#which The Narrator often has both

[creationsofimaginationsblr]

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[gaytobymeres]

Just saw the weirdest most over-stimulating production of marriage of figaro…. I feel like the opera, the music, got lost in the set and costumes and props and background cast who were just kind of there? Doing weird things?

[ravencromwell]

I have to add Archivist Wasp and its sequel Latchkey by Nicole Kornher-Stace. (Both those links lead to Weightless Books, an arm of the incomparable Small Beer Press that sells drm-free versions of numerous small presses' books for ease of reading and to avoid the amazon monster; to tout the awesome of Small Beer and Mythic Delirium, both primarily responsbiel for publishing Kornher-Stace would be a post of its own, but look them up if you're unfamiliar because they've provided some of the most envelope-pushing, queer-heavy scifi of the last decade.) Archivist Wasp is in the "destroyed earth" rather than the space category of scifi and...well, Amal El Mohtar can sell it better than I ever could:

An Archivist has two jobs. The first is to hunt and catch ghosts in order to learn about the precataclysm past from them; the second is to defend her life and position against “upstarts” — the other girls marked by the goddess Catchkeep’s claw-shaped scars at birth — once a year. Wasp has been Archivist for three years, and wants nothing more than to escape a dismal life of killing her sisters and obeying the Catchkeep-priest — so when an unusually powerful ghost asks her to help find his former partner in the underworld, she agrees. But, as is so often the case with the underworld, she finds both more and less than she bargained for. More than anything else, this book is sharp. You could cut yourself on the prose — Wasp’s world is one of thorns, knives, edges of thick, broken glass, a constant background-hum of pain that sometimes swells into a shout. Wasp’s perspective absolutely thrums with tension and violence, but also aches with a fierce, hollow loneliness to break the heart. The longing and gratitude for the smallest beginnings of true friendship make the betrayals more vicious, and the stakes just keep rising. I burned through this book in about three hours, desperately rooting for her. It’s also a brilliantly constructed narrative and world. The gods are cruel and absent. The underworld is a maze in layers, a twisting, turning palimpsest, one that allows Wasp to descend almost archaeologically through time by literally experiencing her ghost-partner’s memories. The pre- and post-apocalyptic worlds reflect each other in shards and fragments, all the more powerful for being subtle, for their resistance to being spelled out. It was also keenly refreshing — especially in something that’s ostensibly YA, where the Love Triangle of Doom is so annoyingly pervasive — to find a book in which all of the strongest, primary relationships are friendships; where friendship has the narrative, motive force usually reserved for sexualized romance. I very much wanted to see the A in QUILTBAG represented in this column, and this is a fine example: while the connection between the ghost and his (female) partner is intense and loving, it is never represented as sexual, and sex is in fact completely irrelevant.

Sci-fi books where a queer woman has the ghost of an annoying dead guy in her head

*Misery is nonbinary (she/they) and who’s in her head is not dead or a guy but I’m counting it, okay

[tossawary]

One piece of acting advice that has stayed with me for years in regards to both writing and drawing as well is: "Don't use the body to act what the character is saying. Act what the character is THINKING."

Like, as a very, very basic example: a character is apologizing by saying, "I'm sorry." But that line is going to look and sound different depending on what the character is thinking. Crossed arms and a sullen tone can mean that a character is actually thinking: "I don't mean it and also I hate you." A pleading tone and reaching out to take the other character's arm can mean: "Please don't leave me." A tired voice and slumped shoulders within context could mean: "I did what I had to do."

This is one way to begin to do "Show, Don't Tell" in storytelling. It is trusting your audience to see the depth and to catch on to the things you leave unsaid. It's fun to let the audience be observant and clever. It is also reflective of real life, where people are often scared of being vulnerable, or don't necessarily even understand their own emotions, or can't articulate their own thoughts, or have difficulty identifying the true feelings of the people around them, and so don't say very much.

There are exceptions to this advice, of course. In writing especially, rather than in a visual medium, some POV characters are very good at reading emotions from body language and others are not, and their observations in the narration may reflect this skill. Some characters will assume everyone around them is always angry with them or simply not pay attention to other people's moods at all, personalities which can also be subtly communicated to the audience and later used in the story in some interesting way.

Some characters have excellent control over their body language and tone of voice, because they are on-guard, highly trained in some fashion, or a very good liar. They will not easily communicate their true thoughts through their body language or their actions. Their lie can be so good that it can be slipped past the audience as nothing important to the plot until it comes back to bite. Their oddly perfect control over their body in a tense situation can instead maybe be used to indicate to the POV character and/or the audience: "Oh, there's something up with this person."

Body language will also change by culture and class and disability and so on. This clash can cause communication problems between characters, as a character's affectionate pat on the shoulder of another might be intended as casual comfort, but be received as overly intimate condescension. Different cultures / people can even have very different opinions on what level of eye contact and overlapping speech is rude.

This advice was originally given to me in the context of illustration and animation, in which it is very common for inexperienced artists to act out the words that the character is saying in mime-like gesture. In media for young children, we might choose to keep things very simple, as toddlers struggle to learn what it looks like and feels like to be angry or happy. But past that? People don't really behave this way. What we say and what we really mean are not always synchronized, and we can use the body to communicate this.

[benegesseritofficial]

The effects of face paint on Harrowhark's psyche

I've now cosplayed Gideon Nav 3 times, with my wife along as Harrow every time. Naturally, this has included full face paint for both of us each time and I have some thoughts.

Let me start by asserting that everything Muir writes in TLT about the face paint is accurate. Rubbing off your lips first, smearing into gray where the black and white meet, the way sweat makes it ooze but not run. I can't say if Muir (a known Homestuck) ever cosplayed as a troll, but I'm positive she tested out the practicality of the skull face paint or otherwise has first hand experience with extensive use of grease paint. Also, the way she describes normal people flinching when they see you is spot on.

I've noticed while putting on the make up that once most of my skin is covered, any flesh tones sticking out start to become unsettling. Specifically, the red/pink of the inner mouth and around the eyes jump out upsettingly. Every time I've done skull paint I find myself meticulously trying to patch over these edges of skin, despite knowing that it's inside skin that Shouldn't Have Make Up On It. Once my face is monochrome, I don't want to be able to see a scrap of real human under there. Smiling, or otherwise opening your mouth wide enough to see the pink, looks UNSETTLING. My own skin causes the uncanny valley effect. You see where this is going. In NtN we learn Harrowhark disassociates often enough that Crux isn't surprised or concerned to see "Harrow" insisting she's someone else. Obviously this is due to her schizophrenia, and perhaps trauma besides. But it doesn't account for every aspect of why Harrow's "like that." On her most lucid days Harrow ignores her body to the point of sweating blood and passing out. She goes entire days without eating. She thinks of herself as a skeleton unfortunately covered in flesh. She sleeps in her paint.

All of which is heinous, but that last one has stuck with me. From age 13-18 I barely glanced down while I showered and whatever I saw I basically blocked out. I wore underwear and a bra under my pajamas to sleep every night. I was going through the wrong puberty, "my body was in open rebellion" as I liked to say at the time, and the only way to cope was to bind it down and pretend it wasn't happening. By Gideon's narration in HtN one gets the impression most nuns of the Ninth are putting their paint on after breakfast and taking it off when they get home. It's not even expected the average person wears it every time they leave the house. But Harrow regularly only takes her paint off in order to redo it. I suspect a combination of being the most brainwashed person in her own cult, knowing how she was conceived, and the regular disassociation make it very difficult for Harrow to conceptualize that she actually lives in a body. If she faced that fact head on she'd have to ask why it so often feels someone else is using her body. She'd have to cope with owning this body, being a part of this body, that was bought with the blood of 200 children who should have been her peers and friends. Instead she pretends it's an object on loan from them. And she does it with 10 layers of black petticoats and so much paint she never has to see her own skin.

Which brings me to the final thing I've noticed wearing full face paint. It dehumanizes you to yourself and everyone around you. I couldn't read my own expressions in a mirror. Even people who understood and were delighted with my cosplay were visibly nervous talking to me. You don't look like a person. Studies have shown that faces wearing heavy make up are ranked as harder to read and perceived as less empathetic. It's a particularly insidious trap of patriarchy that many women find self esteem in wearing make up, while that very act makes everyone around them treat them more callously. And, worst of all, if you stop wearing it once you're used to it, your naked face is shocking. You look sick due to your colors being less bold and the normal small flaws of your face appear unbearably ugly. With all this in mind, Harrow has trapped herself in a feedback loop of not being able to witness her own face and becoming more and more disgusted with the flesh and person underneath whenever she has to glance at it.

[togament]

𝐓𝐀𝐋𝐊𝐈𝐍𝐆 𝐃𝐈𝐑𝐓𝐘 𝐎𝐕𝐄𝐑 𝐓𝐇𝐄 𝐏𝐇𝐎𝐍𝐄.

sakura, ume, suo, kaji, kiryu, endo, togame.

"ever imagined how it'd be like to be in the mood with them but damn it. You're separated by distance? Mhm. I got just the thing for you."

𝐂𝐎𝐍𝐓𝐄𝐍𝐓 𝐖𝐀𝐑𝐍𝐈𝐍𝐆𝐒: PHONE SEGGS UH OH!, language language swearing swearing, AFAB!reader, ume switchy :o, endo's a fucking menace :((((, TOGAMMMMEEEEEEE *howls!!!!! barks foaming at the mouth*, toy usage, your man straight up “jorking it” and by it haha well lets justr say his peanits, degradation on endo's part--general seggsy time stuff and needy boyfriends, NSFW STUFF MINORS DON’T INTERACT PLS.

𝐒𝐀𝐊𝐔𝐑𝐀.

✦ gotta guide him through it. At first, he didn’t really see the appeal of it. Why do it over the phone when you could meet up instead. ✦ but OH once he’s in the zone though, ONCE HE UNDERSTANDS? SEES THE LIGHT????? I’m wishing your pussy good luck because you’re doing it often. ✦ your phone rings sometimes at 2 am and you’re met with a panting Sakura. He sounds so apologetic too — he’s fought against calling you and just handling it himself. But he couldn’t help it. He has to call you. To hear you. ✦ “Strokin’ my cock right now. F-fuck m’sorry but can ya touch yourself for me too? Couldn’t get ya outta my head and I—ngh.. Need t’cum. Please, baby. It’ll be quick. Promise.” ✦ narrator’s voice: it was in fact, not quick at all. ✦ he likes sending over voicemails at night when he knows you're alone, when he's needy (which is often). ✦ it's mostly just of him panting into the receiver, recalling the events of the day and how each thing you did turned him on. You often end up sending each other voicemails to quench the thirst but god damn it. That doesn't come close to fucking.

𝐔𝐌𝐄𝐌𝐈𝐘𝐀.

✦ another one of the ":o I don't see the appeal of phone sex when we could just see each other instead?" gang. He sees the vision real quick when you dropped something while you were talking though. You bent down to pick it up and let out a soft grunt. He couldn't stop his mind from wandering. ✦ BIG ON PRAISE. GRUNTS AND SIGHS INTO THE RECIEVER LIKE HIS LIFE DEPENDS ON IT. LOVES DOING IT WHILE HE'S LAYING DOWN, PANTS HURRIEDLY UNBUCKLED AND MESSY, SHIRT HAPHAZARDLY THROWN TO THE SIDE. PHONE WEDGED IN BETWEEN HIS CHEEK AND SHOULDER WHILE HE STARTS STROKING WITH ONE HAND AND THE OTHER TANGLED IN HIS HAIR, GRIPPING IT LIKE YOU WOULD--(gets dragged off stage kicking and screaming) ✦ big switch. He's Umemiya, after all. He's the feared and respected leader of the Bofurin for a damn reason. Very sweet when he's just in the mood on a random day, chuckling in between because that's just how the both of you are. It's fun! But when he hasn't seen you for a couple of days? Oh FUCK. When his voice would normally grow soft and whiney, has morphed into growled responses with him fucking his fist desperately, trying to remember how your cunt would swallow him whole. ✦ "G-Good girl, my good fuckin' girl. Filling your pussy up with that dildo you bought? Not good enough, huh?" he adds, grunting as he's imagining you fucking yourself with the dildo, panting and unsatisfied, knowing full well you need him filling you up instead. "I really miss you, babe. You'd look so pretty-gh-! Underneath me right now. So pretty." ✦ cums hard every time you're on call, grunting and wheezing out your name so desperately you almost feel like he's trying to summon you somehow. ✦ Thanks you for it too. It's cute!!! Ends with both of you cleaning yourselves up, still on call. You both often fall asleep together with your phones still on.

𝐒𝐔𝐎.

✦ you both call often. He just loves hearing your voice! Thing is, you never know when he's in the mood. But he somehow can tell whenever you are. What gave it away? Was it the way your breathing stilled when he let out a sigh when he stretched? Was it the way you tripped over your words when he lowered his voice just a tad? Was it when you were left speechless when he praised you for finishing a task you were putting off? Was his teasing working on you? Whoopsies. ✦ INSTRUCTIONAL WITH IT. He’s so good at directing you what to do. ✦ “Want you to imagine my fingers, dove. Why don’t you ease just two in for me? That’s my girl. Now curl them up a little. Keep your mind on me." ✦ you want him to feel good too :(((((( so you ask for him to do the same as you. Of course, he lets you beg a little first. Little did you know he was already fucking his fist before you even started. ✦ has one of your clothes or panties close by because he loves smelling them. He loves your scent. It helps him get off. Hell, he gets horny in public when he takes a whiff of your perfume. ✦ he gets more vocal when he cums and that’s when you KNOW for sure he’s jacking off while listening to you. String of expletives and grunts escape his lips while he spills onto his hand, dribbling down his knuckles while you’re riding out your high.

𝐌𝐎𝐑𝐄 𝐁𝐎𝐘𝐅𝐈𝐄𝐒 𝐔𝐍𝐃𝐄𝐑 𝐓𝐇𝐄 𝐂𝐔𝐓.

𝐊𝐀𝐉𝐈.

✦ FILTHY. FILTHY. FILTHY. ✦ doesn't have much toys but he has a tenga flip and uses it whenever he calls you. Can’t just go full hand and lube. (Probably has a warmer for it too. Mhm. Yeah.) ✦ another "clothes stealer". Has stolen your panties and shirts a couple of times. ✦ you can hear the wet squelching through the phone whenever he thrusts. Whether it’s lube or his cum, you could never ever tell. ✦ AGAIN, FILTHY. SO SO SO SO FILTHY. ✦ “y’getting off to this, huh? Listening to me fuck my toy? Fuckin’ know you’re soaking wet for me now. Lemme hear it. Lemme hear my pussy.” ✦ “keep up with me. Don’t you fuckin’ cum until I say so.” He barks, but he ends up cumming before you. He’s still pumping his sensitive cock waaay after he’s released though. He wants to hear you fall apart. ✦ bites back his whimpers but when he cums? Jesus. He’s stuttering out your name, repeating it like a damn prayer.

𝐊𝐈𝐑𝐘𝐔.

✦ HAS SO MUCH TOYS HOLY FUCK. ✦ he sends over photos of them before he calls, wanting you (yes YOU, dear reader!) to pick the toy of the night!!! ✦ he’d much prefer doing your mutual masturbation over facetime but you suggested a voice call. Who is he to deny his princess? ✦ always opens with a syrupy sweet, “How’s my baby?” and eases you into it with him. He never starts without you or without your express approval. If you’re suddenly not in the mood, he gets it. It happens sometimes. You guys could just talk instead. ✦ praise praise praise. Whispers the raunchiest and sweetest things to you. Talks you through it, guides you. HE’S WAY TOO GOOD. ✦ “Need my pretty princess right now. Need ya to sit on my face—taste so good. Fuck… Your pretty little moans too. I’m addicted.” ✦ “Remember when I did that thing you liked with my tongue? Yeah? Want you to do that on your clit with your fingers. Circle around it f’me, princess. Mhm.. Oh? Not good enough? Need my piercing on it? Naughty.” ✦ PORNOGRAPHIC MOANS. SO FUCKING PRETTY??? You’ve asked for his permission to record some of them. Of course he lets you. ✦ sends photos of the aftermath if you want him to. His cum on his still clenched abs, his trimmed happy trail, over his belly button piercing. Yum. ✦ HAS DEFINITELY POSTED ON GWA YOU CANNOT CONVINCE ME OTHERWISE.(it’s JOI too :(((( he’s secretly dedicated some audios for you. May or may not have accidentally whispered your name in one of his jerk off with me audios too :(((((((( man I’m sobbing into my pillow. Nobody touch me.)

𝐄𝐍𝐃𝐎.

✦ you can’t look at this man and say he’s shit at phone sex. You can’t convince me otherwise. You just can’t. ✦ of course, he’s absolutely cracked at talking dirty to you. It’s always a mix of praise and degradation with him. ✦ he’d be happy if you just sent him nudes, really. But he’s over the moon once you suggested to do it over a call. Immediately is palming his hard on through his jeans while he’s waiting for you to pick up. Opens with a casual little, “hey, honey,” you wouldn’t know he’s practically going to town on his cock, hot to go. ✦ with how sweet he could be to you, he could be so, so fucking mean too. ✦ “My, my. That was such a pretty sound you just made. Wanna do that again for me? Wanna hear my pretty little cockslut begging for me while I fuck my fist. Yeaaah, just like that. Louder.” ✦ the type to send in voicemails at random times of the day. You know they’re exclusively for you since he’s practically chanting out your name while he fucks himself. You’ve made the mistake (plenty of times) of listening to some of them in public. Thank god your phone wasn’t on full volume but people definitely heard your boyfriend fucking his fist. ✦ you put him in his place when you get home by tying him down to the bed and edging him to hell and back and back again and back again and back again and—

𝐓𝐎𝐆𝐀𝐌𝐄.

✦ THIS MANNN…. He knows how to use his voice. He KNOWS HOW TO USE HIS VOICE SOMEONE HOLD ME THE FUCK BACK— ✦ he really doesn't like texting. So you both often call each other at the end of the day when you're apart. You're often apart too, with work and with it taking you to different cities. He's home alone at your apartment with your pets, with your clothes beside him on the couch. See where this is going? :-)) ✦ "Miss ya. Fuck, I really miss ya. Even the cats miss yer constant yappin'-" he teases and he's palming his cock through his gray sweatpants when he hears you shoot a clever quip at him. "Mhh-doll, I really do fuckin' miss ya. Especially when we wake up in the mornin'? Yeah. When ya press yer ass up against me, miss how ya know how to touch me just right-" "Jo, are you touching yourself right now?" he has the gall to chuckle. "Wanna see?" He was so ready to switch to facetime, to show you how he's lazily dragging his fingers up and down his throbbing cock, gray sweatpants pulled down just enough to pull it out. But you wanna stay on the call. You're rushing to your bed, hand in your shorts as soon as you lay down. ✦ likes dirty talking. LOVES when you talk dirty to him back. He's whispering phrases like, "mhm, yeah?", "what do ya want me t'do to ya when you get back?", "what else, angel?" prodding you on, urging you to express your deepest desires to him because he's NEEDY NEEDY NEEDY. (He knows you're as eager as he is too) ✦ wants to cum with you so he edges himself until you say you're almost there. Wants to match your pace and tries to by listening to your breathing, the rhythm of your moans. Never fails to tell you he loves you after he cums. ✦ promises a huge surprise for you when you get back :-)

a/n: THESE WERE SO FUCKING FUN TO DO RRRRAAAAAHHHHHHHHHRHRHR!!!!!!!!!!!!! *insert werewolf ripping clothes open meme here* I hope you guys like it. The brainworms are wriggling mighty strong.

[sharoo]

Self-knowledge as a theme in STP messes me up so bad, bros.

This all starts with how little the Princess can tell you if you ask her about herself. How little you can say about yourself, more often than not. Most of the time Quiet doesn't even know what they look like!

The Narrator makes it a point to make the Princess' cluelessness, her lack of self-knowledge, into deception, but really, both the protagonists don't know themselves. How could they?

The concepts of bounds, of something that isn't you, the distinction of "self" and "other", "you" and "I", the concept of something being not like yourself... this is the first time this deity which is now two has ever experienced it.

The Shifting Mound and the Long Quiet did not exist until the Narrator tore a whole into parts.

Now, this deity in twain has to reorient. It has only begun existing, it's not yet known itself. A toddler has to develop a self-concept, and the concepts of others.

Now imagine, for the first time in your solitary existence, that there is something that you are not. Unknowable, foreign.

What are they like, you think? Are they a friend? Should I get to know them? Are they a foe? I do not know them, I cannot trust them... Or can I?

This brings to mind, of all things, Contrapoints' video on Twilight, where she speaks about the concepts of Union and Division in relation to love. And while she speaks of it in terms of eros, it can apply here just as easily, romantically and platonically.

Love is the union of two beings. We love because something outside of us allows us to be more than ourself. In others, many seek that which they lack. We seek out people so that we may develop through our similarities and contrasts with them, to change an be changed.

We seek out people because there can be no I without a You. To exist in a void is not a fulfilling experience.

We cannot discover ourself if he have nothing that allows us to compare ourself. The mirrors elude us throughout the game, always leading to the princess - she is the only way we may know ourselves, the mirrors tease as they disappear. And at the end of the route, only then, can you see yourself, now that you have a complete knowledge of yourself in a given scenario, with a given persona.

Was the princess someone you decided to trust? Or to betray? Was she a foe? A friend? A nightmare? A victim?

You both try to find out who you are through your relationship.

The princess assumes many faces and attitudes in response to you, you assume voices and attitudes in response to her. You're two batches of clay shaping each other at the same time. It's almost like knowing someone your entire life, seeing them go through different phases as they try to find out their identity in the world, their place. The 5 routes, whatever they be, are your "adolescence".

And growing means you will hurt each other, intentionally or not. There will be fights, disagreements, there will be heartache, and comfort and love.

And everything will pass.

Shifty, before she's complete, before she discovers her godhood, makes this point so clear.

How could she not be kind to you? You are the only thing in this place that is not her. What reason could she have to hate you? To make the only friend she could have into an enemy?

That's why, at the end of every route, all hurts are forgiven. All the heartache is acknowledged, understood, and then she moves on. So that you may continue being together, so that she may see what else you do.

Even godhood can become a phase. The Shifting Mound recognises what you both were, but it need not be you unless you accept it. Because self-knowledge is unending. You are always changing, and you can always change.

You can accept being a god, and that becomes you.

You can reject being a god, and that becomes you.

You are by that point an "adult". The figure trying to dictate who both of you are is gone, and you can decide for yourself.

I think this is partially why I love the Leave with Stranger ending the best of all the endings. You begin it by avoiding knowledge of yourself and of another. The self can only exist as far as it is not like the others.

And you meet the Stranger, this being who knows so little about herself, because she too has been deprived of another. The route is quick. It really cannot amount to much, because if you don't know yourself, it's so hard to build a relationship.

But at the end, they've matured. You gave each other time to become fuller beings. You met this person again and they seem so much happier with themself than they were in youth.

I love how they say "We're just a stranger.", and the voices point out how it needn't be sad that you don't know her, unless you make it out to be. You can get to know them, the real them, and they can do that with you.

The way the Stranger speaks if the position of a God only underlines how much the heart of the Shifting Mound can understand self-knowledge.

They speak of how they feel themself be pulled towards taking the position of godhood, of being everything, yet find it confining. Restricting.

"We want more. We want whatever might be on the other side of this door. Something new, that we'll experience together. With someone who exists outside of us. Someone who can see us in a way we can never see ourself."

Self-knowledge through relationships and reflection on how you impact other people.

[copperhawks]

The funniest thing to me about Kel, and maybe one of the most interesting because of how understated it is, is that Kel becomes a good commander in the end, not by emulating Wyldon who was cold and implacable and insensitive, or by emulating Raoul who mostly only disobeys orders out of principle or because he has an issue with what the order says about his personal relationship with Jon, but by emulating JON.

Kel doesn't even LIKE Jon, she BARELY respects him as a person. He's a good enough ruler that she's willing to fight for him and swear loyalty to him and to at least mostly believe that he wouldn't work with Blayce to make his own killing monsters, but that's as far as it goes for Kel. If he's kind to her, she finds it uncomfortable and almost untrustworthy because she assumes he doesn't care about her and so his kindness and respect towards her must be fake.

But from the outside, as readers, we know just how much Jon fought for Kel. We know how much he does respect her right to be a knight. Jon is the sole reason that Kel DID get the opportunity to prove herself, if he'd capitulated to Wyldon completely, she just wouldn't have ever been allowed to join. Kel doesn't KNOW THAT, obviously, but we do. We know that Jon did everything he could to find a way to convince Wyldon to let Kel become a page. While Wyldon claims later that the reason he chose to let her stay at the end of the probation year was because his better judgment convinced him she'd earned it, I'd be willing to bet that part of that better judgment also included knowing if he couldn't prove to JON that she needed to go, then he'd be in trouble. Kel was training and working in front of plenty of other trainers and teachers who could easily contradict Wyldon's lies if he'd tried it, many of whom are closer to Jon than they are to Wyldon.

Kel's experiences and feelings about that experience are entirely valid, and she doesn't have the knowledge we do about how hard Jon fought for her, so it's not shocking that she's upset with him for a good portion of her series. She never even discovers this truth by the end of her series, even though she does get a lesson from Jon and Thayet (and Raoul to some degree) about how politics and compromises work in order to make changes happen. So her opinion of him by the end is boiled down to the quote from Squire: "good kings weren't always good men." It makes sense for her to think this, but because Kel's knowledge base is so limited (and her worldview so black and white for much of her series), it makes her an EXTREMELY unreliable narrator about this particular issue.

Kel believes that while Jon generally does his duty and keeps the peace, he doesn't actually care all that much about his people as individuals. But in their only meaningful conversation in Squire, Jon is able to point out that he (and Thayet, who is actually equal to Jon in power, something Kel either doesn't know which would be a failure in her education or just tends to ignore so she can focus her ire on Jon) has to make a LOT of compromises in order to get ANYTHING useful done at all. Sometimes, often, it means making deals with people he doesn't like or people he just fundamentally disagrees with, because it's the first step in a multi-step plan to help more people in the long run. He also points out that just throwing his weight and authority around in order to be able to change everything he wants to change immediately regardless of what anyone else thinks about it is a great way to get himself and his family killed. Because even if he had good intentions, that would be tyranny. It does make Kel think a little, but she doesn't tend to like him much still afterwards, her resentment from her page years will always color her opinion of him a little.

However, then she gets to Haven and she's suddenly tossed into a position of leadership over a lot of other people, many of whom disagree with each other or disagree with her or both. And all of the sudden, Kel has to make compromises. She doesn't LIKE the way the sergeants often treat their men, especially the sergeants whose men are convicts, but there's very very little she can do about it without really pissing off those same sergeants and that's not something she can afford to do. There's a moment when Neal starts getting frustrated about the treatment of the convicts and she takes him out to vent to her so he doesn't vent to the sergeants, something that the sergeants would then take out on their men. Kel's reasoning as she does this is that she "preferred to avoid battles with them now so she would have authority with them later if she needed to use it." Later, Kel is talking to Daine and she says "That's all this job is... Trying to please everyone and pleasing no one. And it will only get worse, not better."

Both of these moments showcase Kel choosing to make compromises. She may not like the way the sergeants treat the convicts, but she needs to stay on the sergeants' good sides because she doesn't have enough resources to butt heads with them nor enough authority to just force the issue, and even if she DID, it could cause the sergeants to become troublesome or take out their frustration with her on the men in ways she can't see as well. But staying on the sergeants' good sides might mean letting some of their maltreatment slide if it's not physically harming the convicts. And even setting that aside, she's dealing with nearly 500 refugees eventually, all of which are from different towns in the area and have different needs, not all of which she can accommodate. This requires compromise. Sometimes she can please some of them and not others, but mostly she probably just ends up not pleasing anybody because that's often how compromises WORK.

She never makes the active connection to Jon and his lesson on leadership from Squire while she's in Haven, but that quote up there about how this job (aka being a commander) is all about trying to please everyone and pleasing no one? It sounds a HECK of a lot like "good kings weren't always good men." You can try your best to help others, but often doing the right thing can involve making everyone unhappy. You can't be everybody's friend if you're going to get anything done.

Some of this she might've learned from Raoul's style of command, but Raoul commands a fairly small amount of people (at least in comparison to a King), and so we see him able to be pretty friendly to the people he commands in a way that Jon is perhaps unable to do. And she might believe that she learned some of this from Wyldon, but Wyldon had a tendency to be very unfair and biased due to his raging bigotry and conservative values, as well as the fact that he doesn't actually even LIKE being a training master and that likely impacted the way he treated the pages (he's almost never that kind to the pages, whereas we see him capable of being quite kind with the refugees later, which is where Kel comes to the conclusion that he hadn't enjoyed being a training master).

But Jon makes an entire speech about how he (and Thayet) have been working THEIR ENTIRE REIGN to change laws that help people. He explains how they have to consider the needs of merchants, nobles, farmers, street people, priests/priestesses, and mages. They have to consider not only what these people might need or want, but also what they could do when they feel sufficiently offended and how that could impact not just the royal family or the nobility but the realm as a whole. Jon points out that they HAVE made changes, for the better, and that just because they don't always succeed at everything or because they have to compromise sometimes, doesn't mean they aren't working at making changes or that they don't care about helping people. Not everyone you have power over is going to be your friend, they might not even be someone you like. But if you're going to take on the job of leadership, that's something you have to be willing to accept and work with, which often means making compromises with people whose needs and values are contradictory to your own.

Jon probably knows when he makes the compromise with Wyldon that it will likely impact a lot of people's good opinion of him. Alanna is right there and clearly angry, and we know Thayet doesn't like the decision, either. And it's entirely possible that Jon knows in the moment that Kel herself will put the blame on him because he's the King. But he also knows that if he insists on Kel being allowed to be a page without trying to compromise with Wyldon, Wyldon will quit over it and he'll end up with ten DIFFERENT problems that could cause a lot bigger issues to far more people than just one girl. So he makes the compromise. He sacrifices Alanna and Thayet and even Kel's good opinion of him in order to ensure that Kel gets the opportunity to become a Knight without turning all of his nobles against him which could ultimately lead to a civil war. Is it fair? No, and he knows it. But it's the best option he has in order to get the outcome they all actually want which is just for Kel to have the chance to prove herself.

Kel has to make similar choices once she's finally in a position of leadership of her own. And whether she realizes it or not, without ever even spending more than a few minutes with Jon, she ends up emulating his leadership style more than anybody else's because it WORKS and it works WELL. She'll probably never admit it, she might never even realize it herself, but she's so much more like Jon than any of the other men she sees as role models. And I love that. I love the dramatic irony of that, that the one person Kel only barely respects because of a compromise he made on her behalf that she'll never even know about, is the person Kel ends up most resembling. Jon is the reason she has the opportunity to become the Protector of the Small in the first place, Jon is the person who created that environment that allowed her to nurture those values, and she'll probably never even really be able to acknowledge that, because sometimes that's what being a good leader means.

[sarahscribbles]

𝐅𝐨𝐫 𝐓𝐡𝐞 𝐅𝐢𝐫𝐬𝐭 𝐓𝐢𝐦𝐞

𝐒𝐮𝐦𝐦𝐚𝐫𝐲: 𝐈𝐭'𝐬 𝐛𝐞𝐞𝐧 𝐚 𝐥𝐨𝐧𝐠 𝐛𝐮𝐢𝐥𝐝 𝐮𝐩, 𝐛𝐮𝐭 𝐲𝐨𝐮 𝐟𝐢𝐧𝐚𝐥𝐥𝐲 𝐬𝐥𝐞𝐞𝐩 𝐰𝐢𝐭𝐡 𝐋𝐨𝐤𝐢 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐟𝐢𝐫𝐬𝐭 𝐭𝐢𝐦𝐞

𝐆𝐞𝐧𝐫𝐞: 𝐅𝐥𝐮𝐟𝐟 𝐚𝐧𝐝 𝐬𝐦𝐮𝐭

𝐏𝐚𝐢𝐫𝐢𝐧𝐠: 𝐋𝐨𝐤𝐢 𝐱 𝐟!𝐫𝐞𝐚𝐝𝐞𝐫

𝐖𝐨𝐫𝐝 𝐜𝐨𝐮𝐧𝐭: 𝟒.𝟔𝐤

𝐃𝐢𝐯𝐢𝐝𝐞𝐫𝐬 𝐛𝐲 @inklore

𝐋𝐨𝐤𝐢 𝐌𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

The God of Mischief is laughing beside you. 

It’s quiet against the happy chatter of the TV but still sends a rush of warmth straight to your heart - like taking a straight shot of Tennessee whiskey on a winter’s evening. It’s nothing like the bitter, sardonic sound he reserves for most of the team - this laughter is light and joyous and unquestionably happy.

It’s…nice, and it’s quickly becoming your favourite sound in the world. 

Much like how Loki is becoming your favourite person in the world. It’s been gradual, like the first blooming flowers of spring, and, if you’re being honest, entirely unexpected. Only a few months ago Loki was nothing more than a thorn in your side. Now, you can’t imagine your life without him. 

In a short space of time, he’s become your best friend and your confidante; he’s the first person you want to run to when you have a bad day, the first person you want to run to when you have a good day, and, steadily, he’s starting to feel like home. 

He isn’t a monster intent on destruction or a ticking time bomb ready to explode.

He’s just Loki, the man whose happiness is slowly becoming yours.

His chest bounces beneath your ear again. You have no idea what the narrator has just said, but it was evidently something that Loki found amusing, and his laughter pulls an easy smile across your face. “I love hearing you laugh,” you murmur quietly, nuzzling even further into his side. 

Maybe it’s because the man who so many people are still quick to call a villain is reclined back on your sofa with his legs stretched out on the massive ottoman, maybe it’s because he’s cradling you to his cashmere clad chest like he never wants to let you go, or maybe it’s because of the random kisses he’s been pressing to the top of your head all evening. 

Whatever it is, you’re overcome with softness for him. Behind the aloof, icy facade is a golden heart, and you’re seeing more and more of the goodness that lies within it every single day.

“Is that so? Then we should watch your little mortal box more often, darling. It’s rather endearing to hear Midgardians attempt to understand Asgard,” he reponds, mirth lighting up his voice while his fingertips trail softly along your upper arm.

He misses the fond roll of your eyes only because something else has caught his attention that he must pass comment on, and you listen enthralled while he explains the actual differences between Valhalla and Fólkvangr. You’ve both been watching this documentary on Norse mythology for over an hour, and Loki has spent a large chunk of it pointing out every wrong detail no matter how small. 

Each deep, exasperated sigh and pronounced click of his tongue has you giggling like a child beneath his arm, to which he squeezes you that little bit tighter. He’s proud of himself, and it makes you wonder if he’s actually annoyed by the portrayal of his home or if it’s all an act to make you laugh. 

With Loki, either is highly likely. 

“Do you know what amuses me, darling?” he says lightly, still trailing those elegant fingers along your arm. You expect to hear something more about what the documentary has gotten wrong, but that’s not what comes. “A few months ago, you actively despised me. Now, I believe you would climb into me if you could.” His voice is soft, leaving no room for you to doubt that he’s only teasing. 

You burrow deeper into his embrace. “I didn’t despise you,” you reply with a small smile.

His arm tightens around your shoulders again and something warm and golden blooms in the pit of your stomach. It’s too soon to call it what you know it is, but you feel the flame burn brighter with every second you spend with him.

The man you’re currently twisted around is brilliant and loving and your heart fits right in the palm of his hand. It’s safe there, you know. You trust him, even though everyone you know has warned you not to. 

It’s one of the easiest things you’ve ever done. 

Loki’s chest rumbles with laughter again. “Darling, you despised me,” he repeats, but you know he’s smiling along with you. 

You pretend to huff, but reach out to poke his side, delighting in the way he squirms beneath your tickling touch. “I didn’t! I didn’t like you, but I didn’t despise you, either,”

“That knife you threw at me in the training room after Yule begs to differ,” he shoots back seamlessly, while you force back laughter at the memory of his face frozen in shock at your expert aim. 

You shrug lightly into his chest. “Natasha told me I needed to practice more. 

“Darling, I can assure you she meant to practice on inanimate objects. 

You tilt your head back to peer up at him with a teasing smile. “You were inanimate; you were standing in the doorway.” 

Loki releases an exasperated sigh but wraps both arms tightly around you to pull you fully into his lap. “Little menace,” he replies while you pretend to squirm in his grip. It only makes him grip you tighter until you’re clamped inescapably against his chest. 

Through the rich material of his sweater, you can feel his firm chest and the taut muscles of his stomach. The man is a work of art, yet it’s you who's straddling his lap - an unremarkable mortal. 

He smiles at you as you continue to admire him, and it’s a smile that’s almost shy. “What’s going on in that brilliant mind of yours, hmm?” he asks quietly, resting his hands on your hips.

“You. Thinking about you,” you answer, watching the faint tinge of pink that colours his cheeks. 

His hands slide up from your hips only a fraction until he can dip his thumbs underneath the hem of your shirt to trace absentminded circles on your bare skin. It’s an innocent touch, but it sends something electric shooting along your spine. 

“Oh? Do elaborate, darling,” he purrs. 

Loki’s eyes are sparkling with amusement, but you can read the need for praise that’s swirling deep beneath the surface. It’s one thing you can’t deny him. 

“I was thinking about how beautiful you are,” you tell him, sliding your hands from around his neck to stroke his biceps. “And how lucky I am,” you continue. 

The muscles in his neck flex and you feel your resolve crumble to dust. It’s been calling out to you from the moment he pulled you into his lap, and you can no longer deny yourself the luxury of pressing your lips to his skin. 

Loki’s broken inhale is instant and his fingers curl tighter around your waist. Your teeth are quickly grazing along his throat while you suck a bruise into his skin. You want to mark him, to stake your claim on him. 

You want to leave no doubt that this god - this beautiful, wonderful man - is yours. 

“Darling, you need -,” he begins, but it melts to a moan when you run your tongue along his neck. “Darling,” he tries again. 

You silence him with a kiss. It’s slow and deep, and when you tangle your fingers in his hair to tug it, he rolls his hips experimentally against you. The hard length of him presses wondrously against you, coaxing your hips to grind down on top of him. Loki’s breath catches in his throat while he kisses you, and you know what’s coming before he even opens his mouth. 

“Darling, anymore of that and -,” 

“I’m ready,” you interrupt him, cupping his face in your hands. “I’m ready.” 

His eyes soften as they take you in, scanning your face for even a breath of hesitation. “Are you sure?” he asks, while his thumbs return to stroking your sides. 

“Yes,” you answer firmly, resting your forehead against his. “No more waiting. Please.” 

In one smooth movement, his arms are wrapping around your middle to press you tightly against him. One strong hand weaves its way into your hair while his lips find yours again. There’s a new hunger to his kiss - it’s raw and possessive and filled with a need that has been simmering beneath the surface for months. 

You expect him to flip you onto your back and finally make you his right here on the sofa, but his hands eagerly begin to run down your back and grip beneath your thighs. Suddenly, he’s on his feet and your legs are locking around his waist. You can’t help but giggle against his lips, because he’s not letting you break this kiss even for a second. 

“Beautiful thing,” he whispers into your mouth, effortlessly carrying you from your living area and down the hallway toward your bedroom. 

The Norse mythology documentary is long forgotten. 

His lips stay locked to yours until your back hits the bedroom door, and only then does he break away to curse as he fumbles with the handle. You laugh quietly - because for some reason it’s oddly endearing - and press a chaste kiss to his cheek. 

Loki wastes no time in kicking the door closed when you’re finally through. Vaguely, you notice a faint green shimmer cascade over the wood as it settles in the doorframe, but it’s pushed from your mind by the frenzy of kisses that Loki is pressing to every inch of your face. 

“Do you know,” he murmurs, trailing a haphazard line of kisses along your cheeks, “how long I’ve wanted this? Wanted you?”

His admission fans the flames of desire burning fiercely in your stomach. How have you lasted so long without inviting him into your bed? How have you not had this man again and again until his name is seared into your soul? How have you not realised how fiercely he burns for you too?

“Then take me. Please,” you murmur against his lips. 

His answering smile is soft and gives you another swift kiss. “Begging won’t be necessary, darling.” 

With surprising gentleness, he lays you on the bed amongst your pile of pillows. Your legs fall open instantly for him, to which he quickly climbs between. There’s a hesitance to his movements, almost as if he’s scared to lay a finger on you. 

“I’m not going to break,” you say with a smirk. “You can touch me. I need you to touch me, Loki.” 

Your hands find the hem of his sweater, coaxing it along his back until he’s helping you pull it off. You’ve seen him shirtless before - many times - but your fingers still reach hungrily for his chest. Loki shivers beneath your touch and pride blooms happily in your stomach. 

An unremarkable mortal you may be, but you have a god shivering beneath your fingers. 

Slowly, his hands slip underneath your shirt, and cool fingers glide along your stomach to push it over your head. His eyes travel appreciatively over you before settling on your breasts. 

“Enchanting, beautiful thing,” he says, leaning to press his lips to your neck. 

The reverence in his voice has a rush of heat pulse between your thighs while you grasp his strong shoulders. Too many times, previous lovers have made you feel like you were nothing more than an object, something that was conveniently there for them to fuck. 

Not with Loki, though. The man has barely undressed you and he’s treating you like the most precious thing his hands have ever held. 

Boldly, you reach for his belt, shooting him a suggestive smirk while you unfasten it. He lets you work, diving in for another blistering kiss as you undo the button and open the zipper. The taste of him on your tongue and the feel of him beneath your fingers is electrifying, and there’s a newfound urgency in your movements as you try to push his jeans off. 

After a few strategic tugs they slide over his hips, granting you the freedom to run your hands greedily over the firm swell of his ass. You can’t help but moan shamelessly into his mouth while simultaneously squeezing him with both hands. He’s a work of art beneath your appreciative fingertips. 

Something close to a growl rises from Loki’s chest and he gently nips at your bottom lip with his teeth. “Are you trying to seduce me?” he purrs lightly. 

Grinning, you squeeze his ass again. “It’s been my evil plan all along.” 

“Ah! I’ve been bested by a beautiful little devil!” he teases and lowers his lips back to your neck. 

His kisses are slow and deliberate and punctuated by the occasional nip of his teeth. You know what he’s doing; you know that every mark he’ll place on you tonight is a claim, a message to anyone who looks that he’s finally made you his.

The molten beast of arousal burns fiercer between your thighs. You hope and pray that you’ll be covered in his marks tomorrow. You want everyone to know that you belong to him.

Loki interlocks the fingers of one hand with yours, all while slowly trailing a path of kisses along your chest and down your stomach. It’s silent adoration - a god worshipping his mortal - and he only stops when his lips meet the waistband of your leggings. You feel him hesitate, feel him run the pad of his thumb across the material while he lifts his eyes to yours.

It only takes you a second to realise he’s asking for permission. 

You nod quickly and breathe out a quiet “yes.” 

Loki presses a final kiss to your stomach and gently squeezes your hand. He lets go to hook both sets of fingers into your leggings, taking great care not to jostle you around while he tugs them - along with your underwear - easily down your legs. You’re suddenly bare before him and, stupidly, you feel a rush of nervousness pulse through you. This man has slept with gods and goddesses and beings more beautiful than you can even imagine. 

How can you compare?

Glittering green eyes travel hungrily over you. The earlier softness is still shining there clear as day, but now it’s swirling and mixing openly with undisguised lust. It causes a gentle heat to burn beneath your skin and, almost subconsciously, you attempt to cover yourself. 

But Loki is having none of it. 

His hands reach to clasp yours and he folds your fingers easily between his, pinning your arms to the mattress. “You are the most beautiful creature I have ever laid eyes on,” he says slowly, making sure you hear every word. 

“Are you trying to seduce me?” you repeat his question back to him, though even you can hear the shakiness of your own voice. 

Loki’s answering smile is infectiously boyish. “Is it working?” 

He can likely hear your heart thundering in your chest, but you still reply with, “maybe. I’m not sure yet.” 

“Hmm, perhaps I need to try a little harder?” he says, still grinning impishly.

His hands slide to gently grip your wrists so he can guide your arms around his neck. It’s such a simple gesture, but it makes your heart swell in your chest because he trusts you enough to touch him. You hum contentedly and tangle your hands loosely in his hair, twisting silky strands around your fingertips as he drops his lips back to your chest.

His kisses are slower now and the warmth of his lips lingers like a dream against your skin. It’s as though he finds his pleasure from simply kissing you, like that alone is enough to send him freefalling into bliss. It’s a heady thought that has your back arching, greedily searching for more of him or maybe offering up more of yourself. 

You aren’t entirely sure. 

Loki’s lips travel lower in tandem with his hands that are curled around your middle. His touch is so intoxicating, so wonderfully addictive that you can’t stop the quiet whimper that slips from between your lips. You feel him smile against the skin of your lower stomach, feel his thumbs trace tiny circles against your hipbones, and when he hovers just millimeters from your cunt, you automatically hold your breath. 

When nothing happens you flick your eyes questioningly down to his. 

Loki is gazing at you with desire storming in his eyes, so much so that they’re almost completely black. He looks like a man starved and doesn’t break his gaze from yours as he bends his head to lick a firm, slow stripe along the length of your cunt. Electricity crackles almost joyously through your blood, setting every inch of you aflame and pulling a shameless moan from the depths of your throat. 

Through the haze of your desire, you feel Loki gently squeeze your hips. “Ok?” he asks quietly. 

The laugh you release is short and strangled. “Y-yes! God, yes!” 

A wolfish smile curls across his face. You watch transfixed as he dips back between your thighs, never tearing his eyes from yours as he buries his tongue in your cunt. A volcano of pleasure erupts in your core, twisting through every inch of you with each skillful flick of his tongue. You groan, you whimper, you grip Loki’s curls so tightly that you’re surprised he isn’t howling from the pain. 

“Ugh…fuck!” you groan when he slips his hands beneath your ass to pull you closer. 

His mouth is warm and wet and talented - god, it’s talented - and when his tongue begins to lap over your clit you can’t help but buck and grind against his face. You feel him hum appreciatively against your cunt, and he swirls his tongue firmly over your swollen clit once, twice more. 

“Loki!” you whimper. “Fuck, Loki, keep doing that! Please!” 

He’s only too happy to grant your request. His tongue traces swirls and patterns endlessly against your clit. It’s just enough pressure and just the right rhythm that the coil in your stomach quickly begins to wind tight. Every expert flick and swirl of Loki’s tongue is like diesel to a flame, setting your core alight until you’re completely engulfed by him.

If you died right now, you would greet death happily. 

Loki continues to lap at your cunt like a man starved, and when your back arches off the bed, he slips his hands further beneath your back to clamp you firmly against his warm mouth. It’s pleasure like you’ve never experienced - white hot and all consuming - and before long you’re balancing beautifully on the edge. 

“Loki…Loki, please…I’m…m’ gonna come!” you say, unsure if it’s a warning or a plea. 

The first tendrils of your release are licking through your core and each tiny cry that passes from your lips only encourages the god between your legs. The warm wetness of his tongue laps perfectly at your clit, making stars begin to dance at the edge of your vision, but when he moans against you - a deep, satisfied rumble of sound - you know you’re gone. 

Your orgasm engulfs you suddenly and without warning. The force of it sends your eyes rolling in your head and your hands tangling in Loki’s hair like a vice. His name leaves your lips in a scream to the heavens, and his head doesn’t stop bobbing between your legs until you’re panting and boneless on top of the mattress. 

Amidst the lavender haze that has settled around you like a favourite blanket, you feel Loki press a soft kiss to your still sensitive clit. It makes you jolt and pulls a strangled sound from deep in your throat, but then his thumbs are drawing lazy circles over your hip bones. 

I’m here. 

His lips begin a slow path from between your thighs, pressing gently and haphazardly along your stomach and between the valley of your breasts. He kisses across your collarbone and dips below your chin, making sure not to miss even an inch of your throat. 

Never in your life have you felt more desired.

“Exquisite,” he murmurs before his lips find yours. "Worthy of the gods.” He kisses you deeply and the taste of you is still heavy on his tongue. It’s electrifying and only serves to reignite the flames of arousal that he’s only just quenched. 

You can’t help but giggle against his lips and reluctantly break his kiss. “The only god I want is you,” you say quietly, cupping his face in your hands. 

He gazes down at you silently, looking as though you’ve just placed the secrets of the universe in his hands. It’s both endearing and heartbreaking - that he’s struggling to believe he’s the one you want - and it fills you with a renewed purpose to ensure this man never goes to sleep feeling unwanted. 

You tug him back down until his lips are back on yours. His kiss is slower this time, languid, as though he wishes to use every last second to commit the taste of you to heart. 

A god drunk on the taste of his mortal. 

“Touch me. Please,” he rasps, breaking from your lips for only a second. 

It’s a plea you’re only too happy to answer. Slowly - because you want to enjoy every last inch of this man - you slide your hands from where they’ve been resting on his biceps. You marvel at the broadness of his shoulders and drink in the smooth expanse of his muscled back. Lightly, you trace your fingertips along the hollow of his spine, delighting in how he shivers beneath your touch.

But it’s nothing compared to the deep, appreciative moan that tumbles from his lips when your hands once again squeeze the smooth swell of his ass. 

You laugh into his mouth and rest your arms back across his shoulders. “You are so beautiful,” you whisper, raising a hand to brush some stray curls behind his ear.

He catches your wrist before it can rest your hand back on his shoulder and presses a kiss to the centre of your palm. “You, my dove, are a treasure amongst mortals,” he says softly, all while positioning himself between your welcoming thighs. His forehead finds yours at the same time his cock nudges teasingly against you. “Let me pleasure you, darling, please. Let me give you every part of me.” 

Easily, you wrap your legs around his waist where they fit like a missing puzzle piece. “If you don’t, I’ll be very upset,” you tease him. 

He grins widely so widely at you that the corners of his eyes crinkle endearingly. “Well, we certainly can’t have that,” he replies, and slowly, you feel him begin to ease into you. 

You inhale deeply as the blunt head of his cock slips inside you. It’s barely anything at all but already your head is rolling back on the pillow and your eyes are slipping shut. You knew Loki would feel good, but nothing could have prepared you for just how good. 

You want to lose yourself in the feel of his body in yours, but before you can even draw breath two cool fingers are on your chin, encouraging you to tilt your head forward. 

“Keep your eyes on me, my darling,” he commands softly and you instantly snap them open. “Good girl.” 

His eyes don’t leave yours as he eases himself fully inside you, giving you all the time you need to adjust. He’s big, and every added inch has you clenching joyously around him if only to hear the groans that spill from him each time you do. 

“Fuck,” he groans, dipping his head between his shoulders when you clench particularly hard. “Little vixen. Beautiful little menace,” he continues, dropping haphazard kisses to your cheeks and chin. 

When you can take no more of him he coaxes your hand from where it’s been clamped to his shoulder, clutching it tightly in his own as though he fears you’ll melt beneath the cotton sheets. 

You can’t stop the small smile that tugs at your lips. “I’m not going anywhere. I promise,” you assure him, giving his hand a squeeze. 

A quiet puff of laughter escapes him and he dips his head. You see the sheepish look that settles across his handsome face and your heart swells for him, for this man who has known more loss than many would deem fair. 

You’ve barely left his side these past few months, but still he fears that he’ll lose you. 

“I know,” he answers softly, sounding unmistakably embarrassed. “Forgive me. Sometimes…sometimes I still struggle to believe that someone like you chose someone like me.”

Your free hand is instantly cupping his cheek and your thumb is caressing his flushed skin. Does he know that you feel the exact same way? “I will always choose you,” you tell him firmly. 

He hasn’t even been yours for a year, but you know with unwavering certainty that you would follow this man to the ends of the earth and beyond. 

Loki presses his cheek into your palm and leans in to steal another chaste kiss from your lips. “My darling mortal,” he murmurs with a roll of his hips that has you groan. “My beautiful girl.” 

You can’t look away as he expertly begins to build you up. You’re lost to the pretty gleam of his green eyes as they hold yours and how stray strands of ink black hair fall to frame his face; lost to the way his jaw falls slack when you roll your hips to meet his and clench around his cock; lost to how your name falls like spring rain from his lips, like it’s the only word he’ll ever need to know. 

The edge crests like a wave in your core within minutes, each ripple making you dig your heels into his ass in a desperate attempt to pull him closer, deeper. Your climax is bubbling white hot in the pit of your stomach, promising to drown you in pleasure like you’ve never known if you can just tip over the edge. 

“Loki…,” you cry, twisting a hand into his hair for leverage. “Loki…I’m ready…please!”

His hands grips yours like a vice. “Look at me,” he pleads, and your eyes quickly settle back on his. “Cum for me, my darling.” 

With five words, you go soaring off the edge. 

Your orgasm rips through you like a storm, each blinding wave of pleasure submerging you deeper until tiny white stars begin to dance at the edges of your vision. It’s all consuming and so powerful that it robs you of almost all your senses, though you’re vaguely aware of Loki burying his face in your neck as his own climax pulls him under. 

He’s ruined you for anyone else. 

As the final ripples of your release fade in the aftermath, you can hear Loki panting in your ear. You untangle your hand from his hair to stroke it and turn your head to press a light kiss to his temple. 

“Fuck,” you breathe out. It’s all you're capable of saying as you lie boneless on the bed, still basking in the warm afterglow of your orgasm. 

“Fuck.” Loki echoes, rolling onto his back and bringing you with him. 

You burrow happily into his side and feel him drape an arm around your shoulders. His heartbeat is still thundering beneath your ear - something that makes pride blossom in your stomach. 

“Darling?” Loki speaks up after only a minute of silence. 

“Hmm?” you hum back, excitement already beginning to fizz between your legs. 

“I’d like to do that again…if you don’t mind.”

[opencommunion]

one reason (white) queer people misuse the term homonationalism is that they see queerness (or whatever you want to call it) as naturally disaffiliated with the US empire. so they understand homonationalism as a divergence from a natural mutual antagonism between queerness and empire. they talk about homonationalism as if it's an exclusively "normie gay" project, and as if it's a divergence from, rather than a consequence of, the overall trajectory of western lgbtqia+ politics. ironically it’s that self-exceptionalization by the queer, on the basis of their queerness, that imbricates them in homonationalism. they produce themselves as a homonationalist subject, and reproduce homonationalism, every time they articulate their queerness as individualized freedom. and Puar actually anticipates all of this in her original theorization of homonationalism in Terrorist Assemblages, and that's why it really helps to go to the text instead of osmosing queer theory solely through tumblr posts (esp when tumblr is so white and the queer theorists are not): "Some may strenuously object to the suggestion that queer identities, like their 'less radical' counterparts, homosexual, gay, and lesbian identities, are also implicated in ascendant white American nationalist formations, preferring to see queerness as singularly transgressive of identity norms. This focus on transgression, however, is precisely the term by which queerness narrates its own sexual exceptionalism.

While we can point to the obvious problems with the emancipatory, missionary pulses of certain (U.S., western) feminisms and of gay and lesbian liberation, queerness has its own exceptionalist desires: exceptionalism is a founding impulse, indeed the very core of a queerness that claims itself as an anti-, trans-, or unidentity. The paradigm of gay liberation and emancipation has produced all sorts of troubling narratives: about the greater homophobia of immigrant communities and communities of color, about the stricter family values and mores in these communities, about a certain prerequisite migration from home, about coming-out teleologies. We have less understanding of queerness as a biopolitical project, one that both parallels and intersects with that of multiculturalism, the ascendancy of whiteness, and may collude with or collapse into liberationist paradigms. While liberal underpinnings serve to constantly recenter the normative gay or lesbian subject as exclusively liberatory, these same tendencies labor to insistently recenter the normative queer subject as an exclusively transgressive one. Queerness here is the modality through which 'freedom from norms' becomes a regulatory queer ideal that demarcates the ideal queer. ... I am thinking of queerness as exceptional in a way that is wedded to individualism and the rational, liberal humanist subject, what [Sara] Ahmed denotes as 'attachments' and what I would qualify as deep psychic registers of investment that we often cannot account for and are sometimes best seen by others rather than ourselves. 'Freedom from norms' resonates with liberal humanism’s authorization of the fully self-possessed speaking subject, untethered by hegemony or false consciousness, enabled by the life/stylization offerings of capitalism, rationally choosing modern individualism over the ensnaring bonds of family. In this problematic definition of queerness, individual agency is legible only as resistance to norms rather than complicity with them, thus equating resistance and agency.

... Queerness as automatically and inherently transgressive enacts specific forms of disciplining and control, erecting celebratory queer liberal subjects folded into life (queerness as subject) against the sexually pathological and deviant populations targeted for death (queerness as population). Within that orientation of regulatory transgression, queer operates as an alibi for complicity with all sorts of other identity norms, such as nation, race, class, and gender, unwittingly lured onto the ascent toward whiteness. ... To be excused from a critique of one’s own power manipulations is the appeal of white liberalism, the underpinnings of the ascendancy of whiteness, which is not a conservative, racist formation bent on extermination, but rather an insidious liberal one proffering an innocuous inclusion into life."

Jasbir K. Puar, Terrorist Assemblages: Homonationalism in Queer Times (2007)

[vechter]

@disco-troy and i were talking about it... but one of the things that really breaks my heart is how it's both dick and bruce who are such unreliable narrators. consider donna's wedding...

in tales of the teen titans (1984) #50, we have dick asking bruce why he adopted jason and not dick:

what's really interesting about it is the way dick is depicted here... the refusal to make eye contact till he eventually does. there's an element of dick being terrified of bruce's answer and his posture in the beginning of this interaction is almost... defensive? he's hunched, leaning on the balustrade, shadowed... till he receives assurance from bruce. and then, bruce immediately reverts to toasting the success of dick's team... which dick reciprocates but i feel like there's possibly still a degree of doubt from him... about dick grayson's role in bruce wayne's life (because yes, bruce has affirmed that he loves dick as much as any son but it doesn't take away from the fact that jason was adopted instantly and dick is only adopted after tim appears... we've seen how dick reacted to both the times bruce was considering adopting someone else— tim and cass— and it isn't pleasant!!! which means there's still lingering unease about it for him)

and then you have justice league of america (2006) #0, which is a series of flashbacks and future occurrences woven to focus on the trinity. but here's bruce's recollection of this talk at donna's wedding:

there's such a difference between the two!!!

here, it's almost a role reversal... dick is the one reassuring bruce and reiterating the importance of their familial bond... even the physicality of reassurance is from dick to bruce through the hand on the shoulder. despite the similarity in postures between this and the panel from tales, dick is not afraid to meet bruce's eyes— in fact, he's the one who takes it a step further and offers physical reassurance along with the verbal. moreover, the conversation is cut short by dick being pulled away for other obligations... which is an interesting consideration of how bruce has often viewed dick's priorities being split between him and the titans.

of course, we can chalk it up to different things— maybe this part of dick and bruce's conversation actually happened and we simply didn't get to see it in TotTT + it's not always possible for writers of different comics to have the exact same considerations for characters + dick is arguably the focus in tales whereas bruce is the focus in JLA so it makes sense for the narration to pander to them in their respective comics.... but there's also the fact that this is very much a flashback whereas the conversation in tales is happening in the present...

we already know dick & bruce are prone to miscommunication when the communication even happens + bruce is often painfully nostalgic about dick's robin years... so i don't think it's a stretch to say that bruce's recollection of this conversation is warped by his own emotionality.

especially when you consider the handling of robin being passed on to jason. in the very same JLA issue, this is how bruce talks of it:

which is, once again, very different in terms of how that conversation actually went in batman (1940) #416:

(although, i would be remiss if i didn't consider that bruce probably thinks he is being truthful here... because we do see how dick accepts jason as robin. moreover, bruce himself sees it and is grateful to dick for it)

but i think it's interesting how in both cases, bruce is a first-hand spectator to dick's unease/hurt/fear of rejection... and how differently he remembers it... perhaps, even chooses to remember it.

like, just look at this... right after dick & bruce's conversation in JLA, this is what follows:

it's so interesting that he remembers his own sadness and nostalgia at the kind of man dick has grown to be... how that is, in his mind, at a distance from him... how he remembers being the one receiving reassurance and affirmation of his importance to dick from dick... and all of this, maybe, comes at the cost of dick's feelings being diminished & considered with less gravity.

tldr: bruce wayne... you are so deeply unwell!!! you sure are... a Father.

[tls12lessthan3]

one thing i enjoy about orv is how morally grey kim dokja is, especially in the beginning. during the beginning of the novel kim dokja seems to have almost no empathy for the people around him, and his number one priority is progressing the scenarios with himself being a secondary priority and saving others coming later. he does undeniable good, like saving jung heewon and caring for lee gilyoung - and he does some much more questionable things, like selling his food for coins knowing that it will disappear soon and people need the coins to survive.

this part of orv gets ignored a lot and chalked up to kim dokja's self-hatred, which i disagree with. yes he hates himself and yes he's an unreliable narrator who paints his actions in a worse light because of it but sometimes he just does objectively bad things. and it's interesting when he does! particularly in the beginning, he is focused completely on self-preservation and often steps on others in the process. his actions force you to ask questions like how responsible is kim dokja for those deaths on the subway car, or at that first subway station? is he obligated to try and save the people around him? how strong is that obligation? is it right of him to use his future knowledge the way he does, to decide who lives and dies? they're fairly basic questions, and orv doesn't particularly insist on answering them, but i enjoyed thinking about them nonetheless. the fact is kim dokja was often cruel, to strangers and his companions both, if different types. and you lose these questions when you ignore that. and thats not even to discuss the parallels between his exploitation of yoo joonghyuk's story and the way constellations gobble up incarnations while enjoying their pain. even if yoo joonghyuk eventually decides he considers it worth it, kim dokja still subsisted off of a living being's immeasurable pain for years, and that's a fucked up thing!

and to ignore kim dokja's less-than-moral actions also ignores kim dokja's character arc! kim dokja feels guilt at the end of orv for actions he wouldn't have thought twice about at the beginning and that is because he has changed and matured over the course of the novel and pretending he was always that way erases that. and i dont see why you would want to!! his journey towards seeing his companions as human and learning to care about the 'extras' he previously discarded and coming to understand the damage he inflicts with his self-sacrifice is interesting to watch and discuss. i've seen the stark contrast in empathy from early kim dokja to later kim dokja chalked up to sinshong not being quite sure how to write him yet and while i think that may have played a role i also think they did a good job of building and showing these changes through arcs like the demon world arc, the fruit of good and evil arc and the journey to the west arc

i think i lost my point somehwere but in summary kim dokja does some fucked up shit and some of it is basic edgelord apocalypse murder and some of it is genuinely interesting to contemplate and all of it is important to his character

[genericpuff]

holy crap okay so

I'm two episodes into Kaos

normally I keep my expectations pretty minimal because, let's be real, the Internet - and especially Tumblr - has a tendency to severely overhype new series to be way better than they actually are and it often leaves me sitting there like "that's it? that's what people were freaking out over for weeks?? that was just a bunch of cheap ships and tropes that i've seen 123785902380 times before" LMAO

BUT thankfully compared to other series like Hazbin Hotel and The Amazing Digital Circus, I haven't been worn out on excessive fandom exposure prior to watching Kaos, so I didn't really know what to expect going in besides what folks have told me so far - it's a modern-day Greek epic, and it stars Jeff Goldblum as Zeus (which is, unsurprisingly, peak casting).

That said, I'm very pleased to say that so far, the show is absolutely blowing me away. The set designs, characterizations, weaving of all the players into a central narrative led by a very coy narrator, all of it feels both refreshing and respectful to the source material at the same time.

so uh yeah that LO animated TV show... we have reason to believe now that it's gotten picked up by Amazon Prime, at least according to the showrunner's LinkedIn and posting history from February of this year that seems to imply LO may have been picked up by Amazon-

(but still, nothing's really been confirmed because they're being so tight-lipped about this you'd almost think it's because there isn't a show happening at all cough)

But even then, that means at best we still won't see anything of the LO TV show adaption for another 2-3 years, depending on how production goes.

Why am I talking about LO right now? Well it should be obvious - Kaos double-whammied LO by beating it to the punch at its own game.

I mean, just look at the creative choices alone in the design of the Underworld and its rulers, our beloved Hades and Persephone.

And yes, the entire Underworld is color-graded like this, something so simple and yet effective in communicating the nature of the Underworld and what it stands for - a place where the past lives on through the dead, paused in time, devoid of the vibrant color grading found in Olympus - or "Olympia" as its been named in this retelling - which is, by the way, a visual treat to take in every time it's featured.

(and yes, that is S-tier-companion Billie Piper on the left, but I will not tell you who she's playing, you actually really should go into this show as blind as possible for the thrill of figuring out these characters as they're introduced <3)

That's not even getting into the narrative structure of the plot itself or the phenomenal casting and acting, but again, I don't want to spoil too much as the show is quite new, and I want to actually finish watching the show myself before I get more into the details of its story and how it delivers it (I'm very much hoping I will still be singing this show's praises at the end of its 8 episodes, please for the love of god don't jump the shark, I don't think my heart can take that kind of pain again.)

All that's to say though, Kaos is, so far, exactly what us disappointed fans of LO deserve after all these years, and frankly, I feel like whatever is coming for the LO animated TV show is really gonna have to step up to the plate to both live up to the bar that Kaos has set as well as stand on its own without being affiliated as a cheap Amazon knockoff living in its shadow. Sounds a little familiar and a bit ironic, doesn't it?

[vidavalor]

Crepes: The 1.01 sex meta thing

Alright, my romantic and horny murder hornet friends...

...come and get your very requested 1.01-scene(s)-that-shows-that-Crowley-and-Aziraphale-are-lovers sex meta thing.

We'll be getting a bit blush-inducing NSFW under the cut so keep that in mind...

As Fraulein Maria suggests: Let's start at the very beginning... a very good place to start... when you read, you begin with: A, B, C...

...when you speak Ineffable Husbands, the show tells us, you begin with: lunch, alcohol, and crepes...

We're going to do this semi-glossary-style, since those have proven popular and it works well for this. There are some very brief mentions of Satan's attacks on Crowley, for those that would like to know of that ahead of time. Other than that, I don't think any other trigger warnings apply.

"Gentlemen, in your role as the audience, could you, perhaps, give us more to work with?" -- William Shakespeare, 1601, meta-ing for the writers and performers of Good Omens, requesting us to dive a little deeper.

Temptation accomplished.

~~~

Secret language. A language spoken by secret agents for the purpose of keeping the full, true meaning of their conversation hidden by those who might be observing them. Comprised of code words and phrases that contain other layers of meaning beneath the more easily understood surface layer. Difficult-- and, at times, impossible-- for those who do not speak the language to understand it without a key that unlocks at least one word of the language, revealing the hidden conversation beneath the surface.

Key. Additional context that reveals hidden meaning in a secret language by providing understanding of other layers of meaning beneath the surface in a conversation between secret agents.

Example: some bleating goats in 2500 B.C. illustrating for Aziraphale via additional information and context the true meaning of Crowley's words in the scene. Most keys in Good Omens are separate scenes; this one is an exception because it's the origins of their secret language in the first place. This is also a partner scene to the "no nightingales" moment in 2.06.

Partner scene(s). In Good Omens, a scene or scenes which act as keys to other scene or scenes, providing information and context necessary to fully understand the initial scene, which is usually one we saw earlier in the story.

Example: The Bullet Catch scenes in The Blitz, Part 2 in S2 adding layers of context and meaning to both Crowley and Aziraphale with the paintball gun and Crowley giving the office workers miraculous escapes from death at Tadfield Manor in S1.

Crowley and Aziraphale. Supernatural secret agents of sorts, introduced to us that way by our narrator, God, who points out their penchant for meeting alongside human secret agents in St. James Park. They speak in a secret language that we'll call in this meta Ineffable Husbands Speak that only they-- and God-- speak fluently... but for which Good Omens has been slowing giving us enough information to learn how to speak as well.

Code words. Often neutral-sounding and very common words--by design-- in order to keep the hidden meanings of the secret language secret from outside observers by making it sound like everyday conversation. As a result, code words have dual layers of meaning: they refer to a literal thing on the surface level but also have a secondary meaning beneath that within the secret language.

Example, in Ineffable Husbands Speak: "dining at The Ritz."

To "dine at The Ritz" (in Ineffable Husbands Speak). Surface, literal level: to eat a meal at the restaurant at The Ritz-Carlton, London. Hidden level: to take steps towards being less secretive about their relationship and to live more of a life that is theirs together.

Code phrase/cypher. A phrase that sounds as if it has a single, understood meaning on the surface but is comprised of code words put together to convey a meaning that is hidden from anyone who might hear the phrase but does not speak the secret language. Impossible to understand unless you either created the language or were given instructions on how to speak it... unless you can come into possession of a key that can unlock it.

If spoken to someone who does not have a key to understanding it, they might possibly be able to recognize that you are speaking in a kind of code... but they will not have the understanding of the double meanings of the keywords, nor the context required, to figure out just what the hell you're talking about.

Example: "The clarinet can make beautiful music."

Good Omens included this scene right near the start of the season in 2.01 in which both Crowley and we the audience have no idea what Agent Fuzuli is *really* saying, even if his sentence makes technical, if not really contextual, sense. We can recognize from his over-the-top obvious spy-speak that he is speaking in code. They did so to highlight the existence of hidden language in the show and how important it is to unlocking more layers of meaning in the story.

Neither we nor Crowley expressly need to decode this particular sentence to understand what's happening in the story of Good Omens because Good Omens is not about the romance of Agent Fuzuli and his new paramour, the Azerbaijani Sector Chief. (Cupid!Crowley really out here matchmaking everyone in sight in S2 lol.) If it were, we would be needing to figure out what this clarinet and its beautiful music are all about. Instead, though, the show is suggesting that hidden language and decoding it is paramount-- but we should focus a bit more on the secret language of our main characters Crowley and Aziraphale instead.

Sexual innuendo/sexual euphemism: A kind of secret language in which something that is not inherently sexual is given a sexual connotation. Relies heavily on suggestive tone and context. Often full of in-jokes. Often done to soften talk of sex-- and, just as often, paradoxically, tends to make things actually a bit sexier. Relies on a sense of humor and so increases a sense of playfulness and fun between partners. Is flirting by way of creating a secret language out of innuendo.

Example: To "mend his shirt" in the (code-named) Mrs. Sandwich's sexually euphemistic speak, as brought on by Aziraphale's 19th century-era magic during The Ball, is to give a blowj-- well, actually, here: Crowley will define the innuendo for us through the use of partner scenes...

"Fine *stable* of ladies"... the horse statue where Crowley keeps his glasses in the bookshop... mending Aziraphale's shirt in a way evocative of mending Aziraphale's shirt...

Mrs. Sandwich. A "seamstress." Not her real name. A walking, talking intersection of secret language, innuendo and sex in Good Omens, whose name and the content of her scenes help us confirm we're on the right track in decoding Ineffable Husbands Speak.

Sandwiches. Popular, common food that can be eaten anytime during the day but are most commonly associated with lunch.

Lunch. Midday meal. What Aziraphale offers to buy Crowley in thanks for Crowley rescuing him from The Bastille in the Paris, 1793 scene.

Paris, 1793/The Bastille. Partner scene that acts as the key to the 1.01 scene-- and its subsequent scenes-- that shows the nature of Crowley and Aziraphale's relationship through their use of secret language.

Let's Have Lunch. The 1.01 scene that, when unlocked using its partner scene of 1.03's Paris, 1793 scene, reveals that Crowley and Aziraphale are lovers. How so? Read on. :)

Armageddon: Round One. The end of the world and what Crowley and Aziraphale both separately learn is in motion in 2008 in 1.01. They meet the following day to discuss it and the show tells us then, at the start of the story, exactly one bullet point on their shared timeline-- the very first thing we ever learn about the entire 6,004 years that they have been living on Earth together since the last time we saw them together in Eden. Something important enough that it received its own partner scene in the 1.03 Cold Open basically entirely to help decode this scene in 1.01-- and re-contextualize the 2008 minisode (and a lot more) as a result.

What is this single, very important bullet point?

A lunch they had together in Paris in 1793.

As Crowley & Aziraphale head through the park and argue over whether or not to stop Armageddon, they eventually reach the spot on the side street where Crowley has parked The Bentley. This brings them to not just a conversational impasse but a physical one-- there's nowhere left to walk because they're now at the car and this is when Crowley says:

"Well, let's have lunch, hmm? I still owe you one from..." At this point, we're too busy being charmed by this vintage-y angel and this rock star demon who lunch together on Earth arguing over Armageddon to barely notice the content of this scene and that might be by design. It is sandwiched between two other scenes, both of which understandably get a lot more attention: the "celestial harmonies" conversation on the bench in St. James Park and the kinky lunch at what we'll later learn is The Ritz. ("Lunch" in Ineffable Husbands Speak is not *just* the food kinky lunch, as we'll get into below.)

We also don't yet have the key the first time we watch this scene to decode it because we aren't given that by Good Omens until the 1.03 Cold Open and its Paris, 1793 scene. We can pick up on some vibes in this scene in 1.01 but unless we use the Paris, 1793 scene to fully decode Let's Have Lunch in 1.01, we aren't actually understanding what they are saying and, as Fraulein Greta Kleinschmidt would say, we must know what they are saying... (since we're all not Nazi Zombies, we'll be able to actually figure it out...) :)

...but we do now have the 1.03 Paris, 1793 scene so now, let's check out the moment this scene becomes, um, important-- and that is Aziraphale's response to Crowley's invitation to lunch:

Oh, what's this now...? Crowley owes you lunch from *when,* Aziraphale? From "Paris, 1793", did you say...?!

You mean from the time that you dragged Crowley to The Bastille to save you from a situation you put yourself in and could get yourself out of the entire time because you have a Neil Gaiman-Ask-confirmed, canonical thing for him rescuing you (and because, as a fun S2 partner scene suggests, rescuing you always does make him so happy) and you were so very grateful for the rescue that you offered *to buy him lunch*?! A lunch that this scene in 2008 will confirm you went and had together? A lunch that we had *an entire, separate scene about* in the middle of the 1.03 Cold Open-- alongside The Arrangement and the 1862 breakup and 1941 and the 1967 holy water scene, in terms of importance to understanding this relationship from the show's perspective? THAT LUNCH?! lol

Paris, 1793. The ONE TIME IN THE ENTIRE HISTORY OF THIS RELATIONSHIP lol that it can be safely said that Crowley absolutely, 150%, *most definitely does not owe Aziraphale lunch*. The time we had a whole extra scene over, just to confirm how much Crowley does not owe Aziraphale lunch from this one time in Paris in 1793...

Well, well, well... seems we have ourselves a key. :)

Lunch. Code word in Ineffable Husbands Speak. A code word that, when unlocked, helps to unlock additional language, as we will see.

If Aziraphale's reply to Crowley's lunch invitation is to say the one time in history from which we know Crowley doesn't owe Aziraphale lunch, then Aziraphale's reply is really in response to the hidden, second layer of meaning beneath the lunch invitation, which means that Crowley isn't just asking Aziraphale if he wants to go grab the midday meal together and Aziraphale is more than aware of that. As we will see from the dialogue below, this suggestion that they have lunch on the surface level is also, on the hidden language level, a suggestion that they have sex.

So, ok, let's try this 1.01 scene again, now that we've started to factor in the information we have from its 'Paris, 1793' partner scene from 1.03...

What Aziraphale Is *Not* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to time travel to The French Revolution for lunch; that he would like to go to Paris in the present for lunch; that he wants to go to their favorite creperie; that he wants to go get himself locked up in a maximum security prison so Crowley can come rescue him...

What Aziraphale *Is* Saying When He Replies "Paris, 1793" to Crowley's Lunch Invitation in 2008: That he would like to go to lunch and also that he would like to go to *lunch*-- which is to say that he's in agreement that sex sounds perfect-- and that what he "wants for lunch" is a repeat of how they made love in Paris in 1793.

Let's repeat that because mmhmm lol...

Sitting there in the middle of the second half of Crowley and Aziraphale's second scene in person together, in the middle of the first episode of the show, is Aziraphale recounting sex he and Crowley had over 200 years prior to when this scene is taking place in response to Crowley's suggestion that they shake off the Armageddon blues by sexy lunching their way to spending the night in Aziraphale's bed.

This conversation on the surface is about going to lunch and they are very funny with the literal part of their secret language, as they will actually go to lunch, as we know-- and during that lunch, Crowley will make a joke about the dual layers of meaning of their language when defining the next word in their language for us, which we will get to in a moment. For now, though, let's just go back to the "let's have lunch" scene here and look at the rest of it now that we can understand it on both levels of meaning...

"Well, let's have lunch, hmm? I still owe you one from..." Crowley does not actually owe Aziraphale lunch; this is a way to throw the decisions to him, keeping it sounding like they are just talking about eating lunch-the-midday-meal on the surface when we now know that it's more than that. He trails off and both verbally and non-verbally indicates a whole "you tell me" attitude, having offered up the idea and now giving the choice to Aziraphale. (It's not a magical influence "you tell me" like he did with Sitis, just a verbal ellipsis/non-verbal head shake that hands the conversation over to Aziraphale.) As a result of this and their responses in the rest of the scene, this becomes:

"Well, let's have lunch, hmm? I still owe you one from..." Well, let's have sex, hmm? Let's do our kinky lunch thing. Tell me what you want for later and we'll do that. Whatever you want. Armageddon already fucked up our lunchy dinner that we were supposed to sneak out to have at the fascinating little sushi restaurant where they know you last night-- it can go fuck itself for the afternoon. We're both depressed and tired. Eleven years left. We're almost out of time. I just want to be close to you. Let's have lunch.

"Paris. 1793." I could eat. I never can resist you, you know that. Remember Paris? After The Bastille? I'd like that.

Does Crowley remember The Bastille?

Oh, Crowley remembers The Bastille...

Someone had a very nice time in Paris in 1793 if that little smile and that look and the little "yessss" are any indication. Crowley is down with revisiting The French Revolution and after this, they're both just heading to The Bentley as they continue talking because lunch is on. But why are we even talking about Paris 1793 when we have all seen this episode and know they aren't about to instantly drive back to the bookshop and get their Bastille on?

Anticipatory kink. When partners arrange to have sex in the short term but not immediately and spend the interim time discussing the sex they plan to have as a way of arousing one another over anticipation of the future lovemaking. A form of psychological edging/delayed pleasure. Fancy way of saying 'teasing the fuck out of each other' lol.

The first part of lunch for Crowley and Aziraphale is deciding what's for lunch-- before they go to have lunch-as-in-some-food-- even if part of lunching is that they aren't going to have sex for hours still to come. In addition to the anticipatory element, it's just fun to talk to your partner about sex and the way they do so also has them euphemistically refer back to past times they made love as a way of turning each other on with the memories of those past encounters-- so, doubly fun.

"Yessss. The Reign of Terror. Was that one of ours or one of yours?" Crowley's response to "Paris, 1793." He says 'The Reign of Terror' a little sarcastically, implying that while that is the historical name for the era, he and Aziraphale were actually pretty happy during it, which goes along with what we saw in The Bastille scene. On the surface, though, Crowley and Aziraphale are still attempting to make it sound like they're talking about The Reign of Terror so, technically, "was that one of ours or one of yours?" is a question that is supposed to be about who (Heaven? Hell?) was responsible for The French Revolution but oh, that Paris, 1793 scene is a good partner scene as we know the answer to this question, too...

The French Revolution. Not Crowley's demonic work. The humans thought it up themselves. Established in the Paris, 1793 scene, to help us better understand this bit of the Let's Have Lunch scene.

"Was that one of ours or one of yours?" Look at the wording of that. By definition, since Crowley is speaking to Aziraphale, the "ours" has to include Aziraphale. It's a subtle but present indicator that this isn't entirely smooth language on the surface here because it's accounting for two layers of meaning at once. If it is just about who is responsible for The French Revolution, the sentence doesn't actually make sense but that's because it's designed to sound like something of a casual reply to the surface question about The French Revolution but this conversation is now happening more on the second, hidden level and there, it really means:

We had all the sex in Paris in 1793, angel. Talk to me more about what's got you all hot for The Bastille. I remember all of it but want to know what's lighting you up here so to keep us talking about it, I'll start throwing out some options from Paris under the guise of pretending I'm talking about who is responsible for The French Revolution. Was that one of ours or one of yours? Meaning: do you want to fuck each other later or am I fucking you? By tossing these both out as options I'm obviously also saying that, if you're up for it, I'm in the mood for "ours". I currently have both the need to be inside you *and* the need to get done into next Thursday right now...

"Can't recall." Aziraphale's response to "one of ours or one of yours?" A blatant lie on every level lol. He remembers that the humans were responsible for The French Revolution and, based on how quickly he reached for it when asked what he wanted for lunch on an especially harrowing day, Aziraphale remembers every damn minute of the two of them in bed in Paris in 1793. He knows as much as Crowley what they got up to. "Can't recall" is a reply designed to sound like he can't remember who is responsible for The French Revolution on the surface level but answers Crowley's question on the hidden language level by using "can't recall" to signal that he doesn't have a preference. It's whatever you would like is fine with me. He's definitely noted the "ours" request, though, as we'll see later on.

But Aziraphale also still needs to answer Crowley's underlying question of what's he's wanting that's got him all hot and he keeps the euphemistic, hidden sex chat going by telling Crowley what he's picturing from Paris exactly that he wants later on:

"We had crepes."

Did Crowley and Aziraphale go to lunch-the-midday-meal in Paris after Crowley rescued Aziraphale from The Bastille and have crepes-the-food for lunch? They absolutely did. Lunch-the-midday-meal (or, really, *any* food/meal that is probably not breakfast, which they seem to had yet to sort out by S2 because of Crowley not staying the night) is part of lunch. But we know that this conversation in this scene in 2008 is not really about lunch-the-meal so crepes is our next bit of Ineffable Husbands vocabulary. We can tell at this point that this is a sexual euphemism. That The Guardian of the Eastern Gate and The Serpent of Eden use types of food as euphemisms for types of sex because of course they do lol...

Does the show get into what, exactly, "crepes" are in Ineffable Husbands Speak? Oh yeah. They do lol. But it's mostly on the other side of kinky lunch so we're going to come back to it...

Off of Aziraphale's crepes declaration, they get into The Bentley and peel off and the next time we see them, we're at...

The Ritz-Carlton, London. One of the finest restaurants in the world; known for their famed afternoon tea and world-class service. The origins of the word 'ritzy.' Where Crowley and Aziraphale have lunch in 2008, for what we will learn in the subsequent scene between them is the first time. We won't know that this restaurant is The Ritz until the S1 finale, when they return there after specifying that it's where they are going. We won't begin to understand fully what it means to them in their language to do so until then. The first hint happens around midway through S1 in the 1967 scene, when it becomes apparent that they are speaking to one another in a coded way-- even while alone, as they are just used to their own language by this point-- and that Aziraphale's "dine at The Ritz" aspiration was something tied to the idea of them taking some more steps towards being more openly and fully together.

In 2008, Crowley and Aziraphale decided to go to The Ritz while in The Bentley after the "let's have lunch" scene, in a scene we aren't shown, likely because the decision to do so would include directly referencing their relationship in a way the show has avoided doing so far but, as the 2.06 kiss showed us, won't be doing forever. (We also are never shown them past a certain point at night-- the show choosing to leave them in 2008 after the "godfathers" conversation in the bookshop and again in 2019 after we last see them holding hands during the ride back to Crowley's flat in London from Tadfield. This seems likely to change in S3, especially because there is almost certainly a The Blitz, Part 3 and we last left them late at night drinking wine alone in the bookshop making eyes at one another.)

Right, so, back to The Ritz in 2008 and the kinky lunch part of lunch...

Foreplay. Activities between partners-- physical, psychological, emotional, or all of the above-- that are designed to stimulate sexual arousal, in order to put the mind and the body in the mood for sex.

Kinky lunch is a form of foreplay, as Aziraphale is into the pleasure of being watched by Crowley as he enjoys the pleasure of his food and Crowley is into watching Aziraphale enjoy himself. This is also where the anticipatory kink starts to make even more sense as if they've already decided a bit of what they're going to get up to in bed later on, then they know what each other is thinking about all afternoon-- but especially during kinky lunch.

First date. There's also something of a romantic element to this, which a partner scene in S2 provided, which is that kinky lunch is essentially repeating what first happened thousands of years earlier in Job's cellar in 2500 B.C.. That night was, more or less, Crowley and Aziraphale's first date. Not all the sex they have is tied to lunching but part of lunching is, essentially, weaving their first date into these little sexy dates they're going on throughout different periods in history. Pretty romantic stuff for these two who also literally cannot say the word 'couple' but are basically married.

Biblical "fruits of knowledge." In Good Omens, what happened in The Garden of Eden is canonically known and it's that our Serpent of Eden Crowley tempted Eve into eating an apple from The Tree of Knowledge, which she then shared with Adam. The two of them then followed up the pleasure of eating with exploration into other sensual pleasures, discovered sex, and Eve-- whose biology really is something-- was basically eight months pregnant about two days later when Aziraphale snuck them out of Eden, jumpstarting humanity. Humans, though, have had ongoing debate over Genesis in The Bible as to what, exactly, the "fruits of knowledge" were that Adam and Eve consumed.

One argument is over what kind of food it was that Eve actually ate. In Good Omens, it is the most commonly thought food-- an apple-- but arguments have been made for everything from grapes to different berries to figs to even wheat. While Crowley does eat and different things than this, most of what we've been shown that he's consumed is humorous because it's almost all things related to speculated foods of the Biblical fruits of knowledge (wine-- grapes/berries; whisky-- wheat; an apple-looking tea in the S1 finale at The Ritz, etc..)

The other argument that is made is whether "ate fruit from The Tree of Knowledge" is actually just a metaphor for having sex. In Good Omens, the answer to this question is the opening of its story and it's not an either/or. It's both, with one leading to the other. Crowley and Aziraphale are more than aware of this and of the parallels with Adam and Eve to their own relationship and, like with everything else, they're very dryly funny about it. The two who are responsible for all sensual and sexual pleasure for all of humanity since the literal beginning of time have kinky lunch and a language full of food euphemisms for sex and flirty innuendo mixing the pleasures of eating with the pleasures of sex ("constitution of an ox!") because they're witty and playful like that.

Scrumptious. How Aziraphale describes his dessert at The Ritz. Means both "delicious" and "attractive/sexy enough to eat." Is basically the foremost adjective that describes human, physical beauty in terms of taste. It's kinky lunch-- a mix of the the sensual pleasures of eating food with sexual desire-- in a word.

Scrummy. Shortened version of 'scrumptious.' How Aziraphale describes the grapes he buys at The Globe Theatre in 1601, which he then spends the scene eating in front of Crowley, who flits around him like the horny little murder hornet he is, trying to flirt his way into Aziraphale's bed. 192 years before The Bastille.

Affirmative consent. Verbalized, informed and positive consent to participate in a sexual act. Needs to be direct and clear-- the more explicit and enthusiastic, the better. Good sexual practice is checking in with your partner before and periodically during to ensure that you're both still on the same page and having a positive experience. True of every relationship-- but especially true if one or more partners has had their autonomy violated in any way in the past, as Crowley has (and as Crowley had again the night before in 2008, when attacked by Satan in The Bentley, which was one of his many motivations for wanting to lunch with Aziraphale the next day.)

A cleverly-worded partner check in need not break the mood but is still equally important to do, even if everything seems to be fine. A sense of safety brings about trust and trust is sexy, after all.

"So, what are you in the mood for now?" Aziraphale's pitch-perfect partner check-in after he finishes dessert at The Ritz. He knows Crowley well enough to know that he's alright so this is flirtier than it might have otherwise been had Crowley not been. Still, it's presenting an opportunity to stop and giving Crowley the same sense of control and choice that he gave Aziraphale at the start of their lunch date. It's all done with a practiced ease and a subtle, sexy confidence that highlights that Aziraphale is very good at this and probably undid Crowley even more than watching Aziraphale eat lunch did.

Alcohol. Fermented fruit, wheat/grains or the like. Consumption of alcohol can lower inhibitions and the ability to be fully in control of yourself. To drink with someone then is to let them experience your most vulnerable self and to trust them to keep you safe and unharmed while you're not in a state of full control. It's intimate. It's sex, in food/beverage euphemistic terms, and we already know that Crowley and Aziraphale have a whole food-related sexual vocabulary... which Crowley jokes about in this scene.

When Aziraphale asks Crowley what he's in the mood for now that they've finished their dessert course, the point of the initial shot of the scene comes into focus-- the way the camera swoops a little over the surface of the table before settling back to show us Crowley and Aziraphale. The swooping shot illuminates what's on the table. It shows us that they've already eaten lunch, as Aziraphale is on the last forkful of his dessert. The key bits, though, are the beverages-- the coffee and the wine glasses.

Aziraphale has a larger, cappuccino-sized mug of some form of coffee drink while Crowley's dessert was a dessert coffee, based on the size and shape of the mug he's drinking it from. This is also where it's fun to point out that Mr. Six Shots of Espresso in a Big Cup has drunk half of what would be less than two shots of coffee, in a normal-for-the-drink-sized cup, and that the coffee is light in color, suggesting that it's cut with cream. But while the coffee and its symbolic freedom tied to S2 is fun to look at, the point here is that Crowley's coffee looks to be a dessert coffee, most of which frequently contain alcohol and, even more prominent in the shot, are two, empty wine glasses-- one in front of each of them-- that each have a little hint of red wine stuck in the spot above the stem in each glass, confirming that they both had at least one glass of a red wine with lunch.

The point is that they had wine with lunch and Crowley's likely been sipping an alcoholic coffee with dessert, and they're literally surrounded by bottles of wine behind them, as they're in a restaurant lol-- they're at The Ritz, which is known for their service and isn't exactly rushing them out. They could sit there for hours drinking more alcohol, should they want to... so, when Aziraphale asks Crowley what he's in the mood for now and Crowley-- who has spent this scene looking like he's considering freezing time and throwing Aziraphale over the table-- picks up the spoon from his likely Irish coffee and uses it to ding his wine glass-- that is empty of the alcohol he already drank out of it--to get the check lololol and says he wants "alcohol-- quite extraordinary amounts of alcohol", well...

Alcohol (in Ineffable Husbands Speak). Literal, surface level: Alcohol. Hidden language level: Sex.

"Alcohol. Quite extraordinary amounts of alcohol." "Sex. Quite extraordinary amounts of sex." Enthusiastic, affirmative consent from Crowley over here. He loves kinky lunch and he's glad you asked, Aziraphale, but he's very, very okay at the moment and wants to go to the bookshop now for more alcohol and, later, for quite extraordinary amounts of alcohol.

"An extremely alcoholic breakfast at The Ritz." A complete sentence in Ineffable Husbands Speak in S2 that Muriel doesn't understand but that we can by this point. Muriel not being able to speak Ineffable Husbands is the point of the moment-- it's to highlight that Muriel is missing information because they don't have the information needed to decode what Crowley is saying or to even realize that there is something to be decoded. It's to point out to us that we have this information and that's why we can understand what Crowley is saying. It, along with "no nightingales", is a moment designed to point out the language and how we can't interpret what we're seeing without being able to understand it. The context of the "us time" scene in S2 helps to reinforce that we have this language correct then also makes it an additional partner scene to the 2008 minisode, as it reinforces this interpretation of the language and the relationship between Crowley and Aziraphale that suggests.

Why does Muriel need to leave the bookshop in 2.06 if Crowley and Aziraphale are going for breakfast at The Ritz? We know it's because breakfast is the latest step they want to take when it comes to dining at The Ritz and alcohol is also sex so the Inspector Constable needs to leave because Crowley is out to have some lunch for breakfast.

Right, so, after kinky lunch at The Ritz back in 2008, we then catch up to Crowley and Aziraphale as they are walking up Whickber Street towards the bookshop.

Romantic stroll. They seem to like to go for a little walk together as part of lunch, if they can swing it. In 2008, they're caring a little less because they've just dined at The Ritz for the first time and they have 11 years left until the end of the world, so they're taking some moderate more risks. This might not be always typical of lunch but it is in 2008. They did this on their first date in the Land of Uz, sneaking out of the cellar to take a walk under the cover of night after the storm stopped. They also take a little stroll from the park to The Ritz in 2019 at the end of S1. All three of these times are possible exceptions-- it was night in 2500 B.C. on their first date and 2008 and 2019 are examples of not just lunching but dining at The Ritz, in the sense that they are in an era of being a little less guarded, if still cautious enough to maintain a sense of secrecy. There is a practical reason for the walk, though, as well as well as a romantic one, and that's related to:

The Bentley. Parked nowhere near the bookshop. On a side street somewhere, like we see Crowley has been doing ahead of S2 and is doing during S2 (including the night before the season began.) Crowley staying in the bookshop late into the evening is a given since they're lunching and have already planned to have some alcohol after their alcohol. The Bentley cannot be parked for hours in the evening in front of the bookshop without them running the risk of being caught so, even if they are coming back to the bookshop during the daylight of the mid-afternoon, The Bentley is already parked away from the shop because lunching comes with an understanding that Crowley will be staying in the shop well into the night.

This all seems routine for them at this point. As speculated in another post, this is probably how Crowley became friends with Mrs. Sandwich, whose work has her outside a bit in the early morning hours just outside the side door to the bookshop. Either way, the car is away from the bookshop so Crowley can stay most of the night with Aziraphale.

1921. The year in which Aziraphale bought a dozen cases (144 bottles) of Chateauneuf-de-Pape "for special occasions", as he either tells or reminds Crowley on their walk up Whickber Street. Twenty years before The Blitz.

This is an interesting comment for this exact moment here because one of the two pretty large gaps of time in the last few hundred years in their history is 1862-1941, right? We don't know much about what transpired between their whole breakup mess in St. James Park in 1862 and The Blitz. One of the flashbacks that was cut from S2 might have illuminated some of this, as it was the one set during The Gold Rush in America, which means it would have had to have taken place before about 1893. We know about Aziraphale learning to gavotte in The Hundred Guineas Club in Portland Place in the 1880s, we know that Maggie's great-grandmother started The Small Back Room with Aziraphale's help in the 1920s and we know that Crowley bought The Bentley sometime around 1933. In the midst of all of that, though, there's this one reference to 1921 here in the 2008 minisode that is pretty interesting when you consider why Aziraphale might be bringing it up in this moment.

Aziraphale is saying that he made an investment in the idea of them having a future of special occasions to celebrate together-- in whatever way they could manage to do so-- in 1921, which is a year in which, as far as we can tell so far, he might not have had a lot of hope that this would be possible. They do seem relatively incapable of breaking up for very long but it's also evident that they don't really fully start to get beyond 1862 until 1941 from what we've seen so far so it might have been a bit slow to heal. We do know that they were in contact and not just from the deleted America flashback but from the canonical reveal that Aziraphale got his driver's licence in the early 1930s, after Crowley bought The Bentley. But Aziraphale might be trying to say to Crowley that things didn't seem especially hopeful for them in the early 1920s, either, but Aziraphale has always held out hope.

1941. A special occasion, as that is Chateauneuf-de-Pape that they are drinking in The Blitz, Part 2.

2008. Year in which this minisode about lunching is taking place, when Aziraphale says that there "are a few bottles left" of the Chateauneuf-de-Pape he bought 87 years earlier, implying that they've drunk their way through almost 144 bottles worth of *just* "special occasion" wine *alone* in the last just under 90 years.

"For special occasions." Would be a truly insane way to refer to learning that the world was ending so safe to assume that Aziraphale is wanting to bust out the Chateauneuf-de-Pape in 2008 because what we see in 1.01 is the first time they dined at The Ritz. It was maybe not the most ideal way they'd ever wanted to as it was largely reactionary to learning they were almost out of time but they did it so time for the Chateauneuf-de-Pape.

Chateauneuf-de-Pape. Wine with quite the holy history. Translated from French, means "The Pope's New Castle". The Catholic papacy in early 1300s were big fans of the Burgundy wines in the area, spearheaded their popularity, and used the church to help spur the economic growth of the Avignon viticulture in that area. They drank the wine exclusively themselves and the papacy had been relocated to Avignon so, to an extent, Chateauneuf-de-Pape is something of a "holy water", symbolically. Maybe the antithesis of it-- holy water (water blessed through the power of Heaven) can kill Crowley, Chateauneuf-de-Pape (wine made by humans; symbolic of sex and love and a lifetime of special occasions with Aziraphale) is the stuff worth living for.

Wine is alcohol is, therefore, in Ineffable Husbands Speak, sex.

"Not very big on wine in Heaven, are they?" What Crowley says on their walk to the bookshop, in response to Aziraphale's suggestion that they break out the Chateauneuf-de-Pape.

A very funny line made even funnier by this partner scene in S2:

Well, you'd better pop off and get it then, haven't you, Aziraphale? lol

What, exactly, was going on between these two Influencer Brats of Job and their usual angels-- do we even want to ask? Probably not. The way Keziah says "they haven't brought the wine" with that little emphasis makes it feel like it's possible that their usual angels bring some Heaven-blessed wine as a pretense but that 'bringing the wine' is sexually euphemistic. Ennon hitting on Aziraphale adds to that sense by giving us the feeling that Job being God's favorite human means that, prior to the bet, Heaven was sending angels to see to the needs of the family and the elder two siblings have a pair of usual angels who service their, uh, beverage needs. All of which is, objectively-speaking, against what Heaven says it disapproves of (sex, alcohol/drunkenness, etc.), emphasizing the hypocrisy of the fascist state of Heaven.

The Job minisode then serves to reiterate the wine/alcohol = sex throughout the series and makes even funnier the fact that Crowley then drank the rest of the house's existing wine in revenge for these older kids being such brats and Ennon treating Aziraphale like a whore.

What it shows, though, is that maybe the only consumable beverage that Heaven *is* very big on-- if not on drunkenness-- is wine, like many big religions on Earth, right? As a result, Crowley's "not very big on wine in Heaven" line is then emphasized to really be "not very big on sex in Heaven, are they?"

Ok, back to 2008...

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes... Or single-malt scotch... Or frou frou cocktails with little umbrellas..." Crowley's full response to Aziraphale's Chateauneuf-de-Pape discussion on their walk. Translated from the Ineffable Husbands Speak below.

"Not very big on wine in Heaven, are they? Or Chateauneuf-de-Papes..." Not very big on sex in Heaven, are they? Forget music and food and books and our life here with our human things and our special occasions and spending time together, you are going to spend an eternity trapped in a open-floor-plan office building in the clouds with a bunch of prudish religious zealots. Forever and ever and ever... We have, potentially, eleven years until we'll never make love again. You *love* sex and if we don't stop Armageddon somehow, you're never going to come again...

"...Or single malt scotch..." Scotch is whiskey made in Scotland. Talisker, Crowley's favorite whiskey and recurring drink order, is a single malt scotch. So, this is: Not very big on *me*, either. Not exactly like I can just ride the elevator up for a visit... if I even survive Armageddon. You might have noticed Heaven is not tagging everything on their Tumblr #bildaddy. In case it wasn't obvious that this entire time, I've been listing other things you like about life on Earth while under the surface basically screaming "WE WON'T BE ABLE TO BE TOGETHER, ANGEL..."

"...Or frou frou cocktails with little umbrellas..."

Frou frou. American slang for "fancy", sometimes overly so. The American English sister word/answer word to "ritzy". Spoken by Crowley after they've just left The Ritz and as they walk past what will be the American-themed Give Me Coffee or Give Me Death in S2. Comes from America's longest allies--the French-- where it means the rustling sound made by skirts as they move and is onomatopoeia (words derived from the sound they make, rather than rooted in a language.) To reference Scotland, the United States and France within two sentences while bashing Heaven is very Crowley, who doesn't see Heaven as The British Empire or anything lol.

Cocktails. Mixed drinks. What you get when you combine alcohols. Also ties to the scene in S2 with Mr. Brown of Brown's World of Carpets in The Dirty Donkey, which is now a partner scene to this as well. Crowley's "a sherry for you, a whisky for me." It's another example of alcohol as symbolic of sex as Crowley bringing Aziraphale his preferred drink is their attempt at getting Mr. Brown to get the hint that they are a thing and they like now to keep the alcohol just to the two of them.

A cocktail, though, being a mixed drink, can refer in the context of discussion of Heaven and their relationship to the fact that they are an angel and a demon and Heaven is not very big on that particular cocktail.

Frou frou cocktails with little...

Umbrellas. Canopies.

Canopies. The essential setting component of Crowley's Vavoom in S2, as we heard him talking about (while having a drink) with Aziraphale in S2: "You mean like a sudden rainstorm forces them together beneath a canopy... and they look into each other's eyes and realize they were made for each other."

Vavoom. Alternatively: va-va-voom. Voluptuously sexy. Of or portending to sensual pleasure. How Crowley described his hypothetical-for-Maggie-and-Nina erotic-gazing-into-a-passionate-kiss-while-sheltering-from-rain-together-under-a-canopy thing that is absolutely not Crowley and Aziraphale's first kiss recounted back to Aziraphale by Crowley as his definition of romance. Not at all. Crowley just has a thing about tree canopies and their modern rain-sheltering cousins, umbrellas, ok? We didn't just spot The Vavoom hidden there in 1.01 a bit, too. Absolutely not. ;)

"Or frou frou cocktails with little umbrellas" (in Ineffable Husbands Speak). Heaven is definitely not very big on opulent mixed angel-demon drinks like us and our little romance... We're never going to kiss again, angel. Do you really want to spend *eternity* without ever kissing one another again?

According to S2, the answer to that question is that Aziraphale cannot handle the thought to a point of having a complete breakdown of 'what if you were an angel again so we never had to worry?' desperation, so this is probably why Aziraphale's downward hands of 'argh, not right now-- I can't handle this' show up at this point in 2008, as they finish crossing the street and arrive at the entrance to the bookshop.

This is when Aziraphale starts in on his whole "I'm an angel; you're a demon" stuff again but the tone of it is pretty soft and he adds this bit into it:

"We're hereditary enemies." Something which is hereditary is something which you've inherited through no fault of your own and without your agreement. Often, something foisted upon you that you would not have chosen. Aziraphale's comparing their situation to things like hereditary disease-- they didn't ask for it. It's not their fault. The reality of it, though, is still present. This is a way of reassuring Crowley that, even though Crowley could see through the Yay, Heaven! from the earlier St. James Park scene, that Aziraphale doesn't see him as the enemy and would never have chosen this whole mess. He's not yet agreeing to help Crowley stop Armageddon-- the odds are good that he never was going to while they were outside of the bookshop anyway and Crowley knows that. Everything Crowley has said so far is preamble to his argument for stopping Armageddon later on, when they're inside, sobered up, and Aziraphale is ready to work on a potential plan with him.

After "hereditary enemies"...

"Get thee behind me, foul fiend." Blasphemous Bible-speak delivered flirtatiously as a sexual invitation. Not the only scene in the series with blasphemous innuendo but this one line alone could be its own meta so, in an effort to keep this at under 4 billion words lol, we're just going to look at how this is relevant to lunching.

Foul fiend is just Biblical speak for wicked demon. "Wicked" and "demon" are words in the same vein as "wily", "thwart" and "smitten"--words with dual layers of contradictory meanings that Crowley and Aziraphale love to use in their language. To be "wicked" is to be evil in the sense of in line with Satan, yes, but it's also to be playfully mischievous and is a positive adjective used in place of "excellent" at times. To be a "demon" is to be a familiar of the Devil, yes, but it's also to be extremely skillful and talented at a particular thing.

Aziraphale does the whole "I'm an angel. You're a demon. We're hereditary enemies" thing but then turns around and uses "foul fiend"/"wicked demon" in the non-satanic definitions of it through his fond and suggestive tone. He's not calling Crowley evil-- he's calling Crowley playfully mischievous. He's calling him trouble in a light and fun way. He's not calling him a demon in a derogatory sense but in the skillful sense. The same words that mean "evil ally of Satan" also mean "playful and talented"-- Aziraphale has added context by situation and tone of voice/delivery to essentially turn "foul fiend" into calling Crowley "a demon" in bed, in the "skillful" sense of the word. It becomes fuck me, my very wicked demon by use of a suggestive tone.

But it's the use of "get thee behind me" that is most relevant to 2008 here because remember when I told you we'd come back to crepes?

Crepes. Thin, French pancakes. Can be had almost anytime of the day because they are quite versatile-- savory, sweet, for lunch, for dessert, you name it lol. As sexual euphemism, though, we are really looking at how 'pancakes' have been used traditionally by people using food as euphemisms for sex and that is, unsurprisingly, in relation to how a pancake is cooked. I think we've all probably made actual-pancakes-the-food before or at least have seen it done so it probably will not come as a surprise to you that you have to turn a pancake over to griddle it on both sides for it to be done.

As a result, any sexual euphemism involving pancakes is referring to sex that involves a switch from an initial position to a second position that is literally just the receptive partner turning over. So, in order to fully get Aziraphale's love of his romantic French pancakes here, we'd have to have the starting position of crepes and that is something the show actually gives us because why not at this point lol.

"Get thee behind me" after they've spent the afternoon setting up this 1793-inspired crepe-a-palooza indicates that the starting position of crepes is Aziraphale getting done from behind but he'll turn over because he likes to finish his French pancakes facing Crowley.

Vavavoom Yellow. The color of Crowley's eyes and the actual name of the actual paint the actual people involved with this show painted the actual walls of the bookshop. The color Aziraphale turned The Bentley after making it take off its black and silver sunglasses. Crowley's only out here trying to seduce Aziraphale in every other scene by looking at him over his glasses or taking them off or going on about their tantric eye sex into their first kiss... Seems possible Aziraphale might have a thing for Crowley's eyes, no?

"After you." Aziraphale wants crepes for dessert, though. After "get thee behind me, foul fiend", he gestures Crowley into the bookshop with a very witty "after you", which is both politely letting him go first into the bookshop and insisting he is in bed later as well.

Inviting Crowley inside the bookshop with the "after you" in tandem with inviting him inside with the "get thee behind me" is also then using the fact that Crowley is allowed into the bookshop as sexual metaphor for being allowed inside, well, Aziraphale. This gives it a partner scene in S2, when Aziraphale turns The Bentley into a sexual metaphor and is going for the innuendo gold when he then again uses the bookshop to euphemistically refer to himself with "... just as that bookshop is, technically, my shop... but we both get *plenty* of use out of it, don't we?"

God. The only other character on Good Omens aside from Crowley and Aziraphale themselves who speaks Ineffable Husbands Speak. Character responsible for teaching us one of its most important code words-- "nightingales"-- and who ships it so hard that She had a literal nightingale singing as a joke on their dual-meaning-happy language in the S1 finale. Our narrator in S1.

"...while, in London SoHo, an angel and a demon had been drinking solidly for the last six of them." As we cut away from Crowley & Aziraphale's scenes in 2008 to see The Youngs leave the satanic nunnery with their new baby, God points out-- with a hilarious 'oh my stupid children, scared of a baby' tone-- that "The Antichrist had been on Earth for 24 hours." If we can assume that The Youngs were not sent home from the hospital with a new baby in the middle of the night and that it's closer to the more civilized option of a dinner hour, then that would also go with the fact that Aziraphale was having dinner during all of this the night prior, right? Which means it's dinner time, if we're at 24 hours later. Which means that if, in London SoHo, an angel and a demon have been "drinking solidly" for the last six hours, then God is counting the entire afternoon since Crowley and Aziraphale met up for lunch as "drinking solidly" and that's because "drinking" in Ineffable Husbands Speak isn't just alcohol but sex. Yes, that's God making a sex joke. (She has a few more in S1, too.)

"Baby." Term of endearment for a romantic and/or sexual partner that has been documented as having been in existence since at least around the 1830s but was mainstreamed by American jazz, soul and rock 'n roll music and cinema.

While Crowley and Aziraphale are in the alcohol stage of their alcohol, they get plastered on Chateauneuf-de-Pape and Crowley, in a drunken ramble that we will realize by S2 is inspired by Aziraphale's magic words and their conversation in 1941, is going on about what is going to happen to the creatures of Earth when the world ends. He begins to try to say that the fish will be "turned into bouillabaisse" but that word is too difficult for him to say while drunk. While attempting to, he gets distracted gazing at Aziraphale and calls him "baby" in a low voice and then we get their hilarious very drunk kissy faces. Crowley manages to translate "bouillabaisse" in his mind enough to "fish stew-- anyway!" and they sober up soon afterwards to have an actually semi-coherent conversation and some actual alcohol.

In the context of lunching, this becomes getting drunk and distracted by thoughts of later in the middle of trying to talk-- and we know now thanks to S2 that Crowley is also distracted by thoughts of 1941 here at the same time, as he's going on about bananas, fish, and gorillas. We've never heard him call Aziraphale anything but his name or "angel" with the exception of this scene, when they're alone in the bookshop with alcohol on the brain. Aziraphale is drunk but he also doesn't react like it's unusual-- if he heard it, to be honest, as he seemed a bit devoted to stringing together his thoughts related to The Kraken... that great, bigggg bugger, as Aziraphale described him, not at all thinking about the quite extraordinary amounts of buggery they were going to get up to later on.

But, anyway, there's the scene where Crowley calls Aziraphale "baby" in 2008 and that might suggest that he does if they're alone and there's no risk of anyone overhearing it. (As "angel", at least, is theoretically meant to be calling Aziraphale by what he is in a semi-derogatory way but Crowley's honestly never made that work a day in his life lol.)

Thwarting. See: separate meta on my blog on "wily", "thwart" and "smitten" as examples of words with contradictory, dual meanings that Crowley and Aziraphale like to use in the 'angel-and-demon' sense on the surface but in their 'sexy/romantic' connotations in their hidden language. While talking about a plan to stop Armageddon, Crowley uses "wiles"-- the enticing and feminine-leaning-in-connotation definition of "wily"-- in a dry joke where the surface level is about how it's the role of an angel to stop the Evil One (his demon counterpart) at every turn but is really using "wiles" in its seductive definition. He also uses "thwarting" in a way that is substituting it in a sentence for "fucking" on the hidden language level: "You can't be certain that thwarting me isn't part of The Divine Plan, too."

Indeed, Crowley. Indeed.

"...at every turn." Ha. Crowley has crepes jokes. Think of all the French pancakes we can have for eternity if we thwart Armageddon, angel...

Godfathers. The 2008 minisode scenes end with them deciding to have a baby. Crowley's like I have a plan to stop the end of the world and it's that we crash this mansion and live together raising a kid like a little family and I've thought of a way you can sell it to Heaven-- whaddya say? And Aziraphale melts into a puddle of sparkly-eyed joy and they have some quippy lines about being damned that feel like foreshadowing for Aziraphale something fierce but this is where we leave 2008. Right here.

After alcohol, but before alcohol, ya dig?

Lunch (in Ineffable Husbands Speak). A recurring date of kinky lunch and spending time together that is pre-determined to end hours later with sex that is at least somewhat decided upon at the start of lunch, often euphemistically through discussion of " lunch food" and/or their romantic encounters in their shared past.

Off of this, let's go look at our partner scene of The Bastille again, now using 2008 to illuminate parts of it.

Paris, 1793. Crowley and Aziraphale playing 'damsel in distress and dashing hero rescuer' in The Bastille. Seven years before Aziraphale opens the bookshop; thirty years before Crowley's dragged to Hell in Edinburgh. They've been getting away with this forever at this point, to a point that while they're still overall cautious and terrified of getting caught, they're starting to think it's possible they never will because they've managed to keep it a secret this long. Aziraphale is dry and arch when referencing the recent "strongly-worded note" he apparently received from Gabriel about doing "frivolous miracles". Even though the note might not exist as this whole scene is, basically, a roleplay game, the attitude there is that they're getting one over on Heaven & Hell and are taking advantage of it.

We all know things like Aziraphale lighting up when Crowley shows up and the "oh, good Lord" while raking his eyes over him-- we're just going to look at some bits here that have more significance in Ineffable Husbands Speak.

As a side note here: the buttons on the black part of Crowley's outfit in Paris also are very similar in style to the jacket he's wearing in the Let's Have Lunch scene in 2008, in a fun bit of visual paralleling between the partner scenes via the costuming. This scene is also a great one for the consistent thing in the series where Aziraphale will casually reference God and Satan ("oh, good Lord"/"luck of the devil" in the Tadfield Manor scene) but Crowley will not ("what the deuce are you doing locked up in The Bastille?").

So, Crowley does his whole haughty and faux-put-upon thing upon arriving and S2 actually makes how he arrives even funnier because he spends the first half of the scene lounging on the floor across the room, which has real Job's cellar vibes. Later in the scene, we get the "well, you're lucky I was in the area" and Aziraphale's reply of "I was", both lines of which are arch as all fuck. They ring with a kind of knowing playfulness that honestly signals the whole thing is not exactly an organic situation. Crowley has come to Aziraphale's rescue out of nowhere before and odds are solid that led to Aziraphale's whole rescue kink awakening here lol but this scene in 1793 is not that. Crowley was absolutely "in the area" with his calendar cleared for whatever sexual hijinks the angel wanted to get up to that afternoon. He's committed to the bit and asks near the start: "what the deuce are you doing locked up in The Bastille?", prompting Aziraphale's response of "I got peckish."

"Peckish", meaning "slightly hungry", but you don't wade through a revolution because you could use a snack so Aziraphale's downplaying it for humor-- he's fucking starving. And not really for food. They have food in England. Aziraphale has intentionally got himself locked up in The Bastille because he's horny, which he's expressing using food terms because of course he is. Ineffable Husbands Speak was created by this dry-humored and self-deprecating duo, one of whom is the Serpent of Eden and the other of whom is a bit of a raging gourmand and, together, they've never met anything consumable that they can't make into sexual innuendo.

To learning that Aziraphale on the surface needed a snack and, in Ineffable Husbands Speak, needs a snack, Crowley has this hilarious response:

Go on, Crowley, keep pretending like you're offended that this is all just because Aziraphale is horny and like you think it's not specific to you, like you wouldn't let him nibble on you whenever he wants lol.

Tell him he's special, Aziraphale, and not just one of your favorite toys. You dragged him to a prison cell feet away from a guillotine for this.

"Well, if you must know, it was the crepes. And the brioche. Can't get decent ones anywhere outside of Paris." is Aziraphale's quite illuminating reply.

Paris is France and anything Parisian or French is coded as romantic and as related to love to them, even if we know how much they speak around those words. We know what crepes are now from the 2008 scene and we'll look at brioche in a moment but we can already see that this sentence, translated from Ineffable Husbands Speak, is Aziraphale saying that he can fuck his way around the world (and we know it's suggested that he has at times) but he feels that it's never as good for him as it is with Crowley because the crepes and the brioche are better when they're had in Paris-- because sex with Crowley is better for Aziraphale than with anyone else because of how they feel about each other.

Probably also worth mentioning that crepes and brioche both originated in France (many societies around the world have versions of crepes but the crepe itself is French) so this is also really saying it's just always been Crowley for Aziraphale since the start and Aziraphale was alluding to that to Crowley in the Paris, 1793 scene.

Brioche. A bit of a bread, a bit of a cake, it is a bit sweet and rich like a pastry and falls mostly somewhere there on the French deliciousness spectrum between the two and treated by chefs and bakers as a bit of both. As a result, can wind up in many different meals throughout the day, in different ways. Brioche = Crowley, in food form. Can be used to make sandwiches (ha) but is most well-known as the signature bread used to make French toast. French toast is traditionally made the same way as crepes-- involving turning, like pancakes.

Brioche (in Ineffable Husbands Speak). Both Crowley himself, in food form (bread is necessary for sandwiches, after all) and crepes-as-sex reversed between them with Crowley as the receptive partner.

[Crowley is also suggested to be black bread, according to God's narration, in the St. James Park scene, leading me to believe that he's just every kind of bread Aziraphale likes, which is probably most of them.]

Aziraphale invites Crowley to lunch and we know now that lunching was already a thing for them then. True to form, the scene ends with their first step of lunch-- the anticipatory part-- with Crowley asking "what's for lunch?", which we now understand to mean the same thing as "I still owe you one from..." in 2008. He's asking Aziraphale what he would like for lunch and we know already from 2008 that they went out for crepes and had a whole French buffet.

Armageddon: Round One. 2019. Averted. Afterwards, they meet up in a park and swap bodies back unnoticed because we didn't have enough secret sexual relationship stuff already happening on this show lol so yay metaphor and now there's a full-circle back to the bench at St. James Park in 1.01 but now with them having survived and at least temporarily halted Armageddon. Then, as they start to adjust to the whirlwind being over, it's Crowley with:

"Time to leave The Garden." Crowley likening Aziraphale and himself to Adam and Eve-- and just prior to proposing that he and Aziraphale go get their Garden on with a little lunch. Shows that Crowley and Aziraphale are more than aware of how much they parallel the first humans and reinforces that all of the Eden references and related humor in their romantic relationship that we've seen is not coincidental but intentional.

To ask Aziraphale if you can "tempt him to a spot of lunchchch" while opening up your hip to spread your thighs and angle yourself to suggest that your body is also on the menu. Complete with the 'wanna go to bed?' head tilt of 1601 and 2008 fame. I mean...

Meanwhile, Aziraphale's barely conscious of the fact that he's rubbing his thighs and looking at Crowley's lips...

To reply "Temptation accomplished." with a cutely dorky little laugh to Crowley's invitation to lunch. To never be one to say no to a spot of lunch and accept the invitation, while joking around about how neither of you ever actually tempt each other, you just find each other tempting, in the 'attractive' sense of the word.

Anticipatory kink. The first part of lunch.

To say that a table at The Ritz has miraculously come free. To suggest that you have 2008/Eleven Years Ago for lunch, coming full circle back to 1.01 in the S1 finale. 2019 is 2008 is 1793 is...

Champagne tea/high tea. The meal that Crowley and Aziraphale are actually eating when they go to lunch in the S1 finale. Features champagne and macarons, both of which are French, adding to the romance and the ties to 1793. There also appears to be an apple-hued tea on the table, nodding to Eden.

PTSD. What causes Crowley to sometimes go quiet and zone out. In 2008, we came in on the end of their meal at The Ritz and Crowley was in the moment. In 2019, we see the start of their lunch part of lunch and Crowley is not at all present. He's facing ahead and staring into space at nothing, exhausted and not in the moment. Aziraphale's partner check-in is different this time, as he can tell that Crowley is not with him. He draws him back to the now with a bit of romance.

"...if you weren't, at heart, just a little bit of a good person." I love you, you know.

"And if you weren't just enough of a bastard worth to be worth knowing." I love you, too.

"A Nightingale Sang in Berkeley Square." Romantic 1940 song containing the lyric "angels were dining at The Ritz" that formed the basis for Aziraphale creating "dining at The Ritz" as a code phrase meaning a more acknowledged and somewhat more open relationship in the future... which they then celebrate agreeing to try by literally dining at The Ritz, in line with their dual layers of meaning-happy language. We're still awaiting the origins of the song as their song but it is to a point that one of them has the pianist playing an instrumental version of it during this afternoon tea lunch in 2019. We also get Tori Amos' cover playing over the scene because dual layers of everything.

Literal nightingale singing. God showing only us the bird that Crowley and Aziraphale don't know is actually singing is the show acknowledging that our perspective is, like God's, on the outside of the relationship but we are now able to understand it. To see the literal nightingale but know what it means both symbolically and in Ineffable Husbands Speak is to see that there are different levels of meaning beneath the surface of what we've been watching.

Nightingales (in Ineffable Husbands Speak). Romantic love. Specifically, Crowley and Aziraphale's word for their love for one another.

[literaryvein-reblogs]

Writing Notes: Story Plot

Plot - is what happens in a story.

Every story is made up of both events and characters.

A story happens because a pattern is interrupted.

If you are writing about a day that is like any other day, it is most likely a routine, not a story.

A Strong Plot

Centered on one moment—an interruption of a pattern, a turning point, or an action—that raises a dramatic question, which must be answered throughout the course of the story. This is also known as plot A.

Every element of the plot—each scene, each line—exists in service of answering that question. There are myriad plot devices that can bolster the main story; these are considered subplots.

7 Types of Plots

The nature of the dramatic question informs the plot and what kind of story it will be. Are the characters threatened by something external or internal? What genre will the story be?

Tragedy

Your main character should undergo a major change of fortune — almost always from good to bad, happy to sad.

Tragic characters have to suffer.

Comedy

Even though your characters have defects, their defects should never wind up being painful or destructive.

Comic characters make it through unscathed.

Hero’s Journey

The hero of a story must undergo two things:

Recognition and reversal of a situation.

Something has to happen from the outside that inspires the hero in a way that he/she didn’t realize before.

Then he has to undertake a quest to solve the situation.

Rags to Riches

Remember Cinderella? The classic fairy tale follows a simple rags-to-riches plot:

the protagonist is downtrodden, impoverished, or otherwise struggling, and through a series of events—either magical, like in Cinderella, or more realistic, like in Great Expectations — achieves success.

This type of plot often features a happy ending.

Rebirth

The rebirth style of plot follows a character’s transformation from bad to good.

The character will frequently have a tragic past that informs their current negative view of life, however, a series of events (usually set in motion by the protagonist or a narrator) will help them see the light.

See: Scrooge in A Christmas Carol, or the Beast in Beauty and the Beast.

Overcoming the Monster

Otherwise known as the good versus evil plot, this type of story features a protagonist (good) fighting an antagonist (evil).

The protagonist can be a singular character or a group united in their mission.

The antagonist is generally a big, bad evil (like Darth Vader in Star Wars) who continuously throws obstacles in the protagonist’s way—until the final battle.

Voyage & Return

This plot is a simple point A to point B and back to point A plot.

The protagonist sets off on a journey, only to return to his or her starting point having gained wisdom and experience (and sometimes treasure too).

Paulo Coelho's The Alchemist is a beloved contemporary illustration of this plot.

How to Outline a Story Plot: Three-Act Structure

Beginning

The beginning of your novel has to accomplish a lot.

It must introduce the hero, the villain, and the world of the story, as well as the story’s dramatic question, and it must do this with enough energy to grab your reader’s interest right away.

A prologue can be useful for seizing the reader’s attention.

Middle

Your job during the middle of the story is to make the hero’s quest as difficult as possible so that at every moment it seems less likely that the hero will triumph.

You must raise the stakes along the way and create obstacles of ever-increasing intensity while keeping your eye firmly fixed on your conclusion.

The different plot points can include the basic plot, plus various subplots.

The main plot of a story always has to build up to the resolution.

End

The end of your story answers the dramatic question, which already has your ending hidden within it.

For example, if your question is:

Will Ahab catch the whale?

Then your story’s finale will be the moment when he does.

Often, tension evaporates in the middle of a novel, so it’s a good idea to write your ending first. It may not be perfect, and you can always change it later, but it’s useful to know the climax to which your characters are headed.

Having that destination will help you stay focused during the “middle muddle.”

Freytag’s Pyramid

German novelist Gustav Freytag expanded on Aristotle’s concept of plot by adding 2 additional components to the beginning, middle, and end:

Rising action and falling action.

Freytag’s dramatic arc, also known as Freytag’s Pyramid, includes the following:

Exposition. This is the beginning of the story.

Rising action. Once the story has begun, it is important to create tension by raising the stakes. You must raise the stakes along the way and create obstacles of ever-increasing intensity while keeping your eye firmly fixed on your conclusion.

Climax (middle). The pinnacle of your plot.

Falling action. The falling action occurs after the climax but before the end. Falling action frequently depicts the protagonist dealing with the consequences or fallout of the climax. The falling action is when the protagonist ties up loose ends and heads toward the conclusion. It is also referred to as the denouement.

Resolution. This is the end of the story.

Source ⚜ The 3-Act Structure: History & Elements ⚜ A Guide More References: Plot ⚜ Character ⚜ Worldbuilding ⚜ Writing Notes

[metanarrates]

there are a LOT of things you can speculate about regarding what twsa was actually like as a novel but what's most interesting to me is that you can make the argument that twsa was an "unpolished" version of what orv is. it's a version of a similar novel that likely dealt with a lot of similar themes but was seemingly bogged down by poor structure, pacing, expository handling, and focus. (all of which are things that orv is shockingly excellent at.)

and of course, han sooyoung's novel, sssss-grade infinite regressor, is the "polished" version of the idea. it's well-written, probably well-plotted, and was successful enough to make han sooyoung rich and famous. we don't know what sssss-grade infinite regressor is like as a novel either, but we sort of get the impression that it's not very emotionally rich even if it is good on a technical level. han sooyoung herself doesn't seem intensely attached to it despite being proud of her work, and kim dokja of course doesn't hold it in high regard. (though of course he's a gigantic unreliable narrator and also a hater.)

what's interesting is that despite orv very strongly emphasizing the ways these works are flawed from the outset, orv itself functions as an argument in these works' favor. both twsa and infinite regressor are stand-ins for the "mass-produced" genre of webnovels. they are popular fiction, relying on a very familiar pool of tropes and clichés in order to deliver on a relatively predictable story to appeal to a wide audience. it's not a coincidence that they are so similar - both literally and in a meta sense, they are drawing on the same exact story-building and genre material. twsa is just the unsuccessful version, and infinite regressor is the successful one.

orv is what I would consider the most "impressive" version of the genre. it's well-structured, thrillingly plotted, interestingly written, has fascinating ideas and characters, and is even "literary" - that is, it has deeply considered themes and is often drawing from the realm of literary, postmodern fiction in order to express its ideas. a less sincere story would disavow itself from its pop-fiction origins and claim to be the best version of its genre. nothing else could be like it, so the worst versions of its genre wouldn't be worth considering.

but orv, while technically functioning as an argument that the genre can be "good" simply because it's a great novel that is deeply rooted in its genre, goes much further. it argues in-text that any sort of story, even those that are bad on a technical level or those that were somewhat cynically produced for a mass audience, are worth finding value in, simply because stories have meaning to their readers. the most uncritical reproduction of a genre's conventions can still mean something to someone who likes it. twsa, if it existed in our reality, would still probably be considered a very bad novel, but it wouldn't need to be polished up and turned into infinite regressor or orv in order to have value. orv itself is telling you that you should find value in twsa as it is, and by extension, every badly-done work of fiction that twsa could be a stand-in for!