#sword and serpent

[illustratus]

[damehimari]

Mother...

Was this thy unholy design?...

to turn mine conquest into a prison of time?...

Messmer's tone change hurt my soul.

[wearemercs]

St. Georgia by WassNonnam

[quoththemaiden]

I still can’t get over how the opening scene of Good Omens was the serpent of Eden being told to “go make some trouble” and deciding to tempt humans into gaining knowledge, and an angel being issued a flaming sword and told to make sure the humans don’t return to Eden, and instead of using the flaming sword to guard the gate he tells them “it isn’t safe for you here anymore” and gives them the sword so they will be safe out there. And then they stand around quietly panicking about it together because both of them suspect that isn’t quite what their instructions were supposed to mean.

[fuckyeahisawthat]

on switching places

So I’m sure you have noticed that during the whole end of episode 6 there is this beautiful bright light coming in the bookshop windows. From the east. Because it’s morning.

(Even if we didn’t know what time of day it was, we know what direction the light is coming from, because these windows are right above Aziraphale’s desk, which faces east.)

And after Crowley leaves the bookshop, he goes across the street, and Aziraphale keeps glancing toward the door and window, looking over at Crowley, hoping he’ll come back. (He always comes back.) The blocking in the scene with the Metatron, the one where Aziraphale almost decides to stay, is set up so that he’s looking the wrong way, toward the windows on his right instead of to his left, where Crowley should be. (And, when he seems closest to saying no, he steps back, right to the edge of that beam of light that almost seems like it’s from Crowley.) And we know that their blocking stays reversed (Crowley screen left, Aziraphale screen right) for the rest of the episode.

But also, Aziraphale is looking east. To what is normally his position, as guardian of the eastern gate.

Which got me thinking. What if they have switched places? Not literally in a bodyswap sense, but metaphorically in terms of their relationship to humanity.

They’re the serpent and the sword, right? Those Biblical symbols are already subverted in the story of Good Omens. The sword is something given to humans for their protection, not something meant to be used against them, to keep them out of paradise. (And in the world of Good Omens, leaving Eden looks a whole lot like escaping.) And the apple is framed as a positive symbol too. It’s knowledge, questions asked and answered, the ability to make your own choices. It’s freedom.

So what if they’ve switched roles, and by the end of season 2 Crowley has taken up Aziraphale’s position as the protector of humanity (as we saw him do with individual humans many times this season). We all know Crowley won’t actually be able to abandon humanity and the Earth when the chips are down. I think it’s highly likely that some part of season 3 will feature Crowley on the side of humanity against Heaven, probably in what he considers at that point to be a suicide mission, but he can’t just walk away.

And then what if, in season 3, we see Aziraphale take up whatever the equivalent of Crowley’s position would be in that plotline, as the character who grants freedom and choice to humanity in some way. (By freeing Earth from Heaven and Hell’s power? By figuring out how to give humans the choice to interact with angels and demons only if they want to? I don’t know exactly how this would play out, but it’s a fascinating idea to poke at.)

Of course I think they will ultimately end up working together and whatever happens will require their combined power, but I think it would be amazing if we saw this kind of role reversal. And it would fit with their character arcs: Crowley being the one who is ready to stand and fight even when it looks hopeless, and Aziraphale being the one who gives humanity the power to question, challenge and disobey Heaven.

Protection and freedom—those are their gifts to humanity. (The Bible might call it temptation, but there never was an apple that wasn’t worth the trouble you got into for eating it.) And it turns out that those are the exact same things Aziraphale and Crowley need for themselves. You can’t have one without the other. “Protection” without freedom is just control, and freedom without the ability to defend itself gets crushed by the forces that don’t want it to exist. And so their fates are tied to humanity, as they were from the beginning. And maybe humanity will be able to give them the same gifts in return.

[venomoftheshank]

"Vennnnni!" "Dad!" - @darkness-sees-all [Darkheart + And Sword too!]

Venomshank perks up from his napping spot. This time he was out of his room and napping on the arm chair.

He tiredly looked over at the two, sitting up and fixing himself up. Oh shit- he forgot what today was.

[youryurigoddess]

On love and sacrifices

There’s so much more to this scapegoating business and big sacrifices referenced in the Good Omens narrative than the literal goats. And they’re only getting bigger, louder, final.

But let’s take it slow and start with the beginning, quite literally — i.e., with the Good Omens 2 title sequence. As we follow Aziraphale and Crowley on their journey, the universe warps and their usual left and right side positioning switches during the magic show (not accidentally an act of trust and sacrifice required both from the angel and the demon). They stay so throughout the next scene, which is their little dance in the air, and after they seemingly get settled on the A. Z. Fell and Co.’s roof and back to normal, the flipped sky in the background suggests that something’s not quite right yet. In the central part of the shot looms a large, humanlike shadow of the Elephant Trunk Nebula.

The nebula is a part of a constellation called Cepheus, after an Ethiopian king from the Greek mythology who agreed to sacrifice his only daughter in order to appease the gods and end a local calamity started by her mother and his wife, Cassiopeia (talk about generational responsibility). With time and a delightfully ironic twist of fate, the name of said daughter, Andromeda, became more famous than that of her father. Although she was chained up to a rock and offered to the sea serpent Cetus, the girl was spotted by the warrior Perseus, casually flying over the sea — either on the back of the Pegasus or thanks to a pair of winged sandals — after his victory over Medusa. He fell in love on the spot, defeated the serpent (with the help of a magical sword or Medusa’s severed head, depending on the varying sources), and freed the princess. That’s not exactly where their story ends, but we won’t be getting into the rest here.

Not surprisingly, Neil has mentioned two parallel child sacrifice stories from the biblical context back in August. The first is one of the big ones — The Binding of Isaac. God's command to sacrifice Isaac, his only son, was a test of Abraham's faith. The angel of the Lord intervenes and provides a ram to be sacrificed in the boy’s place.

The second one isn’t nearly as popular, but you might have heard a variant of it in fairy tales or as the Law of Surprise invoked in The Witcher saga. In exchange for Israel’s victory over its enemies in battle, Jephthah had rashly promised God to repay the debt with the first thing seen on his return back home. The victorious warrior didn’t suspect to see his only child moving innocently "to meet him with timbrels and with dances" though. In horror, Jephthah covered his eyes with his cloak, but to no avail: ultimately, he was forced to honor his vow to God, and the girl was sacrificed. As grisly as it might look like in the Old Master’s paintings, it’s important to remember that human sacrifices weren’t limited to physical offerings only — Jephthah’s daughter might have been offered to God in the sense of officially shunning her family and dedicating her life to service instead, probably sequestered in a temple somewhere.

Interestingly, the main character of a big chunk of the Bible and the reason for the Second Coming happens to be THE most influential child sacrifice in the modern history. You know, a certain 33-year-old carpenter sent by his Heavenly Father to die on a cross for the sins of the mankind? Someone better call Aubrey Thyme ASAP.

Circling back to Aziraphale, he could be also seen as a representative of the concept of filial piety, since Eden willing to personally take a Fall not only for the humanity’s collective or individual transgressions, but the shortcomings of his Ineffable Parental Figure as well. Our favorite angel angel always fights for what is right and good, sure, but why would that be even a thing if God was truly omniscient, omnipresent, and omnipotent?

If Aziraphale’s medal is anything to go by, it looks like we might get an answer from the way it’s introducing another mythological narrative into the game, that is the story of Daedalus and Icarus. The most absorbing thing about this is the stark contrast to the recurring child sacrifice references for S3 mentioned in this post — Daedalus isn’t a father who wanted to sacrifice his son, it was his attempt to save him from imprisonment that ultimately drove Icarus to his death. The boy ignored his father’s explicit instructions, committing the grave and culturally universal sin of disobedience to one's parents that simply couldn’t go unpunished, one way or another.

But Icarus’s transgression could be seen both as high-flying ambition and striving for personal accomplishment as well as humanitarian sacrifice for knowledge and humanity’s advancement in general.

Similarly to a certain angel who left everything for what superficially seems like a work promotion, but is the ultimate act of love — both for his demon and the children they have been protecting and nurturing together for six thousand years. From the very Beginning, his white wings have been shielding everything he holds dear in this world.

[hetyra]

hey you guys remember how Capitano was nice/helpful to the knights

[julescarstairs]

“Who got you smiling like that?” The book I just finished. I can’t stop thinking about it.

[azotho]

Beat Messmer and what a coincidence, my favorite weapon was Serpent-God's curved sword and I used it for his honor…🐍

Poor boy, he deserved a happier destiny🥲

[kheprriverse]

I think the moon serpent deserves to have company during one of his falls at least once.

I wanted to write for this one but it’ll be a while until it goes up (I’ll probs reblog this with a link if it ever gets finished). This doodle and the story behind it was full of so many ideas.

[illustratus]

Banishment of Adam and Eve from the Garden of Eden

by Julius Schnorr von Carolsfeld

[therantfairysblog]

It's not only demon that extinct.

Most of the breathing form probably went extinct along with the demon, especially those which is very specifically created / derived for it's user. some of them probably turn into a ceremonial dance like hinokami kagura.

Insect and mist breathing went extinct in the infinity castle arc. Same with love, against muzan.

And this is the final act of serpent breathing form before it's went completely extinct.

And to make things stink, all of these are regarded as fictional bc this battle was basically unknown to public. The same things with hakuji's rampage which turned into an urban legend.

[vennyriz22]

Samael

Class: Assassin

The archangel and head retainer of the Demon King. Like Enkidu, he too is a sentient weapon made by a God. However he only desires the blood of sinners.

He was stuck as a sword for over a millennia until he was given to his master, Ritsuka M. Fujimaru.

[savage-kult-of-gorthaur]

AN ASSORTMENT OF DRAKES FROM A FANTASY MASTER -- WHICH ONE IS YOUR FAVORITE?

PIC(S) INFO: Spotlight on the fantasy dragon art of the late, great English historical and fantasy illustrator, Angus McBride (1931-2007).

The dragons (sans the sea serpent) are titled as such:

Light Drake

Ice Drake

Marsh Drake

Sand Drake

Rain Drake

Sea Serpent/Sea Monster

Source: www.reddit.com/r/TolkienArt/comments/1eehypv.