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drconstellation · 2 months

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Stocktaking in the Basement

Aziraphale's Edinburgh Journey: Part 3

Usually one would think of going through their memories as a learning experience as more of a "rummaging around in the attic" metaphor, since the brain, the keeper of memories, is in the highest part of our bodies. But one of S2's underlying themes is the looming Second Coming and the resurrection of the dead, so its underground that we need to head - to the basement.

Aziraphale does a great deal of "stocktaking in the basement" during his trip to Edinburgh. He recalls the encounter with the body-snatcher Elspeth and her companion wee Morag in 1827 on the way up, has his memory jolted by the statue of Gabriel to something more recent, then thinks about what happened in 1941 on the way back. We are largely going to deal with aspects of the 1827 minisode in this meta, and some possible implications for S3.

Lets have a look at why this year, 1827, was chosen for this minisode. The Anatomy Act of 1832 gave doctors and medical students legal permission to use donated bodies for research and educational purposes, and was made so to stop the distressing trade of body snatching that was occurring at the time. But this minisode isn't necessarily about stopping that activity, rather the reasons for doing it in the first place. Looking at Strong's Concordance, as we must, in the Greek, 1827 gives us "convince" or "prove to be in the wrong." This sounds about right for this minisode, which includes the conversation about poverty inducing more opportunities to be wicked, which somehow leads to holiness, from the book. The minisode shows how Aziraphale has this idea turned around for him - he's convinced otherwise, and shown how his initial beliefs about the practice turn out to be wrong.

Also, around 1827 is the time when the building of private mausoleums was at its peak. A mausoleum was (and still is) a display of wealth, so featuring one here plays into the story in the minisode of the virtues of poverty versus the rich. (It's also a call back to the origin of the Bentley's number plate, which was written on a mausoleum in a Monty Python sketch.)

Digging Up the Past

Shax does her own stocktaking when she receives the above push-back from Crowley, and realizes that Aziraphale is not in the bookshop at all at that moment, and goes looking for him. Later, she digs up his own dirty past to taunt him with, in an effort to make him crack and give up Gabriel.

But why is Aziraphale digging up this particular memory at this time? We know he is fond of Edinburgh and has visited many times, so this particular memory must contain something of importance for us to see.

There is the title of the minisode, some Masonic symbology and the metaphorical act of the snatched bodies as the dead rising from their graves which all point us in the direction of the Second Coming and Judgement Day, which we will cover in Part 4, so we'll put that to the side for the moment.

Changing Sides

Let's have a look at some of the blocking of the scenes in the Resurrectionists minisode. This wont cover everything, so if you do go back to have another look at it yourself, do pay close attention to who stands where.

When we first meet Crowley and Aziraphale in 1827, they are standing on what we think of as their "normal" sides, angel on the right and demon on the left. Elspeth, caught in the act of body snatching, is even further to the left, the real demon on the scene, which actually pushes Crowley back to the middle ground.

Straight afterwards, we see all three of them walking together through the streets of Edinburgh. Crowley is still in the middle, but now Elspeth is in the angel's position and Aziraphale on the far left as a demon, as they all discuss the virtues of poverty. Oh dear, Aziraphale, you're losing the argument here, and losing badly!

Inside Mr Dalrymple's rooms, Aziraphale decides to take matters into his own hands, where he thinks he is doing the right thing, and miracles the first body into soup. Elspeth is caught innocently in the middle of this, and Dalrymple is on the demonic left.

A conversation is had with Dalrymple following this. Crowley is hidden in the right-hand chair, Aziraphale, who needs to be swayed, is in the middle, and Dalrymple is still on the demonic left.

After heading back to the cemetery for another body, Crowley and Aziraphale inspect some of the protective measures set up to guard the graves. Crowley is still on the moral right, questioning if the rich are more worthy of being protected from body snatchers than the poor.

Despite changing his mind about body snatching, Aziraphale still ends up on the wrong side of the argument in the end. As a giant Crowley looks down on the two of them, its Aziraphale standing on the demonic left side as the virtues of poverty lose out once more.

Timely Lessons

Back to the fireside chat with Dalrymple. We have this heartfelt reaction from Aziraphale when he learns the preserved specimen he is holding came from a seven-year-old boy.

AZIRAPHALE: [takes the jar] Well, that's a foot. So it's definitely not a foot. [laughs] DALRYMPLE: That's my point. If you two smart gentlemen can't identify it, then what are my students to make of it? I removed this tumor from a seven-year-old boy. AZIRAPHALE: Oh. Oh dear. And… Is he…? DALRYMPLE: [shakes head] And that is why we need a steady supply of cadavers. We need to cut. If we can't cut, we can't learn. If we can't learn more, a lot more, then how on earth are we going to win the battle against monstrosities like this one? I'm just trying to save lives and teach students. I either end up with a knighthood or condemned as a resurrectionist and hanging from a rope.

This, I feel, is an important lesson for them, and it seems for Aziraphale in particular. Why? This part focuses more on his reaction to the tumor, rather than Crowley's, and when we focus on Aziraphale it has ramifications for the future.*

A physical problem is usually easily identified (such as the foot). But what if the problem is invisible, because its on the inside? How do you see into a body, find a problem and make it visible, if you have not been presented with this problem before? Or perhaps you know something is wrong, but don't know what to call it?

It doesn't even have to be physical, it can be a mental, or a psychological problem. One still has to learn how to "see" the problem, to identify what it is (such as a particular pattern of behaviour) and to know the best course of action to overcome it.

Crowley wishing for more murderers to facilitate Dalrymple's research is one thing, but not being able to save a 7 year-old boy...this is the theme of the death of innocent children we've seen repeated throughout the series (the Flood, Job's children, the aborted attempt on Adam, the Crucifixion, and the implications around Crowley's Fall, to name a few.)

This also plays into the "representation matters" theme from the end - you can't be what you can't see.

This is not a lesson about the fact that they care, because they do, but how they learn to see the real problem in the first place.** I'll be interested to see the matching scenes/parallels to this in S3.

The Two Dalrymples

It has not gone unremarked that there is a Dalrymple mentioned in S1 as well - Witchfinder Colonel Dalrymple, who made the fancy Thundergun that was taken to Tadfield to shoot the antichrist with.

Now we can talk about the connection between the two Dalrymples - they are both about removing "monstrosities" from humanity.

Take the line in the passage above: "If we can't learn more, a lot more, then how on earth are we going to win the battle against monstrosities like this one?"

As I've mentioned before, the root of the word monster is from the Latin for monstrum, "a divine omen (of misfortune)," but also monstrare, which means "to point out," which bring us back to this scene in S1, on the tarmac of the Tadfield Airbase:

Aziraphale took Witchfinder Colonel Dalrymple's Thundergun to remove the monstrosity that was Adam the antichrist to save humanity, and Mr Dalrymple the surgeon is trying to learn how to remove and save humanity from the monstrosity we know as cancer. I'm just making a spot now on my S3 bingo card for a third Dalrymple mention, that will no doubt have some connection to the removal of monsters and/or monstrosities from the world.

Balancing the Books

The final bit of stocktaking might just be the coldest part of the whole recall process.

When Aziraphale calls from the cemetery in Edinburgh, he mentions Dalrymple's fate to Crowley:

AZIRAPHALE: Oh, do you really think so? Um, Crowley… Do you remember Dr. Dalrymple, The one who bought, err… CROWLEY: Wee Morag's body. Not a doctor… A mister, yes! Yes, whatever happened to him? AZIRAPHALE: [reading pamphlet] He left Edinburgh in disgrace. And then he killed himself. CROWLEY: Mmm.

Mmm, indeed. They might have saved Elspeth from Hell to meet up with wee Morag again, but the count of souls was still balanced out in the end, with Dalrymple heading the other way. The last time we see him he is still on the demonic LHS of the screen in blocking as he pays for wee Morag's body. Hell had him marked well in advance of his demise.

Time to move on to Part 4: Judgment Day, where we look at all the signs that the End Times are approaching. Again.

Thanks to @vidavalor for the thematic inspiration for this post.

For further reading:

You Say Potato, I Say Excellent! Or blocking, accents and legacy of morality tales in ‘The Resurrectionists’ minisode PART II by @pommedepersephone

The linked post at the beginning Historical Analysis: class and injustice in 'The Ressurrectionists' minisode by @bowtiepastabitch is here.

An intro to Elspeth and wee Morag being parallel characters to Aziraphale and Crowley by @good-soupmens I'm going to follow up on this in Part 5.

*I explained in Part 2 that I believe we are being shown the future through Aziraphale and his parallel characters, Beelzebub and Maggie. Another reason for this is that in S1 is that Anathema is one of his parallels, and she is also caught up with living in the future through the prophecies of Agnes Nutter. In contrast, Crowley's story, and that of his parallels, such as Gabriel and Newt, are about the past and trying to live the life you want that isn't bound by expectations. Urrgghh, I can see I might have to expand on this somewhere later.

**Crowley, with most of his story in the past, shows us an example of this with his "looking where the furniture isn't" comment.

The other posts in this series can be found here:

Part 1: Detective Aziraphale Part 2: Aziraphale-Beelzebub Parallels Part 4: Judgement Day Part 5: I Know Where I'm Going

#good omens #good omens 2 #good omens meta #aziraphale #mr dalrymple #witchfinder colonel dalrymple #elspeth and wee morag #good omens 1827 #edinburgh 1827 #the resurrectionists #scene blocking #body snatchers #strong's concordance

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writers-potion · 29 days

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Structuring Your Fight Scene

adapted from <Writer's Craft> by Rayne Hall

Suspense

Show your characters gearing up, readying themselves.

The pace is slow, the suspense is high (use suspense techniques)

Provide information about terrain, numbers, equipment, weapons, weather.

May have dialogue as the opponents taunt each other, hurl accusations, or make one final effort to avoid the slaughter.

Don't start too early - we don't need to see the hero getting out of bed, taking a shower and having tea.

2. Start

Fighters get into fight stance: knees slightly bent, one leg forward, abdominal muscles tensing, body turned diagonally, weapons at the ready.

Each side will usually try to be the first to strike, as this will give them advantage.

The movements in this section need to be specific and technically correct.

3. Action

This section may be quick or prolonged. If prolonged, no blow-by-blow descriptions are needed.

Focus on the overall direction of the fight

Make use of the location to make characters jump, leap, duck, hide, fall, etc.

Mention sounds of weapons

4. Surprise

Something unexpected happens: building catches fire, a downpour, relief force arrives, staircase collapses, bullet smashes into the only lightbulb and everything goes dark, hero losses his weapon, etc.

Add excitement, raise the stakes.

5. Climax

Both sides are tired and wounded

The hero is close to giving up, but is revived with passion

Move to the terrain's most dangerous spot: narrow swining rope-bridge, a roof-edge, sinking ship, etc.

Don't rush the climax! Hold the tension

6. Aftermath

The fight is over: bes buddies lying dead, bandaging, reverberating pain, etc.

Use sense of sight and smell

The hero may experience nausea, shaking, tearfulness or get sexually horny

Fight scene length

Historical/adventure/fantasy: 700-1000w

Romance: 400-700w

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findmeinthefallair · 1 year

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The healing and lasting love of a mom

#for Mother's Day 2023 #camila noceda #hunter noceda #toh hunter #older hunter #toh waffles #the owl house #toh edits #loz's edits #loz's art #he's her lil' wolf cub forever #in the last pic he's fetching her to go for dinner at Dell and Gwen's house #like listen: she would've played a huge role in his recovery. after the Collector Palace scene he would've sunk into the darkest depression #in the weeks and many months to follow #she'd check his therapy progress. accompany him to therapy at times and fetch him from therapy too #he needed her warmth and guiding light as foundational building blocks. to be who he was after the timeskip #they'd both always remember that night where he drowned and she pulled him out of the water #she'd make sure he had the best possible Grom Night #and he'd be eternally grateful. they'd also work together throughout the years to follow since her expertise and his can overlap nicely #he keeps visiting the Human Realm now and then. to have movie nights..dinners..road trips etc with her and Luz and Vee #1k #2k #3k #4k #5k #8k #9k #10k #15k #20k

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saraswritingtipps · 13 days

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Tips for Fight scenes #2

When characters are in a fight, their adrenaline levels skyrocket, which can affect their perception of pain and time.

If a character gets punched in the stomach, they might momentarily lose their breath, making it difficult for them to retaliate immediately.

Sweaty palms can make it harder to maintain a grip on weapons or objects during a fight, adding an element of unpredictability.

Injuries such as cuts or bruises can throb with pain long after the initial impact, distracting characters and potentially affecting their performance in the fight.

Characters might experience tunnel vision during intense combat, focusing solely on their immediate surroundings and losing awareness of peripheral threats.

Loud noises, such as gunshots or explosions, can temporarily deafen characters or leave their ears ringing, impairing their ability to communicate or hear approaching danger.

Characters might experience a surge of aggression or fear-induced paralysis when faced with a life-threatening situation, impacting their decision-making and fighting effectiveness.

Painful injuries can trigger involuntary reactions, such as flinching or crying out, which can inadvertently give away a character's position or intentions to their opponent.

Adrenaline-fueled fights can leave characters feeling exhausted and shaky afterward, making it difficult for them to think clearly or coordinate their movements.

In the heat of battle, characters might not notice injuries or pain until after the fight is over, when the adrenaline wears off and their body's natural defenses kick in.

#writing #writer on tumblr #writerscommunity #writing tips #character development #writing advice #oc character #writing help #writing block #fight scene #writing scenes

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albaharu · 1 month

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gale holding a sword its just so funny to me

#anyways maybe i woudl have the fuckign weave scene in my wyll origin game!!!!! if gale wasnt like!!!#“oh i would teach u magic...if only our bond was stronger”#gale i have u at maximun at the tieflin party what more do u want from me!!!!#cant believe i blocked myself by doing it too well... but thats ok im going with bae'zel...#the good people at the wyll discord are convincing me of #bladeweave #but this also can work as platonic so whatever floats your boat #wyll ravengard #gale of waterdeep #gale dekarios #bg3 #baldur's gate #baldur's gate iii #baldur's gate 3

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cd-refs · 2 years

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#scene blocking #comic references #visual storytelling #comics

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persnickety-doodles · 7 months

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But Korra's protests die on her tongue as Asami pulls her in for another kiss, and by the time they resurface their tea has long since gone cold.

Under Me, Over Me, Any Way You’ll Have Me by @korrasamibottles

I’m back with another inspired doodle! ☺️ Enjoy!

#tbh I’ve been fighting one heck of an art block #then B posts some writing and BOOM I’m back again!#back for now at least #I love gifting art if you can’t tell already #warning the fic is r18 #but this scene was too cute I adored it #korrasami #persnickety doodles #alicia draws #korrasamibottles #art inspired #lok #avatar

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booklovertwilight · 7 months

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the death of a god savior human

#death note #death note fanart #light yagami #art #my art #i had so much fun with this one!#you might expect more of this harsh block-shading from me in the future #no lineart and a deceptively small number of layers (4)#also this is all actually color-picked from the anime scene! I just made the ambient lighting more gold and less red :)

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nhoirr · 4 months

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It was the year of spring when you got the most lamest confession you've ever heard.

all from a man you'd never expect—nobody ever did expect that GOJO SATORU had the time and capacity to fall in love.

what a surprise, because he was too.

"go out with me," he states more than questioning.

like a giddy normal teenager that was not the most handsome man in the world—the, gojo satoru asked you out.

infront of everyone; without shame, oh but full of smugness that makes you want to reject him just to see his pride fall.

but perhaps the from shocking event did the thought not come to you that day, not when the pressure was all time high.

"This.." you start and the crowd quivers in their boots, boys and girls alike already demanding their victory from the bet, "this is what you greet me with after ignoring me for weeks, satoru?" the said man stiffens with his posture, and as if the bouquet of flowers he held felt the shift of the atmosphere—it dramatically wilted.

"oh, c'mon that was just—" he knew reasoning was futile when he gulps the words down his throat again, catching the way you glare.

and you spin your heel around. guessing with how he hangs his head low, you think he's discouraged enough to let it go and take the rejection.

but the man you knew was always so annoying, so stubborn.

you hear a call of your name but you don't snap your head like your-all-time-secret-is-out kind of surprise, but it's because the dumbest man spoke the dumbest words you've ever heard.

"I, the heir of the gojo clan, am insanely inlove with you!"

the crowd goes eerily silent, like time was frozen but not in a romantic way. It was embarrassingly awkward that you could hear the sound of a pin drop.

"what?" you spat out in disbelief, not comprehending his words and he takes it as another sign to repeat himself to you.

"I lik—" you stop him from talking by slapping a hand to his mouth, glowing eyes shimmering with the brightest smile known to man, "yes yes, don't repeat yourself!" you exclaim almost immediately.

your breath hitches in your throat the moment you feel his hand grasp your wrist, the one that covered his mouth and he points a finger to speak, muffled by your hand, "dso yu asekpt?" you could faintly make out the words he said—do you accept?

it syncs with the voice echoing at the back of your head ever since he confessed.

and yet, the answer always remained the same.

so you drop your hand from his mouth, catching the way his eyes follow your every move—perhaps enough to notice the hesitation, and he worries for the words you'll speak with such an expression.

quickly he starts before you speak, "Its fi—"

"I like you," he gets cut off, jaw slacked and unmoving in shock.

he blinks once or twice, but the crowd reacts before he can, waking him enough to respond back.

with a lopsided grin and dusted cheeks, he speaks again too—he thinks could be lost to the noise of the crowd, but with how close you were, he thinks you'll be able to hear even a whisper.

"I like you too."

thanks for tuning in for another episodic brain riot of mine that goes no where!

want more? check out navigation for latest posts. <33 (shameless self-plug because.)

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vrronica-sawyer · 2 months

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On the job 🏃‍♀️

#this is a concept sketch for some Trigun spring shaker charms im planning but I got carried away blocking in the colors bc I love them #i have vashwood ones sketched too they’re…. fine #I was gonna only do ones based on panels from the manga but there’s no canon scenes of the whole trigang traveling together and I want one #might make one up #anyway when I have all the sketches done I’m gonna do an interest check post #even if ppl don’t want them I’m ordering a small batch for me and my friends lol #Meryl Stryfe #milly Thompson #Trigun #trimax #trigun maximum #rill'sart #rill’sart #fanart

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starkspi · 13 days

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will i ever finish this whole scene (which is my absolute favourite by the way) from @morningstarwrites fanfiction? we shall see

#i have almost all the panels finished for this scene but my god can i be any slower #and favourite scene among others i should add #and i LOVE the usage of visual poetry in this fanfiction #i wanted to honour that so i drew alastor's quotes like this #AND #alastor pushing that stupid oversized hat out of the way is inspired by another scene #where he just takes the hat and throws it away because it blocks his view #i now imagine him ALWAYS being annoyed by this #because he cant see lucifers face haha #hazbin hotel #radioapple #and if i remember correctly #duckiedeer #is preferred haha!#hazbin hotel fanart #alastor #lucifer morningstar #my art

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lucky-fy · 2 months

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For the Laicion nation (aka, me and three other people)

I had this illustration commissioned (a big thank you to @lunehowls) for my werewolf AU Laicion fic (still a WIP).

The general pitch is as follows :

AU in which Laios never got to meet his sister again, putting his life on a whole other path, a more desperate one. A military deserter with barely a coin to his name, Laios hitches a ride on a boat to one of the elven continents, where he learns about magical tattoos that binds one’s soul to a wolf’s, effectively making them artificial werewolves. Illegal magic be damned, this feels like the answer to… everything.

In the process, he learns about the existence of an illegal fighting ring in one of the elven cities, where beastmen gladiators gather. Freshly tattooed and without anywhere else to go to, Laios decides to head there, where he meets Lycion, an elf and artificial werewolf gladiator. If they first bond over a simple shared meal, by spending time together (sharing the same room in the barracks, maybe the same bed? gasp) they find that they have a lot in common, notably a shared distaste for the body they were born in, a dysphoria partially remedied by becoming a werewolf.

They bond :)

NB: I commissioned another piece, go take a look :D

#dungeon meshi #laios touden #lycion #laicion #I'm heads deep in research regarding Ancient Rome gladiators... and loving it. Really fascinating stuff.#I bemoan the fact that most papers are locked behind a paywall (though I found one that gives a free pdf access)#(and no. Sci-hub is not an option. It's blocked in my country)#I'm also re-reading DunMeshi and taking notes to get a better grasp of Laios and Lycion as characters. Character studies if you will #and I still need to fully outline the fic #I know where I'm starting (struggling to choose a POV for that first chapter LOL) and where I'm ending so there's that #and a bunch of disconnected scenes (as we all do ahaha)#anyway. Doing all of this while studying for veterinary school. It's hard. I feel guilty whenever I'm not studying...#let's just say I don't expect the prep work for the fic to be ready before this summer (+ I need to finish the Kuro cosplay for Japan Expo)#hopefully; once it's done; I'll be able to set a schedule and write smoothly #werewolf #werewolf laios #rarepair #Fy posts

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writers-potion · 24 days

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Writing Male Fighters

Body Language

Before they start fighting, they will communicate a lot through body language, either conscious or subconscious.

Standing with legs apart, elbows out to the side, shoulders aquared, chin thrust forward and up, hcest inflated and turned full front to his opponent, piercing stare. These cures are intended to make him bigger.

He may hook his hands into his belt, framing his genitals.

Subtly stretching his neck or spine.

Stepping close up to the other, invading the other person's personal space. The one who steps back will "lose" - when this happens, we know that fists will be flying soon.

Skills

When writing a scene from a male point of view, don't make the mistake of writing a detail about basic fighting skills (like landing a fist in the opponent's jaw). For a man (on average) who probably learnt to box in his playground days - it would be better to let the moves come naturally.

For fancier skills (like weapons handling or martial arts), you may explain in fuller detail so that your readers can follow what's happening.

Weapons

Men often have a special relationship with their weapon: very personal, almost intimate. The weapon may serve as a symbol of his power, masculinity and reflect his self-image, even.

The hero may be seen cleaning, repairing, oiling his weapon, bragging about it or comparing it with others'.

Men Against Women

Most men are reluctant to hurt a woman. This instinct is often hard-wired into them, even in martial arts school that pride themselves on gender equality.

While there is no biological reason for sparing a a female fighter - only the sense of good old chivalry - you can show your villain hesitate for a second or hit less hard when a see a woman coming for him.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

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