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#I am very normal about them

indimiart · 3 months

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hugs aren’t always the solution, especially after nightmares, and Nievan knows well that sometimes they can be too much. so he waits, and if a hug is what’s asked for, then he’s more than happy to give it. And if not? That’s okay, too.

#nievan ilthurin #bg3 #tav #astarion #baldurs gate 3 #baldurs gate fanart #bg3 astarion #bg3 tav #baldurs gate astarion #baldur’s gate 3 #tav x astarion #astarion x tav #digital artist #digital art #artists on tumblr #idk man lately I’ve had all the feels #this week sucked but art made it better #I love his bedhead so much #I am very normal about them

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pommedepersephone · 6 months

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Buck up, Hamlet! or how Aziraphale and Crowley's blocking helps communicate the evolution of their relationship

Can we talk about the blocking?

Specifically, I have been rewatching S1E3, one of my favorites. I love how the development of the relationship between Aziraphale and Crowley is shown through these little vignettes. There have been some great explorations of the costuming and dialogue, but what always strikes me is the BLOCKING. The way their placement and movements add such depth and tell the story of living as a queer person, having to communicate in coded language.

Through the episode, we get 4500 years of history - Eden, Mesopotamia, Golgatha, Rome and Wessex - to see Aziraphale and Crowley standing on their opposite sides. Aziraphale always on the right, Crowley always on the left. But after the Arrangement, their blocking changes drastically and becomes much more fluid and nuanced. Each scene after this is distinct but the scenes in at the Globe and the Bastille have the most development, and I find myself rewatching them A LOT. Here is what I see.

All the World's a Stage

This is the first meeting we see that isn’t a chance encounter, though the two try to stage it as such. It takes place in a theatre - and they are acting, playing their roles as demon and angel. Even the humans are complicit in this performance, with Shakespeare stepping in to address the two "in your roles as the audience." Oh, delicious.

But once it's been firmly established for anyone watching that they AREN'T friends, they DON'T know each other (cough cough) the following moves are clearly choreographed and have been played out many times before. Crowley sashays to the right, opening the dance, and Aziraphale accepts the invitation to dance with: “What do you want?”

“Why ever would you insinuate that I might possibly want something?” Crowley is just playing his role as cheeky demon offering up a temptation - but his position to the right of Aziraphale speaks to the fact that they are both very complicit in this performance.

“You are up to no good.” “Obviously. And you are up to good, I take it? Lots of good deeds?” Just standard character establishment, here.

“No rest for the, well, good." Ah, this line, the inversion of the well known idiom. Because the line between good and evil (and between angel and demon) maybe aren't so distinct, and Aziraphale acknowledges this with his words. We are moving into negotiations now. "I have to be in Edinburgh at the end of the week. A couple of blessings to do, and a minor miracle to perform. Apparently, I have to ride a horse.”

“Ah hard on the buttocks, horses. Major design flaw, if you ask me. I’m meant to be headed to Edinburgh too this week. Tempting a clan leader to steal some cattle.” The way Crowley moves AROUND Aziraphale here, intimate but also careful, watching for his reactions.

“Doesn’t sound like hard work.” Said with a little sideways look, because Aziraphale can see where this is going. And he's open to suggestion temptation.

“That was why I thought we should… well, bit of a waste of effort. Both of us going all the way to Scotland.”

“You cannot actually be suggesting what I infer you are implying?” A little bit of pretense, because Aziraphale has to pretend to be tempted, right?

Crowley presses. “Which is?” Because he is willing to play the part of tempting demon, but only if it is clear this is a farce, that this is indeed mutually agreeable. He is making sure they are doing the same dance.

"That one of us goes to Edinburgh and does... both. The blessing and the tempting."

Yes, they are doing the same dance, and what is left is the formality of concluding the dance - a moment of Aziraphale expressing his concern for Crowley, the coin toss - they both know how it ends. It's a ritual, an act of give and take.

But if it were ONLY the Arrangement, a simple quid pro quo, it would have ended there. It doesn't. Instead, the two offer each other a more intimate exchange - "It'd take a miracle to get people to come and see Hamlet."

Aziraphale doesn't even have to ask with words, just a look, and Crowley happily agrees. That is the final part of the dance, a small acknowledgement that this isn't just about making their jobs easier.

A Free Man in Paris

Paris is something else. This is a HUGE step beyond making sure that audiences like a show your angel is particularly fond of. This is a stolen dangerous moment, an OUTRAGEOUS flirtation that takes place outside of time, conducted in clear view of others but beyond their understanding. Isn’t that how their entire relationship is now conducted, hidden in plain view and so clearly affectionate?

And look, Aziraphale is BITCHY in this scene. Peak That Bitch. He's just purchased a bookshop, he's creating a very permanent place for himself here on earth - Aziraphale is feeling quite proud of himself. In fact, he's preening a bit that he has figured out how to exist, even in some small limited way, as himself within the confines of the system of Heaven. Buuuut he may have gone just a bit too far, and gotten himself in a spot of trouble. He has landed in a prison, threatened with "death" and stuck because he's already gotten a warning about being frivolous with his miracles. Oh jolly good that Crowley is here to save the day!

There is something raw being communicated here here, where both Aziraphale and Crowley are presenting themselves to the world in ways that are dangerous. Aziraphale's reaction tells us that Crowley's look is doing things to him, but also in a way that it is NOT socially appropriate. Aziraphale may have showed up in all the trappings of an English aristocrat, but here is Crowley as a French royal sympathizer. NEITHER of these are safe choices in the middle of a revolution. The costuming is so critical to fully appreciating this scene, so check out the amazing clothing overview with @cobragardens.

When Crowley arrives and stops time, he and Aziraphale find themselves situated facing one another, but angled so they aren’t facing straight on. Interestingly, from Crowley’s perspective, he is where he is supposed to be - the left of Aziraphale. But Aziraphale, from his perspective, is also to the left of Crowley. It was Aziraphale after all who initiated this situation, who put himself in danger by being too… Aziraphale. It’s dangerous to be yourself when you don’t fit into heteronormative social expectations, isn’t it? Still, the two keep up a very flirtatious banter as they discuss the situation, and Crowley maintains his very-intentionally-unbothered sitting position up until Aziraphale goes too far and thanks him for coming to his rescue.

While Crowley is also flirting with danger in the way he is dressed, he also didn't just pop over for a nibble dressed this way. And whatever he might have been up to was interrupted so he could rescue Aziraphale from the consequences of his own reckless authenticity. After removing the chains, Crowley pushes Aziraphale to reconsider his honest expression of himself in this exact place and time - for the sake of survival.

Aziraphale, willing to risk himself alone, rather quickly adopts a more acceptable appearance when it might impact Crowley. It is only after Aziraphale is safely disguised and returned to his proper place to the right of Crowley, ONLY then does Crowley restart time. They can go enjoy lunch now, with the proper precautions and masks in place.

For these two particular human-coded occult beings, this is also such an honest moment. They both showed up damn authentically - Aziraphale so fabulously ostentatious, focused on chasing down some pleasure (in this crepes) and Crowley wrapped in a clear protest against the current violence. Just as Aziraphale indicated with his "Oh good LORD" as he looked the demon up and down with obvious thirst, Crowley's request to Aziraphale to change his appearance and mask better is done in such a way that affirms that Crowley LIKES who Aziraphale is without the mask.

The scene is so playful on the surface, the body language and dialogue flirtatious. It's something so familiar to the queer experience, making light of the absolute danger that we must sometimes navigate just to exist. The more I watch it, the more obsessed I become.

A Spot of Bodysnatchin'

It is worth remembering that we didn't get this scene in S1.

I am going to go through it soon, because again they dance back and forth beautifully in this minisode, but suffice to say we all know... it didn't end well for Crowley.

No Walk in the Park

The moment in St. James Park is brief, and it wasn't until S2 and the meeting at Edinburgh that we got the full context for this meeting. But even without this, we can clearly see that things are weighing heavily on Crowley. The scene in the Bastille took place in a prison, with the threat of execution over their heads. The juxtaposition of this conversation taking place in a park - a place that is not only NOT inherently dangerous but looks lovely and welcoming - only highlights the change in Crowley's attitude. He still attempts to be playful, but he's afraid. Look at that paper, it's a bit crumpled, he's been carrying it around for a while.

They are firmly entrenched on their assigned sides for the entire conversation, both very stiff. It feels uncomfortable to watch. When Aziraphale refuses his request, and indicates whatever is between them is just "fraternizing" with the enemy, we get a glimpse of how fearful Crowley really is. In none of these flashbacks has Crowley ever spoken to Aziraphale with the anger we see here. When they part in anger, it feels wrong.

Take Me to Church

So there is a long break between meetings now. But then, ah, the church. The place Aziraphale realizes his feelings. (Look, if Michael says this is where Aziraphale realized he'd fallen in love, I am not here to argue.) What I love is that again we see Crowley and Aziraphale swapping sides. Crowley is here to save his wayward angel, AGAIN. Despite feeling the ill effects of walking on consecrated ground, Crowley is here to save his angel and defeat Nazis. It's definitely not remotely evil intentions.

It isn't like the Bastille, but some of the parallels exist - Aziraphale failing to grasp the risks of his actions. And the silliness of his little dance coupled with just how deadly serious this situation is harks back to their flirtations in the prison.

Crowley is to the right of Aziraphale from the time he arrives until the bomb drops. Then in the rubble, with the danger past, we see them on their assigned sides again. UNTIL Crowley hands Aziraphale the books he saved with a "little demonic miracle of my own." He then crosses Aziraphale, and we see the look of absolute adoration as the angel watches him walk away to the right.

Sweeeeeet baby Jesus, baby girl has it BAD.

Always Crashing in the Same Car

This extremely heartbreaking scene has been dissected, chewed over, breaking our little hearts with it's sharp pieces.

But it is purposeful that this scene took place in the Bentley. Being in the car is symbolic because Aziraphale is here making an offering to Crowley, in his space, something that he Aziraphale feels is WRONG which is highlighted by his placement to the left of Crowley. He is scared, acting against all his own desires, but he does it anyway because he cares for Crowley. It's simple, powerful placement. Need to hurt more? Yeah, thought so. Take a deeper look at the dialogue with @zionworkzs.

#good omens meta #look the blocking has me feeling things #just brilliant #i am very normal about them #neil gaiman #good omens #just theatre kid things

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theforgottendaydreamer · 3 months

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Can we stop for a second and think about how, in s1, Dick tells Wally "I didn't want my best pal questioning my objectivity", only for Wally to remind him "Dude, that's what a best pal is for..."

And then, in s3, Will confronts Dick, and says "[I'm talking about] Your need for a Wally West substitute. [...] You needed someone who knows you. [...] I get it, you needed someone to give you a reality check, to keep you honest, to tell you what no one else will tell the boss."

Because despite Dick being so secretive, everyone, and I mean everyone knows the impact that Wally had on Dick. Even after Wally's death, which might I remind you is what definitely pushed Dick over the edge (taking a break from the life, hallucinating his dead best friend after saying he was alright, neglecting the kids he rescued, letting Wally's name slip, etc), nobody forgot what Wally meant to Dick.

In the YJ comics, you can even see Dick in tears at Wally's funeral. Dick, the reliable, strong-willed, military-trained one, lets himself cry in front of everyone else. Wally was Dick's only anchor to reality. Not Bruce, not the others, not even being Robin - just Wally. He kept Dick humble, grounded, even in s2 after their argument, which would've hurt less if neither the two of them nor the others were aware on their symbiotic bond.

Wally's trust in Dick's plan wavering for that moment is enough for Dick to actually question his own choices, to make him question his own grip on reality, the control he has over the situation - just for a moment, but the crushing doubt is there.

And, I say symbiotic, but I must admit that in YJ we don't really get to see Dick being supportive of Wally, not as much as we see Wally being supportive of Dick, but it's heavily implied anyway.

The chemistry between Wally and Dick is undeniable. Some ship them, some don't - but what I think everyone can agree on is that, were Wally to ever return, chaos would ensue, and Dick's control would inevitably slip.

#i am very normal about them #posting yj meta in the year of the lord 2024 because i can.#dick grayson #wally west #kid flash #robin #nightwing #yj #young justice #birdflash #platonic or romantic idc i love them both

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sid3buns · 5 months

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✩₊˚.⋆☾⋆⁺₊✧

ᴛʜᴇ ɢʜᴏsᴛs ᴏғ ᴇᴠᴇʀʏᴛʜɪɴɢ ʏᴏᴜ ʜᴀᴠᴇ ʟᴏᴠᴇᴅ ᴀɴᴅ ʟᴏsᴛ ᴄᴏᴍᴇ ʙᴀᴄᴋ ᴛᴏ ʜᴀᴜɴᴛ ʏᴏᴜ ɪɴ ʏᴏᴜʀ sʟᴇᴇᴘ.

ᴺᶦᵏᶦᵗᵃ ᴳᶦˡˡ ✩₊˚.⋆☾⋆⁺₊✧

#berserk #guts #guts berserk #griffith #griffguts #griffith berserk #berserk fanart #I am very normal about them #baniart

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cherubcleric · 4 months

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if wallace wells had access to social media he would be feral horny drunkposting "he's so fine i want to knock him up with twins" about scott

#🐇 posts!#🐇 tw﹕semnsfw.#i am very normal about them #so normal it's crazy!!#[through gritted teeth] i promise i am normal about scollace as a normal person is #scott pilgrim #scott pilgrim vs the world #scott pilgrim takes off #spvtw #spto #wallace wells #scollace

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cossmoluck · 10 days

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shading practice w/ my favorite fortnite men, inspired by some screenshots taken from pinterest

#art #fanart #fortnite montague #fnbr #fortnite #fortnite fanart #fortnite midas #midas #midas fortnite #montague #montague fortnite #practice #going insane #going feral #i am very normal about them

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sol-thorne-shitpost · 1 year

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I am once again having a thought™ and I just went on a full-on rant to a friend, thought I'd share my thoughts with y'all to see if anyone agrees.

Yes, it's about Hadesgame Patrochilles, buckle up.

Currently reading the Iliad, I noticed that not only are Achilles and Patroclus extremely well-written in Hades (that we're all aware of, I think), but also that there are many many layers to their relationship and the one they have with Zagreus.

First thing that hit me while reading the og Patrochilles and how they're written is how drastically different they are in Hades compared to their original alive selves. They're basically each the complete opposite of what they were when they were alive: Achilles, once prideful, arrogant and impulsive, once his rage was appeased, now became wise, patient, calm, an actually good mentor to Zagreus, in whom he must see a lot of his younger self. Patroclus, on the other hand, once famously gentle and kind, became bitter and dismissive. That can easily be explained by the fact that decades and decades alone after death can drastically change someone. Achilles, so guilty about what his pride did to Patroclus, matured and became wiser; and Patroclus, because of years alone abandoned, lost his faith in the glory of war (and in Achilles).

They basically became the opposite of what they were when they were alive, because of years of loneliness and longing and reflecting on this war they were a part of.

BUT THAT'S NOT ALL GUYS. When you dig a bit (mostly by chatting with Achilles and listening to Patroclus ramble to himself), you learn that what made them mostly change, aside from the circumstances of their deaths, is their longing for each other, and that despite all that change, they both retain the ONE TRAIT that caused their deaths.

Achilles, even in death, remains unbelievably stubborn, unshakable in his decisions (or in this case, his decision to stay away from Patroclus so that he can rest in Elysium) until Patroclus (through Zagreus) manages to shake him out of it.

And Patroclus, ever so bitter and depressed Patroclus, remains deeply kind and generous. He broods there in his glade, but when Zagreus shows up, polite, just passing by, in need of help, Patroclus offers him what little he has to keep going.

It drives me insane to see that after dying, Patroclus is the one who became impulsive and ready to 'risk it all', because he simply has nothing left to lose. Meanwhile, Achilles, so scarred by Patroclus' death (caused by him and his hubris and his pride), is terrified of risking anything, because the one thing he has left to lose is Patroclus' place in Elysium, and he simply can't bring himself to understand that Patroclus wants to be by his side anywhere rather than alone up there.

And they could have never reconciled without Zagreus' intervention. Because somehow, Zagreus is a mirror of both of them, in his own way.

And because on top of being impusilve and stubborn (like Achilles) as well as kind and caring (like Patroclus), Zagreus is the one guy down here, the only one who fights against his fate with all his goddamn might.

Because he wants to see his mother. He wants to find his place in this world. He wants to be acknowledged and respected. So he fights, against the Fates themselves (by just being alive, he does, I'll remind), against Hades, to get what he wants. Achilles and Patroclus both succumbed to their own destinies in the worst way. Of course it would resonate with them.

Maybe I'm thinking too hard about this. But there are so many parallels to draw here! Think about Achilles, who practically raised Zagreus, instructed him in myths, history, combat and arms. Seeing this kid, a prince, gifted for combat, craving for recognition and respect? That would ring a bell. And Zagreus is already a dual kind of person, he's the red eye and the green eye, he's the Olympian and the goddess with a mortal father. He's rage and fierceness (Achilles) and he's kindness and generosity (Patroclus).

And Zagreus hates the status quo. In his own life, and in the one of others. He does this for multiple people in Hades (Sisyphus, Orpheus and Eurydice, Hypnos and Thanatos, Nyx and Chaos...), he just can't stand people suffering when he knows there is something that could be done. He rattles the house and wreaks havoc in his father's well-ordered world, because he knows damn well he's the only one with enough balls to do it.

The thing is that if Zagreus had never intervened, Achilles and Patroclus would never have seen each other. Achilles took the first step toward redemption by giving up his place in Elysium (his glory, his pride, what he fought so hard for) so that Patroclus could stay there instead, as a way of apologizing for what he did to him and atone for his mistakes; but after that, he was left frozen in his own guilt, refusing to try and think of a way to see Patroclus again. And Pat, well... He's given up. Like how he gave up on reasoning with Achilles back in Troy. So he just waits there, even he doesn't know what for. It takes this bisexual disaster of a god to barge in and shake things up, until Patroclus finally reached out to Achilles, gives him that message (risk it all), the last push Achilles needed to finally move.

So yeah I just think they're neat-

This concludes my thought™.

#hades #hades game #patrochilles #the iliad #tsoa #achilles #patroclus #zagreus #supergiant hades #so yeah what you have to conclude from this is that Zag should gain a new pair of dads-#I am very normal about them #sol brainrot hours

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daydreamoftheendless · 7 months

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dr. jean is really walking around here like, “this is my boyfriend, marion. and this is his boyfriend, sean. they both experience The Eldritch Horrors.”

#can you tell i caught up on candela obscura yesterday #candela obscura #cr spoilers #sean finnerty #marion collodi #jean basar #i am Very Normal about them

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vikingpoteto · 7 months

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any mk character goes "Why does Kenshi call you baby girl?" but instead of asking to stop talking , Johnny starts rambling about how much Kenshi loves him for five hours.

#poteto rambling #johnny cage #kenshi takahashi #johnshi #i am very normal about them #liu kang is trying to be an ally but he's tempted to reset the timeline again just to shut johnny up #sonya supports him though #she's annoyed about it but supportive

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probablynotcy · 8 months

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those two might be in the closet, but they are in there together doing god knows what.