drawing at work started as a tattoo exploration. I have an idea based on the cat and dog scene with an artist in mind (not that I can currently afford to even be thinking about anything) and then it devolved into doodles as my shift went on
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due to personal reasons i am now firmly on team “i hope aziraphale does change heaven for the better actually (going on the assumption that his return is as straightforward as it seemed etc”
like if the alternative is just this ohhh he’s so NAIVE and SOFT and so WRONG and he’ll have to LEARN A TOUGH LESSON etc etc nonsense then yeah 1000% go for it babe knock it out of the park
i hope choosing hope and kindness pays dividends. i hope the soft traits that made other characters continually disparage and underestimate him and his intelligence turn out to be his greatest assets bc i kinda don’t give a shit about a “toughen up it’s the only way everyone else knows better” life lesson for this character
(which like honestly a lot of the rhetoric is dismissive of the fact that persistent goodness in the face of an existence of disparagement takes great strength and that at the end of the day aziraphale has always been able to stand up in his own way)
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I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)
As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)
He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.
(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)
It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.
(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)
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I can't stop thinking about the fact that, of all the roles David could have been nominated for over the years, the one that finally got him the BAFTA nom was Crowley. And it's not just that it was camp, or a love story, or the gayest role imaginable (although all three are quite true). It's that the role of Crowley has become so personal for David. It's that playing Crowley brought him closer to Michael, but even more importantly, it's brought David closer to himself. It's that playing Crowley hasn't merely changed him--it has helped him accept who he always was. And that's something he will have forever, regardless of whether the BAFTAs "accept" him or give him the win.
I really love that for David, on so many levels. I just hope he knows how much he deserves it...
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sos month day 16: like fire / like water
wanted to redraw something from 2015 and remembered how badly i wanted to replay the game this is based on. tldr battle ninja island everyone is alive and cant die for some reason.
platonic extremely jaded old man sewercidal sasori x zero nerve no respect for male authority figures teenage brat sakura is too good to pass up. dial that shit up to 200%. basically the worst month ever for the both of them
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Happy Valentines, Akira.
Happy Valentines, Asshole.
If you can’t read what Akechi’s secondary inner-dialogue says cause I obscured it too much behind his regular dialogue, here’s a transcription in panel order:
Hello, you fucking-
Ah- Hello, Akira!
Fuck off, why should I tell you-
Just a soda- there’s a new flavor.
I don’t want your shitty gift.
Oh- haha! You’re so sweet.
I hope I choke.
They’re lovely, thank you.
Like hell.
Likewise.
There’s no way it’s just a coincidence.
Still though, it’s a funny coincidence.
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