#omens rambling

[eroticomens]

i have this headcanon that wade is actually a really 'organized', cleanly person (when he's feeling okay). i imagine this is partly due to his time in the military, but more deeply ingrained by childhood trauma. little things he can't unlearn no matter how few fucks he gives-- he makes his bed every day. he washes the dishes before they pile up. he folds his clothes right out of the dryer. it's just second nature sure there are piles of shit everywhere, but nothing is gross or grimy. so what, the clothes never make it into the dresser or the same few dishes just end up back in the sink over and over again because he's too lazy to grab something different from the cupboard. out of sight, out of mind! (open storage is his friend.) he knows exactly what's in each pile and if you try to reorganize his chaos, he's gonna bite his own fuggin fingers off because now he cant find anything and nothing makes sense anymore when he's NOT feeling okay, the switch flips and the state he lives in becomes an actual health hazard. i feel like, left to his own devices, he ends up like this more often than not

[camilleflyingrotten]

[crowleys-bentley-and-plants]

New concept idea: blackout poetry of the bible but make it as gay as possible (and good omens themed of course)

[parlapina]

"How would you describe most of your favorite shows/books?"

Like this:

[viperinz]

aziraphale aka the ceo of heart eyes towards one (1) specific demon that is the love of his life

[mac-tirs]

the usage of different types of english in elden ring

most human/tarnished NPCs we meet, like rogier, ansbach, and nepheli, use late modern english:

"a sorcerer, as you might have guessed. i'm looking for a little something, here in the castle. when i'm not hotfooting it from the troops, that is." - rogier, first meeting "general radahn. a pleasure to see you, after all this time. but those remains do not belong to you." - ansbach, upon summon for PCR

but older demigods like messmer, ranni, and morgott use early modern english:

"thou'rt tarnished, it seemeth. mother, wouldst thou truly lordship sanction, in one so bereft of light? yet… my purpose standeth unchanged." - messmer, pre-battle cutscene "thou needst not indulge them unduly, but they too wish to appraise thy worth. it hath been a passing long time since a newcomer entered my service, after all." - ranni, after agreeing to serve her

then there are the younger demigods, like miquella, malenia, and potentially melina, who use a later variant of modern english, similar to the tarnished NPCs we speak to:

"if we honour our part of the vow, promise me you'll be my consort. i'll make the world a gentler place." - miquella, post-PCR cutscene "the scarlet bloom flowers once more. you will witness true horror. now, rot!" - malenia, phase 2 transition cutscene

finally, the hornsent NPCs like the hornsent, hornsent grandam, and the hornsent spirits such as the one outside the whipping hut, who use late middle english similar to the english found in shakespeare's sonnets:

"fie, another? ... then, as that woman would surely say, we are in our purposes well aligned. but understand. your kind are not forgiven. the erdtree is my people's enemy. by marika long betray'd, set aflame." - hornsent, first meeting "all your resentment lingers yet... the raw stuff from which i shall surely forge a curse. upon the dastard messmer's head. upon marika's children each and all." - scorched ruins hornsent spirit

i find it interesting how different the usage of english is in the game, and i feel that it can be a hint on how to properly date an individual's occupation in the lands between/land of shadow. the hornsent, being a people much older than many in the lands between, use the most archaic version of english, while the tarnished and younger demigods use a form of english more closely related to our own in the current period. older demigods (and marika herself, as heard from melina's recounts of marika's spoken echoes) use a form of english more closely related to the period of transition from middle english to early modern english.

additionally, another interesting thing to me: mohg is almost certainly nearly the same age as morgott (since they're referred to as twins), yet he speaks a little differently compared to morgott:

"tarnished, thou'rt but a fool." - morgott, post-battle dialogue "dearest miquella. you must abide alone a while." - mohg, pre-battle cutscene

this makes me wonder if it's possible that, assuming that miquella's verbiage is indicative of his younger age in comparison to the older demigods (aka the demigods born before the marika/radagon union), miquella's charm altered mohg's perception enough to also alter his manner of speaking and carrying himself in some way. if his pursuit of finery (dressing in embroidered robes and handling himself with poise, juxtaposing his bestial growls and strength) was mainly done in an effort to fit into miquella's ideal of a consort. of course, mohg could just be as vain as he seems to be all on his own accord, but i find that it's interesting to entertain the idea that even his current state of being was due to miquella's charm.

i'd love to hear what others think about this. i'm not very learned when it comes to english (it's not really my first language), but i find this all very cool to think about.

[starboymp3]

anyways. thinking about the bentley doing literally anything aziraphale tells it.... not speeding, turning yellow, giving him sweets, playing whatever he wants..... you know that quote from howl's moving castle, “calcifer, you're being so obedient”..........

[mitsybubbles]

[minty-and-fresh]

Watching Beezlebub give such an amazing offer to Crowley if he were to hand Gabriel’s location over to them hits COMPLETELY different upon rewatch.

They’re like “I will let you back to Hell, promote you, give you a raise, if you get me the Archangel Gabriel.” and then the finale comes and we get hit with this:

“Well wherever he is, you find Gabriel for me, and you can have whatever your nasty little heart desires! You could be a Duke of Hell!”

Quite romantic now isn’t it?

“You hear anything about this, you come to me first yeah?” Is them being protective asf over Gabriel and worried about where he is and what will happen if Heaven gets to him first.

[bloodymarymorstan]

So yesterday I watched all the historical scenes of Crowley and Aziraphale in chronological order and then feverishly came up with a new interpretation of the "you go too fast for me Crowley scene" so here it is:

Ok so now we know from season 2 that the Dirty Donkey pub where Crowley holds his heist-planning meeting is right across the street from Aziraphale's bookshop. This means that when Aziraphale goes to meet Crowley in his car he literally just walks across the street, but it also means that when Crowley offers to drive Aziraphale somewhere he isn't offering to take him home. The previous implication of that interaction was that Crowley was going to drive Aziraphale back to his bookshop, but Crowley knows that the bookshop is only a 30 second walk away so that's obviously not the case. In fact, Crowley doesn't actually ask Aziraphale if he wants to be driven home, what he actually says is "can I drop you anywhere?" and then "I'll give you a lift, anywhere you want to go".

So now we know that Crowley isn't trying to drive Aziraphale home, the conclusion we have to draw is that he's asking him if he wants to go somewhere else with Crowley. This is kind of a covert way of wording things, but Crowley is still testing the waters at this point in their relationship. He pulled this same tactic in 1941 when he said he would give Aziraphale a "lift home" and then ended up taking him somewhere else which led to them spending the entire evening together. "I'll give you a lift" has essentially become code for "let's hang out". This also explains why Crowley looks genuinely disappointed and upset when Aziraphale turns down his offer (and why Aziraphale acts apologetic about it).

But, considering that we know Aziraphale has fallen for Crowley by now AND that they went out together in 1941, why the "you go too fast for me Crowley" line? My explanation is this: in 1941, Crowley nearly got in big trouble with Hell simply for having been seen with Aziraphale, and not only did he not seem that bothered by it but he is now asking Aziraphale if he wants to go out again even though they've both been directly confronted with the risk this poses for him. I think it scares Aziraphale that Crowley is willing to risk so much just to spend time with him - he's not ready to confront the truth of what that means yet, and he's also not yet at the point where he'd be willing to take the same risk with Heaven. As usual, Crowley is a step ahead of him in terms of his commitment to their relationship, hence "you go too fast for me". Keep in mind that Aziraphale was very caught up in the moment in 1941 and has had a lot of time to reflect since then about the potential consequences of a relationship with Crowley, and he's just not ready yet even if he definitely wants it.

As a side note, I think it makes a lot of sense that this is the point when Aziraphale agrees to give Crowley the holy water (and why Crowley is more determinedly seeking it in the first place), because now both he and Crowley more fully understand the the danger Crowley will be in if Hell finds out what the two of them have been up to.

[eroticomens]

i imagine deadpool being genderfluid in the most nonchalant way possible. (using he/him in this post for quick readability)

to the point where he doesn't even really bother bringing it up, because it doesn't matter how anyone perceives his gender but himself-- or maybe that's just what he tells himself. if you perceive him as male, he's not going to argue with you on that because it just doesn't matter.

gender feels like something that should be played and experimented with. everyone just assumes 'oh that's just deadpool being deadpool, wild lil shit,' when he puts on a dress or heels, but wade's just following his heart. maybe the fact that nobody takes him seriously reinforces the idea that it's just not worth the time or effort? but then i imagine someone with mind, emotion or aura reading capabilities for example, calling him the pronouns he's actually vibing with in that particular moment without him even bringing it up, and they're clearly not joking or trying to poke fun at him like everyone normally does. and the euphoria, the validation is just so real that he cries big ugly tears and will NOT stop hugging, and everyone's like "why is deadpool crying because charles referred to him 'she' wtf"

[ahalliance]

i am absolutely fucking deranged about how crowley so clearly replaced the word “couple” with “a group of the two of us” then followed it up with “and we’ve spent our existence pretending that we aren’t.” how you can see azi understands perfectly welll what he means and gets this panicky look in his eyes for it . they spent their existence pretending they weren’t a couple. i need a lie down

[crowleys-bentley-and-plants]

I dont know what's going on but im happy to be a part of it

[viperinz]

i absolutely adore how nothing has changed in the way aziraphale looks at crowley like he's been smitten since day one

they're actually the first love story of the good omens universe (real) (not fake)

[mac-tirs]

the not-insignificant differences between the omen twins

so, i saw this picture posted by @amanaci which inspired me to write this rather lengthy piece on the contrasts between morgott and mohg. i decided that, instead of dumping this whole think-piece on their post, i'd make my own separate post and ramble here.

this difference in their height really tracks for how their fighting styles and personalities are like, i feel. i always found it peculiar how different they are despite being twins; i feel like there's a rather stark resemblance between miquella and malenia in their soft-faced features, pale skin, and long flowing hair, and a close resemblance between the carian siblings with their red hair, but morgott and mohg are rather different from each other, only bearing similarities due to their omen nature. i looked a little bit into that and found that there's pretty good reasons behind why.

firstly, morgott is severely malnourished and unhealthy in comparison to mohg. you can see it in his body and how his skin sags, how his ribs and bones show, and how dry it looks. below is a comparison between his hands and mohg's hands.

morgott's hands are dry, almost rubbed red and raw around the knuckles and fingers. it reminds me a little of psoriasis, or some kind of skin discolouration caused by his poor health. it's likely he isn't eating well, or at the very least, he isn't eating as well as mohg. his twin, on the other hand (ha!), has shiny, veiny skin with a healthy colour and gleam to them. it's like he wants to call to attention how well moisturised he is (which, in this case, compared to morgott, he is).

above is a comparison between the twins' horns. the difference is extremely evident to me; morgott's horns are dry, almost seeming brittle, like sun-dried bone that hasn't seen rain or moisture in years. it reminds me of the horns of a very neglected ram, almost, but despite that, the horn growths seem more controlled, less like the wild growths all over the royal omens of the shunning grounds and more controlled as a sort of jutting crown from mainly one side of his head. meanwhile, mohg's horns are shiny, curling wildly to the point of injury, taking his eye in its path of growth. they grew wildly enough to replace his hair altogether, if he ever had any, and give him an even more imposing silhouette with a literal crown of horns (and a beard to boot). beyond this, his horns look healthy, with clearly defined rings to each growth that shine under the light, much like the rest of him. he's oiled leather to morgott's dry hide.

another somewhat interesting detail of morgott is his tail. i know a lot of people see it as soft, and it certainly looks the part, but what i find interesting are two things: the first being that his fur looks quite matted in some lightings and angles but overall looks soft to the touch, and the second being that his tail's horns look much healthier than his own horns on his head. this is in clear contrast to the rest of his body, which looks dry and unassuming with smatterings of coarse white hair up and down his body, and i believe its a matter of the limits to his own self-care. he utilises his tail as another weapon in his arsenal, so he cares for it that it might serve him well in battle, unlike his head of horns, which only serve as a detriment to him with how they must obscure some of his vision, if not most of it. additionally, he likely could bear to look at his tail and care for it, but for an omen that hates his nature more than the average, he probably doesn't enjoy looking at his own face in the mirror enough to properly care for himself.

which brings me back to the sheer differences between these two. morgott, unhealthy and self-loathing, neglects many visual aspects of himself likely because he sees vanity as a luxury not afforded to someone like him. mohg, healthy and self-obsessed, cares and grooms himself to appear very much so like the lord he claims to be, loving himself to a heretical extreme (in the eyes of the golden order). their statures reflect this too; morgott hunches low to the ground, ready to pounce at any given moment but also due to his own shame and humility, while mohg stands tall and proud, though not as tall as he could possibly be due to his upbringing being one of likely having to hunch low to fit beneath the ceilings of the smaller parts of the shunning grounds.

above is a picture of an omen from stormveil, which bears resemblance to all the omen you see in the game. in terms of clothing, one of the big ways people set the omen twins apart, morgott is completely naked save for the ragged cloak of animal hides he wears, signifying he is not fit to even dress himself in a shirt or trousers as befits a king, much like the omen pictured. he wears even less than that, actually, since he lacks even the slightest adornment save for the rope that clasps his cloak together. on the other hand, mohg is entirely adorned in finery, wearing a beautifully embroidered, fashionable priest's robe with matching vestments, and beneath that (as seen in the first image) some underclothes, a plain black button up and some pants. mohg's entire silhouette changes with the removal of his robe, while morgott's barely makes an impact once you realise he has only taken off the one article of clothing he had.

then, of course, there are their fighting styles. there's this fantastic video on youtube that i recommend watching of the twins fighting every major boss in the game, and you can clearly tell them apart from their fighting styles alone. morgott is fast, his size making him look deceptively slow only for him to dart out and do sick flips and somersaults and pirouettes that rival even the most flexible dancers, and he fights with speed and almost animalistic ferocity, save for when he conjures his weapon incantations. mohg is slow but strong, capable of swinging that large trident around like it weighs nothing while hitting with the force to knock down most enemies in a few hits, and most tarnished in just one, but he fights with a steady gracefulness in his every move, walking slowly and carefully while casting spells that hurt a lot.

even their phase 2 transitions are markedly different, with morgott's being one where he drops to his knees, vomits, and releases his cursed blood(?) all over the battlefield, causing his weapon to become alight with his curse and for him to fight with more in-your-face aggression, and with mohg's being one where he simply ignores your attacks and begins stabbing his spear into the formless mother for power at your expense, gaining a majestic set of wings that put distance between you and him so he can cast more of his spells at safer distances. where morgott is pushed to his limit and forced to confront his nature, mohg has long since embraced it and enjoys the fruits of his bloody labour with the mother of truth's blessing.

speaking of the mother of truth, even their patron orders are at odds with each other. the golden order was built upon the foundation of a very carefully-guarded lie: that marika is the one true god, which she can't be, with the existence of radagon (as per goldmask, perhaps the number 1 fundamentalist we meet in game). the formless mother is known also as the mother of truth, existing in direct opposition of the golden order's lies and craving the honesty of one of the purest expressions of life: blood. these two ideals would war against each other, with one being dedicated to the upholding of a beautiful, corrupt lie and the other being dedicated to the instillation of a dynasty of raw, pure truths. as such, even morgott and mohg's own great runes reflect these contrasts in faith, though, remarkably, these two great runes are ones that fit perfectly over each other, with mohg's slightly elevated (seen below, taken from the fextralife wiki).

so, where does this leave us? i don't know, exactly. i wasn't really writing this with any sort of ultimate conclusion. i just found it really interesting how different they were, and i wanted to talk about all the noticeable, significant differences between them here. thanks for coming to my ted talk.

[ghostlycollectorchaos]

i think there's something to be said for how in almost every piece of queer media you'll have a scene where character A asks character B to run away with them. i'm talking alpha century, i'm talking sailing to fucking china, i'm talking jonathan sims considering gouging out his eyes with martin blackwood and just walking away, i'm talking peter nureyev and juno steel in season 1, i'm TALKING about LAN WANGJI and "come back to Cloud Recesses with me".

there's just something so inherently bittersweet about the idea of running away with your loved one that's deeply ingrained in the queer experience and i think that's lovely.

And there's also something to be said for the fact the answer is almost always "no"