[How exploring the Ineffable Husbands' dynamic in Good Omens can help us figure out what the show/book is all about, Part 3.1/?]
Also called: This human has, apparently, too much time on her hands and will be trying to Effable the Ineffable for [...] hours.
Hiya, Angels! 👋
Hope you're all doing well!
First of all, if you randomly came across this analysis, I guess you would expect me to entice you to read the first two parts beforehand... And you would be absolutely right.
"Obviosleh."
And since I'm nice [and because I fully understand the importance of saving people as much effort as possible to catch a larger audience - Duh 😇], here are the links for Part 1 and Part 2 🥰 so that everyone is on the same page as we dive into Part 3.
As I previously announced, we'll dissect our favorite pair's next two encounters today which are S1 3004 BC (Noa's Arch, The Flood) and S2 2500 BC (Job's ca-
[future me rereading this before dropping - Yep, nope, not happening just yet]
By doing that, I will try my best to prove to you the main point of my analysis I've revealed at the end of Part 2.
Repeat after me: Good Omens is a philosophical essay disguised as comedic/satyric/romantic fiction.
[Yeah... here she is, already giving orders strong recommendations... I'm so Metatroning you right now.]
[And, since I'm at my best when I'm Metatroning people, this is the moment I'm gonna take to strongly recommend you to ingest the human matter of your choosing - Num num num.]
*In Crowley's voice* OOookaay, let's start!
3004 BC (Mesopotamia - Noa's Arch, The Flood)
In S1, Right before this encounter happens, the scene starts by making us, the audience, witness Aziraphale very badly lying to God about the flaming sword, an event that I already mentioned in part 2 because of the contrast it was considering he did tell the truth to a newly Demonized Crawley in comparison.
BUT [Yay, first "but" of Part 3! Are you having fun?], I really want to talk about this bit some more because that remains one of the scenes that, to this day, bugs me THE MOST in Good Omens as a whole.
To sum things up, you're telling me that GOD:
BOTHERED to pop in to ask one of their Angels a question.
That the said Angel seemed suuuuper anxious about from the start: looking everywhere aimlessly, almost asking them WHAT A DAMN SWORD EVEN WAS... basically giving away EVERY TELLTALE SIGN, both in their voice, mannerisms, and the simple fact that they were literally back to the wall, that they were about to LIE, proceeded to give God the UNanswerest answer EVER:
"Oh, must have, uh, must have put it down here somewhere."
And God just... just... LEFT THAT LYING ANGEL ALONE?! Just as quickly as they arrived?! No arguments, no further questions, no reckoning, just... NOTHING. HAPPENED?!
HUH?
WOT?!
WHO?!
WHO THE F DOES THAT?!
WHO DOES THAT?! That is a real question! WHO?!
IT DOESN'T MAKE ANY. SENSE!
THE F-
I mea-
I'll never recover from it.
Oof. Okay, I'm fini-
I NEED an answer in Season 3! This is all I ask! I don't need the world to be saved, I don't need Alpha Centauri, man, I don't even need Aziracrow to reuni- [okay, no, can't say that, even if I like being dramatic, I take that back, this is all I want and all I've ever wanted, please, I just need to see Aziraphale in a white dress and Crowley demanding him to remove his 200 yo jacket on top of it because it "absolutely ruins it", please!] I. NEED. ANSWERS.
*clears her throat* Yeah. So. I'm perfectly fine with this scene. Moving on!
Aziraphale and Crawley meet in Mesopotamia during the year 3004 BC.
Crawley is the first to notice and to greet Aziraphale VERY enthusiastically. Which is, first of all, cute, but also an indicator that they haven't seen each other in a very long time, more precisely, since Eden (a thousand years prior to be exact). We know that because the first thing Crawley says after his "Hello, Aziraphale!" is the direct continuation of their conversation back in Eden:
"So, giving the mortals a flaming sword. How did that work out for you?"
Aziraphale answers what will never cease to bug me:
"The Almighty has never actually mentioned it again."
Which still peaks my interest because it could mean two things, and pretty different things at that:
One, God and Aziraphale never directly interacted again and nobody from the Main Office ever asked him about the flaming sword at all, which made Aziraphale believe that God never asked them anything about it.
OR
Two, God and Aziraphale DID directly interact again but the flaming sword subject has never been brought up once more.
Given the way this sentence is constructed and the emphasis on "actually mentioned it again," I'm more inclined to believe in the second option, which would be a very interesting thing to pounder:
Aziraphale might have a "privileged" relationship with God considering they probably interacted somewhat directly and more than once.
I'll go back to it later because we need to keep that in mind for the Job's case encounter.
Crawley says that it is "probably a good thing" until his attention is drawn to what is happening around them.
Then, they will debate the subject of the day, which is pretty much the same thing as before but formulated differently and condensed:
What is the point of Good and Bad? Do these concepts even have a meaning or not?
The main difference between the two previous encounters compared to this one is that this time, Aziraphale and Crawley are both active in the debate and do find common grounds here and there. It is shown cinematographically: they share the screen.
Aziraphale explains to Crawley that God got "a bit tetchy" and wants to drown the human race (well, at least the Middle Eastern humans) and Crawley takes that announcement astonishingly, which still aligns with his creator-at-heart persona.
"All of them?"
Insists Crawley.
Aziraphale first tries to mitigate what appears to Crawley as an extreme reaction by stating that Noah, his family, and their spouses will be spared but you can see that he, himself, doesn't really believe in what he tries to say.
"But they're drowning everybody else?"
Crawley really, really cannot comprehend what is happening.
"Not the kids. You can't kill kids."
This reminds us of their very first meeting because Crawley, here, judges God and tries to put himself in their place. Again.
Aziraphale answers with a worried nod: both because he is scared (his Fear of God cannot be anything but present at that moment) and because... he agrees.
And THEN, Crawley says that:
"Well, that's more the kind of thing you'd expect my lot to do."
Now that Aziraphale is more inclined to be part of the debate, Crawley tends to be more forthright about his opinion:
If God can do what Satan and his demons do, what is the point of separating the two? Are they, really, that different?
And, more so:
Is God a Good being anyway?
If Good or Bad exists, of course. [Oh, yes, I know I'm annoying. 100% aware. 😁]
To Aziraphale, it is clearly the case, and that is why he tries, again, to mitigate God's actions:
"The Almighty's going to put up a new thing, called a rainbow. As a promise not to drown everyone again."
A rainbow, huh? How interesting...
A rainbow is basically a demonstration of the union between Water and Fire. God and Satan. Good and Bad. Blah blah blah.
Almost as if...
Nahhh...
Almost as if they both needed to exist at all times!
Also, Aziraphale almost sounds like he is interpreting the rainbow as God's excuse for having a tantrum.
Which Crawley responds with a very sarcastic:
"How kind."
That's when Aziraphale cannot bring himself to follow Crawley's opinion any further (even if it is clearly shown he DOES agree, he is just SCARED to be).
After telling Crawley that he cannot judge God, that's when the "Ineffable" word is brought up again. This time, by Crawley. Because he already knows what Ineffable means to Aziraphale:
I am not important, or mighty enough to judge God and I am not supposed to. I am supposed to do what I am told, no questions asked.
Does it sound repetitive? Yeah, because it is 😅 That is Good Omen's main theme, after all.
This story is, as I mentioned before, a satire. Of religion, but also, of the concept of hierarchy, and the danger of ideologies as a whole. "Ineffable" is an ideology. "Ineffable" literally means "so emotionally overwhelming and powerful that you cannot translate into words"...
But Good Omens wants to bring you to ask yourself: cannot or don't want to?
Aziraphale is a character who doesn't want to think by himself because he is scared of a higher power (hierarchy). But he cannot just... stop thinking. Oppositely to Crowley, who kind of always, naturally had that ability.
Therefore, that makes it difficult for the both of them to understand each other [Oh yes, we'll talk about that further when we finally talk about that S2 finale that left us traumatized. According to my rhythm and how my Muse is an erratic bench, I'd say this conversation will occur in about a year or two.] Just as it is difficult for any of us to understand the people who think dramatically differently than us. Good Omens is an invitation to debate with people who do not share our views. That is how we stay open-minded and prompt to change.
Basically, folks: don't blindly stay in the boxes you're in.
Hierarchy is heavily criticized too, because it is a big cause - if not the main one - of people staying put in their respective boxes. Religion is a box among many others, hence the fact I prefer to say that GO mocks ideologies as a whole.
But hierarchy can be different things, and, more so, can use many different tones towards its subordinates: hierarchy can be nice, and affectionate (family, for instance - or not, definitely not always). Hierarchy can also be threatening, physically or mentally, or both (dictatorship, for instance).
Basically: hierarchy can either come from love or fear.
Or... well, both. That's how you get... propaganda? That is the most blatant example that came to my mind. We tend to associate love with good. We also tend to forget how often love has been used as a weapon.
Good and bad are...
[You know the end of the sentence, now, do you? If not, it means I haven't harassed you enough, so let me remind you]
Good and Bad are always mixed up. If they exist.
Anyway, I feel like I'm starting to digress.
.... Actually? I'm not done with that segment just yet.
[You right now.]
Hierarchy can also come from... habits. History. Some hierarchies that we are under today are still there because of how long they have been installed, but not really because they are that relevant anymore. I am not going to bring examples here because I do not want to offend anybody and because you are more than capable of interpreting this statement in a way that speaks to you.
We'll talk about this more when we'll reach the... Jim/Gabriel subject. [In about a year and a half.]
ANYWAY. Moving on to a lighter reflection:
Romantically speaking, Aziraphale remembers that encounter because Crawley displayed strong empathy and concern during that whole meeting.
He asked Aziraphale how he was after the flaming sword incident,
He could not comprehend how killing kids was okay,
He bothered to alert Noah about the escaping unicorn.
[Also, maybe, because damn - Also, it might come as a surprise to you who have seen me fangirling over Crowley for the last 3 parts but my favorite is actually Aziraphale 🤣]
After this conversation, The Flood starts and neither of them is protecting the other from it. Because of habits (after a thousand years spent on earth, they know this will not hurt any of them), but also as a way to tell us, the audience: they have started to realize they were in this together.
[Insert the "We're all in this together" Disney's High School Musical song right here... Yeah! I'm a Millennial, how could you possibly have guessed?!]
They are Equals.
Another really important topic in Good Omens, by the way, but it is time to dive into one of my favorite encounters between Aziraphale and Crowley and-
Huhhhh. I feel like analyzing two meetings including a whole episode in only one part might feel too heavy (to me, at least). So... I guess see you next time? 😅
Bye, Angels!
[No, no, I'm not saying you are "sssuckersss" okay? Just wanted a Crowley gif.]
Need help to find the rest of this analysis? I've got you covered! Follow me, Angel 😇
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hey, just. friendly reminder that fanfiction is morally neutral.
yes, that includes smutty fics. yes, that includes self-insert fics. yes, that includes the fics you consider Problematic TM and the fics you don’t think are Smart or New. in fact that’s kind of why I’m writing this post.
I know we all love to talk about Themes And Narratives, but—and please listen to me very carefully here—you are not earning Good Place Points for only reading the kinds of fan fiction you feel are Smart or Only Focuses On The Important Things Like Themes.
fan fiction is morally neutral.
what I mean is this: no one is harming you, themselves, or anyone, by writing a fic about two characters having sex. (are you uncomfortable with the fact that I typed the word “sex”? hi, this post is about you. people have sex. and they write and talk about it. it’s seriously fine.)
no one is being harmed by self insert fics, by smutty fics, by anything not exclusively Smart TM about the fandom or analytically adding to it.
(and that’s not to say these two types of fics, that any type of fic, can’t have those elements— some of my favorite fic authors, my mutuals, my tumblr friends, write fic in these genres, and they also explore Themes and Emotions and analyze character traits and histories and write brilliant plots and incredible character arcs and yknow what, it’s amazing! it’s fantastic to examine what makes two characters react a certain way to x situation while also having them fuck nasty about it!) (and yes, I did just type ‘fuck nasty about it’ and I promise, that’s fine, too.)
what I’m saying, though, is that it doesn’t NEED that to, I dunno, somehow validate it into existing. it just Is. it just Exists. it doesn’t need an aspect you Approve Of TM in order to earn the right to be shared, to be written, to be published and commended and interacted with and read. it just. Is.
and I think a lot of especially younger, or newer, tumblr users especially get uncomfortable with that, and they unintentionally veer right (..ha) into self-censoring, puritanical behavior which is exactly what every person trying to ban books and generally kill art, wants. (and we’re not even going to examine in depth here, beyond mentioning it, the fact that policing, censuring, and banning art has historically and still today is being used to silence marginalized voices, so, I ask you to keep that in mind as you think on this, too, please.)
what I’m trying to say is this—if you personally don’t enjoy smut, don’t enjoy self insert fics, don’t enjoy a certain genre, that’s great, you do you! but, you must, must understand that this is not a moral stance. You are not objecting to a problematic practice, exploited workers, consent issues, labor crises… none of that applies, because no one in these stories is a real person. a story written about two Star Trek characters kissing on the bridge of the Enterprise is just that, a story. there is no actor for whose rights to fight, no wages to dispute fairness of, no ethical ramifications of scenes to discuss. these are Fictional People in Fictional Situations.
fan fiction is morally neutral.
and the moment you try to make yourself feel Better TM, More Correct TM, or—one of the ones I encounter the most—Smarter TM, by saying oh, I don’t read that kind of fic, I read the good kind, with thought in it—
you’re not only causing harm, you’re actively employing art censoring behavior. is that something that you want to do? I hope not. I certainly don’t.
next time you see a fic or a genre you don’t Approve Of TM, please remember the easiest way of exhibiting that— simply scrolling by or blocking a tag! If you’re on ao3, their system is incredible for niche content searches, and blocking a tag even here on tumblr will (most of the time) work.
I just., there’s so many better options out there for you than to… act like this. I believe you, we, all of us, can be better than this.
fanfiction. is. morally. neutral.
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oh yeah i’ve got a bunch of loz aus that i haven’t really talked about. a few of them are listed and slightly explained in this poll and explanation reblog but i haven’t gone out of my way to actually list the aus i have and really explain them. so that’s what this post is for. here are some... decently simple explanations of my major aus and what they're generally about
i have two kinds of aus: original aus (loz aus that are set in their own kinds of worlds with their own stories and twists on character roles) and then crossover aus (we all know how this works i just mash loz and a thing i like together)
original aus: (many currently dont have actual titles, so the titles will often just be concept shorthand)
in the court of the crimson king/crimson king au: probably the most developed and closest to being written out. it's got one of the longer premises; set in a industrial-esque hyrule city, following linebeck as the main character, as the adoptive older brother of link and aryll, living with them and their grandmother as the only one able to reliably make money to pay for rent and food, leaving every other work to do jobs, but he moonlights as the 'demon of the gray moon', a masked persona he'd created as a child that had long since become a city-wide urban legend, anonymously taking unsavory jobs from whomever can contact him and offer pay, often working directly for bellum, a childhood friend, the one who enabled and trained him to become the demon, and one of five anonymous leaders of the city. linebeck effectively lives a double life, and tries to stay out of too much trouble to avoid drawing attention to himself or making his adoptive family worry, but he gets dragged into more and more danger as bellum becomes curious about the identities of the city's other leaders, and linebeck falls in love with a man named ganondorf, suspected to be one of those other city leaders. ive got a few posts related to it already: this one being another vague concept descriptor, this one being an actual scene i have written out.
'gimmick' au: i cannot explain the gimmick without spoiling the au. put simply, in this au, hyrule as a whole has been at war for ten years, every race and kingdom taking sides in a conflict that seems to be going nowhere. link joined the hylian army young, and has made his way up the ranks to become trusted by queen zelda herself, and things in the war take an interesting turn as he and zelda discover a new faction, unaligned with any particular kingdom and with unknown motives, and zelda decides to set out to the different parts of hyrule, link and a chosen group of trusted allies in tow, intending to try negotiation one more time before things take a turn for the worse.
sci-fi/space au: the fun one that probably would need to be done in a visual medium. it takes place in a solar system of a few planets, link growing up on the planet hyrule and occasionally traveling to the others as a knight specializing in investigating and taking down dangerous bounty hunters, working for zelda as a friend. he and zelda uncover a plot by the yiga clan to accumulate a number of highly dangerous research and weapons held by each species as they aim to resurrect a demon to wreck havoc on the solar system- the b plot being about the top bounty hunters in the solar system screwing around, eventually colliding with link and zelda's a plot as it begins to involve them.
murder mystery(?) au: one of the older ones, maybe one of the oldest that i still stick with. this might actually be one of the first ones i tried writing. the plot begins when zelda returns to hyrule city years after her father- the former mayor- was murdered, finding that he has been replaced by ganondorf and that while things seem fine enough on the surface, random and organized crime run the show, and she begins a private detective agency as 'sheik', a masked young man, and with the help of impa, and old friend and confidant, she moonlights as sheik and uses her daytime identity as zelda to help chip away at some of the city's biggest problems and finds herself drawn into a long string of murders that appear to be anything but random violence.
ruined hyrule 1: i have two au’s with the premise of hyrule being ruined. neither of them have more specific names yet. this one begins with the majority of greater hyrule's population having long since locked themselves in hyrule castle town in order to escape the increasingly dangerous wildlife. zelda, a young girl at the beginning, becomes curious about what lies beyond the city walls, and makes friends with many other children within this sheltered hyrule, and as they grow up together, aim to eventually venture out into the wilderness to see what may have caused the outside world to become so incredibly hostile.
ruined hyrule 2: the other ruined hyrule. set in a devastated hyrule, roughly ten years after the royal family was killed, link failing to save them or hyrule in the time since. he now resolves to set out and indiscriminately destroy every demon that plagues the ruined hyrule, meeting and bringing along various allies, each of which has been uniquely affected by and have different lived in this altered, dangerous shell of hyrule.
modern (school): i also have two modern aus. this one isn’t plot driven, just a concept i have, would work best as little vignettes or something. essentially just the idea of a group of loz characters hanging out together in a modern high school (or college?) setting.
modern: this is the one with an actual plot. follows the general idea of zelda characters living in a modern world only for the typical legends to begin resurfacing and heralding dark events. plot specifics are murky, but that's the general idea.
dark mage: this is the au that where the seas meet the sands takes place in. basically just ganondorf x linebeck shenanigans in this alternate hyrule while actual plot sneaks up on them. named 'dark mage' mostly because the initial idea behind this au was that linebeck would learn magic.
horror au: doesn't have the best name, and it's ended up just being a personal sandbox for me. constantly changing, with the cast and setting often altering if i find that something isn't working or sticking. it's an au i've considered (and even briefly tried) writing in the past, but it's still too fluid, and writing horror effectively is difficult. it's a fun au, though.
mecha au: spawned because i watched neon genesis evangelion. a lot of this au's basic concepts can be found here: x but the short version is that hyrule is being besiged by massive monsters, but each race has created their own mechs to combat them. link is just a farmer who happens to have a strange knack for being a mech user, so is brought in by zelda as a gamble to bolster their chances, and he is tasked with working with a new and less-than-trustworthy crew to help fight those monsters.
'amnesia link' au: an au that sprang up in about a day and hasn't gotten too far since. basic premise being that three years prior to the story, link and a group of allies has faced off against ganondorf and, despite their best efforts, lost, with link being presumed dead by their enemies. now, link has woken up from his coma, his memories gone and hyrule taken over, and, with guidance, must once again travel across hyrule, aiming to rediscover his allies and try to face ganondorf once more.
A quick list of crossovers: I won't explain these in length, since they can range from having their own plot to just being a fun mental concept. So, the things I have made crossover aus with are:
Warrior Cats
Batman
Jojo's Bizarre Adventure
Persona 5
Pokemon
(there are other, smaller ones, these are just the ones i consistently pay attention to)
So! These are the majority of my legend of zelda aus, some of which I may write, some of which just exist in my mind for fun, all of which I wouldn't mind talking more about if anyone is curious!
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