#tonality spectrum

[nightsealeafrainwing]

It’s be really cool if there was a device that read your mood and translated it to music in real time

[thedreadvampy]

What would you call the genre of 2010s-2020s TV shows which are:

stylistic, with cinematic transitions and colorful shots

kind of tonally YA adjacent but aimed at adults; snappy, irreverent, probably centering some amount of mystery or detective work

mildly goth/alternative aesthetic and tone

involve pursuit by some manner of Paranormal Agency with a 60s bureaucracy aesthetic, either time travel or something similar, and a range of superpowers

the/a villain is almost certainly a woman with piled up hair and a skirt suit who character design and affect wise is doing what Michelle Gomez did in Doctor Who. Separately, Michelle Gomez may or may not also be there.

have an ensemble cast of quirky, sarcastic and jaded characters, interacting with a rotating cast of similarly quirky side characters

often but not always a comic book adaptation; either way, involves a heightened reality which aims to be as 'comicsy' as possible while achieving emotional verisimilitude.

I'm reasonably certain this has to now count as a genre or at least a concrete aesthetic cause I can reel off so many of these. Off the top of my head; Dirk Gently, Doom Patrol, Umbrella Academy, Loki, and Dead Boy Detectives, just to start. I think weirdly tonally and aesthetically these shows owe a lot to Pushing Daisies.

anyway yeah is there a name for this?

[syciaralynx]

Insane that i am working on 3 fics simultaneously, with such WILDLY different themes and tone. Its like 3 mice are in my head and each one gets a turn at the wheel.

[mymindblindly]

Once upon a time kinda ate by making the object that’s the source of the slutty bisexual wizard’s power very phallic and then having various people he has Tension with fondle it menacingly.

[organisedbirds]

reign of censorship and fear is back lads

[mathmusicreading]

Xiè Lián: My surname is Xiè, my first name is Lián. Huā Chéng: You can call me your third husband. Xiè Lián: What happened to my first two husbands?!

I learned Huā Chéng was having Xiè Lián call him "husband" from Ty the Canasian on Kictor's YouTube, I found this when I was trying to corroborate the linguistics, and I indulged and bought the official Seven Seas Entertainment (translator and editor are on Tumblr!) English translations of the books so here's further confirmation from Volume 1:

ETA:

I made this post private because I was unhappy with it (misspelling/misformatting Wúmíng, knowing I wouldn't have good reach for larger and less biased sample size even if I could have tagged better for the fandoms and characters if Tumblr organized by more than the first five tags), but I'm making it public again since it finished and so did the similar poll that fun-mxtx-polls was kind enough to make for me.

Not to bias towards the first option, just to explain it, the first option and why I wanted this poll come from the naming pattern trivia for MXTX's love interests/male leads/gongs, which I think you can best read on Huā Chéng's page on the Heaven Official's Blessing/Tiān Guān Cì Fú wikia. I'm just using that as my citation given:

I'm not sure if MXTX has discussed this meta in-joke somewhere and if so, where.

The SSE Glossary: Terminology note (all volumes of all three MXTX novels) only explains the second and third gongs, and implies MXTX is doing this purposefully. Lán Wàngjī's wikia page explains only the three published gongs, and implies this started from fandom phenomena creating a proto-stage pattern (if you subscribe to "one is chance, two is coincidence, three is a pattern"). Huā Chéng's page linked above is the odd man out and so probably incorrect about Lán-èr-gē vs. Lán-èr-gēge, but it goes above and beyond by explaining the fourth gong, and it uses the most neutral language regarding this trivia.

I think citation is unnecessary for "gē" (哥 | 哥) meaning "big brother" and in certain contexts having the connotation or meaning of "eldest brother" (admittedly my unverified inference), "èr" (二 | 二) meaning "two", and "sān" (三 | 三) meaning "three".

I actually like so much because I like to think if it could use more wordplay and less literalism. Please forgive me for being a poor reader not remembering exactly, not buying the TGCF raws yet, not being able to buy the SVSSS and MDZS raws, and only being able to find old fan translations/interpretations of MXTX's fourth novel preview, but let me explain:

I believe Luò Bīnghé isn't being called "Luò Bīnghé-gē" (or rather "Bīng-gē" since I think? it's more usual to use the suffix with the single/first character of a person's given name, not with their full name, especially when the full name is three (or more? some of my reading has mentioned two-character last names but I didn't find if culture was strict about then making the given name be only one character) characters) for the usual reasons to address someone with "gē", but actually the PIDW!Luò Bīnghé is being called Luò Bīnggē (or "Bīng-gē") because he's more aggressive than canon/SVSSS!Luò Bīnggē who when being differentiated gets called Luò Bīngmèi (or "Bīng-mèi"), and I love that "very fitting reasoning for the naming, not strictly literal and not so bound to literal".

Then with Lán Wàngjī, I see the opportunity that his nickname could have used the natural naming of "erhua is used as a diminutive suffix", and the "er" would have been homophonous with "èr" (二 | 二) for "two" for him being the second gong, and homophonous to the potential "proper address for him as the second Lán son/brother".

In the most literal sense, you'll notice that the gongs so far have had their nicknames be using "(big) brother" and Huā Chéng's uses láng (郎 | 郎) "son" (his stated meaning, although it can also mean "man" and "husband" and the latter is how we can interpret he wanted it to be when coming from Xiè Lián). There's nothing wrong with that and the numbers are perfectly probable, and would still be so as they grow, but also they could feel more like "contrived" coincidence, which is part of my wanting to get away from literalism a little bit, not just my loving clever wordplay. With Huā Chéng, I don't have a homophone I can use for punning like with Lán Wàngjī, or really the "cultural language use where literal suffixes/honorifics get used figuratively for XYZ purposes", but I can make it fit with character interpretation. To me, Sān Láng doesn't have to be "Third Son" because "he has two older brothers" and in fact we aren't sure that he was telling the truth about that—instead, I think Huā Chéng could be being clever with not just getting Xiè Lián to call him (Third/surname "Three") Husband but in saying his name is "Third Man" because this is the third alias he gives Xiè Lián. (Some additional feels this gives me: It's like he's saying he's the same person Xiè Lián met before, that they shared all of that experience and it mattered, that he's the final form of that person wanting to be with Xiè Lián, that he's like a fairy-tale character with many names and forms and a true name and form and all along there was a trick or thread to follow in knowing and identifying him.) It just works out so perfectly because of the third way he introduces himself to Xiè Lián matching him being the third gong, and also the fairy-tale significant number of "three".

Finally, with the fourth gong, I've looked at Suika's TGCF Afterword translation, a NovelUpdates MDZS spoilers forum post by K.san crossposted to the Grim Reapers Have No Days Off spoilers forum by alexfilia, a reply to this post in r/tianguancifu by u/chenmochou, and also this post in r/tianguancifu by u/Loud_Daikon6167 which cites a TikTok I can't see either because of TikTok's thing about opening to a random page/the homepage or I assume the TikTok being removed or locked. Given the first NovelUpdates post maybe having more of a direct translation compared to the first Reddit post, it's still not definitive to me whether this is "actually more of a fandom thing, with MXTX acknowledging and participating in it enough to help make it possible" or it's "MXTX doing this on purpose with her name choices and character traits, whether she meant to have the pattern from the start or later, and yes could have been influenced by fandom" because I think "Other: 四少" is probably about the male lead(s) compared to it following "Protagonist: the uke's name is not determined yet" so it doesn't seem like the fandom came up with a nickname out of whole cloth. "Four young masters" is perfectly probable and could be equally reasonable, and "four ikemen" could even follow in reasonability; in fact it could be more likely and realistic since this is a modern setting, which would have different use of "young master" to me, and because we believe the gong to be the regular human and the shou to be the grim reaper. But for the wordplay, I would have liked it if the gong were the grim reaper and the "four theme naming" came from the famous "sì" (四 | 四) meaning "four" is homophonous with "sǐ" (死 | 死) meaning "die/death" and the latter being used in the Chinese for "grim reaper"/"death god".

[ineffable-romantics]

Some thoughts on why and how I believe Crowley and Aziraphale's relationship would incorporate sex/why I do not read them as wholly asexual:

This is something I've seen the most discourse about in this fandom, and I've had a few thoughts of my own that I really wanted to expand upon in a full meta/character analysis post. I do understand that this can be a contentious topic, so first, let me clarify a few things:

First of all, this is going to be long. Tbh it probably won't be that organized either. I ramble and I'm not very good at editing, so just... you know. Be warned. (*Hi, it's me from 2 days after writing this; I'm really not kidding, it's LONG)

These are all my own thoughts. They might not be hot takes, because recently I've seen more than a few people come to the same conclusions on a lot of these points as I have. But I've also had these notes in my drafts for about a week and a half now, and have been continuously adding to it as things have occurred to me. This post is essentially just somewhere for me to collect the separate but related meta I've been kicking around in my head.

I fully respect anyone who does see and prefer an asexual reading of this relationship. These are my own thoughts and interpretations as someone who is not asexual. I am in the LGBT+ community, so while I do know a few things about the asexuality spectrum, I am by no means an expert.

This is NOT something I expect, need, or even necessarily want the show (or, God forbid, Neil's tumblr ask box) to address. Tonally, it's just not that kind of show. Newt and Anathema's sex scene was very much played for laughs, and it worked for that reason. If the show found a way to address it in a way that was both appropriate for the tone of the show and ultimately satisfying, then great! But there is so much more to this relationship than sex, and I didn't need a kiss to confirm their love, so I certainly don't need a sex scene. As immortal beings (as I assume they'll stay) there is so much of the rest of their lives we'll never get to see. You can headcanon them as asexual and potentially be right. I can headcanon them as not and be equally potentially right. Again, these are just a collection of my own thoughts, because I think the question of sexuality (or lack thereof) is just as interesting a facet of these characters as any other.

Note: Tbh I've been second-guessing this whole post and debated deleting the whole thing several times for being silly or unnecessary, bc I don't want anyone to think that this is the only thing I care about when it comes to this story/characters. But if nothing else, it's inspired me to write in a way that nothing has in a very long time, so I've decided it's worth continuing, if for no other reason than that.

This is going to be a mixed bag of textual reading, subtextual reading, and a full-on reach or two. It's been a while since I've been in an English class, but if my teachers expected me to find a deeper meaning behind blue curtains, you can expect me to read too deeply into the symbolism of a loaded rifle or an ox rib. (This is probably not what my professors had in mind when grading my literary analysis papers but oh well) My point is, if it feels like a reach, I'm as aware of it as you are. I am in no way saying that all (or even any) of my points made were deliberate on the part of Neil or the actors or the writers or the directors. I am no longer the delulu Apple Tree Yard child of my youth, I promise.

If anything said here is in any way offensive or hurtful to anyone in the asexual community, please do not hesitate to message me or comment and let me know exactly what it was. I promise you it is not my intention to do so, and am happy to clarify or outright edit anything that reads that way.

With all that being said, let's talk about why I think Crowley and Aziraphale would absolutely fuck nasty incorporate sex into their relationship.

Note: I am out of practice with essay writing, so I think I'll just go down the bullet points of notes I have been making, and expand on each as best I can

Food

Where better to start than with Aziraphale's introduction to Pleasures Of The Flesh? (Just a heads up, this entire post may feel very Aziraphale-heavy, and with good reason).

This might be the least hot take here. We've all seen the Job minisode. We've all seen That Scene.

Whether this was intentional or not, the symbolism here is off the charts. Eve was tempted by an apple. So why not go a similar route and tempt Aziraphale with another fruit, or cheese, or bread, or literally anything else for his first experience with food? Instead, we go with a huge, glistening slab of fresh meat that he proceeds to absolutely go feral upon, moaning and gasping into his meal while Crowley watches with what definitely doesn't look to be disgust or even satisfaction with a good temptation. There's surprise at the ferocity of Aziraphale's appetite, certainly. But ultimately he looks to be intensely fascinated by it, while the thunder crashes, the music crescendos, and the earth literally shakes around them.

(It's also interesting to note how very little it takes for Crowley to tempt him with the ox rib. One murmured suggestion, a bit of unwavering eye contact, and vavoom Aziraphale immediately meets him in the middle.)

Cut to Aziraphale devouring the rest of the meat with Crowley splayed back on a makeshift bed, drinking wine and continuing to watch him indulge through half-lidded eyes. Outside a thunderstorm rages while they're learning secrets about each other in warm flickering firelight. It's cosy, it's intimate, and if they'd thrown in a bearskin throw blanket, it might as well be a post-coital scene straight out of Game of Thrones.

The next time (chronologically) we see them discuss food is when Aziraphale "tempts" Crowley with oysters in Rome. So Crowley first tempts Aziraphale with meat and then Aziraphale tempts Crowley with what is widely regarded to be an aphrodisiac. Interesting.

And then chronologically after that, the Arrangement begins to form, which has always reeked of a friends with benefits situation. Just to throw that in there.

It's What Humans Do

In the very first episode, we're shown Gabriel's obvious disgust and bewilderment towards Aziraphale eating sushi, calling it "gross matter" and being proud of the fact that he does not sully his body with it. Aziraphale initially tries to defend his own enjoyment in it, before passing it off as something that humans do, as something he simply has to do in order to blend in (which we know very well is not the case).

He does this again in season 2, passing off Nina and Maggie being in love as "something humans do". But it isn't, is it? Angels are beings of love, and can sense it, and understand very well what it is... up to a point. Even romantic love is obviously within their wheelhouse, given what we now know happened between Gabriel and Beelzebub (we'll come back to them).

What the "humans do" that angels wouldn't understand is messy, physical forms of love.

But here's the thing: Aziraphale and Crowley love doing what the humans do. They love drinking, they (or at least Aziraphale) love eating. They love music. Crowley loves driving and sleeping and watching rom-coms and sitcoms. Aziraphale loves reading and doing magic and earning little licenses and certificates for achievement in his various hobbies. They love to playact at being human so much that they've stopped playacting and started building a genuinely human lifestyle for themselves and with each other.

Once together in an unambiguously romantic sense, why do we think they wouldn't also want to explore one of the most prominent, intimate, powerful human expressions of love and desire with each other?

Angels, Demons, & Asexuality

Here's where I really want to clarify that in no way do I mean that sex is necessary for a healthy, fulfilling, and loving romantic relationship, or that the lack of desire for sex makes you any less human. Asexuality is a sexuality as valid and human as any. What I would say is that it is definitely in the human minority compared to allosexuality.

Angels and demons, on the other hand, are predominately asexual. Sexless/genderless unless Making An Effort. (Which, btw, is a concept introduced as early as the original book; why even bring it up as a possibility? Why not keep angels/demons being sexless/asexual as a hard and fast rule, if not to open up the potential for later use? Chekhov's Effort, if you will. And isn't that something that Aziraphale in particular is shown to do time and time again? He makes an effort in French and driving and magic, doesn't he?)

And this is why I don't believe Aziraphale and Crowley necessarily need to be asexual, narratively. There is already a huge amount of ace rep within the angels and demons (and no, not just the horrible ones. Muriel also doesn't "drink the tea" and has no reason or desire thus far to Make An Effort, and there are certainly other angels and demons who aren't horrible like the archangels seem to be who likely wouldn't Make An Effort either).

The central conflict for Aziraphale and Crowley is that they are on their own side, the ones who went native, the ones who are so different in so many ways from their respective hives. It would make sense for them to also break away from traditional angel/demon asexuality.

I say "traditional angel/demon asexuality", because I would also like to note that I would absolutely not rule out demisexuality for either of them. This post is being written to as a response to people who specifically believe that they (like the rest of the angels/demons seem to be) would be sex-averse in a relationship, and that it wouldn't be a factor in their relationship. I could easily read them as demisexual, but I do think there would be no real way of verifying this, because they've never been able to form as close an emotional relationship with anyone else but each other. Certainly not in heaven, and I can't imagine they would be able to form that kind of attachment with any of the humans, who they love and emulate but ultimately regard as the separate species they are. So yes, they could either be allosexual or demisexual, in my opinion.

Then again, now that I think about it, Making An Effort itself could be a great metaphor for demisexuality, since they would be entirely sexless/asexual until they have enough of an emotional connection with someone to consciously manifest otherwise. Since the other angels and demons don't generally form those types of emotional connections with anyone, there hasn't been a precedent for it.

Except...

Brielzebub

We do have a precedent for it now, don't we? Gabriel and Beelzebub fell in love. They are a direct foil for Crowley and Aziraphale's relationship, speedrunning right through their courtship and finding their happily ever after on the other side of things.

For being such a 1 to 1 comparison, it feels deliberate that they did not kiss. They held hands, they were gooey with each other, but they did not kiss. That feels like such a deliberate thing to omit when you know what's to come at the end of the episode between Crowley and Aziraphale.

And going back to the food = sex metaphor for a moment, let's notice how even as they fell in love over the years, even when pints and crisps were there on the table in front of them, they never felt the desire to reach out for them. They didn't need to. It's a date (love story) even if you aren't eating dinner (sleeping together).

Yes, I know Jim liked hot chocolate. No, I am not counting it because I don't consider Jim and Gabriel to be the same person with the same proclivities, and Jim was highly suggestible at the time anyway.

Gabriel and Brielzebub's big happily ever after moment (as of now) was one between two asexual supernatural beings. They did not need to kiss to drive the point home. They showed what Crowley and Aziraphale could have, if they would only acknowledge it.

Crowley & Aziraphale's Dissatisfaction

But they do have that already, don't they? If you really think about it, what do Gabriel and Beelzebub do with each other that Crowley and Aziraphale don't already? They hold hands, they spend time together, they create little rituals, they give gifts, they're visibly and verbally affectionate with each other, etc. They are more or less already in a romantic asexual marriage relationship with each other, aren't they?

And it doesn't seem to be enough for either of them.

At the beginning of the season, Crowley is immediately shown to be unsatisfied with the way things are. Obviously part of it comes from living in his car, but it seems to be more than that (especially since Aziraphale makes it clear that the bookshop is just as much Crowley's as his, implying that he could have been living there the whole time and is choosing not to, for some reason?). You could argue he's feeling unmoored without Hell telling him what to do, but isn't that what he wanted? Isn't that what he still wants, by the end of the season? All season long, he's never indicated the desire for a new job, or a new project. He stopped the apocalypse because he wanted the freedom to openly spend time with Aziraphale, to spend his time on Earth however he sees fit. Until Gabriel arrives, he has exactly that (minus a flat).

So where does the dissatisfaction come from? And if it represents anything to do with his relationship, what does he want out of it that he isn't getting already?

I think Crowley only really comes to the realisation of what he's missing when Nina names it for him, not only putting them in the category of romantic, but physical (outright asking if they are sleeping together). These two posts [1], [2] go into more detail about what I mean, but I think it really pushes him into acknowledging that their relationship is more human than either of them have stopped to consider, and what that might mean as far as everything a human relationship can entail.

After all, Nina and Maggie only advised that he should talk to Aziraphale, make clear his feelings. The decision to kiss him, to tip them over the edge from nonphysical to physical, that was all him. And no, kissing isn't sex, but I wonder how taboo even that might be in the kind of all-encompassing asexuality most angels seem to identify with. (If they're disgusted by food and drink, I can only imagine what they think of snogging, much less sex.)

Aziraphale doesn't have this moment of someone observing their relationship from the outside. He loves Crowley, and as of 1941 probably even knows he's in love with him in a way that Crowley doesn't understand yet. Which makes sense, since love is technically his job, he'd be more likely to recognise it for what it is.

However, Aziraphale's reference for romance and relationships is Jane Austen. It's chaste. It's dancing and dinner and doing sweet things for each other and roses and candles and handholding. He contextualises his love for Crowley in that soft fantasy sort of way, where it's there, it's obviously there, but it's neat and easy and unspoken. Not to quote Glee in this, the year of our lord 2023, but it's all very "the touch of the fingertips is as sexy as it gets".

Someone should tell that to Aziraphale's face, then.

I'm not going to pretend I know what Michael Sheen's script notes were, but there were definitely some Choices™ made. Because yes, there were plenty of moments in both seasons with Aziraphale looking at Crowley in a sweet, loving, smitten way. And then there were moments that were yearning.

But yearning for what, exactly? All of those sappy Jane Austen tropes already apply to the two of them. So why are there moments where Aziraphale is looking Crowley up and down like the last eclair in the window and licking his lips and visibly exhaling like he's trying to get in control of himself (see: Bastille scene + Crowley telling Muriel to ask him if they have any other questions about love)? Why is Aziraphale not only unconcerned when Crowley shoves him bodily up against a wall in s1, but staring at his lips and a beat too late in noticing Sister Mary's arrival? Why are some of his lines so suggestive? I'm sorry, but the car ride after the church explosion might as well have been the beginning of a Pizza Man porn with a really weird Blitz theme. If even my mother picked up on that vibe, I can't imagine it wasn't intentional on part of both the dialogue and the delivery.

(This section may feel like more of a reach/joke, but I'm really only 20% joking. These are writers and actors who are EXTREMELY good at their jobs; they know what they were doing here.)

More importantly, I don't think Aziraphale is even aware that there is more to what he wants. He lives in the Jane Austen fantasy and it never even occurs to him that he might be interested in anything further. It never even occurs to him that, as an angel, there is anything further to be interested in in the first place. Until Crowley forces it to occur to him. Just like I believe Nina forced Crowley to confront the idea that romantic love is what he's been feeling all along, I believe Crowley forced Aziraphale to confront the idea that physical intimacy is something he's been wanting, without even realising.

Aziraphale's Hedonism

Expanding on Aziraphale for a moment. We talked about his relationship with food, but we all know that Aziraphale is defined by his love of things that Feel Good.

It isn't just that he and Crowley love human things. Aziraphale loves the best of the best, or at least his version of it. He doesn't just love food, he loves going to fancy restaurants. He doesn't just love clothes, he loves soft, cosy, warm, plush clothes, or shiny, flashy, bougie fashion. He loves the warmth of tea and cocoa, loves getting drunk, and sitting in a comfy chair in the sunlight. He doesn't just experience, he indulges.

Given the emphasis put on things that Aziraphale loves just because they Feel Good, it feels narratively strange to assume that he wouldn't enjoy the feeling of being touched, or that he wouldn't be willing to try it, at least once, with someone he cared very deeply for. And just like the ox rib, I think that once he gets the first taste of things, he would absolutely tip over into complete and utter self-indulgence.

Dancing

I also think that dancing could be construed as a huge metaphor here. After all, we're told flat-out that angels don't Dance. Except one.

I would argue that Aziraphale, in fact, Made An Effort to learn how to Dance. He threw himself into the gavotte with delight (at a Victorian gay club; noted) and worked hard to be good at it. He's chomping at the bit to Dance with Crowley, working up the nerve to ask him with undeniably romantic intent and eagerness. So, angels don't Dance... unless they Make An Effort to do so.

We are told that demons, on the other hand, do Dance, but not well. Makes sense, since they're the ones who would want to encourage a deadly sin like lust, but have as little understanding of human love and physical intimacy as the angels. Crowley, however, is shown to be an excellent dancer at the ball, especially in his compatibility with Aziraphale.

(But Aziraphale WandaVisioned the ball so everyone knew how to dance! Yes, he did. However, the rest of the brainwashing doesn't seem to affect Crowley in any way, and they did actually live through the time period where this sort of dancing was a social norm; I'd be surprised if he never needed to learn. After all, the demons can't spell either, and Crowley is at least functionally literate, as far as we know.)

As of today, it's also been confirmed that when Aziraphale asked Crowley to dance, Crowley replied with "you don't dance." Not "WE don't dance". So going along with the metaphor, Crowley is just now discovering that Dancing is something Aziraphale is interested in at all, much less with him, and not denying that he himself is interested in Dancing. In his defense, I believe he was asleep for a few years while Aziraphale was learning the gavotte, so he wasn't exactly aware of Aziraphale's hot girl summer.

Love Languages

I want to expand on that; Crowley and Aziraphale's compatibility. Specifically in regards to their individual love languages.

We all know Crowley's love language is Acts of Service. I don't think there's any debate there. He loves it, Aziraphale loves it, they're both aware of it, we're all aware of it, God and Satan are aware of it, no surprise there.

You may disagree with me, but I believe Aziraphale's love language is Physical Touch, for a number of reasons. One of which being his aforementioned hedonism. Aziraphale likes things that Feel Good, remember? He likes soft clothes, and well-worn books. Neil himself has said that they like holding hands. And any time he is taken by surprise (Brielzebub getting together, the wave of love in Tadfield, etc.) what is the first thing he does? Reaches out for Crowley. He stops him with a hand to the chest in the pub. He leads him by the hand to the dance floor. He guides him by the waist in the graveyard. He reaches out during the entire Brielzebub scene, whether he can reach Crowley or not. Despite his own turmoil, he grasps at Crowley's back during the kiss.

The one time Crowley reaches out for him (not counting the kiss yet; we'll get there), he is aggressively pushed against a wall (by someone he loves and trusts) with a complete and utter lack of concern (and perhaps some interest, depending on how you read it).

And when he isn't reaching out for anyone, or there isn't anyone to reach out to? Well, he's wringing his own hands together, squeezing his own fingers, as if to find that physical comfort in himself.

So. With that theory in mind, we have Aziraphale (Physical Touch) + Crowley (Acts of Service). Throw in 6000+ years of deep love, cherished companionship, and forcibly repressed longing, and there is a very real potential of this combination resulting in fierce sexual compatibility. Where Aziraphale would want to touch and be touched, to indulge in physical pleasure with someone he adores, in the same the way he indulges in every other fine thing in his life. And where Crowley would want to indulge him in return, to give him everything he wants, and to take pleasure in Aziraphale's pleasure, in the same way he enjoys watching him take joy in food everything else.

So Aziraphale is an angel who is insecure about his own less-than-holy desires, who would want to treat Crowley like a luxury to be touched and cherished and adored. And Crowley is a demon who has, over the millennia, been unhappy about how they've been forced to deny even their friendship with each other, who would want Aziraphale to feel comfortable and safe and encouraged to indulge in earthly delights. That sounds like a stunning recipe for sexual compatibility to me.

"You said 'trust me'" / "And you did"

Just like the Job minisode, the Blitz is RIFE with symbolism (intentional or otherwise). This one will be quick, but I did want to touch on it because I thought it was interesting. Maybe I'm reaching at this point, but I'm assuming you read the tin.

First of all, Crowley not wanting to admit to never firing a gun before; comes off as someone who very much does not want to admit to their crush that they're a virgin ("You must have done this lots of times!" / "Umm.... yyyyyeah.")

(You could make the argument that Aziraphale having a firearms license and a Derringer in a hollowed-out book is symbolic of him not being a virgin while Crowley is. I disagree, for reasons I'll go into later, but it's a valid reading. However, I see it more like keeping a condom in your wallet; it's there in case you need it, but the opportunity has not yet risen no pun intended.)

More importantly, the theme of this entire minisode is trust. We already know they trust each other with their lives against the rest of Heaven, Hell, and the world. But specifically, this is about the importance of having complete trust in your partner in a charged, physically vulnerable, intimate moment, where the only danger is between the two of you.

Aziraphale needs to believe Crowley would never hurt him if he can help it. Crowley needs to trust Aziraphale's unwavering blind faith in him. Frankly, it all feels very symbolic of two people deeply in love losing their respective virginities with each other.

The trick is a success, and they share an intimate candlelit dinner in which they reaffirm their faith in each other. Aziraphale also begins to voice his agreement with Crowley, that maybe Heaven's rules shouldn't have to be as black and white as they are, and that there are benefits to... blurring the lines, shades of grey, wink wink (at which point even my mom was like, whoa guys, this is a family show).

Btw also: Can we all agree how much it looked like Crowley was getting ready to get a lapdance in that one scene? You know the one.

Also also: "Aim for my mouth"? Come on.

The Birds & The Bees

Now that I think of it, there's also something to be said for the fact that Crowley and Aziraphale are both obviously familiar with where babies come from (how they're made and how they're born) while the other angels aren't.

Something something Aziraphale and Crowley fundamentally understand sex and reproduction in a way the other angels (and probably demons) very much do not, nor have any desire to.

Probably not important. Just thought it was worth mentioning.

The Kiss™ & Religious Trauma

The Kiss. Where to even begin?

This has definitely been the hardest one to start, because there is so much going on here that I definitely won't be able to cover it all, and will certainly miss a few things here and there.

Aziraphale's reaction to the kiss afterwards is the most interesting to me. And I don't mean directly after, I don't mean the "I forgive you" part. I mean the way he touches his lips when Crowley is no longer in the room and he no longer needs to save face, when he is completely alone. Had it been directly after the kiss, it would have been rightfully read as horror, or disgust, a shield to discourage further action.

It's not. It isn't just a touch, it's a press. As desperate and angry and unexpected and imperfect as the kiss had been, Aziraphale is pressing it into himself, recreating the feeling as best he can. Beneath all the poor timing and shock and hurt from their fight and fallout, I think it's fair to say that it was something he enjoyed. Something he doesn't think he should enjoy, something that Feels Good that he only allows himself to indulge in when completely alone.

Remember, Aziraphale's idea of love is Jane Austen and gentleness and courtship and fantasy. If he'd ever even considered kissing an option, it might have been gentle pecks, cheek kisses, forehead kiss, hand kisses. Soft, safe, chaste affection.

Crowley's kiss turns all of that on its head. He introduces physical intimacy in a very real, very messy, very human way that I don't think Aziraphale ever even considered could apply to them. Considering what other angels are like and what they look down on, even Aziraphale's Jane Austen fantasies probably would have been considered taboo.

So for their first kiss to be rough and desperate and passionate in the way it was, of course he was confused and in shock. It was deeply physical, and as overwhelming and awful as it was in the moment, it Felt Good. Enough that he grasped at Crowley and kissed back, if only just for a moment, before stopping himself. Enough that he actively pressed it into his lips afterwards, in private, to remember.

I adore how Neil has decided to evolve these characters past the first book/season. More so in this season, Aziraphale and Crowley have both become such interesting allegories for queer people on either side of the spectrum of toxic religion. Aziraphale in particular obviously, because he is the side that so desperately wants to believe, to make a difference, and to unlearn all of the propaganda he's been fed over such a long time. Just like so much of organised religion, there is so much that he is told, time and time again, that he should not want, that he is silly or stupid or outright wrong for wanting. It reminds me so much of the severe Catholic guilt one might feel for wanting/engaging in sex for the first time, and the stigma of being queer layered on top of that.

What is so critical to Aziraphale's character is that he goes on wanting, and more than that, actively pursues. He was convinced to go up against Heaven and Hell and stop all of Armageddon because he wanted to go on listening to music and eating lunch and reading books and enjoying the simple company of the person he cares most deeply for, even if that person is supposed to be the enemy.

All this to say that if angels are as generally asexual/sex-averse as I believe them to be, narratively speaking, it would make sense for Aziraphale to be singular in that regard as well. Mirroring his first experience with food, it would make sense for Crowley to be the one to first introduce this new messy, physical, human dynamic between them, for Aziraphale to hesitate (obviously we are at the Hesitation phase at the moment), and then (eventually) for him to dive in wholeheartedly, to absolutely glut himself on this new thing that Feels Good. It would make sense for his character development to show him overcoming his metaphorical Catholic guilt and pursuing the sexual intimacy most (if not all) of the other angels would scorn.

(I can't help but remember that plot idea Neil described from the unwritten sequel, with Aziraphale in a hotel room trying to watch a full porno by way of the free 2-minute teaser clips so he wasn't technically sinning by paying for it. I so hope this is used in season 3, because gosh, I wonder why Aziraphale would suddenly be so interested in observing human physical intimacy after 6,000 years. Lonely and doing a little surreptitious research there, angel?)

Crowley, on the other hand, is the queer person who has broken free from his toxic religion. He prides himself on being his own person, on their his own side. He doesn't have the hang-ups Aziraphale does. He doesn't worry that he's going to be judged or cast aside for wanting things he's not supposed to. So it only makes sense for him to be the first one to suggest/initiate physical intimacy. It makes sense for him to be the one who "goes too fast" (another fantastic example of this dynamic beginning as early as s1; what is that conversation in the car meant to represent, if not Aziraphale being overwhelmed by the intensity of their relationship, and his fear of succumbing to it when he believes he shouldn't? It's also interesting that this is the first conversation to take place in Soho, just after watching Aziraphale realise he's caught feelings for a demon, with the red glow of lust serving as the backdrop).

Do I think the kiss in and of itself was sexual? No. I think it was a passionate and devastating last-ditch effort on Crowley's part to convey the way he feels for Aziraphale. Not just that he loves him, but that he loves him in the most human way possible. But I do think that the kiss represents how they can move forward from here, and what they might want to explore with each other once they feel free enough to do so.

In Conclusion

I am sure, deep in my bones (unless we are explicitly told otherwise), that this was both of their first kisses no, I'm not counting the gavotte, and that neither of them have ever thought to do anything else physical with the humans while they have been on Earth. Like I said before, they adore the human race and lifestyle in general, but ultimately view them as a separate species altogether, and they seem mostly happy to keep to themselves and each other, unless otherwise necessary. I just can't see either of them being drawn enough to a human to pursue anything close to sex. If Crowley in particular has had anything to do with sex in the context of temptations, I'm positive he would be inciting lust amongst the humans themselves, not involving himself directly. At least not that directly.

So, like every other human experience they've had on Earth, sex is something new that they could explore together, just the two of them, on their own side. A deeply intimate, tangible declaration of their love and everything they've gone through to earn it. A visceral finger to give both Heaven and Hell. A renewed appreciation for their corporations and for each other's. A enjoyable method for immortal beings to simply pass the time in each other's company. A new and exciting way to Feel Good, and all the variations that come with it.

You might agree with this post, or you might not. Whether this is something that is ever addressed or not, it doesn't matter to me. This is a brilliant love story either way, and I genuinely feel so privileged to witness it.

But I just can't find it in myself to imagine, given everything we know about these two characters, that sex isn't an experience they would both consume with wholehearted enthusiasm, curiosity, and profound, ineffable adoration.

___________________________________

Bonus feature: the very silly notes I made to myself that inspired this post

[interstyx]

People really don't know what they got with this episode I feel.

Just from a purely stylistic point of view -- the pool of 2010s energy this series draws from never ever ever crystallized in such a cohesive way and it might never again. Just Tessyn took a year to model and months and months to animate & VA, and it's all done with such sincere swagger. If you grew up before 2016 you SAW the pieces of this stuff pop up all over, individual writers, animators, musicians, voice actors with their separate projects that never coalesced but suggested that something like this could happen, and it did, with more competency and passion than we'd ever imagined a story of this type could get back then.

We'll have forever to vulture over the specifics of where arcs go and don't but it's worth it to take a moment, think, and realize that this stuff was monumentally ambitious and pulled off what it set out to magnificently (namely the protag trio) while balancing discordant tonal extremes.

Earlier episodes weren't as good as these things but by 7 and 8 you can see and appreciate the way the tone flows from end to end of the emotional spectrum, scene to scene of the episode, in such a way that it looks effortless, all the while keeping a solid thematic throughline. And criticize as we may the excesses of subtlety, if you sit down and consider the pacing constraints it'll click that the show's handle on the flow of information can be exceptional.

This is stuff you'll never see again in your lives. It's a type of creative energy that doesn't exist anymore put in service of an extraordinarily competent production that never loses its sincerity. Think what you may of the writing, you should appreciate this, because this is the kind of earnest creative project the world needs so badly.

[tyrantisterror]

I've been in a Digimon mood and, like, man, we gotta give it to the dub voice actors for giving a wide spectrum of villain voices and personalities to the original Digimon Adventure. Like, above here, we have the quartet that serves as the final(ish) villains of the series: a cyborg sea serpent that sounds like a surfer dude, a goofy little puppet boy, a theatrical yet menacing clown in the vein of Pennywise, and... Machinedramon.

Straight forward and batshit terrifying Machinedramon.

Like, there's a lot of weird shit in Digimon Adventure, and there was a delicate balance to strike to make it all feel tonally consistent, especially given how high the stakes get (and how dark the series was willing to go at times). You can't do it completely straight-faced when there's talking poop monsters and other goofy goobers running around, but you have to be serious enough for things like the death of Wizardmon to have the weight they deserve, and the dub team for the American cut of the show actually put in the work to pull that off.

I posted this video like a week ago or whatever but, like, Etemon really was the big test of the dub team here. Making a character design like Devimon into a big threatening villain is hard, but when the series decides its second big bad should be a rockstar monkey, that's... that's a much harder sell, man. And they definitely embraced the humor with the Elvis persona they gave American Etemon, but also managed to make him... genuinely threatening despite it? Like, Etemon's funny, but you also know he's a legitimate threat to the kids that they can't afford to underestimate.

Which is what allows the Dark Masters up top to work so well. Between them and Etemon we get Myotismon, who like Devimon is not hard to take seriously - an evil vampire overlord isn't a hard sell for a villain. And the Dark Masters aren't either, for that matter - even Piedmon and Puppetmon, the goofiest looking of the quartet, are pretty stock horror archetypes: an evil clown and an evil living puppet. But, as if missing the fun that Etemon brought to the table, the dub team decides to give them all a bit of a comic edge - Metalseadramon has the surfer dude voice, Puppetmon sounds like a goofy wee puppet man, and Piedmon's theatrics are played for comedy in a Joker-y way.

Not Machinedramon, though. Every comedy troupe needs a designated straight man, I suppose.

And, like Etemon, they succeed at being genuinely threatening despite the goofiness. When Metalseadramon and Puppetmon are hunting the kids, the goofy bits of their characterization seamlessly blend into the fact that they're still clearly deranged murderers deadset on killing children and anyone who gets in their way. Piedmon successfully acts as the big chessmaster of the quartet, and Machinedramon...

Machinedramon is just terrifying.

[vyl3tpwny]

hihihihi!! im really curious how u go about mixing & mastering ur music cuz ur one of the few artists i know that can make such different songs but keep them consistently loud & not lacking in presence anywhere.. also despite monarch of monsters having alot of noise-rock elements, my eardrums don't bleed as much as when i listen to like jane removers stuff (no offense to her of course !!) so im just curious abt what ur process is like .. do u have any tips regarding mixing/mastering or mayb some resources i should check out? thxx

its a hard question to answer since mixing and mastering is both extremely nebulous and also different from engineer to engineer. for me, i know how to do both traditional engineering as well as stylized producer engineering. because of that, knowing both sides of a spectrum, i can do small adjustments on all ends of that spectrum to bring things closer to unity.

an example of this is because i'm extremely aware of how to work with phase relationships and resonance control, especially in low end mixing with drums and basses, i'm able to get acoustic sounding instruments to sound very beefy almost like im mixing electronic music. i also know how to take synthetic, digital sounds and make them feel more organic and real.

with making noise rock less abrasive but still intense, a lot of it is honestly watching the linear readouts and gently cutting things that get way too loud. rather than letting it all come through, or filtering it all, its just a slow approach of listening for frequencies that are unruly and bringing them down a bit. most eqs kinda suck at this if youre doing a lot of adjustments but fabfilter pro q3 is just the boss and makes shit like this super easy. but this is mostly for my own personal enjoyment. i love shit that makes my ears bleed too.

anyway i always recommend fabfilter products. two other indispensable tools for me this project cycle is oeksound's "soothe2" and "bloom". i tend not to use many shortcut methods of achieving a good mix, but these two get a fair amount of use for just automatically taming high and low frequencies. specifically for high end material i'll use soothe2 to notch out problem frequencies, and bloom to help maintain overall tonal consistency so as not to lose a lot of important frequency information!

[2hoothoots]

Revisiting P2 since the docu epilogue dropped and your AMV (<3) popped up as a sign for me to ask something that hopefully you haven't already spoken about years ago: What did you think of the in-game psych explanation for Maligula, that she's the primitive savage part of the mind? P2 is a weird mix of sketchy Freud/Jung concepts that Tim likes meshed with modern psych, and Maligula's deal seems like something they probably wrote a lot of different versions of but never quite solved elegantly

yeah, i think you totally hit the nail on the head - it's always felt like one of the parts of the story that they couldn't quite give enough polish to before they had to finalize it and move on with development. like - i went to go get my artbook to see if it had any insight into the writing process, and did you know that Nona and Maligula being the same person was apparently added way later in development? that's wild! i didn't know that until literally right now! i may or may not have skipped straight to my favourite characters when my artbook arrived and then put it on my shelf without reading the whole thing

ANYWAY, retrospectively i think it being a twist that was added later actually makes a lot of sense in the context of everything you mentioned. the Maligula problem, to me, is the fact that they're trying to juggle a bunch of different things that she has to be in the story. there's Maligula, the ruthless big bad, and Nona, the beloved grandma, and if you suddenly have to also make them both the same person... well, it ends up being kind of a thorny writing problem to make that work, haha.

here's some art i made so this isn't just a wall of text, rest of the answer under the cut

i think one thing they could have done when they needed to rehabilitate a mass-murderer into a lovable old lady was pull back on either end of the spectrum. make your villain softer and more sympathetic, or give grandma a mean streak like she's one bad day away from a tragedy at the crochet club. and to give the story credit, i'm really glad they didn't. Nona is relentlessly sweet and endearing - and that's great! she needs to be in order to make the audience care about her, otherwise the emotional beats are never going to land. likewise, Maligula is a great villain, she's vicious and ruthless and at the culmination of her arc we see she simply does not give a shit about murdering hundreds of people. i love that for her, honestly, you go girl

but then, like - how do you connect the dots? how do you frame grandma having a violently murderous streak in a way that doesn't make the ending of "but she's over it now" feel kinda weird and hollow? and how do you do that while also being sympathetic to the game's themes around mental health? Maligula's informed by the traumatic things that happened to Lucrecia during the war, but she can't just be a manifestation of trauma, because the moral of the story being that trauma makes you a mass-murderer (until you beat up your trauma and shove it in a giant pit) would feel... really tonally dissonant!

so i think you're totally right that the sprinkling of pop-psych concepts we get ends up feeling a little bit like an awkward band-aid. Maligula's story is about how the horrors of war can shape you into a terrible person, who does terrible things - ...but there's also, like, special circumstances, so it doesn't feel weird that she goes back to being Raz's sweet grandma afterwards. special psychic circumstances! she's not just any war criminal, she's the fight or flight response gone out of control!

which - i dunno, i think that line in particular always stood out to me, because that's not really what the fight or flight (or freeze or fawn) response is, right? it's a temporary boost of adrenaline to the system to rev you up for getting out of a dangerous situation. an overactive fight or flight response is called chronic stress and anxiety. i know the games are pop-psych and not actual science, but it always stood out to me as a little awkward.

if it were me in the writer's seat - with the benefit of all the time in the world to workshop it, and no looming deadlines, and the hindsight of having a full completed game in front of me to think about - i might have tried to frame it around connection. i think you could swing the lens to instead focus on how violence, stress, trauma etc., make it harder to understand and empathise with the people around you. the tragedy of Lucrecia's story is that she came home to try and help her countrymen, the people she cared so dearly about. but the more time passed, the less she cared, the less she was able to see them as people. after Marona's death, the Maligula that remains is one who's unable to even care about killing her own sister. the alternative is too raw, too painful - instead, she sheds her last vestiges of remorse, and throws herself into the easy relief of violence. (we see this again, when Nona "awakens" as Maligula - when confronted with the baggage of her past, she chooses to wash it all away with force, unable and unwilling to care about the people she used to call friends.)

and i think shifting the focus like that ties it in thematically, too. a big theme (of both games, but especially the sequel) is how important connection is, how being able to understand and reach out to and rely on other people is a lifeline during hard times. PN2 touches on how there aren't really "good people" and "bad people" - everyone has the capacity to do wonderful or terrible things, and i think Raz's line to Maligula about how "everybody's got something like you" works. Lucrecia was never a monster, no matter how everyone tried to pretend she was. she was just a person, the same as everyone else - and just like everyone else, she could be pushed to extremes under the right circumstances. it just feels kind of odd when the implicit context is "everybody's got a mass-murderer hidden in the primal recesses of their brain", hahaha.

but like, again, that's the privilege of hindsight, right? i've definitely also been on the other side of the creative process, stuck with something i suddenly need to make work in a story and having to come up with a solution that feels like a band-aid. sometimes you just gotta call it good enough, and move on. and i think the game is overall much stronger for having Nona and Maligula be the same person - it plays into the wider themes, it sets up some great emotional beats, and i think it's overall well-executed, even if there are one or two hiccups in the writing.

anyway, great ask! thank you for the invitation to ramble, this is something that stuck out to me on my first playthrough of the game and it was fun to sit down and get my thoughts in order

[inbabylontheywept]

"I think we underestimated the human population by eight or nine orders of magnitude."

The war room was reeling. The human population had been estimated in the mere hundred billion range. They should barely have had enough of an economy to field two light cruisers, least of all the goddamn armada that was ravaging the inner worlds. After the alpha strike, the human flotilla should’ve been completely crippled. Instead the number of ships they were fielding kept growing.

Tan-Hauser was the first target struck by a human attack, and they reported seventeen craft before they lost comms. Attican was hit just three days after that, but their reports already showed numbers above ninety. Any doubts that the fleet was growing were eliminated when Outpost Batan reported 1,217 FTL pings two days before the loss of Kira.

The number reported was so big it was written off as a sensor malfunction. Twenty-five billion souls lost, all because nobody in the war room could face reality.

They were going to face it now. The Kirarian in front of them was the primary sensor engineer for the Batan outpost, a specialist with more expertise in analyzing space lanes than warships. He’d been up for at least the last two days, poring over the sensor data, and only now was ready to begin to share his findings.

From the pain in his multifaceted eyes, it was clear he was still reeling from the loss of his homeworld.

Seeing that he had the room’s attention, he began to speak. The translation units each member of the war council had implanted experienced a moment of lag as they struggled to convert the almost musical tonal humming of the Kirarian tongue to more common galactic speech.

"The simplest data that can be analyzed from an FTL ping is the distance that the ship traveled before dropping to sublight. The contracted space in front of the craft traps small particles, even light itself for a short period, compressing its wavelength and then releasing it when the field disengages."

The war room nodded along. The explanation was mildly technical, but anyone that had traveled on an FTL shuttle before knew the hazards of exiting FTL directly in front of your home destination. Blasting your home station with a wave of alpha, beta, and ultraviolet rays was hardly a warm welcome.

The engineer continued.

“The… issue with this is that we’re used to the majority of the ping being in the UV spectrum. We aren’t entirely sure what the spectrum of the signals we got from the ships were because Batan station can only detect up into the low gamma range, but that’s still what the majority of the human’s FTL pings were detected in. That’s at least ten billion times the frequency that we’re used to. Since the frequency of the burst can be roughly modeled by multiplying the mean radiation per unit distance by the length of the path, that implies one of two things: That the human ships are either traveling through areas with ten billion times the standard background flux, or that they are traveling extragalactic distances.”

The engineer paused for a few seconds at that statement. The pain of loss still shone in his gemstone eyes, but something more immediate was beginning to take center stage: Fear.

“Because the craft is essentially throwing… well, normally it would be the next three or four days worth of cosmic background radiation at you. In our case it’s more like several decades. But because it’s just giving you an advance on your normal cosmic background radiation, you can track the void in the next several days' worth of background noise to determine the ship's approach vector. The 1,217 crafts that arrived weren’t coming from the same spot. There were actually hundreds of converging vectors, but more importantly…”

He trailed off, a small 3D model of the local space appearing in the center of the holo table. A spiked ball of vectors protruded from the galactic disk, each piercing cleanly through his former homeworld.

His voice cracked a little, the hum turning into a hiss. The translator tech paused a moment too, struggling to convey the subtle emotional cues into the message.

“They’re all coming off the galactic disk. That doesn’t just mean that we’re surrounded, that doesn’t just mean that we’re outnumbered… It means that each attack that we’ve seen up to this point is from an entirely separate group. What we’ve been mistaking for fleets, I believe, are simply the beginning trickles of their exploratory forces. Each of the sites that they’ve targeted hasn’t been of significant strategic importance; they’ve just been sites with unusually strong output signals. I think they’re just using our transmission stations as makeshift beacons for their FTL jumps." He took a deep breath to steady himself before providing his final thought. "I think we underestimated the size of the human population by eight or nine orders of magnitude.”

There was a heavy silence in the war room as that last sentence was processed. The engineer was already out the door before he heard the panic begin to set in.

Part of him felt a little guilty. It would’ve probably been kinder for them to go out not knowing what was about to hit them. Still, it wasn’t often you could force people with this much power to realize that they’d just lost everything.

There was a bitter satisfaction in that.

[inbarfink]

Zim Invaderzim is actually a great fit for all of the Nicktoons Crossover stuff as an antagonist cause 

First things first, being a Villain Protagonist means skipping over the sort of issue of, like, if you don’t want a wholly original villain or do something like an ‘Evil Syndicate’ thing… picking just one of your playable heroes’ arch-enemy as an antagonist means that hero kinda becomes the mainest main character over the other franchises?

Like any game featuring Jimmy Neutron as one of the heroes and Professor Calamitous as the main villain… is going to feel like a Jimmy Neutron game first and foremost, cause it’s not like Danny Phantom has any meaningful personal beef with him, y’know? And obviously putting in a villain from a show as the main antagonist without including the actual main character hero is going to feel incredibly strange… but Zim is both the main character of his show and someone who can play villain to every other Nicktoons character! That way the ‘balance’ of all the different franchises is maintained while still having a single and recognizable antagonist.

In terms of tone… I think the ‘Main’ Nicktoons gang ended up being a very good group, not just in terms of representing the main Nickelodeon franchises of that era, but also in capturing the full spectrum of differing tones you could find under the Nicktoons brand.

Like, Danny Phantom is about as serious and action-y as a Nicktoon could be without going full ‘Avatar’, ‘Jimmy Neutron’ and FOP have some elements of continuity and action-adventure elements while still being primarily goofy comedies, and ‘SpongeBob SquarePants’ is really just wacky hijinks and silly jokes most of the time. So having all of them together really smooths over the possible Tonal Weirdness of the crossover.

Like, is the idea of SpongeBob and Danny Phantom crossing over a little strange? Yeah. But it’s much easier to imagine SpongeBob and Timmy Turner crossing over, and also Jimmy Neutron crossing over with Danny Phantom and obviously I don’t even have to imagine Jimmy and Timmy crossing over because they did on TV like three times. So when all four of them are together that just helps lessen the more jarring aspect of this crossover.

And in that regard, ‘Invader Zim’ also fits right in - having a similar ‘goofy comedy with some continuity and adventure elements’ vibe to FOP and ‘Jimmy Neutron’ while being both more wacky and exaggerated and also much darker and edgier with its style of humor…. I think you can very easily imagine Zim crossing over with any one of the ‘Main’ Nicktoons without any major Weirdness and as such he works pretty well with almost every character under the ‘Nicktoons’ brand.

Plus, with his extreme brand of both incompetence and hypercompetence, he’s the kind of villain you can imagine both as a credible threat to Actual Superhero Danny Phantom and as someone who could be plausibly defeated by SpongeBob SquarePants without hurting Danny’s cred as an action hero or SpongeBob’s cred as Just a Silly Little Guy

But also having Zim around as one of the playable protagonists is a great fun because the concept of ‘Zim trying to join in on the heroes’ group by very badly and blatantly trying to pretend to Not Be Evil’ is a clever little way to include the main Joke of Invader Zim’s premise (Zim very badly and blatantly trying to pretend to Not Be an Alien) in a plot where Zim can’t really keep pretending to be human.

Just a great little horrible bastard for Crossovers all around.

[pumpkinsplots]

Writeblr Intro

Hello, writeblr! I finally caved and got tumblr, mostly because I love rambling about my wips and hearing other people ramble about theirs and all of that lovely stuff, so this seemed like a great platform to do that. With that being said, I plan on posting about my wips and ocs, as well as art related to those things, so if that interests you at all, I’d love to see you stick around. Also feel free to call me either Pumpkin or Maria, it’s entirely up to you!

About my writing

I’ve found that I really enjoy writing in a variety of genres, so hopefully at least one of my wips will tickle your fancy. Though I’d say a common thing for me is that I really like to world build, so my wips tend to be sci-fi, fantasy, or magical realism of some variety. Anything where I can put my own spin on the setting is something I’m bound to enjoy writing about.

I write in third person, usually with multiple povs, and I really enjoy character driven stories.

I often like to have a wide variety of ages in the cast, and if I had to pick a favorite trope it would be found family, so that’s usually present to some degree in my stuff.

Tonally, I always include light-hearted moments here and there, even if the wip is very bleak. It provides some levity, and I think it makes the painful stuff hit a lot harder. This is probably partially why I put some thought into each character’s sense of humor.

Most of my wips are geared towards older teens and adults, but I’ll get more into content warnings when I talk about each individually, because it really varies.

I’m one of those writers that kills off a lot of characters, so this is your warning not to get attached /j

I’m demisexual, so at least one character being on the ace spectrum is like a requirement for me at this point.

I’m a plantser, and pretty bad at staying motivated to actually finish first drafts.

About my wips

Falling Up

Falling Up is a sci-if story set in the future where Earth is a utopia where inhabitants experience little to no hardships throughout their lives. The deceased are replaced with AI created to replicate them, and everything is automated to the point where people no longer need to work to make a living. This lack of struggle results in dull, perfect lives and skewed morals. The people crave entertainment, even if it means making others suffer for it. Quasdom, a miniature man made planet initially intended to be used to separate deviants from the rest of the perfect society, is used as a catalyst for entertainment. The people of Quasdom believe that those on Earth are superior to them, and that Earth is a place where any wish can come true. This leads to the tourney, a death game between groups of ten on Quasdom, being viewed similarly to winning the lottery. The winning team gets to go to Earth, after all. Being chosen for the tourney is the luckiest thing that can happen to you. There’s no hard feelings between participants, death is completely painless, and the afterlife will welcome any participants to a better life than they previously had. There’s nothing to fear, so smile and put on a show.

A large cast and lots of character deaths

An exploration of why we get so attached to fictional characters, and how fiction can have an impact on reality

Probably going to be a trilogy

Content warnings include language, some unsettling themes, depictions of mental health issues, and generally things that are more psychological. Despite it being a death game, there’s no gore, like at all. The people on Earth may be desensitized, but they aren’t accustomed to seeing blood, so the tourney is designed with that in mind

Facade

Facade is set in a world where the living world and the spirit world coexist. Due to some actions by the main antagonist, about 20 years prior to the current story, spirits started getting aggressive and sort of going haywire. They possess any person they can, turning the individual into an uncontrollable killing machine. The best defense to this was the invention of a certain kind of mask that prevents possession, and masks quickly became widespread. Since there’s no known way to reverse spiritual possession, the only solution is to kill those that are unfortunate enough to meet that fate. A group led by an anonymous vigilante known as K9 seek to find a way to reverse possession. Many enemies are made along the way, and there are countless obstacles to face.

Its setting is based on Singapore and set in the 90s, though there are many creative liberties taken

The wip is currently pretty no plot just vibes

Themes about individuality vs equality

Content warnings include language and some sexual content

Facade: After Dark

While Facade is currently no plot just vibes, developing the characters led to me thinking of the plot for a prequel. Is it a self-indulgent novella about two of the characters I love? Yes, absolutely. In summary, it’s a romance novella about the the relationship of Leijing and Iris, and their struggles in navigating the wild world of Facade. They have vastly different upbringings and experiences, but their differences bring them together in more ways than one.

I have so much backstory for this pre-established couple and I couldn’t think of a good way to incorporate it into the main story without cutting a bunch of it, so boom it’s a prequel now

I’ve found that working on a wip that’s more low stakes and simple is really fun—I tend to get stressed about my more ambitious plots, so this wip is a great change of pace

Leijing is demisexual with little interest in anything sex related and Iris is an omnisexual sex worker, and the story explores how a world obsessed with all things sex can effect both more sex-negative and sex-positive people

Content warnings include language, explicit sexual content, and potentially triggering subject matters. This is my only wip where it’s strictly 18+!

Lights Out

Sunlight is the essence of life. Without it, the world would wither away. However, a dangerous new life form of unknown origin festers in the light. With long, elegant glimmering limbs, high intelligence, picturesque precision, and a craving for flesh, these organisms pose a major threat to humanity. But for some odd reason, these creatures refuse to step into any area where the sun doesn’t touch. Much of humanity takes to the shadows, building elaborate underground tunnels for civilizations and doing what humans do best—using their resources and ingenuity to adapt.

Has two protagonists that butt heads but start to develop a father daughter dynamic. A young adult girl who’s from the underground and unknowingly part of a cult, and an older man with one leg who’s so stubborn he’d rather fight and die than flee to the darkness

Lots of creepy cult imagery and themes about religious trauma

So much banter of course

Content warnings include language, disturbing imagery, and gore

If you’ve made it this far, thanks for reading! Asks, comments, tag games, and messages are always appreciated, and I’d love to hear about your wips as well!

[tomorrowxtogether]

Tomorrow X Together's Yeonjun on solo release: 'I'm going to keep challenging myself'

Yeonjun of popular K-pop group Tomorrow X Together isn't one to shy away from a challenge. Over the last five years, the Korean performer has built a reputation alongside his four bandmates as a versatile all-rounder who can execute any choreography or genre thrown his way.

"When I was young, I just purely loved music and dance, and that love is all I had. After it became my career, music became a source of both joy and sometimes stress for me," Yeonjun tells USA TODAY. "Still, I feel like music takes such a big part of my life. I think music is what allows me to be really free and really express myself as I am."

Now, the 25-year-old is taking a new step in his evolving career. Yeonjun released his first solo mixtape, "GGUM," Sept. 19.

"I'm super excited, but at the same time, I'm kind of nervous," he says. "This is my first time doing a solo project, I do feel a bit of a pressure, and I feel responsible for doing a good job."

Curating 'GGUM' and its concept

"I'm always looking for opportunities to expand my artistry, expand my different musical performances," Yeonjun shares. "During the middle of the US tour, we started talking about this project, and we slowly built on that."

"GGUM" and its feature track highlight Yeonjun's vibrant tonality. The hip-hop inspired song is bold and dynamic, commanding attention from the second you hit play. So how'd it get its name?

"I was actually chewing on gum when I was in the car, and it just came to me all of a sudden," Yeonjun reveals.

When you're chewing gum, you can exude a certain swagger and confidence, he says. "I think that vibe really suited me well, and I thought it was a perfect concept for my first solo project," Yeonjun adds.

"GGUM" is striking in its lyrics, sonics and performance – "Blow and spit out a banger, this song's now stuck in your head," Yeonjun raps. His flow is fierce and unfaltering, while the choreography is kinetic and intense. Yeonjun helped develop the track's dance.

Facing challenges solo: 'It was no walk in the park'

Yeonjun's first solo project tested his mettle.

"Honestly speaking, I thought I was ready for this, but then I realized after working on it, that it was no walk in the park," he shares.

"It was really difficult. It was very challenging to do the vocals, the rap and the dance all at once. I tried doing everything at the same time. It's very tiring. So while working on the choreo and the song, I came to really respect solo artists," Yeonjun adds.

But Yeonjun's experiences with a group helped him along the way. "I think only because I am part of Tomorrow X Together – and I've been through so much together with them – that's why I could try this. I could take on this challenge," he says.

"If I weren't in the team, I don't think this would have been possible," Yeonjun adds.

Even though Soobin, Beomgyu, Taehyun and Hueningkai are not performing alongside him, Yeonjun felt their support.

"I did feel a lot of stress, a lot of pressure, sometimes to the point that it almost scared me. Whenever I was met with those emotions, the bandmates would come to me, they would give me a lot of words of encouragement and boost my self-confidence and self-assurance," he says. "Thanks to them, I could pull it off and finish this journey."

Yeonjun vows to 'keep challenging myself'

Yeonjun hopes "GGUM" can be a "pleasant shock to everyone." He has already established his identity through TXT, but this mixtape allows him peel back another layer.

"I hope that the people would feel that I'm bringing something new to the table," Yeonjun says. "I think it's a new start for me and a new challenge that I took on. It really means the world to me."

Yeonjun will continue to build upon the foundation he has previously laid, whether it's with Tomorrow X Together or on his own.

"I want to keep pushing my musical boundaries and make sure that I expand my artistic spectrum, and I'm going to keep challenging myself," he says.

[itcars]

McLaren 750S Spectrum Theme by MSO

McLaren Automotive announces that the Spectrum Theme – a stunning new multi-tone paint finish developed and applied by world-class paint technicians at McLaren Special Operations (MSO), McLaren’s in-house bespoke personalization service – will be offered exclusively on the new 750S, McLaren’s lightest and most powerful series-production supercar.

Perfecting the Spectrum Theme required the development of new techniques that introduce a new-generation of McLaren paint specialism, offering something unique & ground-breaking.

More technical than anything MSO has developed before, Spectrum Theme shares its philosophy with the far-reaching technical changes introduced on 750S. Separate shades of color create a tonal shift defined by precision craftsmanship; to the naked eye, the close bunching of colors produces an illusion of light to dark within each individual stripe which in turn gives a sense of speed and acceleration, even when the 750S is stationary.