#bentley manuals

[casie-mod]

Car enthusiasts SPEED DEMONS

How I imagine the convo between them going: Kim: That's an intriguing and handsome motor carriage you have there.

Crowley: *flashes a toothy grin* Yes, she is gorgeous, isn't she? They don't make 'em like this anymore. *gazes fondly at the Bentley before turning a closer eye to Kim's vehicle* Must say, I'm rather intrigued by your car as well . . . .

Crowley: *looks at Kineema quizzically, cocking head side to side, taking in the spindly legs, the boxy shape, the levers instead of wheel, and numerous other things that don't make sense* So how does it uh. . . .work?

Kim: *rattles off a brief manual-worthy functional description and technical specs of which he's particularly proud, which ultimately make it clear to Crowley that the machine is a death trap*

Crowley: So if you were to take just one turn a bit too sharply, the whole thing would come toppling down and just . . . explode.

Kim: Yes.

Crowley: *reflects on how he would not have been able to come up with something so damned in another six millenia* Oh.

Kim: *barest hint of a smile*

Crowley: *raises eyebrows* I will never understand you lot!

[workshop09m]

How can I repair a car with a workshop repair guide? 

A step-by-step guide to car repair using a workshop repair guide. Owning a car comes with the responsibility of maintenance and occasional repairs. While some problems may require professional assistance, many common problems can be easily resolved by following workshop repair guidelines. These guides provide detailed instructions and diagrams specific to the make and model of your vehicle, empowering you to save time and money on repairs. In this article, we'll walk you through the step-by-step process of using a workshop repair guide to repair your car efficiently and effectively.

Step 1: Get the workshop repair guide

The first step is to obtain a workshop repair manual for your vehicle's make and model. You can find these guides on our website . Alternatively, you can consider purchasing a physical copy from an auto parts store. Make sure the guide covers the correct year, make and model of your vehicle to get the correct instructions.

Step 2: Diagnose the problem

Identify the problem your vehicle is facing before starting the repair process. Diagnosing the problem correctly is crucial to selecting the appropriate section in the workshop repair guide. Listen for strange noises, check for warning lights on the dashboard, and do a visual inspection of the damaged area.

Step 3: Gather the required equipment

Before starting the repair, gather all the necessary tools mentioned in the workshop repair guide. Commonly required tools include screwdrivers, wrenches, pliers, a socket set, jack stands, and safety equipment such as gloves and eye protection. Organise your workspace to have easy access to tools during the repair process.

Step 4: Follow the step by step instructions

Once you've diagnosed the problem and gathered the necessary tools, it's time to start the repair process by following the workshop repair guidelines. Read the guide thoroughly to understand the steps involved and familiarise yourself with possible safety precautions.

Most workshop repair guides will include the following sections:

a) Introduction: An overview of repair procedures, safety guidelines and general information about your vehicle's systems.

b) Diagnostic Procedure: Detailed steps to identify the problem correctly.

c) Removal and Disassembly: Step-by-step instructions on how to disassemble affected components.

d) Inspection and Repair: Guidelines for inspection of parts for damage and their repair or replacement.

e) Reassembly: Instructions for putting everything back together after repair.

f) Adjustment and Testing: Procedures to ensure proper functioning of repaired components.

Step 5: Take your time and be patient

Repairing a car requires patience and attention to detail. Take your time and follow the instructions carefully. Rushing through the process can lead to mistakes or missing important steps, potentially causing more significant problems.

Step 6: Test the repair

Once you've completed the repair and reassembled the components, test the repaired area to make sure everything works as expected. Take the car for a short drive to verify that the problem has been resolved and there are no new problems.

Conclusion: Using a workshop repair guide can empower you to repair your car with confidence and precision. By following step-by-step instructions and taking the time to understand the process, you can effectively troubleshoot common vehicle problems and keep your vehicle running smoothly. However, keep in mind that some repairs may require professional skills and if you ever feel unsure or encounter unexpected problems, it is best to consult a qualified mechanic. With the right approach and a workshop repair guide, you'll be well on your way to becoming a more self-reliant car owner.

[lonicera-caprifolium]

Body-swap theory!!

okay, just putting this all together for ease of access, since it's been spread out across several posts now--

The day after it aired I watched the ending like actually 30 times and I became fully 99.999999% certain they switched places. I was initially thinking during the kiss, cuz of how the camera angle changes, but after watching an additional 20 times a few days later, I'm personally leaning much more towards them stopping time in the instance after "no nightingales".

Before the kiss, Aziraphale is saying "nice" things about the Metatron, but his face and voice keep switching to broadcasting distress, and they make it a point to show in ep 1 that Crowley can read him just from tone of voice

As they're pulling away after the kiss, they lock eyes and "Aziraphale's" expression shifts in the teeniest tiniest way, like a confirmation glance, before they shift back (and Michael Sheen is a master, so no chance it's not on purpose)

---(Like really, go back and watch how Aziraphale's expression shifts literally *a second* before "I forgive you" cuz the change is SO minute, but entirely different emotionally.)

Also the way he moves his jaw right after he pulls his hand away from his lips, is a bit from MS's Crowley (you can see it in the very last two seconds of this vid- link)

Aziraphale's hands -stay by his sides- after that, he doesn't clasp them at all, and it's particularly noticeable while he's walking to the elevator with Metatron. The way he walks is very stiff and precise, similar to after the swap in S1.

We don't see the underside of Crowley's jacket collar after the kiss, at any point (it is for sure red at the beginning of the ep, you can see it right before he changes in Heaven)

The Bentley drives away SLOWLY, which is how Aziraphale drives, and we're specifically shown that it only plays other music for Aziraphale

the seats in the Bentley are black as it drives away. They're usually brown, and the only other time they're shown to be black is when Aziraphale drives (@picturesque-about-it broke down the times so you can see-link)

---extra pic for anyone saying it's "cuz Aziraphale is lighter"-- the seats are still brown behind Crowley when he wears white

there's people wearing yellow in -every- part of the scene showing the Bentley both before and while it drives away! (link for pics/credit)

Aziraphale's smile in the elevator looks more like MS's Crowley. It's very similar to the trial during S1, but also (link)

This also explains why they're on opposite sides than they're usually shown while the end credits roll

Extra points--

many good points made by other folks here, about cues and snakes in beehives and swap motifs throughout the season-- link

The clock! Someone mentioned how the scene is so quiet you can hear it ticking, so I watched the ending a further 50 times to double check----I need to preface this by stating, I don't think this is a working clock, mainly cuz the hands aren't 100% where they should be between the minutes and the hours, like -a person- moved them to that time manually

When they're talking, the clock is at approximately 9:25 (?, again the hour hand isn't precisely set), then they walk across the room, and kiss, and immediately after that the clock is set about 15-ish minutes later (link to timestamps)

thanks to these bts shots, we can see that the clock on the opposite side of the room registers the SAME time difference before and after the kiss (link)

the first time Aziraphale looks "towards the window", I'm petty sure he actually looks further back towards the clock, *focuses on it* as Metatron walks up to him, and then spends the ENTIRE REST OF THE EXCHANGE blocking the Metatron's view of the clock

we're shown earlier in the season that Crowley can localize his time-stopping to a certain extent, like when he stopped the doctor and the rest of the room kept going, so it is possible he only stopped everything -outside- of the bookshop

---I KNOW Neil said it's a continuity error, but he also fully said "No" about there being a season 2 just days before they announced it was already written and in production, so. Take him at his word if that's what you wanna do.

---also I DID go back and look it over, and the clock IS consistently specifically set the entire rest of the episode as far as I can see. From the shots when you have a clear view of the clock, the angels and demons enter the shop at around 6, Maggie and Nina leave at around 7, the Metatron comes in at 8-ish, Aziraphale comes back in at that approximately 9:25

(insight from someone who works in production- link)

the music right before the kiss scene is the same leitmotif (Life After Death) used when they originally started formulating the swap in season 1! (link)

the movie Stairway to Heaven (1946) is featured as a poster in both the opening credits and in Maggie's shop (link)

the climax of the film has one of the leads willing to "take the place" of the other in heaven

(they also used a time-stopping mechanic, and the chess book Gabriel tests gravity with also plays a key role in the film)

and one last mention, extra food for thought--- the season's focus on their trusting one another, their history of performing "death (and heaven/hell) defying" feats together, and how they always get the trick right when it truly counts the most

that's what I've got so far!

If I'm right, they're apart now, but are actually more together then ever, and I find that terribly exciting. (And if I'm wrong, that's okay too! I'm just here to have fun.)

I'm not particularly concerned with very specific reasoning (that's for season 3 to tell us!), but I do think this theory is extra fun cuz pretty much any of the others could be the "why" driving it.

I'm not trying to convince anyone, or put down any of the other theories, so if you're not feeling it, that's okay! I'm just sharing what clues I'm seeing, so you can check if you see them too. 💕

[neil-gaiman]

I'm not one to typically ask questions but you are always so friendly in your responses so here goes:

The 1933 Bentley in Good Omens, is it a manual or automatic transmission. I don't recall ever seeing Crowley or Aziraphale change gears but the schematics suggest that it's a manual.

The first automatic transmission was sold in cars in the US by General Motors in the late 1930s (1938? 39?). The Bentley is a 1933 Bentley and predates that kind of thing.

[trb752]

1938 Bentley Rapide

Coach work by Frank Eeley

60° V12, 4.5 L, OHC, 180 hp, 5500 rpm

Lagonda G10 4-speed manual

0-60 mph 4.7 secs 110 mph top speed (116 Le Mans)

Participated in Le Mans 1938, 3rd place overall

[noneorother]

The art director & the Good Omens book cover tier list of doom, part 2

Part 1 l Part 2

I am your resident Art Director/Good Omens enthusiast, and welcome to my completely meta-free book cover tier list. Listen, making a book cover is HARD. I should know. But while we salute these artists for their hard work and time, I think we can all admit that once in a while, the vision is just not on. And on very rare occasions, publishers seemed to have managed to commission the cover art directly from hell... here's where we left off last time:

Onwards and upwards, as they say. 11. International paperbacks, Goda Omen

It is inexplicable to me but I LOVE this cover art. It's so sweet and innocent, the colours are contrasty and fun, and the layout leaves enough room for the text. Maybe I would call it slightly inaccurate to have our boys dancing on Greenland while the UK has drowned in a great flood, but hey. It's charming. The international cover gets a thwack with a ruler for trying to fit "creator of Discworld" in between the two wings like that, though. Tier: Great

12. Italian Cover, Buona Apocalisse à tutti!

The Italian translation of Good Omens into "Happy Apocalypse to All!" really tickles my funny bone. Unlike this cover which is trying to scrape at it with a dull knife until I'm screaming on the floor. I know demons can only dance badly, but does Crowley *really* have to fracture both ankles while trying? Aziraphale pelvic thrusting his way into heaven is a visual I didn't think I'd ever want. Minus so many points for random murder alley where this is all occurring. At least the designer managed to wrangle the type into one of the best proportional layouts I've seen thus far? Tier: Bad

13. Italian Cover, Good Omens

A truly valiant attempt here to rectify a terrifying situation with that earlier Italian version. While this one actually seems much more interesting at a glance, the details kinda get to me. The Bentley's steering being on the wrong side, the word Omens kindasortanotfquite fitting on the black wing, the motorcycles with no drivers... TIMES NEW ROMAN FOR THE AUTHORS NAMES. I don't think it can even be redeemed by the most powerfully rendered Sacred Heart/Cardi B W.A.P. imagery I've ever seen. Tier: Good (Omens)

14. Japanese cover, Good Omens

Look, this designer GETS IT. Crowley and Aziraphale are a pair, a group of the two of us. Do not separate. It's also the only cover I've seen that uses shades of grey! The woodcut vibes are STRONG AND POWERFUL. The type is well placed! I should love this, except the end result kinda looks like a manual for clinical depression in the workplace? It's ending up higher on the list than it deserves, frankly.

Tier: Good (Omens)

15. Japanese cover, Good Omens

This cover might as well be an Ethereal/Occult firemen's calendar. Someone wanted teens to cut off this cover and tape it to their bedroom wall. I can't even judge the typography or the symbolism because I'm just getting hit with waves of pheromones and angst. I can't even tell if it's good but it's going in the Good pile because I can't look at it anymore...

Tier: Good (Omens)

16. Japanese covers, Good Omens

Other people have assured me that this is, in fact, a dual Good omens cover. Alas, I cannot tell. I don't possess compound eyes or even an exoskeleton, and as such lack the ability to decipher these decisions.

Tier: WTF

16. Japanese cover, Good Omens

Holy overlap, Batman! I can’t fault this designer for wanting to reuse the wonderful dual illustrations in a Ying-Yang layout, all the elements are there, but there’s a clinginess to the type and positioning that makes me feel like someone is trying to hurt the letters? Is this designer okay? Do they need a hug?

Tier: Does the Job

18. Chinese cover, Good Omens

Can I say how charming it is they’ve managed to conserve the halo and devils tale on the Chinese title, as well as the woodcut detailing? However, the simplicity of the cute, contrasting wing design is sadly swallowed by the intense, New-York taxi cab vibes coming off the yellow and checkerboard text block. It could have been so good! Chinese readers: I am mad on your behalf!

Tier: Not so good (Omens)

19. UK 1991 paperback, Good Omens

What are we doing here, people. I think I've stepped into a Jungian analysis of what it feels like to have read Good Omens. It's dreamy yet unsettling. Right yet very wrong. And Ol' "Tiny Hands" Aziraphale up there is really judging me for what they found inside my mind. In less upsetting news, we've kept the improved typography and layout of the authors and book title. All is not lost to the nightmare.

Tier: Not so good (Omens)

20. 50 Shades of Gray rip-off cover, Good Omens

*panic* WHAT ARE WE DOING HERE, PEOPLE...?! Bonus : the guardian quote is almost as much of a mystery as the cover it’s on.

Tier: WTF

End of round 2.

[doonarose]

Writers Guild Cock Fight: Four Speed Manual Transmission

CW/TW: Explicit, handjobs, public sex (but not caught/exhibitionism), a vaguely sentient Bentley, sex in the Bentley

Summary: The second coming thwarted, Crowley and Aziraphale head off in the Bentley towards the South Downs. But after six thousand years of waiting, and now suddenly not having to, Crowley can't stop looking at him. When he discovers he can touch Aziraphale as well, laying a testing hand against his thigh, it becomes inevitable that they don't quite make it all the way to the cottage before having to touch each other quite a lot more.

Written for the GOAD Smut War @goodomensafterdark

Thanks: Enormous thanks to the Good Omens After Dark Writer's Guild for cheerleading this! I have a lot on my plate at the moment and they have put up with me being insufferably annoying about it! Special thanks to u/Aidaran-ao3 for letting me barge into her post time and for a last-minute beta! Also to u/Blackjeans93 for britpicking! And to u/SouthernFriedAmy and u/KotiasCamorra for betaing bits of this as it was written!

Excerpt: “How far?” Aziraphale asks, looking deliberately away from the bookshop at Crowley.

“What?”

“Your cottage?”

Crowley stops himself from correcting Aziraphale by saying ‘Your cottage’, because that’s what it is.

“An hour, tops. It’ll be worth it, I promise.”

Aziraphale nods some more and lets Crowley’s hand drop. He moves off down the street, towards the passenger side of the Bentley. Crowley stalks along behind him, hands shoved deep in his snug pockets as he contemplates this new version of reality where they can be together, in a cottage, without any of the cares that have blighted them since the beginning of time.

When he looks up, Aziraphale has the small stack of books, bound by twine, in one hand, while his other hand rests on the passenger door handle, waiting for him expectantly. Surely the Bentley could let him in if she wanted to.

Prompted, the thought occurs to him, thrills him for its instantaneous possibility even more than the idea of the cottage and the new world order and them. “Would you,” he clears his throat and looks over the top of the car, “Perhaps, like to drive?”

“Really?” Aziraphale's eyes go wide but he doesn’t say no. “Why?”

Crowley tests the water. “Our car. Innit?”

Read the rest on AO3!!

[drconstellation]

Brazil and The Dream of Escape

I was delighted to find in the Xtras that the machine created to be used by Furfur to use to find out how many demons Shax could requisition for storming the bookshop was inspired by the movie Brazil. This is another nod to Monty Python member Terry Gilliam, who directed this film, and who almost directed the failed GO film in the 1990's.

I love this film. Always have. Yes, I was around when it came out in 1985. I'm that old. It's always been in my top 5 favourite films. And its totally relevant to Good Omens.

Brazil can be described as a dark dystopian story based on the novel 1984. It doesn't have a happy ending, but its funny, horrific, ludicrous, romantic and timelessly beautiful all at the same time. Its so iconic that when ever I see its influence in other productions its been unmistakable.

It stars Jonathan Pryce long before he was a James Bond villain or the head Sparrow in Game of Thrones, a comedic turn from Robert de Niro and a handful of other famous faces that you are bound to recognise, such Bob Hoskins, Ian Holm and Jim Broadbent.

Pryce, as Sam Lowry, lives in a world that is strictly controlled with paperwork that comes in multiple copies, where people are routinely arrested and tortured and a long running unexplained terrorist campaign sees bombs explode in the most random of places. Sam has dreams of a beautiful woman floating in the sky, and he is a sliver-armoured winged hero trying to rescue her. He eventually finds that she is real, and finds out her name through various means via his work and contacts. He tracks her down, but that is where it all starts to unravel as she is mixed up with an unfortunate case of mistaken identity.

Its easy to see the common themes and elements that run through the film with GO: the desire to run away and escape (that doesn't work,) a totalitarian authority controlling the masses, propaganda, piles of paperwork, an undercurrent of rebellion, torture and abuse, forbidden love between classes, a villain hidden in plain sight.

There is an art deco aesthetic to the film that also carries over to other films and shows it has influenced, and the busy work floor scene that stops on a dime to watch the tv show de jour while the boss isn't looking is one of the highlights of the film.

It was a reference of this that caught my eye in the Cohen Brothers modern fairy tale The Hudsucker Proxy, where they copied the busyness of the work floor for their mail room scenes, but also the art deco aesthetic. That's another film that is always in my top five films, and could go a round of comparisons with GO - its got time stoppage, an angel appearance and a near-godlike manipulator.

It also appears, surprisingly, in Star Wars: The Last Jedi. The casino at Canto Bight is Brazil inspired, in the way its introduced to us, its decor and the music. I know some people hate this film because of what they did to Luke, but I love it, the whole thing is just utterly gorgeous to look at.

And if you've watched any of Loki recently, since S2 of that show finished not long ago, you would also seen some influence from Brazil in the retro look.

I love the classic art deco style. my grandparents had an art deco house that I spent many of my childhood hours in. The style itself is a clean, unadorned look, and often is meant to give a look of movement, speed or strength. A classic example of this is the Bentley, of course, which comes from the height of the art deco era in the 1930's.

Hell is the other place we see the Brazil influence in GO, where is looks like it's constantly several decades behind the times, with overhead projectors and manual typewriters and odd looking not-quite steampunk contraptions.

Brazil is available to stream on Disney at the moment, if you'd like to take a look. I highly recommend it, its one of those influential films that once you know it, you see its long reach in the most unexpected places.

[carsthatnevermadeitetc]

What a difference 70 years makes juxtaposition of Bentley R-Type Continental, 1953 & Bentley Continental GT Azure, 2023. Bentley Motors has created a unique and one-off Continental GT, inspired by their retained example of the iconic R-Type Continental, JAS 949. The cars was delivered to its first owner, Dr Rowland Guenin of Switzerland, in December 1953. It was ordered in Ivory with a Red interior and a manual gearbox, a specification it retains today along with the original 4.6-litre engine. To recreate the closest specification for the modern interpretation of JAS 949, a new Continental GT V8 Azure has been hand painted in Old English White – a faithful re-creation of the heritage paint colour that dates back to the 1953

[five-thousand-loaves-of-bread]

looking at permobil’s new (merge?) with PDG mobility so now bunch of manual tilt in space (!!) wheelchairs that can self half propel (!!!!!!!!!)

super excited even tho probably never going get because last wheelchair meeting manual tilt in space was brought up for me to compromise how insurance probably won’t cover group 3 powerchair with tilt for me. like quickie iris! but then quickly shot down because not able move self in that

so this super exciting!!

though. it not meant for average self moving manual chair users. doubt it even meant for just anyone who primarily self propel average day in general because many model support self propel, where wheel is, awkward placement, is put very back so strain shoulders for hand propel

like imagine it meant for like, same population who need adult stroller, especially I/DD, (some even especially designed for people who move a lot easily agitated or constantly rocking etc!!), or manual backup for non ambulatory group 3 powerchair users

tho, this one specifically reverse big n small wheels n actually look doable? :o

but, of course still not design for self propel same way as say typical ultralight. which understandable. different population different needs

just, am at weird position that intersect bunch needs

also. bigger turning radius, n clunkier, compare to ultralight, but again, typically serve different population… and also heavy, but same weight as current manual chair anyway so

not sure how actual practical & realistic usable it is, but! excited to see though!! hopefully never need to get one because hopefully get group 3 powerchair but do hope one day get try it?? bc unique & who knows

[sonkitty]

The Sideburns Scheme Post #15 v2

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 1, The Arrival, fixing coffee shop power

Some images below are brightened; some aren't.

...

Sideburns Check

The sideburns are short. Based on the clues from the story, Crowley drove for enough time to reach the desired length. They actually won't be short for long. I'm blaming the nature of the games for my chosen wording here.

...

Brighter Red Streak Check

I think the streak is there when Crowley says, "Oh, really?", especially on the "Oh" part. After that, it's harder to tell with the darkness and extra saturation on his left side in general.

...

Hairstyle Changes

There is one visible tendril on the right side of Crowley's face that was not shown as separating from his face in the Bentley. It's only visible at certain angles. The brighter red streak is more visibly on the left area where it is expected to be, I think at least when Crowley says, "Oh" in "Oh, really?"

...

Earthly Objects

(For reference: Earthly Objects | Earthly Objects Study - Windows Part 1)

For this scene, Crowley takes part in another complex window scene. This time he actually plays a role as both a subject and a looker, so it's doubly complex! A complex complex window scene!

A good chunk of the below text is copied and edited from my Windows Part 1 post. There is plenty of newer stuff starting from, "If Crowley did..."

Nina is the initial looker this time around. She's the one shown at the threshold without touching an earthly object. While she was looking, Maggie was blurred from behind. Due to how the scene goes, especially with the camera work at the end, they end up sharing a window look yet again.

Their window look has started, but they are not earning their shared point yet.

Nina receives point #1 for using the word "six". This point is shared.

Maggie puts her sign with the words clearly against the window for shared point #2.

Nina makes a self-touch with her mouth that is more clear than her hand as it knocks and the words on the sign, so the self-touch might be what is considered to be getting the point. The knock would make more sense to me since it is what gets Crowley's attention. Regardless, she gets point #3 for her and Maggie.

Even if they've earned a set together, they still have to get that shared look point eventually.

Reminder that for Nina, the sign is blurred, but that's going to work out for her interaction with Crowley.

The camera shows a blurred Maggie from behind and a more clear Crowley pausing to turn and see what is happening. Him being seen is part of the eventual window look touch, but it's not going to happen yet because of what he does. Maggie's blur is a pass for her at the moment.

Crowley stops with a heel to the ground for his point #1. When he stops, his body obscures Nina. As such, no one here is getting credit for that window look touch...yet. Next, Crowley asks the question, "Oh, really?" That's his point #2. He is looking through the window when he looks at Nina for the interaction. Remember that. It's a Step 1 for his own window look. It's also the only time a threshold part has dialogue in my Windows Part 1 so I could be misreading things of course. The third point for an interaction between Crowley and Nina is probably from the sign's clear words as she nods even though we can't see Nina's hands holding the sign up. That's point #3.

Up next, there are Nina's blurred fingers from behind the window. So, in full context of the scene, that looks like a pass. I would typically assume it's a touch, but I think it all rounds out soon enough.

I'm warning you. I am somewhat saying these things because they suit what I want to see. It's not like this game came with a manual. Okay, this episode is kind of a manual, but it's still hard to read.

Here's what happens.

Because we saw Nina react to Crowley with her nod, that means that we saw what Crowley looked at through the window. The window saw Nina. That's Step 2 for Crowley's window look touch. Nina doesn't seem to get credit for a window point yet because it's still going to be shared with Maggie.

The next time Crowley is seen from where Nina is, that's actually Crowley getting his own looking-through-a-window point. He is seen clearly behind a window pane with part of the window frame visible. That's his Step 3 in earning his point #1 of a new solo set he's about to complete for himself.

Nina is blurred during the above. Crowley's hand goes up in a blur. Maggie is blurred. So, Crowley's blur is related to his own move. The other two have their blurs for their shared look.

Both Maggie and Nina finally receive credit for looking through a window together because they are both seen clearly behind the window panes. The camera shows them both to alert an audience player that's what's happening for the share. Maggie, meanwhile, touches the paper to the sign for point #2 and her hand to the window pane itself for point #3. It's enough for both Maggie and Nina to earn a shared three points again. So, in that case, it was not required they each do something for the last two points.

Crowley gets his own last two points with actually turning the power back on, specifically a lamp seen in the reflection where Maggie was, and a step to the road.

The door earns its own 3 points with the power recalled from it. That was yet another clue, to me, about the Rule of Three in this game.

...

If Crowley did a full solo set before being seen through the window, I don't know how. If he didn't, he made some moves to acceptably nullify any visible touches to not count as actual points. His back was to the seat, but he had reflections all over him. His fingertips reached out in a blur before he exited the car. Then he's touching the door, but the fingertips are not shown as they are touching this door behind where the camera can see the opening outward door. He's not doing a Threshold Trick so probably not aiming for threshold-only touches. Pocket trickery might be involved.

Now as for paying attention the pockets all the more, wow, a lot is going on. As usual, I can't keep up, but I'll still share my limited understanding. The core summary is that there are a lot of overhead lights, and there is some switching involved by the end of the scene. There is some other switching along the way too.

Okay, first of all, I think there is a full moon or something really close to a full moon. I suspect that is relevant to the incoming miracle that's going to set off alarms in Heaven. I'll bring up the moon again much later.

The car's reflection can actually be found in the windows of the coffee shop before Crowley exits. Crowley's reflection can be found as he exits.

With the exiting movement, a pocket forms between his left arm and torso, then between his legs. With the right hand fingers still touching the door to his car, his left thumb joint is visually behind and possibly touching a corner of his jacket where the jacket goes up and toward his main body. At that point, the pocket between his legs still exists. Meanwhile, yet another pocket has formed between his right side, right arm, and the door to the car.

Crowley lets go and keeps moving.

These images are brightened a little:

As he keeps going, he spreads both arms wide. There's enough force to get the tie strands aligned with the lapel. It's truly hard to say if one of the clasps hits the edge of lapel so that the Tied Hands can retie, but I did eventually find some possible word play involving the moon I'll cover later. With said word play, I can now see that my top suspect for when a clasp hits the lapel is while the tie strands are switching. Given how they end up behaving throughout the scene, it looks like they are indeed retied here. The watch is visible. Each index finger has a moment of clarity but isn't necessarily "pointing" in a way I've noticed when I think the Tied Hands might be retying or doing something more in episodes 5 and 6. Just the other day, I started laughing when I thought of this index finger thing as "making a point". I guess it's good enough here.

Something that really sticks out is how much the bottom of the jacket flares out from Crowley's torso. That helps show the vest, the Belt Head, and the upper area of the pants.

As Crowley keeps moving, the lower part of the tie strands and most or all of the belt are obscured by the left arm and jacket though the watch—which I've described a "lookout" but something more and seems to take charge of matters at times—is still visible. I'm always tempted to call it a Risk Watch because that sounds like "wristwatch" and would be a third accessory pun, but I don't want to start thinking about what risks might be happening. Plus, it seems more like an alert system, such as the alert that the Rainbow Connection was starting with red as ready. I don't know what the "risk" was, but the watch gave an alert that it never gives again. The responsibility is then delegated to red rear lights on cars and whatever else can get the job done.

When Maggie and Nina prepare to get their signs, they cross paths and switch for who is on which side in front of the camera.

When the window scene shows Maggie blurred from the back and Crowley as what she sees, he starts to turn to face her and Nina. In the last video frame of that cut, he has two overhead lights, one for each side of his head. His actual head is "pocketed" between them though the Belt Head itself is not visible. Crowley's right ear and right hand are visible to indicate how much the right side is favored—so far as the overhead lights are concerned—for almost the entire scene. The lighting of the scene itself overall still favors Crowley's left, as it often does. These same overhead lights and the colorful paper below them are actually relevant to The Pocket Trick's Triple Part 3. Thanks to the newer hairstyle with the extra tendril, he has pockets of hair in a couple of cuts.

In the next cut, there is a wall chandelier in the coffee shop that's over to the far right of the screen This chandelier still has power even though it looks like the rest of the coffee shop's power is out. Due to the framing and progress of the scene, I think this thing is somehow an overhead light for the car. The car has headlights that are off when shown near this wall chandelier.

In the cut when Crowley says, "Oh, really?" his left hand, notably where his left thumb joint is, touches the front of his jacket. The vest gets a brief extra shine to hint at the touch's relevance. There are no evident overhead lights in this cut.

Pockets form in various places with Crowley's body as he turns with the line. The Tied Hands and Belt Head become visible. The thumb joints of the Tied Hands are briefly obscured.

In recalling the power, Crowley uses his right hand. He favors his left side overall quite a bit when using his powers as a demon. This part also matches what is happening with the overhead lights before the end of the scene.

When his right hand goes up with Nina on screen, the thumbs of his Tied Hands are hidden. The Belt Head is not hidden though this cut does not have any evident overhead lights either.

When his right hand goes up with Maggie on screen, the tie strands visually below the knot of the tie are actually pocketed inside the coffee shop light visibly reflected through the window pane. So, that would include the thumb joints and thumbs of the Tied Hands, along with the parts above the thumb joints and below the tie. This reflected larger light aligns along the top of Crowley's Belt Head. Shelves with a number of objects are also part of this reflection that is over much of Crowley's body.

Meanwhile, the two overhead lights that his actual head was pocketed between are now shown both to Crowley's right. The hand itself goes up visually over the light closest to his head. He passes that hand, with possibly the index finger and middle finger together pointing upward over his own head. Then it's possible the middle finger switched to join the other fingers while his index finger goes down his face, and lands just above the thumb joints of the Tied Hands by the end of the cut. The blurred movement makes it hard to tell, so a player is required to think hard and use their best judgment on where things are with the blur itself. Have I ever mentioned I think this game is really hard?

While this bigger light went on, two smaller lights pocket it. In turn, those lights could be overhead lights for the Belt Head.

Now it's time for the overhead lights to switch. This game likes switches.

That wall chandelier is visible and still on, again, rather far from the rest of the action, to the camera's right side. The car is also on screen near the wall chandelier still.

There are three notable lights in the coffee shop where Maggie and Nina are. One of them is partly covered by Maggie's sign. That's the one furthest to the camera's right. Another is visible through the door. That's the one in the middle, so it's in a pocket between the other two. This one is also visually behind Crowley. That makes the light to his right but likely rather close to his right ear that cannot be seen on camera. There is a third light visually above Nina and not covered by her sign.

The lights flicker to be more bright with Crowley's left leg going up for his step from the sidewalk to the road as he moves. In that same movement, his head raises slightly. Once his left heel is in front of his right, his head starts going down. By the way, with this street also being wet, his shadowy reflection is visible again.

By the time the left foot touches the road, Crowley has two left-side overhead lights. The right-side overhead light is covered by Maggie's sign. Another step forward with the right foot, and that third extra light ends up above Crowley's left side of his head anyway. Not only that, the right foot is off-camera as Crowley takes yet more one step. There is one extra flicker of faint white light in front of and within the door. It's in the next-to-last video frame of the cut with Crowley's left leg in front of his right. In the last video frame of the cut, there is a pocket between the legs and the lower part of the screen.

The Tied Hands were pushed off the vest in all this movement as well. In fact, believe it or not, when I was first studying the window looks, I did notice the tie strands moving at this point in the scene and thought that was some accessory touch. I eventually decided that was not the case and updated my windows post accordingly. I still don't think it counts as an accessory touch, but at least I noticed they were up to something back then.

So, time to get back to the moon because of the overhead lights.

When the moon was first shown, it was above the Bentley's right, so it would have been above Crowley's right side of his head, given Crowley's position in his car.

The camera panned down while Crowley parked, so the moon was progressively removed from the cut. However, because of the car moving toward the camera's left, the moon switched to being above Crowley's left side of his head given the understood position he would have had in his car. Since I can't really see Crowley in the car, I am generally guessing based on compared images, but the moon had maybe about its top fourth removed from view on camera by the time it would have been above the left side of Crowley's head. It also ended up above the left side of the Bentley's "headlights", which I think is relevant to the Bentley getting its own wall chandelier overhead light. While its overhead light remains to its right side, the Bentley ends up acting as the camera's right frame of all the lights to Crowley's left while Crowley himself is the camera's left frame. Together, they pocket those overhead lights inside the coffee shop with Maggie and Nina, along with Maggie and Nina themselves.

And if you're wondering why I think this moon thing and overhead light thing is so important, it's because of The Door Trick in episode 6. The start of The Door Trick heavily implies there is something incredibly special going on with the sun acting as Crowley's Overhead Light. That one's a Threshold Trick, and as I like to say, the sun is the greatest source of light on Earth without technically being on Earth.

Well, the moon isn't on Earth either, and this part isn't a Threshold Trick, but something incredibly special is about to happen with that incoming miracle.

Full moons tend to have power in fantasy settings.

Earlier, I was able to come up with "smoke and mirrors" for the Tied Hands retying.

Here, the closest I've got is there is a known phrase of "over the moon," and the action switching things up since the moon is over the Bentley at the start of the scene. There was a lot of switching happening in the scene. Sure, that may seem like "a stretch," but Crowley "stretched" his arms wide while those tie strands switched to alert a player that's possible. This game is so silly.

Having the moon be special here in episode 1 and the sun be special in episode 6 also helps place these contrasting astronomical objects on the episodes acting as the bookends, or pocketing, the others of the season.

...

I just finished re-reading Equal Rites by Terry Pratchett. It's the third book in the Discworld series. There actually is a part in Equal Rites that recognizes the Unseen University as a magical space that can observe what is happening within itself with a mind that Granny Weatherwax Borrows to help find Esk. Later in the book, there is this sentence as well referring to Esk remembering "...Granny talking about how even buildings had a mind, if they were old enough."

So, that's just my way of pointing out that Mr. Pratchett recognized a space as something that could observe the beings inside of it since a space reading Crowley is such a core part of my theory on Crowley managing his personal space with his sideburns.

...

Story Commentary

In my initial post on The Window Trick, Windows Part 2, I mentioned that the humans in Good Omens 2 have a fake dimension to them for various reasons. Nina seems to be the most "real" human in the story, but she lacks a last name and is often paired up with Maggie for scenes, like this one. She is played by the same actress for a different character in season 1. Due to this story's deceptive nature and seemingly distorted reality, I do think the same actors taking on new roles is relevant.

Meanwhile, Maggie seems to be the most "fake" human of them all. As I've said, many of my own theories I developed clash with the core one in The Magic Trick You Didn't See, but I think the author is onto something with proclaiming Maggie as Not Real.

Are they original characters by the Metatron or at least Maggie for the Metatron? Or are they original characters by Crowley (Nina) and Aziraphale (Maggie)? Or maybe they came to be from Adam's memory since he was around them both as a baby? Adam rebooted reality, according to God, in season 1.

I don't know what is going on with these two, but I do think they are special and so is the fact that the red lightning power rested in three different locks of the threshold of the space they were locked in for some unknown amount of time.

In the next Crowley scene, his hair is going to be very saturated in red.

...

That's it for this post. Sometimes I edit my posts, FYI.

...

Main post:

The Sideburns Scheme

...

Past version of this post:

Post #14 (fixing coffee shop power)

[kotias]

GOSP Exchange gift - Though This Be Madness

Happy Gift Day to @therainbowsaltsblog !!

In the context of the @gospexchange event, I have received the following prompts:

Broken Crown by Mumford & Sons

the fruits by Paris Paloma

It's Alright by Mother Mother

And have written a songfic based on Mumford & Sons' Broken Crown!

Enjoy!

Title: Though this be madness

(from Hamlet's line "Though this be madness, yet there is method in it")

Rating: Mature

Word count: 8,596 words

Tags: Season 3 plot; i swear it's canon i talked to Neil about it; apocalypse that will be; crowley is having a long nap; Supreme Archangel Aziraphale; Prince of Hell Crowley; Muriel is a Sweetheart; Crowley Loves Aziraphale; Aziraphale Loves Crowley; Aziraphale's Bookshop; Crowley's Bentley; Blood; Violence; War; Song fic; mumford and sons: broken crown

Beta shout-out:

Many thanks to DaneeCastle,  Olfactory_Ventriloquism  and  MISinformation,  Naty  and Contritecactite , who have all been excellent beta-readers on the piece!

Summary:

Crowley and Aziraphale split up; Aziraphale went to Heaven, and Crowley drove away after that godforsaken kiss. Muriel takes over the bookshop, and discovers a world that they had never been aware of before. Something is afoot, something is brewing; the world is coming to an end, and They Are Not Talking.

Excerpt:

Muriel had gleefully accepted the keys that Aziraphale gave them as they crossed paths. But their greatest joy at the moment was continuing The Crow Road, which had them fully invested. They would have plenty of time to discover the bookshop later on, after all. And they were a fast reader, they would be done with this one in no time.

And indeed a fast reader they were; by the time the humans were leaving their jobs for the midday break, they had reached the last page. They raised their head from the book and smiled.

The bookshop was absolutely lovely. It was overflowing with novels, short story collections, history books, notepads, disks, manuals and atlases. It felt ancient, and yet welcoming like the smile of an infant. Their fingers roamed across a single bookshelf, brushed the spines, felt for each crease that had formed into them and how many times they had been touched, opened, cherished. They noticed the nonsense categorisation, and took note of it as their first project for the place.

There was no dust settling, no trace of decay. Each record present in the bookshop was in near-perfect shape.

It felt lived in.

It felt like a collection of humanity.

It felt like a home.

But most of all, it felt loved.

Muriel beamed. This was a staggering experience. Each book they touched sang to them. Each disk that grazed their fingers whispered the story of an angel who adored them so much he would never part from any of them.

They chose a novel, A Tale of Two Cities. It grumbled about never being left alone. They chuckled. So beloved indeed. They plopped into one of the armchairs and opened it.

Continue reading on AO3!

[greenthena]

Fanfic Friday - The Trojan Horse Virus

Chapter 6 is up on AO3!

They’d switched places in Leeds and Crowley had fallen asleep in the passenger seat almost immediately. Once he’d realized the Aziraphale could, in fact, operate a manual transmission with the skill and precision needed to drive the beautiful vintage vehicle, he’d made sure Azirphale knew where he was going (“North, dear,” Aziraphale had assured him), curled up against the buttery brown leather, and began to softly snore.

Which was both a blessing and a curse.

It was a blessing because it gave Aziraphale time in his own head to put things where they ought to be. Time to gather up all the thoughts and fantasies he’d been weaving as they traversed the Great North Road. He wound the threads of those stories neatly away into the vault where he kept such impossible dreams and turned his attention to driving Crowley’s magnificent Bentley.

Aziraphale shook himself. He had one job to do over the course of the next few days: pretend to be Crowley’s fiance. Crowley had asked him for his help specifically because Crowley believed he didn’t harbor any fond feelings for him. And there it was, the crux of the whole thing. Feelings were not supposed to get in the way.

[diabolus1exmachina]

Prince Skyline Sport Coupe by Michelotti. (1 of 60). 

The Prince Skyline was a car with humble beginnings that would slowly evolve into one of the most famous Japanese sports cars in the world – the Nissan Skyline and the almost universally loved Nissan GT-R.

The Skyline model range started in 1957 as a modest four-door sedan with a 1,482cc 4-cylinder engine producing 60 hp, and capable of a top speed of 87 mph. Nissan and Prince would merge in the 1960s, the Skyline was one of the Prince cars that survived – eventually becoming a major member of the Nissan stable.

One of the most famous early Skylines is the car you see here, the Skyline Sport Coupe by Michelotti. It was the work of Italian designer Giovanni Michelotti who was hired to pen the eye-catching bodywork, using the Prince Gloria as the base platform. The Gloria was the slightly larger sibling to the Skyline, with a 1.9 litre engine that offered a little more power, and a slightly larger overall footprint allowing more room inside the cabin. Michelotti used this larger platform to his advantage, creating both a luxurious coupe and a convertible, with ample interior space, canted headlights, and remarkably good visibility from inside the car thanks to the narrow pillars. The unusual headlights weren’t actually that unusual at the time, they’d been used by cars built by automakers like Chrysler, Bentley, and Ferrari. Michelotti would go on to use a somewhat similar headlights design again on the Triumph Vitesse in 1962.The early 1960s were a time of rapid change in the automotive world, with many car makers competing to create and establish new design language for the new decade. It was a forward-thinking move by Prince to hire Michelotti at the beginning of the decade to design them a new body, at the same time giving the brand the significant image boost that comes with the hiring of a well-known Italian designer.

Under the hood, the Prince Skyline Sport Coupe used the same 91 hp 1.9 litre engine as the Gloria, so performance was sedate rather than aggressive. The transmission is a 4-speed manual column-shift, and power is sent back to a live axle rear end. Over the course of the model’s very limited production run, only approximately 60 examples of Michelotti’s Skyline were built. Despite their relative rarity, they were a common sight in Toho films of the early 1960s – largely because Prince had a very proactive (and very successful) PR team who were adept at getting their cars used in films.

[nevenkebla]

No me hagas volver

FF (2011) #20 Jonathan Hickman (Escritor), Nick Dragotta (Dibujante)

— Bentley: No digo aniquilación. No soy un monstruo. Pero, hipotéticamente, no veo de qué otro modo controlarás a las masas. — Valeria Richards: No es mi problema que no veas todas las piezas, Bentley. Y no dejes migas en mi cama. ¿No sabes llamar? — Valeria Richards (Adulta): ¡Tú, largo! — Bentley: Ah, descuida. Es como si las dos os fuerais a fundir en una gran bola de estupidez cuando coincidís en el mismo cuarto. Adiós, Vals. — Valeria Richards: ¿Y bien? ¿Qué quieres? Vieja. — Valeria Richards (Adulta): Eso depende. ¿Qué día es hoy? — Valeria Richards: Es jueves. 12. — Valeria Richards (Adulta): ¿Y qué hora es? — Valeria Richards: Las 8:37.

— Valeria Richards: ¡AAAYYY! ¿Por qué has…? — Valeria Richards (Adulta): Bórralo. Y no me hagas volver.

(CONQUISTA: Manual de cómo derrotar y sojuzgar al IMPERIO KREE)

[if-you-fan-a-fire]

"After the week of ‘light duty,’ we were transferred to the ‘First Gang.’ The First Gang was intended to include the most dangerous men and to do the hardest work in the prison. All ‘red’ and ‘yellow’ number men were in it, as well as a large number of first-class prisoners, some of them recent graduates from ‘red numbers.’ The First Gang did various sorts of manual work in and near a stockade about a mile and a half, I think, from the prison. When I worked on the First Gang, the Gang still marched to and from work in the ‘lockstep.’ The lockstep is a remnant of the old-line prison savagery. At Leavenworth it was retained only for the First Gang; and a few weeks after I left the gang it was abolished there ...

In the lockstep as we practiced it, each man marched so close that his body almost touched the body of the man in front of him. Our hands hung at our sides until the line halted, when we were supposed to fold our arms. Men who had been in the First Gang a long time or who had ‘done time’ in other penitentiaries where the lockstep was used assured me that I should soon get used to it so that it would become purely automatic. In the close marching order which the lockstep involves, if one man gets out of step, a general tangle of feet, stumbling, cursing and kicking of shins usually results.

I never felt a more bitter hatred of the whole military and prison system than the first evening that I returned from work on the First Gang. Our part of the Gang had been shoveling dirt and carting it off in ‘buggies’ (wheelbarrows), all day. We were more or less tired, and as we tried to keep the cadence of that damnable lockstep, our feet slipped in the soft mud that covered the roads. Men cursed under their breath, as their fellows fell against them or stepped on their feet; the guards constantly snarled, ‘Close up, there, ’35! Close up!’ or ‘Get that grin off your face, ’39!’

For the first time, during that march, I felt a fundamental understanding of the point of view of [Victor] Hugo’s Jean Valjean, released from the galleys with his heart turned to gall against prisons and the society which maintained them. I felt an all but irresistible desire to break loose and smash something – anything to express my hatred against this organized idiocy that called itself a military prison

- [William] Arthur Dunham, ‘The Narrative of a Conscientious Objector, [1921],’ unpublished MS, Bentley Historical Library, University of Michigan, Ann Arbor, reprinted in Peter Brock, ed., ‘These Strange Criminals’: An Anthology of Prison Memoirs By Conscientious Objectors from the Great War to the Cold War. Toronto: University of Toronto Press, 2004. p. 143.