#when i say i go absolutely FERAL for symbolism

[oneshotgremlin]

"The twelfth Major Arcana card. Suggests ultimate surrender, sacrifice, or being suspended in time."

Anyways check out Dead Man Walking AU by @pizzabox-box right fucking now 🫵👁👁

[mayashesfly]

Rain Code Chapter 5 and Epilogue Spoilers

The ending of this game has given me such intense major brainrot it's unbelievable. And not to mention all of the FUCKING SYMBOLISM AND PARALLELS AND FOILS I CAN SQUEEZE OUT OF THIS THING

Yuma and Makoto being Number One, looking for a Perfect Solution without Emotion.

Yuma taking the first step to grow out of that ideal by entrusting his memories to Shinigami.

Essentially shedding himself from the chains of his previous identity as Number One. By giving Shinigami the Key to his memories.

Shinigami who creates Solution Keys. Solution Keys that can unlock the Chain of Mysteries blocking the path to the truth. (Chapter 4 Mystery Labyrinth)

And time and time and time and time again throughout the game, Yuma had others helping him. Being there for him. Taking care of him. Loving him.

And despite him falling in despair time and time and time and time and time again, as Shinigami reaps the soul of the culprit, someone was there to pick him up again.

It might've hurt. It might've been painful. Uncovering and facing the truth. But together, he was able to handle it. He was able to live more freely, more happily being unchained from mysteries. Having people there in his life.

Maybe he been different when he was Number One.

Maybe he had been alone.

At first.

But now, he is not.

And though he may have lost Number One, he has gained freedom and happiness through others.

It's ironic how The One chained to a Death God was the free one.

Now let's think about Makoto.

Did he had anyone there when he learned the painful truth?

Had he known during then that there was others like him?

Facing the truth of being a Homonculus all alone...

It would be painful.

It would be lonely.

And even then, when he had found out he wasn't the only one.

He alone was the only one that could've saved them from themselves.

Saved them from the sunlight.

Caging them all in the unending rain.

He faced all of the problems of Kanai Ward by himself.

Manipulating those he see fit in order to keep Kanai Ward safe.

Despite being Number One, He could not seek the Perfect Solution through the Truth.

He covered and chained himself in so many lies and mysteries that he could not help himself.

And others could not help him.

There was no Solution to be found.

Here was no keys to be found by him or someone else who could've helped him escape from the entangle of chains of mysteries he had trapped himself in.

Think about it, in the Mystery Labyrinth, his Mystery Phantom acted so much like the lost and scared Yuma we have known. So blinded by all of the mysteries and alone that he refused the truth.

There was noone in that Labyrinth helping Phantom Makoto except Actual Makoto.

There was noone in that Labyrinth helping Actual makoto except Phantom Makoto.

He, quite literally, wrapped himself up with all of his clones that wore masks.

He, quite literally, continued to change his masks as he see fit.

He, quite literally, hid himself among his clones that wore masks.

Masks upon masks upon masks.

And despite having had multiple Solution Blades at a few points, he had cut nothing. (From what I remember)

I can't help but think about how Yuma said Makoto was asking for help.

And how in Makoto's last stand, he was quite literally asking for help.

Makoto needed Yuma to use the Solution Blade, the Solution Keys, to cut his mask.

Makoto needed someone to help him.

He was looking for a Perfect Solution, no, an answer, as we stared at his real unmasked face.

He had begged for us to search for the truth and now here we are.

If Yuma making a pact with Shinigami was his cry for help to change.

This was Makoto's cry for help to change.

We just have to wait and see if Makoto can finally be free and happy.

(Though seeing the Epilogue, it seems like Makoto still needs some help to truly finally free himself fully.

His journey isn't over yet.

Let's just hope that help won't come too late yet again.)

[itsmeimclown]

like my irl feelings are that luffy is canon aro/ace and will never have a canonical romantic or sexual relationship with anybody but my littler sewer rat brain 🐀 🧠 says that Luffy's ability to make zoro say how high when he asks him to jump and that Zoro will then jump at their throats and go for the kill is so poetic and romantic and just the /loyalty/ and devotion it consumes my soul

I am feral for undiluted loyalty and devotion because I, too, am an unhealthy codependent, submissive, bratty bitch just like zoro

don't even get me started on the God/demon symbolism

someone would call zoro "strawhat's dog" to his face and zoro would bark at them before absolutely obliterating him just to screw with them

and a part of zoro would enjoy it

but then there's LawLu

and their sun/moon anaologies

and the fact that law is also a captain so he's Luffy's equal

and luffy can just talk to him without fear of disappointing his crew (he never could but like he wants to be strong for them)

and the fact that he saw luffy at his absolute lowest

and saw him breakdown at marineford and shifted around his organs in a grueling surgery to keep him alive without even knowing him

and then he sees him wake up in a world without ace where luffy almost kills himself in his grief

and he kept the strawhat safe the entire time (like he was always seen with it until he left it with rayleigh as he left)

and THEN he has to go and say that shit about living to see Luffy through his fight with doflamingo or die there with him

and the fact that he has these cute little smirks and smiles he gives Luffy

and his speech about Luffy being able to make miracles

I LOVE it

conflicting ships that even conflict with my views on Luffy's sexuality

[twosides--samecoin]

"RJ wears two bullets in his hat in case he and Duncan are cornered and he has to emergency pull the plug on them" is my "he wouldn't fucking say that" because

a) I've shot a Winchester or two in my time and he is not using .308 rounds on him and his child in quick succession if that's what he has to do to avoid the same fate as Lucy. I promise you RJ would see the issues inherent to accomplishing that task in an emergency. I'm not gonna get too deep into it on this fine Wednesday morn' but suffice to say: rifles are meant to be shot one way and this HC requires an alternative method that would be pretty easy to mess up and would require uh. At least a few minutes of lead time

b) Even if the bullets are a largely symbolic and half-hearted idea formed in the absolute depths of his depression (and hell, I write Angstville depths of his depression RJ), there's a lot of things I know I think when depressed that I don't really mean

c) "but what if he's in a Carla/Boone situation where Duncan is surrounded by ferals and backed against a wall and there's no escape" Yeah sure fine. The multiverse is a cruel mother. Situations could happen that could warrant mercy killing Actions.

d) My RJ/Duncan are inspired by Cormac McCarthy's The Road, which is a book where survival is two sides of an ugly coin. I see him exhausting every other option, then telling Duncan to take his rifle and run like hell; he'd sacrifice himself. I have a hard time seeing RJ actually looking at Duncan in his scope and going through with it: If there is any other option, who is he to decide his child's fate in this way?

addendum: Live and let live if this is your HC; what makes me disagree with a HC tends to be weighing it against practical/mechanical issues, so my interpretation is the bullets are a symbolic representation of people he loves.

[kradogsrats]

I'll be doing a scene-by-scene breakdown of Viren's dark magic fever dreams at some point, but I just want to get out the part making me go absolutely feral:

In the first sequence with the mirror, he says, also for the first time:

We meet again. Only this time, here I am on the other side. The path of fate is already chosen. Every step I took, I took because I had to.

Now, who is he speaking to? His reflection? Well, maybe... but at literally no point in this sequence is the shot angled to see the face of the mirror:

He seems much more to be addressing the mirror itself, as a symbol of where everything went horribly wrong pivoted to the events that brought him to this point. He's on the other side of a whole bunch of things: history, death, several moral event horizons—but, figuratively, he's also implying that he's on the other side of the mirror. Which, you may recall, is a literal prison.

Now, just to quickly summarize the thesis of the eventual big meta on this: every single thing in this entire dream sequence is about choice and free will. Yes, including the Twin Peaks section. Exactly like Callum's was.

The second time we see the mirror, we do get to see Viren's reflection, as it changes from showing his younger self to his corrupted self. This is much more explicitly referencing a crucial pivot point in his past—immediately before this we had the section with Soren, at the end of which Viren protests, "I had to do something. I had to save him. I had no choice!"

Then we have the final mirror sequence, also the final sequence in the dream:

Viren again stands before the mirror, and delivers the exact same monologue... but this time addresses his younger self, seen on the other side of the mirror.

I think, because of the shot framing and various other things, this is almost definitely what Viren saw when he had his first dark magic vision, years earlier. The mirror, and himself—older, more powerful, but also ravaged by corruption and regret—delivering this warning. That's why the monologue sounds weirdly rehearsed, he's literally delivering the lines he heard years earlier. As he must.

And this is again a pivotal moment in the path Viren took—the first time he did dark magic—but it's also a pivotal moment now. Because, like younger Viren says:

No matter where you are on the path, no matter what you've done before, every step forward is a choice.

So why does he apparently not remember his own reaction? Well, Viren is quite possibly the only person to ever have two of these visions, which we now know occur only the first time a person does dark magic, so we're already deep into some weirdness. Maybe he remembers it happening differently. Maybe he didn't remember it at all, until now. Maybe he remembers it clearly, but years of poisoning himself with pragmatic bitterness have twisted it in his mind into something he could dismiss as naivete, and only now is it suddenly hitting different. (It's that one.)

But ultimately what we have here is young Viren asserting to himself and to current Viren that no, he has a choice, and always will have a choice. That is, in and of itself, a choice he is making—he's choosing to reject the excuse that his older self made the foundation of his life, I had no choice. He also extends the same choice to current Viren—I am free, and so are you. And current Viren, having now been given that choice, chooses to take it. It's an absolutely crazy time ouroboros of choices, and I fucking love it because the absolute crux of Viren's arc here, at the end of this season, is knowing he still has a choice.

[dopepoisonivyoncrack]

I find Astarion's thirst for life unmeasurable and impressive like...HOW? WHY? WHERE DOES THIS COME FROM??

Its said even before the transformation he was interested in eternal life and power; his own theme song is "I want to live"; even during his 200 years of pain and torture and suffering with seemingly doomed fate he had moments where he dared oppose his master; he is absolutely terrified after he escapes but tries his best to survive, feraly I may add, despite his lacks and faults and clumsiness. He can't make it on his own, his fate if not recruited is a grim reminder, yet even then he put such fight and opposition that Cazador had to kill him again and turn him a zombie to get control over him. So this will to live on isn't motivated just at the prospect of a better life when he sets free and joins the company. I've heard many real stories of terrible past and traumas and respective people finding the strenght to hold on to hope, to want and fight to keep on living. When asked, many of those people usually said they found the strenght in religion or their family, their loved ones, sometimes art. But what about Astarion? who doesn't have any of those? I'm not saying he sounds unrealistic, he is greatly written! just that... he is an intriguing symbol of braveness, of will to live, of strenght to keep on going despite every adversity, when there seems to be no way out, no end to the misery. And he likes these signs in others too, like he is finding kin. Oh, you seem someone with ambition? feral? you want to live high and fine and enjoy the best of life? Fav!!! Delicious even! if you're down to do some immoral stuff to get you there <3

At the moment I wish I had at least a fragment of his strenght, I could make my life better. And the best part is that he doesn't have anything special to give him advantage. He doesn't seem to be made to be one of those sappy, inspirational stories. He is fucked up, and scared, and average, and clumsy, able to set some goals but no idea how to get there. His every plan is "fuck around and find out" but he is so determined to stay around and do it. I find that amazing, and a bit funny, and endearing...and sweet...

[controversial-blorbo-bracket]

Controversial Character Tournament Round 2: Kromer from Limbus Company vs Anders from Dragon Age 2

(remember that these characters are fictional and your fellow tumblr users are real. please be normal in the notes, i will not hesitate to block if you harass people)

Propaganda under the cut:

Kromer:

HATE: - "Nasty, scrungly, murders people for having advanced prosthetics, but yet the fandom still loves her, I will never understand that"

Anders:

LOVE: - "So Anders blew up a chantry as a symbol of mage rights. He's wild. Completely feral. I love him so much. He's canonically Bipolar (like me) but it's written in the worst possible way. He is possessed by a demon, technically. He's so unhinged. So many people hate him. He is technically a terrorist. The later game literally changed it so even if you agreed with him, no you didn't" - "hes SOOOOOO." - "He has a controversy page on wikipedia (It is not about that time he blew up a church). He likes cats. He gives poor people free magic healthcare. There is so much discourse about him all the time. His writer hated him. He escaped a cult. He's canon bipolar AND bisexual. He's possessed by a spirit of Justice (who rocks so hard.) He hates the Catholic Church. He lives in a sewer. He's really mean and petty. He was put in solitary for a solid year. He's one of two openly queer (i.e. mentioning it outside player romance) companions (the other being Isabela Dragonage) in his main game. Anders isn't even his birthname, it's a nickname given because he didn't speak for months when he got taken to the Catholic cult prison at 12. He drank long-lasting poison to fight an evil corrupting force because he wanted to not be murdered or have all his emotions lobotomied from him by the Catholic church prison guards (This is almost completely unrelated to the possession.)" - "Anders! He's a medic for those too poor to afford healthcare! He loves cats! He has a cat named Ser Pounce-a-Lot because he's a perfect man. Anders absolutely says ACAB, except in DA2 it's ATAB: All Templars Are Bastards. He's canonically bi! He runs an underground railroad-type deal for mages to escape from abusive institutions! He blew up the in-universe Catholic church for opressing his people (mages)! Some say this makes him a terrorist. I say this makes him a babe ❤️❤️❤️ He is unreasonably mean to Fenris, but imo that's just Bad Writing we can handwave away ok? ok. cool." - "there is a controversy section on his wiki page bc his bisexual ass made the straight male gamers angry by flirting with their characters. ppl in the fandom have also been arguing nonstop for 12 years abt his actions at the end of da2. do u want to go to anders discourse? too bad we're going to anders discourse."

BOTH: - "I really liked Anders in Dragon Age Awakening, I thought he was fun and funny, but he's insufferable in da2 and his fans and apologists are so annoying. He's a terrible person in that game and they have to make stuff up and ignore all the awful stuff he says and does. He's so awful I always kill him at the end of the game because I hate what he became."

[imagionationstation]

Heyya! I hope your break from social media was nice! :D

I just wanted to say I love your writing both on here and ao3, and find myself looking through your character and episode analysis on here a lot when I need inspiration.

I drew some art of your separated feral donnie au and i hope you like it. Hope ya doing well! :D

Okay, hear me out, I saw your post and I made a response and then Tumblr deleted it so I got upset and walked away with the intent to come back and reblog it later and totally forgot.

There is a reason that I never get to Asks even though I spent all day thinking of how I'll respond until one thing interrupts and now that Ask is lost to my drafts until I stumble upon it months later-

The memory loss is strong with this one.

Also, thank you sm. I adore when people can use my random stuff to positively influence their writing/art. That's literally why I write them, because I fully realize that there's a lot that can go under the radar and it's not fair of me to wonder why people only notice the bad when I have never stepped out to share the good.

THE PUBLIC DESERVES TO KNOW.

Plus, there's not nearly enough 2012 Donnie fanfiction out there, so I do my absolute best to fill that hole. I love to make converts. CONVERTS TO THE DONNIE FANCLUB CAUSE.

Because I like him and all that he does a normal amount <3

BUT ANYWAY LOOK AT HIM- THE FERAL CHILD!

He. Is. So. Realistic. I CAN'T EVEN BECAUSE THAT'S HIM.

The little gap- the big brown eyes- the cracked plastron and the scarring around his throat and the symbol on his chest- MAN.

HE'S SO ABUSED AND HE DOESN'T EVEN KNOW IT.

Like I look at him and his little crouch and his squinty glare that looks like this boi needs glasses because he doesn't know how to properly glare or even have a mean bone in his body my gosh his big brown eyes are right from my brain he's so innocent I CAN'T-

YOU GUYS ARE MAKING ME EVEN MORE NUTS OVER MY OWN AU AND I DON'T KNOW HOW THAT'S POSSIBLE-

NOW DON'T GET ME STARTED AT HIS LITTLE HISS.

Honestly, this kid wouldn't hurt so much as a cockroach, but if that monitor even considers shocking his Friend again he will learn to change his ways, so help him-

[ryind]

SPOILERS FOR OPPENHEIMER BY THE WAY BECAUSE I HAVE WAY TOO MANY THOUGHTS ABOUT THIS MOVIE AND WANT TO DISSECT IT

Okay so I know there are some very reasonable and valuable complaints, comments, and criticisms about Oppenheimer and how it handles the ACTUAL victims of the war, martyrizing Oppenheimer, an arguably very gray character in reality for more reasons than the atomic bomb and...trying to poison his mentor. You know. The basics.

THAT SAID I AM GOING ABSOLUTELY FERAL FOR CILLIAN MURPHY'S PORTRAYAL OF OPPENHEIMER LIKE I HAVE A 3 IN 1 DEAL FOR HYPERFIXATIONS RIGHT NOW I THINK BECAUSE WE HAVE THE ACTUAL MOVIE, CILLIAN, AND THEN OPPENHEIMER. AGH. LOSING MY MIND. PICKING APART EVERY SCENE AND DETAIL WHILE ALSO GUSHING ABOUT CILLIAN'S PERFORMANCE.

on that note here's some things I worked out about the movie, or rather, my takes on them for those curious (some of these are definitely a stretch, but I like seeing how far I can push a metaphor once I find one, so here we go):

Lotta controversy about the "I am become death" quote during the sex scene, which, fair. I can see why they included it though, upon reflection. In the moment, it just feels like a strange foreshadowing of the bomb itself, which did Not resonate with me and seemed fairly jarring, but upon closer inspection, I think the relevance of that quote in *that* context is that this is the first person Oppenheimer lost. Jean needed Oppenheimer, and he blamed himself for her suicide (or murder, maybe). This was the first time he "became death, destroyer of worlds"; the first marble in the bowl, which mirrors Oppie's reaction to the bomb's actual detonation quite well, too, I think. Something terrible has just happened, and yet the expectation is that Oppenheimer shows up and pretends all is well and he isn't horribly damaged, just martyring on.

SECOND

The orange from Rabi might be a bit deep or I might be a bit stupid. Oranges tend to symbolize positivity and aid, so being told to eat one by a friend in his most vulnerable moment is a kindness, hence some symbolism there. I did unpack this deeper though, say, such that oranges need to be peeled to get to the sweetness, and they are one of the sweetest citrus fruits, though they maintain their tang. This represents perfectly how the orange delivery felt in that scene; sweetness from Rabi in a moment of vulnerability, the orange peel gone, the bitter and trauma numbed exterior of Oppenheimer stripped away for just a moment before the sour slammed back in full force. Also just. Really stretching it but oranges being segmented could both represent a fractured mind AND the different perspectives on Oppenheimer as a whole and his reputation to this day.

Oh and General Groves when telling Oppenheimer he's essentially done with him but will ..try? To keep in contact? And update him?? He's buttoning up his coat if I remember right, mirroring his guard getting put up as he ends his amicable dealings and negotiations with Oppenheimer, adding layers and making himself less vulnerable. Oppie, meanwhile, smokes as the quiet, socially acceptable way to perform an anxious ritual.

Also the RAIN. Don't have this one fully unpacked yet and maybe never will but Cillian in an interview mentioned that Nolan described Oppenheimer as "dancing between the raindrops" and this has only half clicked with me but oh well here we go. The basic idea is likely that Oppenheimer doesn't abide by just one grouping of people or their ideas, or hop on any flow bound for one particular destination. Rather, he dances in the space between; in the uncertainty that looms closer towards the ground the further things fall. I think this works decently with what I've listened to and read about Oppenheimer as a person, saying he'd follow recent physics, always growing impatient with the current field he was in and seeking something more...I don't like the use of this word in relation to science but "trendy." I guess the dust particles and whatnot in the headspace sequences work in line with the whole rain theory too in terms of how Oppenheimer doesn't just think about the interactions and the space between, but lives and breathes it as the space between the raindrops; between those that make the biggest splashes, as he gets caught in the ripples. Also given his anti-war rhetoric throughout the movie I feel like there's maybe a fire/water thing going on with him trying to quench the bomb he created but ultimately failing? Who knows. Maybe it's just rain.

Anyways here's all the ramblings I did to myself to reach these conclusions. They are incomprehensible.

[aquaquadrant]

Hi there. I’m going insane and it’s your fault. Like I discovered your absolute emotional masterpiece of a fanfic the other day and it’s all I think about anymore I’m so obsessed; I downloaded tumblr bc of you and I don’t really know how this site works but I do know how to click the ask button so that’s your problem now. I got words for you

First off: HOLy the writing and the voices are so good??? Like the characters say things the way their irl counterparts would say it? How?? Teach me your ways? Actually tho what did you do to learn to do that, is it innate, do you practice?

Second: “He wouldn’t have known the sight of Tango’s pale skin flushing bright red all the way down his chest.” That sentence just kinda stuck out to me from the last chapter… for some reason... anyways (idk what my point is here but it sure has got me thinking thoughts :P )

Third: I said I was obsessed, and I think it was an understatement. I didn’t study for my chem final because of this (still got an A tho so dw) and I went to bed for three days straight thinking about it and I woke up every morning thinking about it. (It took a solid hour to snap myself out of it when I actually needed to get work done lol) And on the plane ride home for break I drew some things so I’ll just leave these here if you don’t mind (umm ignore the tango faces on the first page and his left hand on the second, there's something Wrong™ about them I gotta practice, ok?)

idk if the formatting is good or whatever but here they are

As you can see I love love love the scene after the nightmare. If I remember correctly, Tango started wearing the gloves to protect his claws so they could heal after he escaped, and then when Jimmy gets hurt he just instinctively gives them to him?? Hello, the symbolism??? Tango just surrenders his own protection, both physically, because he would rather protect Jimmy, but also emotionally bc it immediately reveals what he considers a flaw in himself, monstrous, hideous. And Jimmy sees him throw the walls up again, “He quickly shoves the gloves at Jimmy, moving to get up. “I’ll uh, I’ll get another pair tomorrow-”” but Jimmy won’t let him, instead looks at what could be considered Tango’s entire soul —his trauma, his Hels origin, the feral, blaze side of him, the side that lies and hides and lashes out at any who get too close, the “ugliest” parts of him —and loves him despite it? Even sees the beauty in him? Yea, no, I’m normal about that—

Anyways idk how long these things are supposed to be but I have a couple more thoughts so you’re still stuck with me. Ummm let’s see… I adore your impulse design. So I’m taking that, thanks. (If that’s ok) also was thinking about how Jimmy would wear shirts with the wings getting in the way (see bottom of 2nd pic), and then thought maybe that’s why he’s so good at embroidery or sewing in general, cuz he has to make custom clothes. And then I thought what if he made some *cough* outfits and had Tango judge them… or asked for help putting on/taking off a particularly difficult shirt... haven’t had time to draw that yet but ya know… one day. Aaaaand the blaze rods could theoretically make a pretty cool fire crown when Tango's angry, also blazes do damage when you touch them, but I don't think you get set on fire? So it must be the blaze rods themselves doing damage, so I imagine when Tango's fighting they swirl around him both to attack whoever gets too close and to block any incoming projectiles (see middle left of 1st pic). +gradients on the blaze rods :]

Last thing, I showed my sister the fic last night and she’s already read through it twice so you’ve infected two of us. We were theorizing on what’ll happen next chapter. We both think that the others will piece together, to some extent, Tango’s backstory before they figure out how to remove the collar, what with the cuffs he wears, the comments Atlas made about a farm, Atlas’s mentioning about using Jimmy that way for his feathers, etc etc. and the comment that Tango can hear everything? Yea, no, when that collar comes off he’s gonna be distraught, I’m wagering that everything immediately bursts into flames around him or something (cuz that’d be cool). I think he'll probably try to run away, too, but we'll see

Anyways, that’s not all my thoughts but this is getting pretty long, so maybe I’ll send another ask later if that’s alright. Have a good day! Post again soon! Please. Please I'm begging you. For my sanity plea-

(actually tho take ur time. quality is worth it, and this is nothing but quality)

!!!!!!!!!!!!!!!!! omg welcome. this was genuinely SUCH a lovely ask to read, but i wanna take the time to properly answer it so i’m gonna continue under the cut cause boy can i ramble

first off: HELLO, you got a tumblr bc of HTP?? incredible. i’m honored that this gay angsty little block man au was your introduction to the hellsite (affectionate). and don’t worry, i welcome asks no matter the length (tho i might not get to everything in a timely manner)

second of all: i’m SO happy you enjoyed my character voices. that’s definitely something that’s taken a bit of practice, especially for more understated characters that don’t have super obvious or unique vocal traits/vernaculars. i find it helpful to a) have spent a decent amount of time watching the source material and b) always go over my dialogue with the character’s voice in my mind, and see if it sounds like something they’d actually say. ofc, sometimes liberties can be taken based on the plot/setting of a fic but generally i spend a lot of time and effort on getting character voices right, so i appreciate the appreciation <3

thirdly: i like that particular sentence too ;0

fourth: THAT ART THO??? oh man. impulse looks amazing (i’ve always loved demon!impulse and gotta credit @lunarcrown for bringing that vision to life 💃) and the wings are SO well done, like you conveyed that leathery thin bat skin texture perfectly. the various tangos are SICK, i luuuuv seeing him in full blaze rage mode, using those blaze rods to their full effect. and those hands… goddamn. not only do i respect the hand anatomy but the ROSES… the shackles and their metallic texture… the gradient on tango’s claws… chef’s kiss 💋👌 and THANK YOUUU the post-nightmare scene was one of my favorites from that chapter, and you’ve summed it up beautifully.

moving on: as with all of lunar’s designs, she’s happy to inspire so BEHOLD, DEMON IMPULSE UPON YE (that’s a yes from both of us LOL) i love ur idea about jimmy making custom shirts to work around his wings, that’s one of those little details i never put much thought into but it fits so nicely with him being into embroidery. so jimmy def makes a lot of his own clothes (and occasionally some for tango), co-signed and approved. and ur on the right track about tango’s blaze rods- most of his defensive fire comes directly from them, doing that crazy swirly fireball thing that actual blaze do, but he does also have the ability to produce fire from his hands, he just doesn’t do it often. it takes a bit more concentration and practice, and he spent so long trying not to use his abilities that it doesn’t come second nature to him anymore. he was way more of a fire starter as a kid in hels.

last but not least: AWW it’s so sweet u got ur sister into the au (lord knows i’ve dragged mine into many a fandom 😂) glad y’all enjoyed it so much, AND now u have someone to theorize with 👀 i won’t say anything more on the matter other than i hope to get the next chapter out over the next couple weeks, so stay tuned…

[zukkaart]

YAY YOU LIKED MY IDEA ☺️☺️☺️ you’re so right about Zuko too I can totally see it. Azula slipping back into her scary persona when Zuko arrives because he’s from her old life and everyone in the tribe going ??? Azula what’s wrong 🥺 and Zuko being madhappy that Azula got to get away (and he didn’t). I think Sokka and Azula would have become friends (maybe he reminds her of Ty Lee) and when Zuko comes to visit he gets super protective of Azula and it’s a Zuko/Sokka standoff while Azula’s in the middle trying to convince both of them that she’s the mastermind in control (she’s not and her ocean kumquats are burning). Eventually Sokka and Zuko realize they want the same thing and then zukka obviously because of course.

Also I go feral for the hair symbolism in Atla and it’s canon that Azula doesn’t know how to tie her topknot and the water tribe doesn’t wear their hair like that so she would Have to wear it another way. Perhaps a symbolism for forced vulnerability. Maybe Hakoda walks in on her trying to tie her topknot and he offers to help her. She begrudgingly says yes and he ends up tying her hair like his because it’s closest to what Azula is trying to do. His hair is sort of half down half up which I think symbolizes how he’s offering to her an out from vulnerability but it like only half works because he’s so kind to his children and children in general and she’s so disoriented by the new customs and kindness that she does let her guard down a little bit. (Also I think Azula would refer to hakoda as “my husband” when she feels threatened because he’s the chief and being his wife implies protection even though they don’t act (or think) married at all. And maybe eventually this turns into just a joke when Azula realizes she’s not actually being threatened in the SWT). Cue Sokka seeing Azula’s wolf tail for the first time:

Sokka: hey! You’re stealing my hairstyle! Get your own!

Azula: MY HUSBAND DID THIS >:/

(Also because I love when Zuko says “the fatherlord” so much I think Azula absolutely has to refer to hakoda as hakodad or my husdad at least once.)

So late responding to this but i genuinely couldn’t think of a good enough thing to say or add so I’m just gonna leave it here for the people to enjoy x

[qqueenofhades]

i'm going feral about queer icon hob gadling thank you very much. I JUST CAN'T WITH HIM. i cry because in the comic in the 1989 panel there's a person at the inn talking about how "of course AIDS isn't a punishment from god." hob has to sit there and hear that and just. JUST. hob being visible! hob being vulnerable in his love! hob surviving all his friends. hob buying the fucking pub with the power of his queer money!!! committing the crime of graffiti to SPRAYPAINT A SIGN FOR HIS LOVE TO FIND

It is... probably because I am a queer historian and that is why I imprinted on Hob in the first place, but uh, yes, I have many feelings about this too, and the subtle way in which queer places and spaces work both in the show and in the Dreamling story specifically. Obviously there are many queer characters in Sandman (and we love it for that), but the White Horse, and then the New Inn, is one of the few physical locations I can think of that is a literal embodiment of queer devotion. Hob buys the old pub and builds the new one so Morpheus, if he does ever come back, can find him! He appropriated the spot where they met the first time, where their relationship was built over centuries, and he both saves the old one and builds a NEW one (new step in their relationship etc etc). And physically paints giant signs because his immortal boyfriend is very stupid! He makes it visible and explicit, he builds his devotion into every fiber of that pub, he does it especially so Dream can still come back and find him if he chooses, he waits patiently, and like... the New Inn is absolutely brimming with queer adoration, and ack.

Also, there was that tantalizing tidbit about the real, historical White Horse pub that the Sandman version was based on, being best known for being run by two women in the 18th century who called themselves "Mr. and Mrs. How." Granted, I found that in the IMDB trivia section and if I was writing an actual paper on it, I'd have to do a heck of a lot more research. However, happily, I am NOT writing a paper, and I say it's real because it feels right. In that case, the White Horse itself is embodied as a queer establishment, a place previously run by married lesbians in Hella Gay 18th-century London, and adds another layer to that being the place where Hob and Dream meet every century to conduct their careful, tentative, tender, unspoken romance.

But then! Tragedy! The pub has been bought and will be shut down, and with it, the physical and literal heart of Hob’s relationship with his "stranger!" As I wrote in my meta about the 1989 scene, everything is so careful, so subtextual, so unspoken, whether it is Hob saying he has been stood up and the bartender deliberately not assuming it was by a woman and offering oblique reassurance that Hob is safe here, as a queer man in violently homophobic 1989. So of course Hob can't stand to think of it going away, and has to save it both for himself and as a queer-friendly establishment! So he takes his queer money, as you say, and does something about it! Maybe bad people get to do whatever in this country with that money too, but so does Hob, and he can claw back a little of the place that has always most belonged to him (and him with Dream).

Hence the New Inn, where Hob absolutely hung Pride flags in the '90s long before it was cool or popularly accepted to do so, was able to use his status both as owner of the establishment and Queer Who Can Kick Your Ass to deal with anyone who had a problem with it, and otherwise keep it ready for the day when his love might get to show up again. It's beautiful! It's visible! It's symbolic! And then when Dream does walk in and make their relationship "visible," i.e. apologising and calling Hob his friend, they get to sit down together in that space that Hob has created and kept as an altar of queer devotion both private and public, they smile at each other adoringly, and then what scene/setting do we cut straight to??

THE GIANT BEATING HEART OF THE THRESHOLD OF DESIRE. FROM ONE BEATING HEART OF DESIRE MADE VISIBLE DIRECTLY TO THE OTHER.

They were insane for this, truly. Insane.

[beevean]

a star ⭐ AND a query: are there any particular notes you have for Rain or What We've Lost and What We've Gained?

Ohhh!

Not much to say about Rain, it just came from a prompt and the idea that Hector would be "odd" enough to prefer rain over the sun. I'm not particularly proud of that one, to be honest, although I liked writing from Rosaly's POV and I took the chance to flesh her out a bit without straying far from what we know of her: she's disgustingly cute, she trusts Hector unconditionally and doesn't judge him for his weirdness, she's traditional in many aspects including having prejudices but willing to meet Hector halfway, and in short she embodies the better qualities of Christianity. I tried to incorporate other symbolisms, such as comparing Hector to a snake echoing his edgy moment in PtR, or Rosaly coming to appreciate the rain because it does kind of resemble his beloved in a way. And as I said in the notes, I just wanted to write a fully happy Hector for once lmao, let the man have one joy in the trauma conga line called his life :P

WWLAWWG is dearer to me, because I wrote a big part of it after suffering a loss - Julia's words about Isaac and her blaming herself for not loving him enough resonate too close to how I was feeling back then. I have all the feelings about her relationship with Isaac :) and i might have teared up a little when i wrote "i just want my big brother back!"...

It's worhty of note that it was born out of an idea that has little too do with the general theme of the fic - that Hector and Isaac can't have children due to their powers, something that would weigh on Hector when married to Rosaly as he'd see it as yet another consequence of his mistakes - and then spiralled into a much more wholesome headcanon that at last fixed all my grievances with the idea of Hector going to live with Julia. Maybe in the game Rosaly's makeshift orphanage doesn't exist... but nothing stops me from integrating it into the setting >:) I also go absolutely feral over the idea of Hector becoming Dracula, but this time in a positive way: by welcoming unwanted children and actually raising them with love, not to use them ;A;

Julia is a fascinating character for me to write, because she is a big big liar lmao. "Unlike her brother, whose thoughts and emotions were akin to a river in flood, and unlike Rosaly, with her clear, crystalline honesty, Julia was a placid lake, surface smooth and undisturbed." I could have phrased it better, but I liked the imagery here: Rosaly was gently honest and Isaac was brutally honest, but Julia hides everything behind her smile and slightly witty attitude, and Hector knows that something is lurking under the surface, and it's only a matter of time before it breaks the illusion. makes you wonder why she's like this...

I also tried to make Hector sound a little different here. This is post-CoD Hector, this is a Hector that has fully affirmed himself and his own agency. He's no longer the boy who would let himself be eaten alive to fill someone else's void :) it was very important to me that he took the decision to remove himself from a toxic situation, while still not looking like he was simply running away: I'm proud of myself for the idea of leaving the Devils with Julia, who in Kojima's art is shown taking care of them. There is something to be said that in theory, Julia would be an even better companion for Hector than Rosaly, because she fully understands Hector's powers and "curse", and being shunned because of it, and they can both be fully themselves around each other. This alone makes me imagine that the two would keep in touch through their lifetime, even from a distance.

(similarly I like the part where Hector muses that trying to assign blame on one person is eventually a futle endeavor, becase "it would always return to its starting place". You can't run away from grief, and what's the point in blaming dead people or yourself?)

And as I said in the notes, it's funny to me that it's the very first fic that used the Hector & Julia tag lol. But I still feel I wrote them as rather romantic, even though it wasn't my intention, perhaps for the moment of vulnerability they share together. I suppose you can read them as having the potential to fall in love, but kept apart by their trauma, which is the whole point of the story lmao.

and finally, this

“Then I’d better start packing as well,” she snorted, “for you seem hardly willing to part with your money.” “With all due respect, one hundred gold for a short sword may be on the excessive side–” “I’m simply teasing. Forgive me, but your pride is too easy to prickle.”

was a heartfelt jab at the game, specifically at my first playthrough where I didn't know how to stop being too poor for her shop :P

[philsmeatylegss]

Hi, give me a quick second to scream about how deeply important and symbolic and how absolutely feral I am over the “it can be a secret, but no more secrets between us” scene and Wille’s speech because I have so much to say and it is so good.

-In the “no secrets between us” scene, there’s so much symbolism. So much. What sticks out mostly is where the conversation takes place and those who are in the vicinity of the two of them. It looks like a partially lit side hallway where coats are hung. There is more wall covering than wall not covering, but you can easily see them if you are in front or behind the closet. It is overall in the middle. A compromise. Not completely hidden in the back of a closet where it’s pitch black, but not out in the main room where everyone can see. Because neither of those settings would fit what was happening between the two. Simon and Wille are essentially reaching a form of a compromise in multiple ways. A way to meet in the middle so they can be together. And that’s exactly what they are standing in. A partially lit room that is hidden, but light comes from the outside and anyone can see if they pass by. A mixture

-Simon saying “I love you” right before Olaf takes him to give his speech. This is more straightforward and something that’s been obvious, but just a reminder that Wille’s relationship with Simon is way more important to him than his royal duties. It always comes first.

-Also the fact that Olaf 1) let them talk in the hallway thing and 2) Olaf not reacting to seeing them be affectionate. A representation of both how shitty the royal family is and what the right choice for them to do is. It shows that as long as it’s not in public, Olaf couldn’t give less of a shit who Wille is with. Just as long as it isn’t in public. At least for the time being, it has to be a secret from the open public, but very much alive behind closed doors

-Wille says before his speech that he feels like he’s gonna throw up. The reaction? Seemingly annoyed and telling August it’s his turn. “I always put my son first” or whatever she said is pure horseshit. You care about what people see. All you had to to was give him a hug and say it will be okay. Not much here I just really hate her.

-AND THEN THE SHE SMILES AS HE WALKS TO THE PODIUM AFTER TELLING AUGUST TO GO UP! Sorry I’m rewatching it as I write this and I fucking hate her.

-Fixing the microphone. Wille is about to take control back from the camera for the first time since the video was leaked. It is his first time speaking (honestly speaking) since the leak. He wants to make it known you better shut up and listen

-Wille referring to his mother as “your majesty” before calling him his mother. Because he feels (and is) her subject first and son next. She has always been just a queen to her. That’s what he feels.

-The only time I can recall his mother smiling at Wilhem is during this speech. Figures it’s only when he says word for her what she wants that she’s finally proud. Because that’s all she wants.

-The word “tradition” being what stops his rehearsed speech. I’m sure all you fellow homos know the saying that homosexuality goes against “traditional values.” In the first season, Wille’s family seems in complete denial about his sexuality and relationship. It took them till this season to realize it was actually a thing and the few times they address it, they call it things like a “situation” (something like that I can’t remember). A way he was choosing to live. A tradition he was breaking. Monarchy is legit just tradition. That’s why it stays in the family. Breaking tradition is one of the main messages of this show.

-The huge crowd of cameras and how they keep recording even when asked to stop. I literally can talk about these two minutes for hours. What messed up everything for Wilhem and Simon was a camera, a video. The whole speech is so important because it takes place in front of a lot of cameras. And by breaking off into his own speech and confessing that it is him in the video, essentially, Wille is quite literally taking back the power of what destroyed him and what would continue to destroy him. How the camera kept rolling even when asked to stop was just more of a “this thing isn’t going to change so I can either let it break me or make it my bitch” and that he did.

-Going back to the scenery, unlike the “keep it a secret, but no secrets between us,” scene, this scene is quite different because, despite them being right next to each other, this speech scene happens outside on a bright day with all the cameras pointing at Wilhem. Simon is in his shadow and silent. This was their relationship in full light. It showed the contrast of public vs. private. In public, Wille has to stand in front of him and be all mighty, but in private, Simon can give him hugs. However, this is the first time we see them being comfortable in public together. And it’s because the compromise they reached of agreeing to be a secret, but not a secret to each other. Both of them were smiling when they looked at each other during the speech. They didn’t have physically be close or talk to still enjoy the other’s presence. And it sets up what dynamic they need to go forward with.

-Wille saying “But that ends now” and the camera panning to the therapist. Off topic, but Young Royals did a fantastic job at portraying what therapy actually is and as someone who has been in therapy my whole life and has seen it depicted wrong in almost every piece of media, it was nice to see it like this. The therapist is sort of a replacement of Erik. The only adult figure Wille feels comfortable going to and taking advice from. Wilhem decided he was willing to give up the crown for Simon after a session with the therapist. The break of tradition, what allowed Wille and Simon to be happy, is the therapist. And though screen time wise he plays not a huge role, I think he impacts the story line more than any other character.

-When Wille confessed that is was him in the video, he makes sure to add on that it was him and Simon. He wasn’t leaving Simon behind anymore. Even though they couldn’t be a couple in public, Wille is kind of refusing the kingdoms constant attempts to silence Simon and his name. I also think it’s so important that Simon is on the stage with Wille during this. It comes off as just a nervous add on, but in my opinion, “the one with me and Simon” is so important.

As you can tell I enjoyed the show.

[silentangel00]

The Batman

(Reader Insert)

Chapter 3: Losing Face

Chapter 2: https://www.tumblr.com/silentangel00/731701435395358721/the-batman

You had gotten home around 11 PM obviously exhausted, but your nerves were too on edge after almost being shot tonight to sleep. A couple of hours later you realized you never did get your chocolate cake and you were very hungry. You turn on your TV for background noise and went to the kitchen to grab a snack, settling on sweet and salty popcorn you sat back down on the couch and started scrolling through your phone while you ate. You weren't paying attention to the TV until something ripped your attention away from your phone as you look up and turn up the volume in shock.

"... the city has been rocked by a second high-profile murder in as many nights. And this time the killer has come forward to claim credit online. His victim, longtime head of the Gotham City PD, Commissioner Pete Savage, was found dead earlier tonight inside the Police Athletic League facilities in the Tricorner area. The killer posted the followingmessage on social media. We have to warn you, the video is disturbing" The screen cuts to a hand-held video with a selfie view of the Olive Green Hooded Killer, a symbol on his chest that looks like a scrawled question mark within crosshairs.

"Hello, people of Gotham ... This ...is the Riddler speaking. OnHalloween night, I killed yourmayor, because he was not who hepretended to be. But I am notdone. Here ... is another ..." He swings the camera around to a bound man with a Cage-like box over his head. As the killer presses the camera further into the man's face you see for sure that is Commissioner Savage inside. His mouth was covered in duct tape with the words: "NO MORE LIES". You notice with horror the feral rats that circle his face. "... who will soon ... be losingface ... I will kill again andagain, until our Day ofJudgement ... when the Truth aboutour city will finally be Unmasked." The killer quickly leans into view "Good Byeee"

The video abruptly ends after we start to hear muffled shrieks. Almost immediately your phone starts to ring and you answer it without even looking at the caller ID, eyes still glued to the screen as the Newscasters continue.

"Y/N?" You hear Gordon as you bring the phone up to your ear.

"Yeah..."

"Have you heard yet... about Pete?"

"Yeah..."

"They're transporting his body to the morgue right now... I'll meet you there in an hour or so if you wanna go ahead and get a head start to look him over..."

"Yeah..."

"Ok see you then."

You hang up without a word and just sit there for a minute feeling absolutely numb. Another long night...

-------------------------------------------------------------------------------

You had a couple of hours to properly examine the body before Gordon arrived, with Batman as well. You pull Savage's body out and pull down the cover to reveal the grotesque damage done. Gordon has to look away while Batman coldly assesses alongside you.

"He waited for him. At the gym.Pete liked to work out late at night when nobody was around." Gordon says catching us all up.

"There's a needle mark on his neck..." Batman states as you nod.

"Injected him with arsenic," You say grimly. Batman looks up at you, silent for just a second.

"Rat poison." He says still looking at you.

"Yeah, that seems to be his theme here." You say looking back at him. Gordon angrily steps away and you follow him as you show him the cage-like headbox on the evidence table that you had to detach from Savage's head. Inside is an elaborate network of channels.

"Look at this thing, It's a maze..." You say as Batman soon follows joining you and Gordon. He takes a UV flashlight and shines it on the creepy hinged box.

"What kinda demented SOB does this to a person?" Gordon says as he gazes inside the bloody maze. You follow Batman's flashlight as it shows a crudely painted cipher that runs through the floor of the maze, ending on a question mark in crosshairs.

"It's another cipher." You state.

"He blasted these out after his message went viral. This guy murders you and your reputation." Gordon says as he finds a stack of surveillance photos, in one of the photos the commissioner is shown emerging from the Iceberg Lounge, shaking hands with a shady-looking guy.

"That guy pushes drops. On the East End." Batman says causing you to quickly look at him hearing the mention of the drug. You made a mental note of what he said planning to look into that when you get back to the labs. Gordon continues looking on, pained, as Batman stares at another photo of Savage peeking into a cash-stuffed envelope.

"I don't get it. Why would Pete get involved in this?" Gordon asks in denial.

"Looks like he got greedy," Batman replies.

"You kidding me? After everything we did to take down the Maronis? We busted their entire operation, then he caves to some lowlife dealer?"

"Maybe he's not who you thought."

Gordon looks up at Batman "You make it sound like he had it coming..." You could feel the tension. You wondered if you should start de-escalating or not. Batman stands in silence for a moment.

"He was a cop...Crossed a line." He states. Gordon just sighs and places the pictures down on the evidence table. Batman seems to notice something. A button with the question mark in the crosshairs symbol on it. He presses it causing a hidden drawer underneath the box to pop open. Inside another envelope addressed: "TO THE BATMAN". Batman opens the envelope to reveal yet another greeting card. A cartoon scientist mixes beakers: "I'm MAD About You! Wantto Know My Name? Just Look Inside and See ... " Inside is a cartoon explosion; over it, it says: " But, Wait, I Cannot Tell You. It Might Spoil the Chemistry!"

Batman continues to read the scribbled handwriting at the bottom "Follow the maze till you find the rat -- bring him into the light,and you'll find where I'm at."

"The hell is that?" Gordon states in confusion.

"Bring him into the light? Find the rat?" You repeat also confused. Unnerved Batman stares at his name on the envelope.

"I don't know..." He says. You let out an exasperated sigh as you turn to cover Savage's body and push him back into the morgue cooler. Gordon looks on at you and slowly walks up noticing how tired you look.

"How you doin? I heard about what happened to you earlier tonight."

Batman immediately looks up curiously eyeing Gordon before staring directly at you.

"I'm...fine," You say half-heartedly "Just a little Gotham initiation never hurt anyone." You try to joke feeling suddenly very nervous and fidgety under not only Gordon's but also Batman's concerned stare. Gordon looks down and nods.

"Yeah... Well, let me drive you home tonight... And just so you know, if you need anything you got my number."

You give him a small smile and nod genuinely appreciating the offer, feeling a bit of a weight lifted off your chest. A cop appears on the stairs calling for Gordon's attention. "Lieutenant, they're coming back." he then immediately turns and heads back up the stairs.

"We gotta get outta here," Gordon says and heads towards the stairs. You follow him but stop as Batman turns to you, looking like he wants to say something. You look up at him as he seems almost unsure whether he should speak or not.

"What happened?" He finally asks.

"Um... nothing, just an attempted robbery..." You don't know why but you're having trouble talking about it, deeply wishing you didn't have to acknowledge it happening. Gordon turns around and huffs.

"You had a gun put to your head and almost got shot if you didn't get pushed out the way in time." You stare down at the floor in guilty silence. Batman stares at you seemingly struck.

"I'm sorry..." He says, you look up at him. Wait is this the first time he's ever talked directly to me?

"Thanks... I'll be fine." You say giving him a small genuine smile as well. It looked for just a second his usual cold hard looks almost softened just then. Immediately you shake off that thought.

I need some sleep.

Chapter4: https://www.tumblr.com/silentangel00/732845264415719424/the-batman

[thesherrinfordfacility]

so i just saw this post

https://www.tumblr.com/fuckyeahgoodomens/724574959442247680/i-noticed-that-while-in-s1-crowley-is-always-on

and like… yo… we need to search some other times when crowley and aziraphale switched their usual places, 'cause I KNOW they have

and also, what do you think about this? because i also find it extremely curious, taking into consideration that the only time when they switched places in season 1 was:

1. the globe, when crowley was basically circling around aziraphale when talking about the arrangement - which makes perfect sense, basically showing through his movement how they take each other's roles when they need to

2. in the scenes before the trial when they actually switched appearences

so what does this say about this ending?

well personally, i don't think it's a body swap; again, i think it would completely derail a good portion of the message in the Feral Domestic™ scene, and would make parts of the narrative redundant.

(further asks and 'analysis' under cut)

i think the point of the body swap in s1, and as LWA✨ has consistently pointed out (and i trust them with my life, on god), is that it was a means of demonstrating to the audience (and was meant to demonstrate to each other, not that the boys seemed to notice) that they are two halves of the same whole, and their true balance and power is achieved in working together... and this to me doesn't seem like the scene to do it in. there may be more to it than that, but so far this makes sense to me.

i did some ramblings on their positioning in s1, the globe instance to the contrary you've already pointed out bestie, and because im a mad lad ive gone through s2 on fast forward to spot as many as possible:

- when crowley discovers gabriel, and pre-miracle:

- goob's earliest memory:

- resurrectionist minisode:

- 40s minisode:

- returning the plants:

- "plume of your imaginary tante", and "if you're going to stand here and just carp-"

- ball:

- the ineffable bureaucracy reveal, and the Smooch™:

now my initial thought (and i will return to this post once ive read the Long Document), is that some of the purpose for these shots (and the positioning of aziraphale to crowley's left rather than his right) may be just down to good ol' fashioned blocking. and that may be the case.

but as you say, it was very deliberate in s1 that it was the other way around, that aziraphale was on crowley's right (with traditional connotations of good and just). the exception to this being the globe (where we see aziraphale get tempted into another Arrangement, so crowley circling him in a predatory manner, cycling him on the balance between right and wrong, was appropriate symbolically).

now to me, i feel like the above is explained by my favourite explanation stand-by: character development. in most of these scenes, we see aziraphale either directly stand in opposition to heaven and/or angelic purpose (or having a Human Moment), is questioning his own beliefs in morality, or simply is having a particularly intimate crowley moment. so his increased presence on crowley's left is again, to me, symbolically apt.

in terms of something "being off", i absolutely felt this in the screening of eps 1 and 2; it felt very different tonally, and i wasn't quite sure how to take it. there was a reason why i was so behind my theory that the episodes were fake/altered ones (which i still think would have been a mega-brain idea), and that's because it just didn't feel right.

this season is very different to s1, there is no doubt about it. but at this moment in time (until i properly read the Long Document, at least), i don't think it's because of a higher narrative purpose. i do think metatron has been meddling or spying, but not so much to the point that i think s3 will reveal a retcon of s2 (bearing in mind ive only skimmed the Long Document, so this inference of what it's proposing may be entirely inaccurate (ie noone @ me)). that, to me, would be very strange - to essentially render all/most? of s2 redundant.

so at the moment, no real thoughts from me on this, other than me thinking that the aziraphale placement is, as far as i currently see it, completely symbolic✨