The HUGE analysis - This season starts and ends with a discussion, doesn't it?
Ok, my loves. This was one of the really long metas I've been working with, and probably the one that has taken me the longest (because it depended a lot on rewatching the season time and again).
I couldn't help to notice that the fist interaction Aziraphale and Crowley have in season 2 is a fight, really. Yeah, we have the beautiful “in the beginning” sequence, with both of them being angels and happy and all the such (oh, how lovely, Neil Gaiman planting the seeds of why it will matter to us that Aziraphale will not be fighting the idea of inviting Crowley to Heaven, because he remembers that happy, careless guy). But after the intro, we see them having a big disagreement… And we end the season in the biggest disagreement they have had, probably, in 6,000 years.
I love over-analyzing and dissecting narratives and characters, and more so if I can use only what we’ve been shown in the screen. Therefore, I believe that the first fight of the season tells us a lot of the things we will need to know to understand the final fight of the season between them. Let’s take a look, shall we?
The first fight is motivated by having an amnesiac Gabriel in the bookshop.
They see the same circumstance: Gabriel in the bookshop means trouble with Heaven. He is also an individual risk, because he has menaced Aziraphale directly (well, Crowley under the visage of Aziraphale).
It affects each of them differently: even when they both panic, Aziraphale feels compelled to be kind to Gabriel (gives him a blanket and hot cocoa) while Crowley has a full-on panic induced reaction and gets defensive.
They propose opposite solutions: Azi wants to do the Good thing, taking the “higher road” (help Gabriel), while Crowley wants to do His Own thing: “Protect the precious, peaceful, fragile existence I have carved for myself”
At that moment, Aziraphale corrects him and marks a “we”, which is very interesting. But immediately after that, Aziraphale gets all "my way or the highway".
Crowley asks for clarification, with a well-leveled tone of voice: “Is this how it is going to go?”
Azi clarifies "no, I want you to help me!" But then he does the passive-aggressive thing: "if you won't, you won't". (oh, Aziraphale, how you triggered me here, my dear chap. I was angry at the character the first 6 times I saw this)
Therefore, Crowley is out. He marks a clear limit: “I won't. You are on your own”, and then storms out. No Eccles cakes would help him: he needs a breather and counting to 10. That doesn't help either.
Crowley only comes back after gaining an extra perspective: the "extreme sanctions" talk with Beelzebub.
When he comes back, Aziraphale will stand his ground: he feels he deserves an apology, which is delivered via a “I was wrong, you were right” literal admission (even when he probably wasn't "right", but that's their way... And they've been doing it since 1650, or so they say). Then they are able to work together again.
Now, let’s see how this dynamic plays out in their last discussion of the season:
They come from different sides of the same experience: Crowley went to Heaven to investigate and learned about the plans to continue with the end of the world, while Aziraphale stayed defending the bookshop. Then Crowley saves the humans, while Aziraphale solved the Beelzebub + Gabriel affair.
They haven’t had time to talk, as they get interrupted by The Metatron. While he takes Aziraphale, Crowley receives a visit from Maggie and Nina.
Each one of them gained an extra different perspective: Azi, the Metatron proposal (and veiled menace); Crowley, the pep talk/scolding from the couple they were trying to get together.
This makes them develop different solutions:
Crowley wants to finally admit what Azi has been saying all the season: they are a "we" (Azi said so when Crowley talked about his “precious, peaceful, fragile existence”; he said it again when talking about “our car” and reinforced it with the bookshop)
Azi wants to take the "higher road": go to Heaven, reinstate Crowley as an angel, so they can still work together.
Crowley sees the “usual dynamic” of their disagreements coming: it will be Azi’s way (or the highway). That has happened before, in front of our eyes, and not only in this season: it happened also in season 1, but we have already attested that it is still happening, and it is even “worse” (Aziraphale being a little “petty” with the “if you do, it is fine, but if you won’t, you are on your own” in the Gabriel discussion).
Crowley gets indignant. He asks, tentatively, if he told him where to stick it… And then he reinforces his belief. We are better than that, YOU are better than that, you don’t need them, I don’t need them; then he makes the first mention of the offer of getting back to Hell (which he hadn’t shared with Aziraphale), and makes a new point: I said no, neither should you!
Aziraphale goes back to the “you are the bad guys!” thing. Heaven being the side of Truth, of Light, of Good… It is not the propaganda Crowley needed for this move.
Crowley then clarifies the fallacy in his logic: when Heaven ends life on Earth, it’ll be just as dead as if Hell ended it.
Aziraphale then sees the "undesirable result" coming: Crowley is not going to accept, not with that argument.
Crowley makes his plead grow in urgency: Tell me you said no.
Aziraphale’s pitch of voice goes high (usually used as a sign of distress): “If I’m in charge, I can make a difference.”
Crowley understands. This is his “my way or the highway” moment. That’s why he comes up with the courage to make his half-proposal-half admission.
Crowley never gets to state out loud the “I want us to be together in a formal way” part. His voice breaks before he does so. He mentions all of the reasons they have to stay together, which Aziraphale already knows: we have been together for a long time, we’ve been a group (“our own side” was the way he always said it before) and we’ve spent our existence pretending that we aren’t (Azi also knows that! He has been working hard into making Crowley notice it!)
You can see, when they shoot Aziraphale’s face, he squints a little during that moment: maybe questioning, a little disbelief? As usual with Michael Sheen, it is a blink it and you’ll miss it moment.
After the grunt, Crowley proposes his alternative solution: going off together, using Beelzebub & Gabriel as an example that they could.
Therefore, what Aziraphale has just listened is what he already knew: yes, they are a “we”. Crowley wants to run away (he had proposed it twice during the Armageddidn’t, another pattern they have already established).
The next step is the usual way for Aziraphale: he reinforces his proposal: come with me, to Heaven. Ill’ run it, you can be my second in command. This idea has rubbed me wrong since the first time I watched this scene. Why remark the hierarchy? (not to say that I’m in Crowley’s side in here, but… It was weird and uncomfortable to think of them in a vertical power structure; they have always been equals).
Then, he goes back to making a difference, only it is “we” this time. Crowley is noticing he won’t back down… But Aziraphale usually doesn’t.
“You can’t leave this bookshop” works as a representation, a figure of speech. “This Bookshop” is “This life we have been building”, and they both understand it as such.
“Oh, Crowley… Nothing lasts forever…” For Aziraphale, it means he can leave this for something greater. For Crowley, it means… Actually, the same. But without him. Because he knows the “my way or the highway” side of Aziraphale, and none of them will budge. Aaaaand… that’s Crowley heart breaking. The rest of the scene happens with Crowley in “breakup mode”.
Aziraphale is used to “the discussion dance”. He Insists, “Crowley! Come back, to Heaven, work with me! We can be together, Angels! Doing good!”. He promises all he can: “come back, work with me, we can be together”, which have always been Crowley’s triggers to change his mind. However, the problem lies within the “angels doing good”. That’s the part that Aziraphale would need to let go before getting back to Crowley.
And then, he breaks down: “I need you!!” That has always worked! Aziraphale knows that Crowley loves being needed, he won’t leave his angel when in need, right?
And then, he gets angry. And he questions if Crowley has understood what he is offering, which transforms in an “I don’t think your exactly and my exactly are the same exactly” all over again.
Crowley is already brokenhearted, so he answers truthfully, as far as he knows. He understands how terrible the offer of going back to heaven is for both of them, and is not aware of the veiled threat in Metatron’s offer. He knows that going back to Heaven is a non-negotiable boundary, and Aziraphale is absolutely determined to cross it.
Aziraphale, then, does his passive-aggressive shit again: “I guess there is nothing more to say”. My guy, my love, you need to become better at negotiating with your loved one.
This is where Crowley decides to show, don’t tell, the hurt: no nightingales. And then… The “You idiot. We could have been… us” (no, you couldn’t, it was always too late!!! First the pandemic, which I’ve decided to treat as canon, then Gabriel. They never stood a chance).
In this context, Crowley’s kiss is a desperate way to say good-bye to the person he cared most for the last 6,000 years; also an angry way to regain some semblance of control and affect Aziraphale; and a final way to get some “closure”. Is there desire? Is there love? Maybe. But they are lost in a cocktail of emotions that have been stated during the rest of the discussion.
The angry “I forgive you”, which is also a usual dynamic for Aziraphale when he is angry with Crowley, gets there too late for Crowley to react to. He has already “checked out”. That’s why the “don’t bother” feels almost like an afterthought and comes after a small sigh.
After watching this 16 times, I’m pretty confident that the first thing Aziraphale mouths is a “no…” and then… he sobs a little. Michael Sheen, you’re a beautiful actor. The rest of it is a masterclass in using microexpressions to convey a whirlwind of emotions in under 2 minutes.
Sooooo... Did I hurt my own emotions while writing this? Yes. Did I absolutely need to do so? Also yes. Even when I like doing intertextual readings (and that's why I like bringing some theology to some of my musings), reading what is in "the text" (in the scenes we have watched, in the dialogues we've been shown) gives me an enormous amount of pleasure, and I find a lot of comfort in believing that most of the things that I'll need to understand and enjoy a great piece of media are being given to me inside it. And I believe Good Omens is a great piece of media!!
I have no Shakespeare to offer you this time. Let me know what you think!!
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Project Ecco
A solo roleplaying game by Elliot Davis
Materials
game manual
a planner, new or used
a coin/d2 and d6
materials to destroy your planner
further into play: additional coin and die, standard deck of cards, tarot deck
Premise
A mysterious agency, an even more mysterious entity feeding on time itself and smack-dab in the middle: You. As an extension of the Agency, you are tasked with uncovering the truth about “ECCO”, the Entity of Chronological Consumption and Obfuscation. Navigating the chaos of days flying by with the aid of a simple coin, will you complete your mission to the Agency’s satisfaction straightforwardly or will you travel down a road not yet taken, peeking behind a curtain of lies? Who is really on your side? Or, perhaps more importantly, on whose side are you?
Mechanics
In Project Ecco, you progress through time and the game using a regular planner and a variety of different time travel tools. While you might be tempted to use a brand new, untouched planner for this, a used one will do just fine and might even make the game more personal and varied, since existing notes or special dates can be incorporated into play. Keep in mind that your planner will end up at least partially destroyed by the Entity, then again the level of destruction is completely up to you. Scissors are certainly an option, but a good opaque paint marker achieves the same effect with less confetti.
Your tools of choice are in essence a set of game oracles: prompts decided by dice, playing and tarot cards determine how far back or ahead in your planner you travel and which challenges you encounter along the way. Time travel can be quite random, so don’t be scared when you land on the same day more than once. At least as long as you have your trusty coin, the only thing that will keep you from slipping in-between time and experiencing some truly harrowing events. How you respond to these prompts is up to you. Write, draw, use planner stickers; the only limit is the space your planner gives you for the date you are currently on.
During your travels, you tally up the times you either make it back to the Agency or get uncomfortably close to the Entity. Entity encounters in particular are interesting because they prompt you to destroy random dates in your calendar, possibly forcing you into a timeline divergence later on. Completing six encounters either way triggers the endgame – but not necessarily the end of the journey…
Thoughts and Examples from my Playthrough
I had a lot of trouble trying to summarize the game in the above paragraphs. Project Ecco is a very meaty, complex (but not necessarily complicated) game and is more of a five-course meal than an afternoon snack. Consequently, reading the setup instructions can be a little intimidating for someone who has only started dabbling in solo play. Everything is explained thoroughly without being exhausting, however, and on top of that I found myself really interested to read about the different tools and mechanics. In fact, I had to stop myself from snooping too much so as not to spoil my first playthrough.
Your game can last you several sessions over a couple of days. Don’t worry, though, all the cool time travel tools make for a fresh and exciting experience. Special dates, timeline divergences, personal notes and Agency/Entity encounters also serve to keep you on your toes. Whenever you feel like you have seen it all, a new prompt throws you a curveball, altering your perspective on the world and its inhabitants. It’s also great for replayability purposes, as your first playthrough can influence how you go about the challenges on your second round. I usually don’t care much for replay value (my time is limited and there’s a lot of games to try out), in this case, however, it’s so on theme that it’s almost a crime not to play again.
When you have the general cycle down, the game is a breeze. Have I mentioned that I love the time travel devices? Each and every one is unique in the way it lets you progress. As soon as you pick them up during the game, you can switch freely between them. Either you are very strategic about it to avoid repeat visits to certain dates or you embrace chaos for some interesting results. In the beginning, I dreaded losing my coin and experiencing timeline divergences. The closer I got to the endgame, the more I revelled in the wild and unpredictable element they brought to the game and the story that unfolded.
At this point, it shouldn’t amaze me that much how game designers manage to achieve this impeccable level of worldbuilding with just a bit of flavour text and a handful of prompts. From the agents’ designations being real world dates to the time travel tools with clear retro vibes, Project Ecco lets you dive into an 80s sci-fi flick with you as the protagonist torn between your fragile loyalty to the Agency and the conflicting discoveries you make about the Entity. I suppose if there was one thing you wanted to knock, it could be that this is not a very character-driven game. A lot of journaling games focus on the character you create, often as a stand-in for yourself, dealing with their emotions and feelings as they react to the events thrown at them. This is more of mystery thriller focused on plot than a character exploration game. Character creation is as simple as picking your agent designation and, if you’re using a personal planner and are very meticulous in adding dates specific to your character, weaving in details during the game. That being said, I did manage to spin this into a tragic queer romance…such is the nature of solo roleplaying. Hence, others might disagree on this with me, and that’s totally fine.
My attention span has been wavering lately, so I honestly didn’t expect to stick with this. But everything about Project Ecco drew me in. I love the manual that looks like a genuine little agent handbook and the details of the understated illustrations. A solid white-black-and-red colour scheme is always a classy choice. The prompts are descriptive enough to give you guidance and bits of lore without limiting you to a specific path. It’s simply an overall round and well-thought-out experience through and through. I’m a little peeved I didn’t get the Temporal Spread – Samantha Leigh was a guest writer for this specific time travel tool and I’ve been dying to get into their other games (especially Outliers, which seems to deal with adjacent themes), so I was looking forward to get a peek at their writing here. Alas, my agent just wasn’t destined to have it…perhaps the next one will.
I wonder how well this would hold up with a digital planner. Mostly, I am an analogue player when it comes to journaling games. I like how tactile it is and that you're creating an artifact of play to keep on your shelf, something very unique and often verging on if not being outright artistry. But the analogue format does (perhaps intentionally) limit your word count and thus keeps journaling rather short and to the point. I suppose a digital format would allow for more character development, if that is your goal. It would also extend your playtime – which is already significant as is. Still, certainly an interesting option, especially when you plan on playing more than twice.
This might be your cup of coffee if...
you revel in a good time travel mystery.
you prefer to play longer games with more complex mechanics than the average journaling game.
you enjoy some solid worldbuilding and lore to add onto over time, possibly in multiple playthroughs.
you are not afraid to mess up some prime stationary. Seriously. If you love your planner? Do not use it for this. Bullet journaling queens and kings, beware!
You can get Elliot Davis’ Project Ecco HERE on itch.io or as a physical copy available at the online sources linked in the description of the game. Make sure to check out Cassi Mothwin’s flip through of the game and take in the incredible actual play episode by the My First Dungeon podcast crew that I enjoyed immensely and proves that this game supports a more light-hearted tone, as well. In case you are the creative type, Davis is currently still running a game jam for supplements for and games inspired by Project Ecco on itch.io that lasts until March 1st. Plenty of time left to get your head in the game. :)
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