his actions. He knows that he's gonna live with that the rest of his life, but at least he can do something good with his second chance, right?

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