#i’d also like to think they’re giving each of them their own names so i wrote down some names for them | Explore Tumblr Posts and Blogs

causenessus · 2 months

Text

love notes

part 0.18. MAKING MAC AND CHEESE AT TWO IN THE MORNING?

"this spot, it's all for you even if you don't come tonight, it's still for you. i stand by my reasons for wanting you, i wanna do right by you. baby baby baby, i want it to be different with you."

from different this time by corenelia murr

she greets him at the front door, dressed in a ragged hoodie and sweats. he looks just as messy in his own pair of gray sweats and a black t-shirt. they’ve known each other for too long; neither of them could care what the other looks like.

“oh my god,” she says, staring down at his hand, “you brought four boxes? i love you.”

he gives her a tired grin, eyes drooping but at least he attempted to comb his hair back at some point in the day. he looks like he’s finally recovered from however much he drank last night. “man, that onigiri did nothing for me today, bokuto stole like almost half of my food and then we were all running around. just thought i’d bring extra in case we’re still hungry.”

she follows him into the kitchen after she locks the door behind them, a spring in her step. she's happy to have someone to spend time with; she loves her roommates, of course, but she’s honestly glad atsumu’s the one who responded to her texts. her own group chat is so focused on her and rintaro that atsumu feels like the only close friend she has left who isn’t extremely involved with the situation–at least from her point of view (rintaro would disagree. atsumu’s a thorn in his side).

there’s nothing wrong with her friends looking out for her, she knows that. and in a way, it feels like the worst has already passed after what happened at onigiri miya: rintaro remembered his promise from the previous night, and now she feels a little bit more ready to confront him about their relationship. but, she also wants a moment where she doesn't have to think about it.

even her head is wrapped up thinking about the situation right now, so she’s glad to have atsumu as a distraction to keep her mind from wandering.

“oh? who are these from?” he asks, looking at the lilies placed on the middle of her counter. he passes by them as he wanders around her kitchen, opening every cabinet in search of a pot. she only watches, amused at the way their roles have switched. she’s often the one cooking for him, it feels nice to have someone else doing it for her for once.

her attention is drawn back to the flowers in front of her. the rosy pink color the petals have bloomed into never fails to catch her eye. she’s not sure if rintaro knew they would be pink when he bought them on new year's eve, or if he’d just grabbed the first bunch he’d seen. “they’re from rin,” she answers, cheek resting in her palm as she sits at the table of her kitchen. after overcoming the initial hurdle of calling him his first name, she finds it easier to say, and she likes how it rolls off her tongue.

“rin?” atsumu repeats, turning to give her a surprised look, brows raised with a teasing grin. “you’re calling rinnie poo his first name now?”

she snorts at the name, “rinnie poo? is that what you call him?”

“on special occasions,” atsumu replies, turning back to the stove where he’s boiling water before he reaches for one of the boxes of mac n’ cheese, turning it onto its side to read the instructions.

“how cute, maybe i’ll call him that one day, just to see how he reacts,” she laughs to herself, imagining how his brows will probably knit in concern and shock, hearing the nickname from her.

“it’s cute you’re calling him rin now,” he responds, and she thinks he actually looks quite at home, cooking in her kitchen. she’s not entirely sure she would trust him to cook something more complex, but at least he knows how to make the basics; maybe she’ll bother him about coming over late at night more often. “how’re you guys doing? if you don’t mind me asking, i feel like it’s been pretty chaotic in our group lately, or maybe that’s just my half, but osamu’s definitely been going crazy over you guys.”

she hums in thought at the question before he adds onto it, “you don't have to tell me if you don't want to. suna get’s on my ass sometimes for being nosy, even though he’s the same exact way.”

“no, it’s fine,” she says, still thinking. perhaps she needs to pull herself together. if everything in her life is going to keep bringing her back to this problem, she needs to stop avoiding it. “we’re good, i guess. i don’t know– i’m sure it’s obvious to everyone how much i like him, and everyone’s trying to convince me he likes me back but i’ve just been scared to ruin what we have in case they’re wrong. i’m starting to believe them, though.”

she watches him navigate around her kitchen, looking through their fridge for a carton of milk, and then a strainer. she decides to help him and points out where it is, and he has a minor accident while trying to strain the boiling water. the steam hits his skin and burns it, causing him to curse loudly and he almost drops the pot. she thinks for a second to take back what she said about him making a good cook, and she hushes him, trying to hold in her own laughter while they both sit in silence for a second, trying to make sure they didn’t wake up any of her roommates. then, before she knows it, he’s sliding a bowl of pasta across the table as he stays standing right across from her, placing his forearms on the counter and leaning forward as he digs into his own bowl. “well, then i’m not sure if this is any help but i’m pretty fucking sick of you guys too,” he says, shoving his spoon into his mouth.

she can only blink, hand frozen in air at how blunt his words are. when she doesn’t respond, he looks up and stops chewing. “oh, sorry– not like sick of you guys but if we’re all just giving up and telling the truth: no shit yeah he likes you. maybe it’s our twin intuition and ‘samu’s frustration is rubbing off on me but sometimes we see you guys together and it’s like ‘oh my god! why haven’t you guys kissed yet!’ you know?”

the only thing that comes out of her mouth is a surprised fit of laughter, “no? i mean– i guess i can see how it’s been frustrating for you guys now but i’ve been struggling with this for years so think about how i feel! it’s hard for me to trust that he actually likes me back after so long. and even now everything he’s doing is confusing me. i don’t know what to make of the fact that we’re calling almost every night, and when you guys got drunk last night, he almost made it seem like he’s been making the art he’s been sending me. you know about that, right? every time you guys go on an away game he sends me some pictures of the art he finds when you guys are wandering around or sneaking out.”

atsumu scoffs, pushing around the food in his bowl with his fork like he’s been doing for the past five minutes; he looks like he's on the verge of falling asleep. “well that’s stupid,” he starts, before he pauses to yawn. “i can’t believe you believe that. like, it’d take a fuckton of luck to just ‘stumble upon’ so much of that kind of art.”

she tilts her head, brows furrowing, “why are you saying stumble upon like that?”

he finally looks up at her, giving her a face as if this should be easy for her to understand, “because he is making art for you, duh.”

they stare across the table from each other in complete silence, and his fork clatters onto the surface of it as he goes completely rigid before slapping a hand over his mouth another second later, “i wasn’t supposed to tell you that.”

she’s speechless, unsure if she should be more surprised about the fact it took her this long to find out or about the actual fact itself. “rin’s making that art purposely for me?” she asks, trying to make sure. “he’s making art and then sending it to me pretending that he hasn’t made it?” atsumu only looks back down at his bowl awkwardly, trying to avoid eye contact with her.

“atsumu,” she says, standing up out of her chair, not even thinking about how loud it screeches against the ground. “you have to tell me!”

“no, no, i can’t. it’s not my place!–”

he exclaims as she grabs hold of his shoulders, trying to shake him (in reality, she’s the one being shaken back and forth while he stands there like an immovable rock), “atsumu! please! did you just say he's making art for me?”

he’s looking left and right, anywhere but her, mouth running off numerous incoherent excuses before they both stop dead cold in their tracks at the sound of another voice.

“god you guys are so loud, what the fuck are you– atsumu? what the hell are you doing here?” they both turn slowly, facing the black-haired boy who's just walked into the kitchen, eyes squinting in the light.

“making mac and cheese at two in the morning?” atsumu tries to answer, sounding unsure of himself at the sight of his volleyball captain.

“omi,” she grabs his attention instead, hands dropping from atsumu’s shoulders, “is rintaro putting up art for me in other cities?”

perhaps she should take advantage of people who’ve just woken up or who are on the verge of falling asleep more often; they become so much more honest, “huh? yeah he is. like every single night we’re in another city. i’ve given up trying to stop him– oh fuck.”

atsumu lets out a sigh, knowing there’s no use trying to deny the fact now while she has the biggest smile on her face, running to hug omi, whose frozen in place. “i can’t believe you guys have been hiding this from me for so long! atsumu, you need to come over more often.”

she removes her arms from around omi’s neck, still looking up at him with a grin on her face as he looks back down at her, eyes boring into her. “what are you gonna do now?” atsumu asks from behind her, and she turns back to him, coming back to her seat at the counter.

she takes a moment to think about the question as omi comes to stand by atsumu on the other side of her, joining the conversation. “i don’t know, this is so much to take in, thinking about everything he’s sent me before,” she rambles, playing with her fingers as she thinks before she looks back up at the two boys in front of her. “but you guys aren’t joking? he’s really doing that? all for me?”

omi nods, running a hand down his face like he’s still waking up while she can’t help but let out a little squeal. atsumu only sighs. the sleep has definitely left his eyes, and he's fully awake now.

“i think i want to talk to him– and confess. or something. it’s the least i can do with how much he's already done for me. i’m the one who just hasn’t been reading the signs. but god, how am i supposed to bring it up after so long?”

“i mean, we can all meet up again. you can see for yourself how specially he treats you, and then maybe you can pull him to the side and confess your love for him while we all stand there awkwardly,” atsumu shrugs, yelping when omi hits him while she lays her head on the counter with a tired sigh.

“no, i don’t think i can handle being around him again until i confess to him. it was already so hard just seeing him today,” she responds, stretching out her arm to fidget with atsumu’s keys, which he threw onto the table when he first walked in. she rubs her finger along the jagged edges of a bronze one when suddenly it makes her think of something. “oh, i think i got it!”

the two boys in front of her look at her, brows raised as they wait for her to continue. and she tells them the plan.

prev. | m.list | next

extras <3

i've very subtly mentioned how yn's lowkey gonna confess to rin :)

or at least where they're going/what they're going to do <3

two chapters left!!! i'm going to cry </3

tsumu obviously is calling y/n pretty platonically. sorry i'm a whore

he's so domestic pookie core <3 i have to say it again!!! i really ate when i said it the first time

they're just very chill friends. like i don't think anyone else paired up would make mac n cheese together at 2 am. maybe osamu for yn but that's it <3

i reread this written part like four times so i'm sorry if i missed any typos 😭😭 i tried i really did

taglist: @0moonii @iluvmang @bluebeanbee @wyrcan @oyasumeii @zumicho @gyuijns @nbcvs @milkteade @eggyrocks @guitarstringed-scars @makkir0ll @mylahrins @cherrypieyourface @vivian-555 @sharkerino @r0seandth0rns @staileykout @lunavixia @thvvluvr @elliott0o0 @wolffmaiden @rockleeisbaeeee @toges-cough-syrup @cnnmairoll @ryeyeyer @hibernatinghamster @localgaytrainwreck @lemonocity @bows4life @sereniteav @madiexuberant @eclecticeggknightpsychic @phoenix-eclipses @sonicsolos @httpakkeiji @brkfclub @snail-squasher @starry-magicshop @cr4yolaas @kitnootkat @zzzlevislothzzz @iluv-ace @iluvaquaphor @stayyyyyyyyyyyy21 @applepi25 @twiishaa @girlkissersco @sleepystrwbrryy @encrypta

#suna rintarou #suna rintaro #rintarou suna #suna #sunarin #suna x reader #suna smau #suna x reader smau #suna rintaro x reader #suna rintaro x reader smau #suna x reader fluff #haiykuu smau #haikyuu x reader #haikyuu #hq #hq x reader

125 notes · View notes

callmearcturus · 2 years

Text

The Verge got ahold of Elon's meeting with his new pals and if you got time, you should scroll past the highlights and read the entire thing because its absolutely balls to the wall batshit. I just liveblogged it to my discord server.

I think I very rapidly want to improve every aspect of Twitter. Search I know we can improve immediately and in a number of ways. I mean, just this morning, I actually was just looking for Jack [Dorsey] actually. And I typed Jack into the search engine, and “@jack” was not the number one thing. But that should be the number one thing. So then I just had to type “@jack” in directly. If you type j-a-c-k, your number one thing should be Jack Dorsey. I mean, that’s probably what you’re looking for, you know? So I think anything we do to improve any aspect of the system, let’s do it right away.

Elon legitimately thinks we give a shit about how the search functions and that's a huge thing that'll bring people in. bitch, people read their TIMELINES?????

also the WILD assumption that if I type a very common 4 letter name i OBVIOUSLY want to see jack dorsey. what the fuck.

I’d love to see ads for gizmos. If I saw ads for gizmos, I love gizmos, of course, I’d buy them all in a click. Even if they’re not that great, I’ll still buy gizmos. I love technology. I’ll see content for gizmos but not an ad or an ability to actually buy the gizmo. So then I have to send it to my assistant like, “Please buy this gizmo.” That’s how it goes generally. But I’d be happy to just click on it and buy it.

Twitter, which is having an advertiser crisis of Elon's own making which may lead to lawsuits from the likes of Eli fucking Lilly, wants more fun ads.

oh and he wants to make twitter into A BANK. he wants to give verified users like 10$ (reminder: you pay 8$ to be verified) so people will start sending each other money. what happens when they wanna send to someone who doesn't want to hook up their fucking bank info to twitter? oh we'll send out debit cards with the amount. (for real) and elon says they'll take all the money ppl put on twitter and place it into a high yield account to collect the interest

elon, you don't HAVE cash to place into an account right now, and its a FUCKING RECESSION and you just TANKED twitter's credit advisory score, so who is gonna give you this high yield account, pal

I’ve been through the recession of 2000 and 2001 and 2008-9, and I’m somewhat paranoid about dying in recessions. I have recession PTSD from keeping X and PayPal alive through the 2000 recession, keeping Tesla alive in the 2009 recession.

i cordially invite elon to sit on a rusted steel dildo

oh also he's forcing everyone back to "the office" even if they live in remote locations in an attempt to get more people off the payroll. that's why he's doing it.

twitter genuinely might not last a month.

#twitter #this transcript is fucking BANANAS

1K notes · View notes

partmathpartmagic · 3 months

Text

"Give me six months"

This is a chapter from a longer fic that you can find here. It's a letter from Astarion, written over the course of six months immediately following the defeat of the Absolute. The premise is that you two are taking some time apart after the main events of the game so he can figure his shit out a bit. I love his friendship ending because he's so happy and proud of himself, but I wish it were possible to have that and the romance as well, so this is me making that happen.

Darling,

It’s been 3 days since you saved the world. I can hear you objecting to my phrasing, so let me rephrase: it’s been 3 days since I saved the world and you were also there. Better, my dear?

This is very irksome, you know. I thought I’d make it more than 3 days without being so desperate to talk to you that I write a bunch of sentimental words down for all the world to see. And even worse, it would’ve been far less than 3 days if I’d been able to find any parchment in this godsforsaken city (we could have just let it burn, darling, no one would blame us!).

Frankly, I’m rather upset with you. Yes, I’m actually making up my mind right now. You don’t deserve a letter from me, you’re too lovely and too brilliant and too beautiful and you make it impossible to live without you.

I’ve decided to help out the spawn in the underdark. There. That’s all you’re getting from me.

______________

Perhaps I was a bit hasty. I apologize.

That’s something I’m working on doing more of, apologizing. I am getting quite a lot of practice, spending every day with people I seduced for… I’d rather not write his name, actually. But you know. People I seduced in order for him to turn and torture and starve and imprison them for a century or two.

As such, I am becoming an expert at apologizing for things no one could ever really apologize for.

If I was in a better mood I’d make a joke about how I’m spending time with thousands of my exes and you should be jealous. You’ll just have to imagine how hilarious it would be, and then pretend it’s not funny even though you’re smiling, and then roll your eyes at me like you always do. I even miss your exasperation. That’s… horrible. This is horrible.

I know it was my idea to go off and figure things out on my own but I’m beginning to suspect I’m the stupidest elf to ever live.

I can’t tell anymore if I’m being funny when I talk or if I’m just being mean. Is that how other people feel about me, that I’m mean? I think it probably is. Maybe I don’t want to be mean. That doesn’t sound right. I think I’m okay with being mean, I just want to be doing it on purpose.

You’re always so kind, but you have your meaner moments, don’t you? Gods, you’re so terrible with children. The things I’ve seen you say to them. They all think you’re dreadful. That’s something at least.

You see, I find it easier to bear your absence if I pretend your presence isn’t the best feeling in the world and everything you do isn’t perfect. I’m never able to pretend for very long, but I get a good couple minutes each day where I convince myself I’m scandalized by how you talk to children and not completely enchanted by it, and I miss you just slightly less.

_______________

It has been one month since we saved the world. I miss the sun almost as much as I miss you.

My siblings have actually made quite a bit of progress with the spawn. They’re talking about starting a school for the younger ones. It’s very strange. I hope they don’t become good people or we’ll have nothing to talk about anymore.

I had a chat with Sebastian this afternoon, which was also strange. He said, “it must be difficult seeing our faces day and night. Torturing yourself isn’t going to change anything for us. You’ve apologized; you might as well go figure out your next move.”

I think he’s just sick of seeing me and wants me to leave, but he found a kind way to say it.

But he’s not wrong to assume I have no plan after this. I might head above ground tonight and explore the city a bit, see if anything inspires me. I haven’t breathed spore-free air in what feels like years.

I think I could be okay with not having the sun if I had you. Having neither seems… unfair.

I suppose I deserve a bit of unfair.

_______________

2 months. Some very strange things have happened.

Firstly, I did take that walk. I very purposely avoided the part of the city where I heard you had settled, and then of course wound up walking right past a house that apparently belongs to your sister. I thought she was you for a moment and my heart stopped. Metaphorically, anyway.

I don’t love how much it destroyed me looking through a window and seeing someone I thought was you holding a child and kissing a spouse. Which is to say that it completely destroyed me even as it made me happy seeing you apparently happy.

I’m adding this experience to my list of reasons why forming attachments with other people is actually a bad idea and never worth it. I also have a list of reasons why attachments are good and worth it every time, which has only ever consisted of one item, which is your name. The good list wins every time, a fact which has also made its way to the bad list. No one person should have that much power!

If I’m not allowed to ascend, you’re not allowed to make me love you. It’s just as bad. You're drunk with power, darling, and it's time someone called you out on it.

Gods, you’ve completely distracted me from my point. Anyway, after I finally remembered that 2 months would not have been long enough for you to grow and birth and raise a toddler, and after I looked into the window once more and realized your sister does not actually look much like you at all, and also after I looked at the mailbox and saw your second name with a different first name, I pieced things together. Not quickly enough to keep your family from noticing the crazed vampire staring in their window, I’m sorry to say. Do give them my regards.

But after that, I ran into someone I recognized from the palace. One of the butlers, I think, or a general thrall. He was so excited to see me that he stopped me in the middle of the street and started calling me “Master” and babbling about having the carpets cleaned, so I said “strange man, what the hells are you talking about??” And he told me I was the most senior spawn still living and as such… have inherited the estate.

Now, I know this is difficult to believe given my refined manners and, well, my hair, but I’ve never actually owned a palace before. Much less one where I was trapped and tortured for a couple centuries. It’s a complicated situation. Everything is still very much in the air, but I wanted to tell you, and this is how I tell you things now. I will update you once I have an update.

_______________

I adopted a cat. I ran into Halsin on one of his supply runs into the city and he had His Majesty from Last Light with him. Apparently His Majesty had been picking fights with children (and more power to him, I’m sure you’d say), and I remembered his regal little face and volunteered to take him in without a second thought.

We are still… feeling each other out. But I gave him his own room in the estate, which I think he appreciated. The cat, I mean. Halsin doesn’t get a room.

I also do not have a room in the estate, as I am unwilling to set foot inside the building until it has been completely gutted and cleaned and the dungeons walled off permanently. Strangely enough, our old friend Barcus sent me a great team of his people to handle the renovations. Demolitions, as you can imagine, have been smooth, if a bit too enthusiastic. The gnomes have also been very nice about the whole vampire thing and willing to work nights whenever I need to be there to make decisions.

On a related note, I’ve added another item to the long list of crimes Cazador committed: laying carpeting over completely gorgeous vintage wood flooring! Murder and torture is bad, but that’s a whole other level. Thank the gods we got that criminal off the streets.

(Did you notice I wrote his name out? And then made a little joke? I think I’m rather proud of myself for that)

For the first time I’m glad we’re spending this time apart, because truly all I can talk about is tiles and paint samples and upholstery and you’d probably stake me within a couple days of being in my presence and it would be absolutely justified.

I ache for you.

_______________

3 months.

I have been thinking about my lists. I think, perhaps, it’s a lot of pressure to put on someone, making them the sole positive attachment in your life.

I say this because I’ve been spending time with His Majesty to help him acclimate, and a gnome worker commented the other day that I’m the only living creature this cat will tolerate. It made me so sad, thinking of this lovely, affectionate cat who is only ever lovely and affectionate with me. Everyone else’s experience with him will always be negative. I’ll be the only one who’s sad when he dies, and people won’t even be sympathetic to me because they’ll think, well, he wasn’t very nice anyway, good riddance.

It seems like we at least owe it to our loved ones not to leave them alone with their grief when we die.

And no, my love, I did not see the parallels to any vampire with which we are acquainted, at least not until Halsin came by to check on him on his way out of town and I gave him this whole monologue. And then he just sort of stood there looking at me until he very gently hinted that perhaps there are other people who would be willing to love the cat “if he’d just show them his belly instead of his claws.”

At that point I just thought he was hitting on me, but after he explained a little further I finally got what he was trying to say.

Which is how I ended up wine drunk with Halsin last night. We have… a surprising amount of things in common. It was disconcerting.

He also offered me some sort of mysterious substance from his pipe which I politely declined, and it was only after this that he told me a friend of his had smoked it just the night before and it had sent them into a panic attack. So if Halsin ever offers you his pipe, darling, just say no. Given your already nervous constitution, and I say this with love, you’d be absolutely fucked.

Speaking of drunk! You may be wondering how I’ve been keeping myself fed. Some of the Sharess employees have picked up on the increased demand from all these newly-free vampires and have started offering blood drinking as a service, but I’m hesitant to drink from another humanoid. My siblings think I’m being a stick in the mud, but I’ve heard them talking about people they’ve tasted and none of them sound anywhere close to the experience of drinking from you. I feel as if I’ve only ever tasted the most exquisitely aged brandy and I’m being offered tiefling wine as a replacement. I just think it would break my heart.

That said, non-vermin animals have offered a surprising range of flavors. I’ve found I’m partial to owlbears. Something about the risk makes them taste better, I think. Sort of earthy and vegetal? Not bad. In the alcohol metaphor this would be something akin to a local brew. Still a downgrade, but different enough that it doesn’t sting as much.

My good list has 3 names now, by the way: you, Halsin (this was a wine decision, but I’m allowing it for now), and His Majesty.

_______________

4 months? I think?

Listen darling, I’ll just get this out of the way: I’ve had many glasses of brandy. What’s that you say? How many is many? I stopped counting at six, my dear!

You know sometimes I think, absence is absence makes the heart grow fonder. And then I think of you, my blossom, my peach, my absolute tadpole (workshopping that one but i like it), and I think, well fuck. Maybe I’m making it up, maybe she’s not as wonderful as I remember?

And so I thik of all your worst qualities, and I concentrate so hard on them, and my love, my petal, my sweet corn, do you know what happens then? I can’t even think of any

OH wait, that’s not true. That thing when you talk and you have a bubble in your throat that you haven’t swallowed and your voice comes out weird and it makes me want to set myself on fire

Also you’re so hard on yourself, it drives me up an absolute wall. I just want to grab your shoulders and shake you and yell “be nice to my girlfriend”

And then grab other things and shake them…?

I’m far too drunk to be seductive, but just imagine me saying some absolutely filthy things in your ear right now in that voice you like. YOU KNOW THE ONE. Gods, I can’t wait to use it on you again.

I just waaaaant. I want you here so bad all the time.

I want your smell and your touch and your skin and your everything everywhere on me and around me

And… in me? Cheeky, darling. I’m not saying no, but now’s hardly the time

Love and like and cherish and worship and want, a.

_______________

No one has ever felt this ill before and no one ever will again.

I refuse on principle to take back anything I wrote last night, but let’s all agree to forget the corn thing, shall we?

And that cheeky bit at the end–really very unbecoming of you to take advantage of an incapacitated elf like that. Again, I’m not saying no, just. The timing really makes me think less of you, love.

_______________

To be honest, darling, I’m running out of things to say. Six months is a month away and I’m trying so hard not to just watch the clock all day (well, all night).

Has this time been worth it? Nothing is worth this, but if I put aside the heartache, it’s been amazing. I truly never thought I’d be able to become… whoever it is I’ve become.

When the tadpole happened, I saw hope for the first time. I thought I’d finally have control over my life if I had control over the tadpole. If I had control over everything. I honestly never saw another way.

It’s a testament to you that you saw all of this coming from the beginning. You looked at me, this open wound oozing hurt and fear and anger, and you saw a person. You thought I was funny (admit it) and clever, and worth getting to know.

You gave me the space to say no to you, and loved me regardless.

I don’t think I’m nearly as powerful without you, darling. But over these months I’ve accomplished things I’m proud of all on my own, which is fairly unprecedented.

I’m beside myself with excitement to see you again, to give you a tour of this place. You’ll like what I did in the bedroom. And that’s not even a line, I genuinely think you’ll appreciate the color palette! It reminds me of you.

And maybe if you like it we can engage in some mutual appreciation, if you know what I mean.

I don't, but maybe you do. My pickup lines have gone all to shit without you, my muse.

My good list has several names on it now. Yours is still at the top. But you're not the sole thing keeping me afloat anymore. I thought that would make me feel distant from you in some way. I never realized it would give me even more space to appreciate you for who you are instead of what you provide.

Knowing I don’t need you gives me more room to want you, I think.

Anyway, I’m not sure I have another one of these installments in me. Thank you for reading this far, if you have. The version of you who is sitting at your kitchen table reading this (that’s a guess but wouldn’t it be funny if it was right?) has been my companion for all these months, and I cherish her as I cherish every other version of you.

_______________

Sending this today.

I want to be clear, I don’t expect anything. I didn’t ask you to wait around pining for me for all this time, and I wouldn’t have wanted that anyway.

So if you’ve moved on, if you’re happier where you are, if getting this letter ruins your day–it’s alright. I will miss you, maybe forever, but I have friends and a new line of work and a handsome son (to be clear I’m referring to His Majesty, I didn’t give birth since the last time I wrote). All of these things will keep me afloat.

However, if your heart and your life still have room for me, and if you think I would improve them with my presence, I will be overjoyed to share all of these things with you.

I want to meet your sister and hear you try to make conversation with her toddler. I want to show you everything I’ve done to update the estate, and I want you to make it feel like home just by being there. I want to hear all of your thoughts on Jaheira and Nine-Fingers and speculate on their love life.

I want it all, and I want it all with you.

See you soon, my love.

#my writing #bg3 fanfiction #bg3 fanfic #bg3 fic #astarion #bg3 #bg3 astarion #astarion x tav #female tav

64 notes · View notes

neddea · 5 months

Text

Some days ago I made this post with some concept art, so here’s a little bit more info about my No Man’s Land! (Disclaimer about the details below the cut: I’m just an artist and in no way, shape or form a scientist, even less so an astrophysicist, so the chances of some of this info being wrong or dubious are very high lol)

Just as a little bit of context, Kepler-47 is an actual “solar system” with two host stars. We’ve been able to find three planets so far, and the outermost (47c) lies in the habitable zone. All three of them are gas giants (or rather “puffy giants” since they’re surprisingly not very dense and temperate).

I’m not gonna give too many details about the real 47c, I’ll leave that for the long post I’m working on (if I ever get to actually publish it, let’s be honest), but the only thing to keep in mind is that Nomans would be a moon orbiting this planet. Also, I decided that people would shorten “No Man’s Land” to “Nomans” overtime, which is the name I’m gonna be using. The question is: how do we call the people living there? Nomanians?

So here are the main points of my design!

-I’ve given 47c several other moons because I wanted it to match the canon as much as I could, and I think it might even help the stability of the orbits if they’re in a specific resonance? Idk, maybe an actual astrophysicist could give me some advice on this (please do)

-The interesting bit about trying to make it match the canon is that I had to make Nomans tidally locked to 47c just to have an excuse for why we never see the big planet on the sky. The idea would be that most of the Seeds ships crashed into the outer face of the moon, and since the other side, the one that’s always looking at 47c, has more extreme conditions precisely because of the influence of the host planet on it, not many people have ventured too much into these lands. At least until now…

-Speaking of the other moons, which one would be the best candidate for the Fifth Moon incident? (Spoiler alert for Maximum and ‘98: Knives forces Vash to use his Angel Arm and he ends up firing at the fifth moon, which leaves its surface marked with a big crater) We have two options: It could be one of the outer moons (the ones whose orbit is beyond that of Nomans) since those are the ones more likely to be present in the visible sky; or it could be Moon II, whose regolith would be launched into space from the blast and form the rings…

-The surface gravity is almost identical to ours here on Earth, although slightly lighter (9.66 m/s^2 compared to 9.8 m/s^2).

-Nomans is somewhat bigger than Mars but smaller than Earth.

-One day lasts for almost 27 hours, and one year would take almost 270 Nomanian days (I swear this was a coincidence). Also, a fun fact on which I’m basing the calendar system (still working on that): it takes 6.6 days for the two stars to orbit around each other. People probably noticed this and were like “Sure, that’s the seven days of the week if you ask me”, probably so that they didn’t have to figure out everything from scratch (I’d do the same). It would be fun to see different cities and places to develop their own weird and wonderful systems (not me spending several hours yesterday to understand all the Maya calendars and wondering what they would come up with in this alien planet moon…).

-And speaking about time, here’s a visual explanation on how the times of day work on the side facing 47c! I realized the other day that at noon the light would probably be tinted slightly red (or some other color, depending on the elements found on 47c’s atmosphere), just like it happens on our Moon when there’s a lunar eclipse. Please make as if you didn’t know this and let’s move on. Also, as a Spaniard I have the right to declare noon time in this part of the world the Sacred Siesta Period.

(Also, shout out to @norageonlypancakes because my main inspiration for these BGs is Chesley Bonestell, he was The Space Artist™️ of the 20th century and inspired so many people to become space nerds or even scientists!) (Also x2, thank you everyone for the lovely comments and tags on the previous post <3)

66 notes · View notes

jellazticious · 7 months

Text

“You can’t rush art”

I think everybody can recall the quote from Toy Story 2. From the most satisfying part of the movie where we see a montage of Woody getting restored by a toy maker. It’s one of my favourites too, I absolutely loved looking at the different procedures used to fix a single toy. The toymaker’s precision and care were found mesmerizing by everyone. As a multi-hatted artist, one that can draw, sculpt, animate, and write, I can say that it’s spot on that there’s so much to do for a single piece of work. HOOO boy, you should see how me and Beefy are organizing Cursed to Charm, there’s so much.

For the upcoming webcomic, we design characters, give each and every one of them their stand-alone story, design different clothes, create the map, draw renders and posters, polish scripts for the episodes, plan to program the comic’s own website, make the backgrounds eventually, etc. To people who aren’t artists or take art for granted, to them, art is stroking a paper using a pen and BAM instant masterpiece. No no, it’s more than that.

Another thing I’d like to say about the comic is that the progress is very slow yet very fruitful because of the time taken. Me and my co-author came up with the idea at late November, which makes the comic four months old now. However, with all that time passed, we have already finalized the list of nine episodes of season one. We have also written seven out of nine summaries from that season before actually writing the dialogue in detail. We have a rough four seasons worth of story progression in the span of four months. Nyeh, excuse the little ramble about CtC, I’m just giving insight of how much should be done for the production of anything which leads us to the next point.

Art production in general.

Movies, animation, shows, video games, books, comics etc etc

All of these are part of art, some people would deny because it isn’t sophisticated like they’re lead to believe art is supposed to be. Art is literally just creation man, can’t get any simpler than that 😩 if you made something, then you made something woohoo! Congratulations you made art, cooking included. It came free with your fucking humanity.

Anyway, just like the webcomic, every single one of these listed also have a set of different procedures that will piece together the final output.

Let’s take Disney movies as a specific example, I want to talk about something real quick.

So one time, I was watching Tarzan with my parents and we stuck around for the end credits. My mom pointed out the animators are divided into sections and there’s so much names on them. There are different teams of animators for each character and these teams are divided in two for the storyboarders and the clean up artists. When the credits rolled a bit more, it showed that the background artists and colorists also have their own sections too. There’s so much people working on different body parts of a movie. I got the habit of reading end credits of every movie I watch, animated or live action, then I would compare the credits of old and new movies. Boy, let me tell you that the work space on old movies are FILLED compared to newer movies. One thing I noticed about Disney movies although, is that the old movies have more sections compared to new ones. The major difference of old Disney and new Disney are the length of the credits and the time gap of the movies. I’m really not trusting the way new movies have way shorter end credits while the publish time of new movies are getting narrower and narrower. Before the 2000s, movies usually come out twice a year and sometimes there’s a two-year hiatus before the next batch of movies are published. Now there’s at least two or three movies that publish yearly while also releasing a bunch of shows in the middle of it. I really don’t understand business talk with the way it sacrifices quality over quantity. Like I get having money is great and all but what’s the use of hoarding it? Especially when there’s so much news of people about to be in poverty and mass layoffs. Why should companies earn money if they’re not going to redistribute it back to the economy at all? This is a little off topic but I want to point it out that people in the 80s used to buy whole houses by being a janitor but nowadays people could barely afford a one room apartment even with three jobs. The Simpsons is an example of this because it was set in the 90s and the family is constantly reminded of how “poor” they are. They even created an episode that talks about the same job that supported people’s fathers will no longer support you nowadays (Poorhouse Rock ep22 s33). It’s fishy and I’m salty about it especially because I hear so much people complaining about how they’re not being given a chance to work. Anywho! Let’s go back to art.

I’m just spitballing my thoughts here but somehow they’re connecting either way. All I’m trying to say is that for the people who care so much about the quality of art, it’s noticeable that they get downgraded, not just by the look but by the way they’re written.

Example.

Clone High.

Jesus Christ, the new show is a nightmare and an insult to the original Clone High. The difference is clear with this one. The original Clone High was heavy satire of every single high school trope used in shows and movies. Every single character was meant to have one personality and that personality is the butt of the joke. The original did not care about making the characters appealing because the appeal is found in the way they interact, they clash so much and a lot of them are idiots. The writing is funny because the dialogue flows so easily unlike the renewal. The renewed Clone High takes itself too seriously and it tries too hard to be relevant. It’s funny to me that fans can draw the original’s art style more accurately than the animators hired. What’s even more frustrating is that concept art was released from the art head and the concept art looked way better than what they decided on the final designs. Other than the art style that tries to be marketable, the writing is insufferable with the way they try to be “relatable” without understanding why the original jokes were funny to begin with.

Now we’re all familiar with this cheap tactic of using the title of successful franchises to grab clicks and views. It’s every live action Disney film, it happened to Scooby Doo, Marvel shows, FNAF, some Cartoon Network shows, Megamind, and now even Kung Fu Panda. Basically MILKING. It would have been better if the productions TRIED to understand the original’s intentions which they forgot about. They ended up being disappointing at best and soulless at worst. I won’t be explaining much cuz I’ve already reached the minimum word count lmao. I’m just rambling here, I better not see anyone interrogate me in asks or replies. ANYWAY, I’m gonna get to the point real quick.

Back to the quote at the start of the post, people tend to forget that. Art is a skill, not a button people press and it gives you pretty pictures or videos. Art is a job and an effort. While art is subjective and it differs from person to person, one thing for certain is that art that is made ingenuinely will never be better than art that is made because the artist loves art. This is why the Tom & Jerry reboots with the lineless art style even if they had a storyboard artist who understood the cartoon wackiness (which were discarded for a “cleaner” and faster style). This is why it’s so frustrating to see concept art of movies which have more appeal than the final 3d models. This is why FNAF Security Breach was nearly unplayable.

Because they all rushed art.

They rushed in favour of what is marketable, no matter how unappealing it is. Everything could have been better, some final products are good, but all of them could have been better. As good as what were released pre 2010s when production had a passion. You can’t spell heart without art.

I’m just really passionate about art in any form since it’s everything that created me too. I will not be here at this point in time if it weren’t for me learning that there’s so much beauty in the world if you could just squint and appreciate why that’s so. I’m defined by my works and it only hurts and infuriates me that people who have the ability and accessibility to create better art than I do waste it for their personal gain or selfish intentions. Everyone could be a better person because of art just as it did to me. Again, it came to us the moment we’re born, art isn’t just a pretty picture, it’s everything we create out of love, passion, time, and effort.

But really, to the wise words of Chef Saltbaker, “like any good bake, heart and soul is the secret ingredient”

You can’t rush art.

#Jell tells wisdom #<-keeping it PG #I wrote this

99 notes · View notes

eddiesghxst · 2 years

Note

you write eddie so well 💕 would u consider doing pt.2 to the boob post with pierced nips

bestie i’m so glad u asked this i could talk abt eddie’s boob obsession for days

let’s just establish that eddie definitely goes feral for some pierced nips okay (i personally imagine he goes feral for piercings in general but that’s another topic for another day)

the thing is, eddie knew your nipples are pierced, and he knew this because he can see them through all of your shirts, and it takes everything in him to not go brain dead or have tunnel vision on your tits 25/8. he also knows this because he can feel them whenever you press your chest to him; whether that be during an innocent hug or whenever you’re laid against him in bed wearing shorts and that sinful little tank top you always wear to sleep.

so he knows they’re pierced, and he’s quite literally going insane trying to keep his thoughts at bay. he lets a few comments slip here and there, “looking good today girls, happy to see me huh.” he giggles when you swat at his chest before covering your own with your arms, mumbling something along the lines of ‘you’re so annoying.’

and when the day finally comes that eddie sees your boobs in all their glory, he almost cries tears of joy. you’re laying beneath him when he removes your shirt and leans back as he tosses it to the side, shamelessly gaping down at your chest.

“holy shit…the holy fucking grail in the flesh…” shiny silver metal winks up at him from your hardened nipples, and it’s like they’re screaming his name when he cups your tits. “they’re even prettier than i imagined.” “you imagined them?” he scoffs and looks up at you, looking at you as if you’re delusional. “are you kidding me? of course i did, you’ve got some killer high beams babe.” “eddie!”

tiny thot i’d like to add: eddie definitely says bye to your boobs when he has to leave. he gives you a quick kiss then bends down to eye level with your tits, hands on his knees as he speaks “i’ll miss you the most, rockstars. i’ll be thinking about you all day.” you jokingly roll your eyes. “gross, stop being a perv.” “don’t listen to her she’s just jealous.” “they’re my boobs-“ he ignores you and continues talking to your chest, “be good okay? i’ll be back before you know it babies.” he brings up a first and gently bumps his knuckles against each of your tits.

“did you seriously just fist bump my tits?”

#he’s a pest but i love him #also ty nonnie! *kith*😚#eddie munson x reader #eddie x reader #eddie munson #eddie munson smut #eddie munson headcanon #stranger things fanfic #drabble

590 notes · View notes

cr-pisacs-evil-brother · 1 year

Text

Pathologic Bachelor ARG Megapost

This post is a culmination of months of (mostly my own) research into the Bachelor ARG. For far too many days and far too many hours, I’ve been doing my best to solve this, with the help of a few other people. I looked very deep into most Fyodor Vitin posts, played through The Marble Nest several times, looked extensively through the Pathologic wiki, and read/analyzed countless outside sources for this post, and I will link as many of them as I can. (If there are links that you think would help the ARG that you’d like included in here with credit please let me know.) For any people that are credited, an “@” before their name implies that it’s a Tumblr username, while a “u/” proceeding their name implies it’s a Reddit username. I have discovered and analyzed dozens of leads, some of which are more likely to be important or intentional on the part of IPL than others. The primary purpose of this post is to give all of you Pathologic fans new leads and theories to analyze in pursuit of solving the mystery behind this ARG, so many of the things within this post should be looked into further! With this post, I will lay out my findings in a series of sections, all of them having several connections to each other. This post is more than 10,000 words and is not meant to be read all at once, so feel free to read sections, take breaks, re-read sections, or skip around if you'd like. “Observations, Research, Analysis” is a vast majority of this post and consists of observations made about the ARG material, as well as any research I did into those findings that bore fruit, and analysis/connections to other things. The additional notes section consists of some of the conclusions I’ve reached after putting all of my evidence together, as well as some connections I didn't really make in the previous section, but keep in mind they’re still just theories so they could obviously be wrong. I would like to emphasize that I am not a native Russian speaker, but I did have many native Russian speakers helping me along the way, and in particular, I’d like to thank @kurury-chan for her massive help with this. She transcribed the newspaper for me, provided tons of consulting, translated many other Russian sources, and actually went out of the way to go on an irl tour of a certain ARG-related location to see if my theories about it could hold any ground! Because I'm not a native Russian speaker, the sections where I'm required to analyze Russian text (notably the newspaper section) will probably be the least interesting and I'll probably end up making a lot of points that aren't valid. Additionally, I’d like to thank @cryingsyren (who also happens to be my bf) and @ded-not-ded for their help. As for formatting, since Tumblr doesn't have tiered lists for some fucking reason, all main points will be written as bullet points, and any sub-points within that bullet will then have numbered points afterward. For example like this:

The first main point about a topic

Sub-point of the first point

Second sub-point

The second main point about a topic

I'll either do that or I'll do it like this:

First main point

First sub-point First sub-sub-point

Second sub-point

Second main point

Edit 1: I've had to revert much of the Chat text (the font I used for the sub-points above) to regular text because of a formatting glitch that irreversibly changed most of the Chat text to bold, which was very confusing.

Depending on which looks better in the context of the points. Because that formatting is so awkward and clunky I'll try to minimize the use of tiered lists as I convert this from the Google Docs format to the Tumblr Format. Most of the time that I use tiered lists here it's to deal with the character limit Tumblr has on single blocks of text within a post. With that out of the way, let's just get into the post.

Observations, Research, Analysis:

"The Accident" Fyodor Vitin post

The first thing I noticed about the newspaper when I took a good look at it was the use of bolding with certain letters. If you look at the Newspaper you’ll also see ink splattered on the page in several areas, which could be a clue toward noticing the bolded letters, or it could be something else I’ve yet to discover. I knew I wouldn’t be able to transcribe the entire newspaper by myself, not being a Russian speaker (although I’ve just started learning!) so I enlisted the help of @kurury-chan, a native Russian speaker, and she transcribed the entire newspaper for me in Cyrillic. After getting this transcription I went through and spent a couple of days looking for which letters were bolded, writing them down, and coming up with possible translations/meanings. I’ve come up with lots of possible meanings for these, but for many of them I couldn’t figure anything out, and I’d love help if anyone has any idea what they could mean! To me many of them seem like word fragments that are simply missing one or two letters, and so in the document where I list all of the bolded letters I put some words/phrases that are very close to the seemingly fragmented words. Once again keep in mind that, while I’m trying to learn Russian, my understanding of the language is still rather weak, so I may have mistranslated some of these. Another small detail to mention is that there’s a prominent crease on the left side of the paper that runs through a decent portion of the bolded words. First, I’ll start with the bolded letters on the left side of the page. I may have missed a couple, and I may have written some of them down as bolded when maybe they aren’t supposed to be seen as such.

Here is a link to a list of all the letters I think are bolded on the left side, which lines they’re on, and possible meanings, many of which I’ll be discussing here. I will not go individually through what I believe all the bolded letters mean, but I will go through and explain the ones I think are most meaningful and important, as well as some connections I’ve made with them. And here is a link to the original Russian transcription and my best attempt at an English translation.

It’s possible that the crease that runs through the left side of the paper and notably runs through many bolded words somehow denotes that those particular bolded words are special, or perhaps that they should be seen as separate from the other bolded words.

Line 15 has a rather interesting bolded phrase, because it actually appears to make a somewhat coherent 3-word phrase, but one of the words seems to be a surname, “Pepe.” Additionally, the crease on the left side of the page starts right above the word “ПЕПЕЛИЩЕ” in the title, and splits it so that “ПЕПЕ” is separate from the rest of the word. (ПЕПЕ is Pepe in Cyrillic.) If you want to know what the non-Pepe words say, skip to the next bullet point, because the rest of this one is my analysis of the ПЕПЕ part. So, of course, I looked into the name a bit, looking through all notable historical figures with the last name, and found one that I think is of special interest: Guglielmo Pepe. Born in the small ancient town of Squillace, Pepe entered the army at a very young age, and was an Italian commander during the early 1800s, but his military career was fraught with trouble, as he also had rather revolutionary politics, which angered both the government he was serving and many of his peers, and he was exiled on several occasions. Upon Pepe’s return to Italy at the age of 30, he was given the rank of general. After this, the most notable events in his life would largely consist of his attempts at going rogue in revolutionary attempts to change the existing power structure, for which he was usually punished. (It’s also perhaps worth mentioning that his brother was part of the attempted French invasion of Russia.) All of this is to say, Pepe obviously shares some striking similarities to General Block, perhaps the most striking of which is his status as a 30-year-old general, which is an aspect of Block’s character that is highlighted several times. So, of course, I looked into Block’s character a bit more, and discovered that in the Russian version of the game he is called “General Ash” instead of “General Ashes.” “Strange,” I thought, until I saw that in Russian, Ash is “Пепел” which is pronounced as “Pepel” for anyone that isn’t familiar with Cyrillic. If we look into it, we do see that the letter after the Пепе is л, but it is notably not bold. This is, if you're counting, two separate times in this paper where the plural for ash, пепелище, is split up so that only the пепе is emphasized. As for other connections between Pepe and Block, we could look at them both harboring some revolutionary tendencies and being punished for it, both by The Powers That Be and his peers. General Block also tells Artemy that he was born in a town not too dissimilar to the Town on Gorkhon; this is interesting because there are some connections to be drawn between Squillace and Gorkhon, primarily that both of them preserve the beauties of ancient times that have all but been lost to most people. Related to this, it should also be noted that I believe the plot of The Marble Nest was heavily based on the plot of The Seventh Seal, which is the same movie that inspired the character Alexander Block.

The rest of line 15 is also interesting, but I’m not sure exactly what it’s supposed to mean yet. It translates to “Heaven on Pepe” basically. I consider the “Pepe” part to probably be the most important, since there’s a large crease that runs through it, which I think probably denotes a level of importance? The line’s meaning might be related to the fact that “heaven” is sort of a synonym for “utopia,” or the character that Block is based on is the protagonist of a movie that revolves around the ideas of heaven and Christianity, which is something we saw very briefly with Block in Pathologic 1. If you have any ideas please post about them and tag me, or simply comment/reblog this with your ideas!

Line 1 and line 18’s bolded letters both start out with “ов”, and for my English speakers out there it is pronounced sorta like “ove.” ов is interesting because if you translate it as о-в it actually is the shortened form of “island” in Russian. Line 1’s bolded letters read as “ов попо”, and for people not familiar with Cyrillic попо is basically “popo.” There are, apparently, many Popo islands in the world, and I couldn’t find one that I think directly connects to the ARG or Pathologic, but maybe someone else out there will, or perhaps that line has a different meaning to it. As for line 18, it says “ов испустивших” and according to Russian wiktionary, the second word is one letter off from the word “Emitted.” I looked a bit deeper, though, because that didn’t satisfy me (why would they use the incorrect spelling of a word after all?) and I didn’t see much, but I did find two things that used the exact word “испустивших” that interested me: A Saudi Arabian newspaper that has been translated into Russian, as well as a Russian poem from 1777 celebrating the birth of Grand Duke Alexander Pavlovich, also known as Alexander I of Russia. The latter is more interesting to me for numerous reasons, the first one being that it might serve my theory about the connection between line 1 and 15, as line 1’s bolded letters end with попо and line 15’s end with пепе. The connection is weak, too weak for me to make it a separate bullet point, but strong enough for me to want to explain. So, as we know, there is a connection between line 1 and 18, it’s what this whole bullet point is about, and this theory (using the term “theory” loosely) relies on us seeing them as very closely connected. Basically, Alexander I was the ruler of Russia during the French invasion, which is interesting because, if you’ll remember, Guglielmo Pepe’s brother, Florestano Pepe, took part in the French invasion. This, to me, is an interesting connection, but I do admit it’s definitely a reach.

That’s where I’ll stop talking about the bolded letters on the left side of the paper. If you’d like to see what other bolded letters there are, what they could possibly mean, and try to decipher the meaning for yourself please go to my linked Google Doc(s).

As for the right side of the Newspaper, there are some bolded letters, but I can't seem to make much sense out of them, and by this point in my research I was starting to pursue more promising ARG leads, so this section is rather incomplete. Just as a reminder, the right side of the newspaper is an advertisement for a lantern/kerosene shop. I personally think the right side is more interesting than the left for a couple reasons, but most of them are either self-evident or will be discussed later.

The lantern on the right side of the paper is the same model that’s used throughout the Haruspex’s route, but most notably it’s used a ton during The Marble Nest as set dressing. And when I say "a ton" I really mean it.

I also remembered vaguely an unused lantern item found in the game files of Pathologic 2, so I went to the Pathologic wiki to look for it, and surely enough the exact lantern used by Artemy, the one that appears so many times in The Marble Nest, is also an unused item present in the game files. When using console commands to give yourself the item, you’re able to click on it and select the “touch” option, upon which you’ll see the number 6192355001378070 where the name of the item should be, and 6192355001378072 where the touch text should be. I’m not sure exactly what these numbers are supposed to mean; my first thought was that they seemed long enough to be coordinates, so I put them into google maps and it does lead to a location in Russia! Nonetheless, the numbers are a little bit too long to make sense as cohesive coordinates. Still, it might be something worth investigating. You'll see later in this post just how significant numbers and number patterns are in this ARG.

The word used to describe one of the victims of this inferno, “academician,” has sorta interesting connotations in countries that were once part of or heavily influenced by the USSR. This person is referred to as “Mr. F.L.” in the article. This guy is also said to be a historian and a “бытооописателя,” which as you can probably tell by the fact that I’m not using the translated English version is a weird word. Perhaps the strangest thing about this word is the fact that it clearly has 3 o’s where there should only be one. The actual meaning of this word is odd, as it’s very rarely used, and according to all sources I could find (including native Russian speaker and linguistics enthusiast @kurury-chan) it is either an archaic term for a historian or a term meaning “writer of everyday life.” I’m honestly not sure what that means, and at first, I thought it meant something like a blogger. The most complete and coherent definition I could find describes it as “author of works describing everyday life.” A different translation I found seems to say it means something like "chronicler," which I suppose makes some sense.

In the bottom right part of the paper, you will notice what at first appears to be a signature. Admittedly I had almost no hand in this part of the investigation, except for the isolation and upscaling of the text. Most of the work here was done by @cryingsyren with some help from @kurury-chan and @ded-not-ded. Here is the image that I got for them of the text, and here is our current interpretation of it: It at first seemed to be Russian cursive (and it probably is supposed to be), which complicates things quite a bit, and @cryingsyren spent a couple days trying to figure out exactly what it says, (with some help from @kurury-chan) and as far as we can tell it’s four letters, which are separated into either two or three sections. I think we have a decent grasp on what they’re supposed to be in Cyrillic, but the interesting thing is that they do look a lot like both Russian and Latin cursive. I’ll describe them now using what Latin character they look like in quotes followed by what Cyrillic character they look like in parenthesis. The first section is an “M” (М) and a “K” (К), which are very clearly connected. The next section is either an “H” (Н) or an “H” and an “n/u”. We’re not exactly sure whether the H and the n/u are supposed to be connected, but the n/u being lowercase seems to imply it is. The interesting thing about the n/u is that, while it looks like it could be a Latin n or u, it also looks like it could be a Cyrillic и, which is the italicized version of the Russian letter и. It seems all too coincidental that all of the letters they used have almost exact visual counterparts in the Latin alphabet. At the moment our working theory is that it could be initials, and this is where I come in, because for days I knew I recognized the "MK" part of the signature, but I couldn't remember exactly where from until today. For anyone that has played too much Pathologic Classic HD like me, you may recognize the "MK" signature from the center of the loading screen in that game, scrawled in a way that most people wouldn't pay attention to it, and certainly that most people wouldn't have it committed to memory like me. During the roughly 170 hours I've spent playing the game I've probably looked at that MK more than I've looked at my youngest brother. This presents the question, who is MK? Well at first I thought it could be Mr. Katzman, as referenced in the "Mask" post, but that didn't seem right to me. This is when the fact that so much of my brain is Pathologic lore facts came to help again, when I remembered state inquisitor Mark Karminsky, who you may remember as being one of the men people thought would come to the town before Aglaya Lilich showed up. As for the rest of the writing, I'll leave that up to you guys to figure out.

Something to note for later on: We know there to be 19 inquisitors when Pathologic takes place, and in this ARG the number 19 becomes very important with later clues.

"Mask" Fyodor Vitin post

Arguably this is the Fyodor Vitin post I’ve done the most research into, and it eventually led me to develop a very deep and passionate interest in the Buryat peoples that has so far caused me to read several books and around a dozen academic papers about them. I haven’t only done research into the Buryats for this post, though, because although the Buryats are the primary inspiration for The Kin, they’re not the only inspiration. Despite all of this research work, this section will be rather short because I’ve already been through and exhausted most possible leads I’ve found, and this is what remains. Since the post is in English, and I think everyone that follows me presumably knows English (если вы не говорите по-английски, я хвалю вас за то, что вы зашли так далеко) I won’t summarize it, so I’d recommend reading the Vitin post and then coming back.

We see in the post the mask of “Muu Shubuun,” which we’ll immediately notice is almost the exact same mask as is used by the Executors in the game. Actually, in the Marble Nest, you can acquire the Executor mask, and its touch text reads, “The mask of Muu Shubuun, ‘the wicked bird.’ Part of the Reaper costume from the local theatre.” I have found several different sources that lead me to believe this is based on actual Buryat folklore, however, I’ve heard several conflicting accounts on whether Muu Shubuun is an evil spirit that tricks people by taking the shape of a beautiful woman, or if it’s closer to what we see in the game/ARG, but both seem to be documented as existing within sources on the Buryats. I think this confusion between the two likely means the stories and connotations associated with Muu Shubuun vary based on different groups of Buryats. An alternate spelling I’ve seen used is “Mu Shuvuu.” Possibly related to this is the character “Shar Shuvuu” (which means “eagle owl”), who appears in The Marble Nest during the “marriage” scene in the steppe camp behind the cathedral. In fact, a surprisingly high number of NPC characters in this DLC are named after birds.

The phrase used in the post to describe a seasonal festival, “dosoo ba beshē tēēhēē” is where I’ve devoted much of my research, with most of that research being from about a month ago. Only the third word in this phrase, beshē, appears as a kin word in the games as far as I know. However, we can use a method here that people in the Pathologic community have been using for years to figure out the meaning of kin words: Most of the steppe language in the game is based on one of many languages: Buryat mostly, Mongolian sometimes, Tibetan sometimes, and some parts of it also take inspiration from other languages of similar origin to these. A majority of the language seems to be based on Buryat, and many Kin words come straight from the language. A few words in the game seem to be made up entirely by Ice-Pick Lodge, and many are based on words from the aforementioned real languages but tweaked slightly, as if to indicate that the steppe language spawned from those languages but has some distinctive elements. To determine what this phrase means, I tried my best to dig into the languages and find parallels:

“Dosö” in Buryat means “inside”

In Mongolian “dooshoo” means “down”

In Mongolian “ba” means either “and,” “we,” or “sorcery”

In Tibetan, “ba” means “cow”

“Beshē” in the game’s steppe language means either “not” or “other”

The prefix “të-” in Buryat means “to transport”

In Mongolian the prefix “te'e-” also means “to transport”

As for the “-hee” part of the word, I have not found a single source that could tell me what it means. I’ve found several Buryat words that end in “he,” but I can’t seem to find a connection between them strong enough to suggest what it denotes.

Upon first seeing this festival mentioned, I believe I commented somewhere on the Pathologic subreddit that it might be the same one we see in the Kin’s camp behind the cathedral in The Marble Nest. While I’m not 100% convinced still, I also don’t doubt it that much. One interesting thing to note for any people that might wanna investigate this in the future is that I’m pretty sure what we see in the Marble Nest is the same thing that Nara and the Haruspex perform in the abattoir, as they both seem to happen on day 10, and if you look close you can see that Nara is the one that is cut open in The Marble Nest. Seemingly with the Haruspex gone, there is no one that knows the lines and so the ritual doesn’t go as smoothly as it could.

“Messages” Fyodor Vitin Post:

This particular Fyodor Vitin post is the third one, which if you know Ice-Pick Lodge certainly has some importance to it. The post is a series of letters and images, one depicting an Executor and one depicting Voronika Kroy, who's a minor character in Pathologic 2 and the main character in the Pathologic Feverish Feelings ARG. The letters detail how the recipient’s reports about Voronika Kroy have been seen and have started an investigation by the Federal Bureau. What’s most interesting to me are two things: the jumble of (Latin alphabet) letters in the bottom left, and the number used within the letters (the post-card letters in this case).

The number in question is “196-17-1” which is apparently the case number used for the Voronika Kroy investigation. This number will be more important later in relation to other clues. One interesting thing I've found is that the RGB value for 196-17-1 is a deep red.

The jumble of letters at the bottom of the picture is “eiamrucdvrturxoevecid”. It is 21 letters and can be divided up into chunks of 3 or 7 letters. 3 and 7 of course being Ice-Pick Lodge’s favorite numbers. Up until this point, it has been assumed that this is an anagram, and I have no reason to doubt that. It has already been pointed out in the Pathologic subreddit that the words “Executor” and “Corvid” can be found in the anagram, as well as the Latin words “Cura”, “Curare”, “Curari”, “Medici”, and “Vivam.” Credit for finding the Latin words goes to u/apostforisaac who is apparently studying Latin at university! Additionally, u/Own_Sympathy_9814 deduced a possible meaning by unscrambling the anagram and finding “MAVRUD + VERIDIC + EXECUTOR”, which they believe hints toward the answers lying in the Marble Nest (I wrote the entire Marble Nest section of this post before finding their post about that, so I do feel pretty validated by it). Many people have been approaching this anagram, like many other parts of the ARG, as if they have one right answer, and frankly, I just don’t think that’s in the style of Ice-Pick Lodge. I’ll quickly list out some words/phrases I found in the anagram and what they mean/how they could relate. I will also include words that have already been discussed, and they’ll be marked with a “*” so you don’t think I found them. Most of the ones marked with a * I won’t be discussing, as most have already been discussed extensively. I also won’t be discussing the ones that I think probably don’t have much meaning, but I’m including them because it still could be something later on down the road.

I am You don’t actually even have to unscramble the letters to get this one, as the second, third, and fourth letters of the jumble simply spell it out. What's interesting is that the 7 "I am" discourses are a crucial part of the Christian Gospel according to John. The Gospel according to John was an important clue during the Feverish Feelings ARG, which revolved around Voronika Kroy and her Inquisitor father, Peter Kroy. If we're speaking of the four canonical gospels, we must also address the Gospel according to Mark, which coincidentally is the name of an inquisitor that has popped up elsewhere in this ARG. Following this theme, there is actually a non-canonical Gospel According to Peter, which seems too cool to be a coincidence.

Eve This is one you don’t have to unscramble also. Interestingly, Daniil is often compared to a snake, even being called a snake-man in Marble Nest by Shaazgai, a man belonging to the Kin. In the biblical story of Adam and Eve, it is a snake, often thought to be the devil, that convinces Eve to eat the forbidden fruit from the tree of the knowledge of good and evil.

Retroviridae The scientific name for a retrovirus. If I was more knowledgeable about biology I would say more, but this seems important.

Rex Iudaeorum Translating in Latin to “King of the Jews,” this was the inscription that allegedly was put on the cross that held Jesus of Nazareth, as detailed by 19:19 in the book of John. Very interesting as Daniil does compare himself to Jesus at least once in the Haruspex route, on the night before Aglaya comes. The Gospels, as discussed before, all detail the life and crucifixion of Jesus Christ. The "19" connection is also interesting because of the inquisitor detail, and I'll talk about more of the connections to 19 later in the post.

Cardio Commonly used medically as a prefix for heart conditions, “cardio” is a Latinized version of the Greek “kardia,” which simply means heart. Heart imagery is very common and significant to the Bachelor.

Eva This is similar to the Russian version of Eve.

Corvid*

Cura*

Curare*

Curari*

Medici*

Vivam*

Mavrud*

Veridic*

Executor*

Order Could relate to the committee in The Marble Nest and the fact that after they’re replaced by tragedians the absurd order begins getting sent out to the orderlies.

Carex ericetorum This is a plant that would almost definitely be present in/around the Town on GorkhonThis is a plant that would almost definitely be present in/around the Town on Gorkhon

Creature

Marble Nest:

The Marble Nest, as we know, is very concise, only really lasting half a day in-game. Because of this, the dialogue does tend to feel a lot more intentional, as though the named characters are not necessarily speaking only to The Bachelor but also trying to convey a message to the player. This, of course, is because The Marble Nest takes place inside Dankovsky’s head. If this ARG will be revolving partly around The Bachelor, as it seems to be, then there’s no better place to start than digging into his head, which is why I’ve played so much of the Marble Nest for this.

There are several specific stories/myths/historical figures that are mentioned through Marble Nest. First, we’ll go through some of these.

There is a very interesting conversation that The Bachelor has with Georgiy Kain, where he is trying to justify his decision to lift the quarantine restrictions to The Bachelor, who is rather upset obviously. I’ll cut down and paraphrase most of the dialogue, since if I didn’t this would be much longer, but basically the conversation goes as:

[Georgiy introduces himself, and says he decided to let The Bachelor sleep so that he would have the strength to face the upcoming trial] [Daniil asks if Georgiy lifted the restrictions and let the plague into The Stone Yard] Georgiy: “Quite so. It's plain to me that you are on the verge of shredding me into pieces. But still your wrath. As a great Athenian once said, ‘Strike, if you will, but hear.’” Daniil: “Themistocles, I know. He met a rather gruesome end, by the way. Died of plague.” Georgiy: “No, it was Pericles. You are a learned man, but history is not your strong suit. Which is why you should listen to me. Perhaps it will help you see something that you missed in your previous studies.” [Georgiy then goes on to explain a bunch of other stuff about the plague, which as far as I’m concerned isn’t all that useful to the task at hand.]

I find this so interesting because The Bachelor, in his own head, poses a question to himself, gets it wrong, and then has another separate figment of his imagination correct him, and then proceeds to tell The Bachelor that he’s not great at history and should listen to Georgiy more. What’s even more interesting is that, as far as I can tell, Georgiy and Daniil are both wrong, it was actually Themistocles that said “Strike, if you will, but hear,” and it was Pericles that died of plague. I found this interesting enough to look into who Themistocles and Pericles were, and here’s what I found:

Themistocles was a politician and general that broke the mold by being non-aristocratic and populist, which gave him the support of the people but put him at odds with the nobles and some of his peers. He turned 30 in 494 BC, which qualified him to run for the position of Archon, which he did, and won the position the following year. He had a prominent rivalry with another politician named Aristides. Whereas Themistocles was populist, Aristides primarily fought for the upper class. Themistocles eventually 20the rivalry after Aristides was exiled. Years later, though, Themistocles himself was exiled, and while he was gone his enemies took the opportunity to charge him with treasonous activities, knowing he could not defend himself. Because of this, Themistocles could never return to Athens, and so found employment and a home among the people that he once fought against while serving Athens. Given military command once more, he was actually Themistocles who said “Strike, if you will, but hear,” and it was Pericles who died of plague. I found this interesting enough to look into who Themistocles and Pericles were, and here’s what I found: Pericles, to me, has less interesting things about him in relation to Pathologic, with the main two being that he rehabilitated the image of Themistocles and he died of a plague. What could be interesting is the fact that General Block and Captain Longin are in both Pathologic 1 and 2 often compared to Achilles and Patroclus, two Greek soldiers from ancient folktales, primarily known for being two of the most important characters in The Iliad. To me, drawing a connection between Achilles and Block, as well as Pericles and Longin, isn’t that absurd. What could also be interesting to note is that Pericles was the main character in a play written in part by William Shakespeare. While Themistocles' life almost exactly fits the character arc of General Block, down to the weird connection between him dying of the plague in The Marble Nest and Themistocles drinking bull blood (as well as Dankovsky thinking Themistocles died of the plague), I think how Pericles fits in could lie in the Shakespearean play, as we all know how important theater is to Pathologic. You see by now at least partially what I think this alludes to, but I’ll talk more about it in the additional notes section.

Next, I’ll discuss a mythical story brought up in the Marble Nest: The Tower of Babel. This is brought up by the clerks sitting directly outside Georgiy Kain’s house. I think most people would talk to these guys right before talking to Georgiy, but I have more to say about it so it’s written second. When talking to one of the clerks during their argument about the plague, one man mentions that he thinks The Polyhedron is at fault, and no matter how Dankovsky replies (he has 3 options), the man then says “History already knows an example of people trying to erect an impossible tower. It ended in tragedy.” I could go on explaining why I believe this guy is talking specifically about the Tower of Babel, this post is already long enough so just trust my reasoning here, please. Notable to the point I’m trying to make, one of the other clerks brings up that he thinks the plague was started because of the irreconcilable differences between The Kin and the town, and the fact that the Kin have been forcibly mashed into the town. When Dankovsky asks the man if something is holding the Kin in the town, preventing them from leaving and returning to the earth, the man says “Someone is… our rulers. They have embedded the steppe people into this town, carved them into its warm flesh. This isn't a town, it's an honest-to-God minotaur. A chimera. And chimeras have remarkably short lifespans and bad health. Can you breed a snake and a crane? You can, yes. But the progeny won't live long.” This dialogue is interesting for a few reasons, one related to the tower of Babel and two related to other possible ARG clues. The first interesting thing is that what he’s describing, drawing a connection between the Tower of Babel and the Polyhedron, actually makes a lot of sense. To him, the Polyhedron is not only an affront to God, but its accentuation of human hubris coincides with a beating down of nature and the earth, represented in part by most of the Polyhedron’s mass being concentrated far above the earth while also piercing the earth’s heart. The story of the mythical tower, to oversimplify it, is essentially a tale of people from many different walks of life all coming together to construct a giant, seemingly impossibly tall tower in order to avoid the possibility of a second biblical flood destroying most of humanity. God sees this attempt as an affront to both him and the natural order, and so before the men are able to finish the tower he divides them all by making them speak different languages, making it impossible for them to understand each other. So, in this second clerk’s interpretation, the plague is a result of the town both rebelling against/abusing nature and also taking the Kin into itself. Unlike the first man, who believes the tower itself is at fault, this second one believes it’s all because of the town making itself into a “chimera,” which he believes cannot live long. What’s clear to me, though, is that although these men believe they disagree, their explanations complement each other very well, which brings us to our third man, who has a rather simple but somewhat confusing explanation. This clerk believes that this plague occurred in the town because men should not be “remodeled or altered,” and when asked what that has to do with the epidemic he replies “I don’t know… It wasn't we who designed the world like this. I believe in men, Doctor; in superhumans, I do not. This earthly life wouldn't fit them. Immortals have no place in the world of the living. This is just how it works. Take from it what you will.” This man seems to be implying that Simon Kain, the immortal man, is the reason why this plague appeared in the town. This is when it all started to come together for me: these men's stories do really all complement each other, because here they are posing the Polyhedron, chimera, and Simon as all the same. This will further be explained in the additional notes section. Three parts of one whole if you will.

Now, the mention of the Tower of Babel is interesting for two other reasons, one of which will be discussed in the additional notes section and one of which I’ll discuss here. In the Fyodor Vitin “One can work here” post there are numerous items displayed in the room pictured, but perhaps most interesting to me is the golden bull statue that sits at the front and center of the photo. My first thought when seeing that image was “Oh! This reminds me of the biblical story of the golden calf statue, which I bet is what they’re referencing.” For those who aren’t familiar, I’ll be oversimplifying another biblical story now. While trekking from Egypt to the holy land, Moses leaves his people behind to climb to the top of a mountain and commune with God. Moses is gone for forty days, upon which the people are fearful that he will not return, and so they molded a calf statue out of gold to worship. God, upon seeing this, sends Moses down to the base of the mountain to punish his people for their sins. Moses burns the golden calf in a fire, ground it to powder and water, and forced his people to drink it. He then killed all of them basically. My thought process was related to the fact that The Bachelor is punished severely by The Powers That Be for his own affront to God, the pursuit of immortality. Now, after that previous discussion about the Tower of Babel, I am noticing some very interesting things in this picture, and primarily that there are two other related statues. Now that we have the previous context about The Tower of Babel and the clerks in our mind, we can see new meaning in these statues: a black statue of a centaur, and a white bust of a man. The interesting thing about the centaur should be obvious, it is another chimera. The bust of the man, which seems to be made of marble, reminded me somewhat of ancient Greek statues that are chiseled to glorify certain leaders and make them seem somewhat perfect while also immortalizing them in stone. You can probably see the connection I’m making here, and so I will leave the rest of the explanation for the additional notes section.

Another thing that's interesting to note is the aforementioned three men, unlike most characters in Pathologic 2 and the Marble Nest, do not stop moving when you pause the game; their animations continue to play even after you bring up the pause menu. If you’re unaware, there is actually a small detail in Pathologic 2 where pretty much everything nature-based or that is a natural force of the world, as well as everything that’s supposed to be seen in a meta-narrative sense, does not stop moving when you pause the game. This includes rain, leaves falling, the particle effects that come off the clocks, fire, executors (not orderlies), plague particles, etc. Once I noticed this (while trying to get a screenshot of some things to analyze) I tested out some other NPCs in The Marble Nest, and all of the other people I tested seemed to freeze when the game was paused. However, this is not to say that no other characters in the Marble Nest move when the game is paused. I only tested about 4 guys besides the primary trio we're discussing, mostly just to make sure it's not a thing that all Marble Nest characters do. If one of you people reading this would like to go through and see which characters in The Marble Nest also possess this trait, it could prove fascinating.

Finally, I’ll talk about two somewhat modern (at least modern compared to the previous two) stories that are brought up in The Marble Nest, although not directly: The Time Machine by H.G. Wells and The Masque of the Red Death by Edgar Allan Poe. Admittedly, I have not read either of these stories (it’s possible I read the EAP story 5-6 years ago and just don’t remember it), but I do actually know quite a bit about the stories and their themes from a couple of literary studies on specific genres I’ve done over the years. Additionally, for this section, I have done some more research on the plots and themes of these stories which yielded fascinating results.

The Time Machine is brought up when The Bachelor visits The Cathedral and speaks to a Tragedian standing within. The Tragedian talks about how the building is not a temple, but a machine. Daniil asks what kind of machine, and The Tragedian responds “This is a time machine. Time works differently on the inside and on the outside. It's frozen now. I think something's broken.” To which Dankovsky can say “A time machine? Are you saying it can transport me to the past or to the future? Like in that Englishman's book, what's his name…” For this, I did some research into what book he could be referring to, and almost instantly Time Machine stood out to me for a number of reasons. I think there might be something interesting to be said about how this relates to the ARG, but I’m not going to be the one to say it, because I’m honestly not sure how or if it does. I will describe how it connects to Pathologic though, in case that sparks anyones mind. The work is apparently seen as popularizing the idea of time travel and the time machine, which relates to what IPL has said about The Bachelor’s route I suppose. As for the plot, it’s about a Victorian man using a time machine to travel to the year of A.D. 802,701. He meets two races of people, one descended from the oppressed working class and one descended from the pampered owning class. Over hundreds of thousands of years of this lifestyle, the two races have started to diverge, with the owning class becoming child-like and basically useless, while the working class has been forced into a life of toil and hardship which has shaped them into a race of underground-dwelling animalistic race of people. Essentially the novel is a depiction of class struggle and the class contradictions inherent within capitalism, but with a bit of a metaphorical twist. The toiling of the working class underground is what allows the upper class to live in abundance without the need for work. There is very interesting commentary here to be made on the worms/odonghs in the game, as well as the eternal youth that is present in some elements of the stone yard, but this isn’t a Pathologic essay, it’s a Pathologic ARG essay.

The Masque of the Red Death is alluded to by The Bachelor in a dialogue with a wandering citizen, who opens up the conversation by saying “A masquerade ball will be held in the main square this evening. People want to celebrate our victory over the sand pest. You don't mind…?” To which The Bachelor has 3 possible replies, one of them being “I seem to vaguely remember a rather famous story about a masquerade held to celebrate a victory over a plague. Remember how it ended?” To summarize, The Masque of the Red Death is about a group of noblemen taking refuge in an abbey to hide from a plague (the plague is known as the Red Death). The plague’s symptoms are gruesome, and all people who contract it apparently die within a half hour. The main character, Prince Prospero, and his fellow noblemen believe themselves to be entirely safe, though, as they have welded shut all the doors and isolated themselves in the abbey. To entertain the guests, the prince holds a masquerade ball that takes place in seven of the rooms of his abbey, each colored differently. The first six rooms are blue, purple, green, orange, white, and violet, with the last being black and illuminated by a red window. No guests venture into the seventh room, as they are all scared to enter it. Every hour a clock in that room chimes, upon which the guests freeze and go silent momentarily, before resuming normal activity once the chiming stops, only to do the same thing after an hour. Once midnight comes, a person appears in robes covered in blood and resembling a funeral shroud, wearing a mask that depicts a person clearly infected with the Red Death. This figure walks through six of the chambers before the prince starts chasing them with a dagger. Confronting them in the seventh room, the prince immediately falls dead upon seeing this person’s face. The other party-goers all charge the figure, stripping them of their clothes and mask, only to find that there is no one underneath. The conclusion of the story states that the figure was not a person, but rather an embodiment of the Red Death. The Red Death also appears as a reference in the novel The Phantom of the Opera, as well as several film and musical adaptations. The titular phantom dresses up as The Red Death, and in many adaptations wears a skull mask as part of the costume.

I believe Hamlet is also brought up at some point in The Marble Nest, but I can’t seem to find the dialogue so I’m unsure if that’s true.

Next, I'll talk about another random Marble Nest clue

The Bachelor’s hover text for the beetle item says “I used to collect these as a kid. Left the collection with my father.” @pseudoquiddity found that a paper on the top of “The Beginning” Fyodor Vitin post spells out Mechnikov, which is almost definitely referencing Ilya Ilyich Mechnikov, who was a Russian zoologist and immunologist who achieved incredible scientific discovery during his life, and notably for us he was largely focused on the issue of aging and extending human life. Mechnikov was actually brought up in an IPL teletype post as one of the Bachelor’s main influences scientifically, alongside Albert Einstein and Max Planck. The relevant thing about Mechnikov here is that, as a zoologist, he did many notable studies on insects throughout his career to see how their bodies reacted to things compared to how ours did. One thing that’s interesting to me is that the type of beetles we see in the game, I believe, are based on Trypocopris Vernalis, commonly known as the spring dumbledor or spring dor beetle, which is not known to inhibit the region that the Town on Gorkhon would reside in. Another thing I find interesting is the touch text from the Alpha version of the game, which reads “Some fifteen years ago, the Soul-and-a-Halves, the gang of children who are defined by sharing special bonds with their pets, actually considered to allow flower chafers as their "Halves" due to the beetles ‘looking as though they knew something’. The idea was quickly abandoned as ridiculous.” Maybe I’m just 8.6 thousand words into this post and have finally gone insane, but I think the beetles “looking as though they know something”, combined with their close connection to Dankovsky, it seems too intentional.

In the “Feverish Feelings” ARG, the Beatles (the band) were brought up indirectly and used by the players as a clue to get more information. This also related to the clue relating to the Gospel according to John. Additionally, speaking of Mechnikov, u/Fantastic_Advice5593 theorized that the numbers on Daniil’s train ticket from one of the original ARG notes could be hinting toward the date May 15th, or 5/15 (15/5 if you use the non-American dating system I believe), which is Mechnikov Day, and is commonly recognized as Mechnikov’s date of birth. Proving this connection further, the “Messages” Fyodor Vitin post was posted on May 15th. Another interesting thing is that if we convert the time that the “Messages” image was posted to the time scheme used in Pathologic (that is, a 24-hour clock), it comes out to 19:35 (Using GMT+3 time zone, as that’s where Moscow is located.) This is interesting because “Messages” was also posted 19 days after the previous post, and I know for a fact that 19 is an important number in this ARG: The newspaper from the “The Accident” post was labeled as issue number 19, the bible passage that we saw referenced in the anagram from the “Messages” post is John 19:19, the jumble of letters that we found in the touch text for the unused lantern item includes “19,” and so does the 196-17-1 number from Messages. In a way, the number 19 is sort of a self-checking method to substantiate some of the clues we’ve found thus far.

Griffins’ Tower

Many of the details in this section wouldn’t be possible without @kurury-chan who, upon my inquiry about the tower and its accompanying pharmacy, actually visited it, got tons of cool pictures, and translated a ton of the history for me! I literally cannot thank her enough for her help with many elements of this post, but especially in this section. In the original Pathologic ARG, “Feverish Feelings,” the Griffins’ Tower is brought up a couple of times throughout, and was part of an intensive fandom discussion because many elements of it paralleled many themes and plot points of Pathologic. The following connections/possibly related facts are a combination of fandom discussion from the time and my own research:

The tower is connected to a pharmacy that has existed since the 18th century. Both were once owned by the Poehl family, who were a rather eccentric yet somewhat mysterious rich family. Rumors from the time (The 18th/19th century) speculate that members of the family engaged in “…alchemy and witchcraft, and in the basements of the house he turned mercury into gold and bred griffins. Since ancient times, it was believed that griffins, mythical creatures with the body of a lion and the head of an eagle, were the guardians to secret sacred knowledge and treasures.”

In 1994, the artist Alexey Kostroma, together with the society "Here and There" (Tut i tam), organized a demonstration/art-piece to advocate for the preservation of the tower and the revitalization of the city, which they believed was falling apart before their very eyes. During this demonstration, they hoisted a large egg (approximately 1.5 meters) onto the top of the tower, and they painted (I’m not sure what was used to put the numbers on the tower, but I assume it was paint) numbers on almost every brick of the tower. While the purposes for the those two additions rarely get brought up in conversations surrounding it, the egg and the numbers are now some of the most well-known parts of the tower, despite the fact that neither of the two are there anymore. The Polyhedron, as we know, is a tower that at the top houses children and is made from its own complex blueprints. Additionally, in the Marble Nest, but also throughout Pathologic as a whole, there is a common piece of imagery that connects eggs and the Utopians. In the opening of The Marble Nest, the item that’s used on the loading screen is an egg. If you look at the egg sprite in P2, you’ll see a crack in it that heavily resembles the Polyhedron. Daniil Dankovsky commonly uses the Latin phrase “ab ovo,” which means “from the beginning” but when literally translated means “from the egg,” and his touch text for the egg in Marble Nest reads “To understand anything, start ab ovo — ‘from the egg.’”

While playing through The Marble Nest several times for this ARG, I noticed something that gave me more confidence in The Griffins’ Tower playing a role in it. If you guys have played Pathologic as much as I have you’ll know there’s a tower in between the Stone Yard and the steppe that you can’t enter and is barely ever really explained. If I’m picking apart my brain correctly for Pathologic 1 knowledge, I believe it is implied to be a Focus of some sort. If you’ve only played Pathologic 2, or you haven’t played through The Bachelor’s route in P1 enough, or you haven’t read through the Pathologic “Corpus” entries, you probably have an incomplete idea of what a “focus” is and all that it entails. I won’t go too deep into it now, but it’s said in one of the Corpus entries that, on top of the Polyhedron, Cathedral, Stillwater, Crucible, etc., there were a number of experimental Focuses that were built for Simon Kain to test the limits of what buildings could capture the human soul and memories. It’s a building you can’t ever enter, but it does have a visible door, which is very similar to the way that Simon’s focus is described by Victor Kain. I’d like to draw your attention to the visual similarities between that tower and the Griffin Tower. I’d also like to draw your attention to the fact that, in the original design concepts of Pathologic 1 every character is associated with a specific animal, and Simon Kain’s is a griffin. What is a griffin? Well, it’s a fusion between two drastically different creatures, a lion and an eagle; a griffin is a chimera.

Interestingly, in 2005 (the year Pathologic came out) the pharmacy connected to The Griffins Tower was closed for a while because it became flooded with water while trying to extinguish a fire.

There is a photo in the pharmacy connected to the tower (which has now been converted into a museum about the history of the place and pharmacies in general) that depicts, during the early 1900s, the pharmacy sitting next to a theater called “Simpatiya” (Sympathy).

While @kurury-chan was on a tour of the pharmacy/museum she found an interesting marmite that was on display. It was created by Samuel Clarke and it’s called “Pyramid,” and the marmite has an accompanying poem: Когда ночи темные, подумайте о Кларке, который попал точно в цель. Его ночные огни создают светлые ночи, в которых вы прекрасно видите. (When the nights are dark, think of Clark hitting the mark. His night lights create bright nights in which you can see perfectly) This is interesting largely because the poem reminds me somewhat of the body text for the lantern ad found in the newspaper post.

In the original email mentioning the Griffin’s Tower, Voronika Kroy appends the message by saying “P.S. I feel like I’ll need this memory later.”

Seventh Seal

I watched this movie after discovering all of the allusions to General Block we’ve seen thus far, but being unsure what to do with any of them. For those that don’t know, the movie The Seventh Seal’s protagonist Octavius Block has been listed as one of the main inspirations for Alexander Block, and since IPL seems intent on leading us to analyze certain works of literature/film/theater for this, I decided to look into it. What I found is incredibly interesting I think, because it seems that one of the main inspirations for The Marble Nest is The Seventh Seal.

The title is based on a bible verse (from the Book of Revelations) that reads “And when the Lamb had opened the seventh seal, there was silence in heaven about the space of half an hour.” This verse appears both at the very beginning of the movie and then again toward the end. This thirty minutes/half-an-hour element appears prominently in both this story and The Masque of the Red Death. One other place it appears is on the pocket watch in the first Fyodor Vitin post, where the time on it is 2:30. I am very confident that it also appears in The Marble Nest once or twice, but despite looking I was unable to find it. If anyone else knows where it might be, either comment on this post or message me, and I will put it in this section and credit you.

The movie's plot revolves around Antonius Block, a disillusioned medieval knight returning from the Crusades. Block is struggling throughout the movie with his inability to believe in God and his realization that his whole life has been wasted. He wishes more than anything to do one last deed before his death to give his life meaning. The movie is set during the Black Death, with prominent elements of the story revolving around the plague. The movie largely focuses on how Block takes in several poor and out-of-luck folks fleeing the plague, inviting them to stay at his castle and escorting them along the way.

Toward the beginning of the movie, Death comes to take Block, but he convinces Death to play him in a game of chess for his life. This game of chess continues throughout the movie, with Death allowing Block to take several breaks in order to find clarity about his life and death. Toward the end of the movie, he allows Death to take his queen, effectively ensuring he would lose the game in the next turn, so that his companions could get away without Death noticing. After returning to his castle, everyone has a nice meal before Death arrives and takes everyone, excluding the people that Block helped get away by tricking Death.

Many things from Pathologic seem to take inspiration from this movie; most notable being the storyline of The Marble Nest (Dankovsky’s “People” screen categorizes people as chess pieces, essentially implying that his struggle against death is a sort of chess match), but there are also some smaller things. For example, there is a scene where the characters encounter someone afflicted with the plague who cries out for help, and one of the women tries to get closer to give the man water, but another person stops her, as giving water to a plague victim is futile and dangerous; almost immediately after this, a personification of Death appears. This heavily reminds me of the intro/tutorial of Pathologic 2, where a similar scene occurs.

While watching the movie, it’s very easy to see how Block was directly inspired by the main character, but it’s hard to convey exactly how without describing many scenes in detail, so I will simply describe one of them. After leaving a church confessional where he admits to his faith faltering and wanting to perform one meaningful deed before he dies, Block encounters a young woman who’s about to be burned at the stake for allegedly having ties to the devil. He takes pity on this woman, seeing something special in her, and believes she can tell him about life after death. This, to me, seems very reminiscent of Block’s storyline with the Changeling in P1.

Another small lead before this part of the post is finished: This lead, I will admit, I stumbled across completely at random, and will not talk about much because there’s not much I can say about it that isn’t obvious. It might be worth looking into the Russian philosopher Nikolai Fyodorovich Fyodorov, and perhaps thinking about if Fyodor Vitin was based partially on him, since we know Vitin works closely with Daniil.

Additional Notes/Comments:

In the newspaper clipping, it is said that a man with the initials “F.L.” had been one of the apparent two victims of the fire that burned down several buildings. This man (who I’ll simply refer to as “F” from now on) is an academician, historian, and writer of everyday life, which obviously fits well with the man that we know as Fyodor Vitin, and it has been assumed up until this point that he was the victim of this fire. I think there are three possibilities here: Fyodor Vitin was not the victim of this fire somehow, Fyodor Vitin is not his real name, or the newspaper is lying to us. In connection to the light/lantern emphasis in the newspaper, it might be worth it to note that the word “vitin” in Faroese means something like “the lighthouse”/“the beacon”, while in old Swedish it means something like “to know.” What’s more interesting is that Vitin in old Swedish is a second-person plural present indicative, and for people that got a useful education, that means it’s a verb that’s used to factually describe the current actions of the people that the speaker is saying it to. If Vitin isn’t his real surname, his username could mean “Fyodor beacon”, or “Fyodor (that you all) know”.

As discussed extensively in the section on the Tower of Babel, there is a direct connection drawn between the Polyhedron, Simon, and chimeras. We elaborated a bit on this connection in the section on the Griffins’ Tower. What’s especially interesting then is the fact that, in The Marble Nest, the Polyhedron is labeled as “focus,” implying that Simon’s essence is infused in the Polyhedron, as is what happens in the first game. This, I believe, confirms our theory about the connection even further. What then makes this even more related to the ARG is the fact that in the “One can work here” post by Fyodor Vitin, we see the three statues depicting the golden bull, the centaur, and the marble bust of a man. It is then worth noting that this bust of a man made of marble could be a reference to The Marble Nest, perhaps trying to get us to look there for clues. I believe, if the golden bull is meant to represent the Polyhedron (or at least the Polyhedron argument in The Marble Nest), and the centaur is meant to represent the chimera, then the marble bust of the man is meant to represent Simon (or, once again, represent the Simon/immortal man argument from the Marble Nest). This is supported by my point about the marble busts both immortalizing men and also making them more into concepts than men (as the statue can only depict a small part of a man’s life, usually depicting him in battle, leading a governmental position, etc). In the original game, and as can slightly be seen in hints of the second game, Simon is sometimes seen as more of a concept than a man; he is the ideology of the utopians incarnate, the perfect man that represents everything humanity could be. As a chimera is vital to Burakh’s quest, so too is it vital for Dankovsky’s (and it’s interesting to note that Burakh has the chimera revelation while in conversation with Dankovsky.) If the Marble Nest is used to represent the stone yard, or the “town” in its purest form, then Simon Kain is the marble man. It then becomes important to figure out where the “One can work here” picture is supposed to be depicting. I believe, if the statues there are supposed to represent all that we’ve said so far, the location should be representative of Dankovsky’s fight against death, and therefore I say it probably has to be Thanatica.

Now, as for all the connections with General Block, there are obviously many of them, from the Guglielmo Pepe hypothesis to the mention of Aristides/Pericles to The Seventh Seal to the whole “ash” thing, it seems far too much to be a series of coincidences. I don’t think it’s too crazy to connect the prominent appearance of the number 30 in the Block/Pepe/Aristides context to the prominent appearance of the number 30 (as in half an hour) in The Seventh Seal, which makes the appearance of the number 30 in that first Fyodor Vitin post even more interesting. It’s long been theorized that, from what we see in the Haruspex’s route and what we’ve seen in Pathologic 1, the Bachelor’s new route will probably feature General Block much more prominently. Perhaps, as the first ARG was so focused on the inquisitors, we’ll also get to learn more about the army in this one. Maybe General Ashes even had something to do with the building that was reduced to ashes?

The topic of religion, and specifically Christianity, comes up a lot in The Marble Nest. I think all the connections I’ve made in this post to Christianity have convinced you that it’s seemingly an important part of this ARG. In the first ARG, there were certain biblical passages that acted as clues, specifically from the Gospel according to John, which we talked about in the section on the “Messages” post. As is also mentioned in that section, the connection to Inquisitors Peter Kroy and Mark Karminsky seems to be driving us toward looking into The Gospel according to Peter and The Gospel according to Mark. It’s also talked about in that section how these both relate to Daniil. Mark Karminsky specifically also seems to have had something to do with the "Accident" mentioned in the newspaper, and so perhaps combining numbers from the newspaper within the Gospel of Mark could lead to some clues.

Still, as much as I’ve said in this post, there is more I wish to analyze but have not yet. This post has been in the works for a while, though, and I don’t want people to be waiting any longer, so I’ll have to save that other stuff for another day.

If anyone can somehow get into the game files of the Marble Nest and retrieve the texture/model for any of the letters or books (like the two linked images), that will end up being very helpful.

Other screenshots from Pathologic 2/The Marble Nest that could be of interest:

Grigory Gorky (Pathologic 2) Grigory Gorky (The Marble Nest) Mikhail Goba (The Marble Nest) Daniil Death Certificate (The Marble Nest) Rug (The Marble Nest) Book (The Marble Nest) Familiar Bloody Handprint (The Marble Nest) Tipped Over Lantern (The Marble Nest) Staff Sergeant Plover (The Marble Nest) Avrely Gubar (The Marble Nest) Odd use of Roman Numerals (The Marble Nest) Cathedral Letter (The Marble Nest) Plant that I found several times in the Cathedral (The Marble Nest)

#pathologic #pathologic 2 #pathologic arg #daniil dankovsky #мор утопия #Bachelor ARG

155 notes · View notes

humbledragon669 · 3 months

Text

S1E3 – Hard Times Write Up P4 - London (1941) and Soho (1967)

So, was anybody actually fooled into thinking that our angel was really working for the Nazis in this scene? It was a little confusing at first I’ll grant you, but the moment we see him giving away books, particularly first editions, and especially first editions of books of prophecy, that should have given the game away to all and sundry. I do love how much Aziraphale is enjoying himself in this scene though, like it’s all just a big, exciting game that he’s winning at.

His use of the phrase “our side” is interesting to me, particularly if we take into account the conversation he has with Crowley about sides at the end of this episode. But I’m getting ahead of myself. In truth, I’m not sure whether he uses the phrase as part of his own Heavenly cover story or because he really does believe that his “side” is now with the Allies in the war. If it’s the latter, it would suggest that his allegiances sit more squarely with humanity in deference to Heaven at this point. That said, he very quickly switches to it being “your people” when he realises he has no control over the situation. I’d just like to take a moment to appreciate the extreme reaction we see on Aziraphale’s face at that point – it actually feels like it’s over-reacted to the point of falsity, but it’s clear from the following dialogue he was not aware he was being double crossed. I can’t help but laugh every time I watch this little clip:

Ah, what a surprise! Crowley has arrived to save Aziraphale at exactly the right time, despite not having seen or spoken to each other since their disagreement over the holy water in 1862 (as confirmed in the Script Book). It’s like he somehow knew exactly where the angel was and that he was getting himself into trouble… Not only that, he’s putting himself through some severe discomfort to come and save the day. (Side note: anybody else find the image of Crowley walking on a hot beach in bare feet extremely amusing?) Aziraphale genuinely appears surprised to see him, so as with Paris I don’t think he knew the demon was within his proximity - although there is a look of recognition on his face as he realises who it is walking down the aisle towards him (and what a cute image that is), his first question is to demand to know why he’s there.

Crowley is more than happy to declare that the ONLY reason he’s in that church is to stop the angel getting into trouble. No excuses, no stuttering, just a flat-out statement – I am here for you. I’d really like to think that we might get a bit of backstory about how Crowley is always in the right place at the right time for Aziraphale in season 3 – it’s just one of those little bits of canon I’d like to have more detail about (I know, I know: “what and see”).

I have to hand it to Crowley in this scene – he still has the dignity to be insulted at the suggestion that the Nazis are working for him even, not lose his temper that the suggestion has been hurled (rather thoughtlessly) at him by his only friend, and reiterate that his reason for being there is for Aziraphale, all whilst trying to preserve the skin on his feet. Having seen how quickly the demon can lose his patience (and temper), this feels like it would have taken quite an effort to achieve.

We find out two things from Glozier here: first, that Crowley is “famous”, presumably amongst the Nazis, though we don’t find out what he’s famous for. Whatever it is, it’s not so impressive that they’re not prepared to kill him. Second, that he has changed his name again – retaining the “Crowley” as a last name, implementing a first name (Anthony) and a middle initial (J). I’m sure I’m not the only one that enjoys the lovely bit of small talk that goes on between them both as Crowley hops around, as if discussing this bit of news were the only thing on either of their minds. I also love that the demon seems genuinely invested in whether Aziraphale likes his choice or not, and Aziraphale’s response that he’ll “get used to it” says so much about how he feels about their relationship at this point. He actually doesn’t look particularly impressed with the new name, and perhaps it’s telling that we never hear Aziraphale refer to him as Anthony (even though he did adapt the new name when it was changed from Crawly).

Crowley’s realisation that there’s a whole font of holy water, completely unguarded, serves as a poignant reminder of the previous scene, despite the fact that he’s still hopping around in a now vaguely irritating way. It makes me wonder if this is where he gets the idea that he can get hold of his “insurance” without Aziraphale’s help by robbing a church (as will be seen in 1967).

We’re back in the land of hidden communications in this next exchange:

This feels like the angel and demon partnership that we have, so quickly, come to love. Teamwork, understanding, and a little bit of sacrifice to achieve a common goal, without the need for explicit declarations of intent. It’s so very different from the strained conversation we saw in 1862, but this definitely feels like it’s a truer representation of their partnership.

I want to take a moment here to talk about something that feels inconsistent to me in the scene that follows the explosion. I had initially wondered about the fact that the ground no longer appears to be consecrated after the bomb has hit the church (Crowley has stopped hopping around like a madman), but having done some (very shallow) research it would appear that churches can only be considered consecrated if they are suitable for worship. Seeing as that bomb pretty much obliterates the building, I think we can probably declare the ground now deconsecrated. My brain however is focussed on that font of holy water. When the church was blown up, that font, including its contents, would have gone everywhere. And I mean, everywhere. There’s no way that Crowley was getting through that explosion without some of it getting on him, or something that he touches (like the book bag he’s about to tear out of a dead Nazi’s hand). I have supposed that there is a possibility that it would have evaporated in the heat, but I’m not sure that fixes the problem – water evaporated becomes steam and Crowley would likely have inhaled some of it. So we’re left with two possibilities here – either Aziraphale did something that would cover these eventualities in his own miracle or Crowley actually can come into contact with holy water. Not that he’d ever be able to test the latter theory of course, it’s a pretty deadly experiment for a demon to be carrying out. I think the former of the two possibilities is probably the right answer, even then it seems like a bit of a stretch – what exactly did Aziraphale’s miracle do?

Moving on, we have another instance of Aziraphale calling Crowley a name that the demon would not wish to have as a label – “kind”. And as with Paris, the reaction is a very different one from what we see from him at Tadfield Manor, this time simply attempting to brush it off but this time the exchange happens without his glasses.

Not only that, there’s a little smirk on Crowley face suggests he’s actually rather pleased with the outcome of his actions.

Aziraphale seems very humbled by Crowley’s intervention here too, which is not something we’re used to seeing from him. I suspect he knows that he was in genuine danger during the meeting with the Nazis and is well aware of what a huge favour he’s just been afforded. And I’m sure he’s probably thinking about how badly things ended between them the last time they met. He also knows that thanks and appreciation are not something that Crowley does, so tries to make light out of it pointing out the most trivial of the consequences that this act of kindness has granted him – the paperwork.

But Crowley’s not done with his gifts, is he? If we set aside the question hovering around how he even knew there were any of Aziraphale’s prized books to be rescued in the first place (no seriously, how does he know? Maybe he saw them on the table before Harmony bundles them into the bag in the church, but he doesn’t seem to be paying that much attention), there’s no doubt that this is probably the most thoughtful gift someone could ever give the angel. And Crowley knows it very well – the relish on his face when he knows he’s about to deliver something that will give Aziraphale so much joy is absolutely previous.

And here we are. You all know what’s coming. In fact, there has so much coverage been done of the rest of this scene, that I’m not even going to bother talking about it.

What kind of fan would I be if I didn’t gush about the finger touch and Aziraphale’s look?! I’m going to try not to spend too much time on it though, purely because it really has been talked about by every single person before me, and will continue to be discussed by many.

So, the things I love about this are everything the fact that neither of them flinches when their fingers touch (this despite us not having seem them physically touch in any of the previous historical scenes); that they establish and maintain eye contact for the touch; and (last, but most definitely not least) that Crowley actually lifts his thumb to stroke Aziraphale’s finger when their digits meet. Seriously, that last one really gets me – it says so much about his knowledge of his feelings and his intent with the saving of the books. In all honesty, I watched that GIF about 10 times before moved on with the rest of this write-up, this tiny moment genuinely makes my heart sing. I also happen to love the extreme nonchalance of Crowley asking Aziraphale if he wants a lift home, as if none of the previous 5 minutes has just happened. Side note: this will be the first time that Aziraphale will meet the Bentley. He likely doesn’t even know that Crowley has a car, so being asked if he wants a “lift home” will be a first in their 6000 years of friendship.

And then of course, there’s Aziraphale’s look as Crowley leaves the scene.

He’s so adorable isn’t he? Only finally realising how important he is to Crowley, and that the feeling is mutual, after he’s been handed a bag of old books prised from the hands of a dead Nazi. Silly angel.

So the first thing I’ll point out about this scene involves a bit of gazing into the future (as far as the series was concerned anyway) – the pub that Crowley meets his cronies in is the Dirty Donkey. Which means he was conducting this meeting directly across the road from Aziraphale’s book shop. And has probably been hanging around in the general area of Aziraphale’s book shop. Like, a lot. It’s never talked about (or not yet anyway) so we have no idea of how frequently Crowley is in the area or why he picks this particular pub to conduct his criminal activities from, but it’s certainly worth noting.

Let’s give David Arnold another tip of the hat for his treatment of the theme tune for scene setting. This time we hear it in the stripped back tones of a 60s guitar sound, not so dissimilar to Buddy Holly’s style (apologies, that’s another bit of future gazing, unless you’ve read the Script Book, in which case you’ll know that Buddy Holly should have featured very prominently throughout season 1). Holly actually died in ’59, but that doesn’t stop this piece of soundtrack doing what this soundtrack always does so beautifully – enhance the setting of a scene.

I also quite enjoy the fact that the format of this scene appears to mirror the one from 1941 – opening with just one of our heroes, who appears to be getting themselves into potential danger, with the other coming to rescue them. There’s also a symmetry in the giving of gifts – Aziraphale’s presentation of the holy water mirroring Crowley’s saving of the books. It’s a lovely way to communicate to the audience that we are meant to view them as equals, and that they balance each other out (just as Crowley says way back in the Kingdom of Wessex).

We shouldn’t be surprised that Crowley refuses to tell his “employees” what exactly it is they’re going into the church for – I should think they would consider there to be something highly suspicious about breaking into a church to steal holy water after all. And I would dearly love to know what it was that Shadwell spent time in prison for, I mean I know he’s a distinct oddbod, but criminal? I wouldn’t say he had it in him. And for the record, £300 (the amount being paid to each criminal to do this job) equates to about £5.5K in today’s money. Not a bad little earner.

Let’s talk geography for a moment, shall we? Specifically, I’m talking about the alleyway that Shadwell has squirreled himself away down. Which looks suspiciously like the alleyway that runs down the side of Give Me Coffee or Give Me Death in season 2 (again with the crystal ball, I know. There is a point, I promise).

The picture doesn’t make it painfully obvious, but the ramp, steps, and barrier that you can see on the left-hand side of the alleyway are a match – 1967 on the left, season 2 present day on the right. Not only that, we get a glimpse across the street from the alleyway entrance when we see Crowley turning towards his car.

Knowing what we know about Whickber Street from season 2, the positioning of the Bentley would appear to be directly outside Aziraphale’s shop, though the shop fronts tell a different story. What would seem to confirm that Crowley has in fact parked his car directly in front of the angel’s shop is the entrance to the corner unit – again 1967 on the left, season 2 present day on the right:

Perhaps this is just “the magic of television” and the need to re-use the same set for multiple different settings for cost purposes. I’m not so sure about that, but it seems almost too obvious for Crowley to be hanging around Soho in such a blatant way if he was trying not to be seen by Aziraphale. After all, the angel has been in the Bentley in 1941, so would know what it looked like, and it’s not like they would have been a common car in 1967.

I also want to take a quick moment to consider that Shadwell is hanging around an area in London that is painfully at odds with his views on sex workers, as we see in the way he speaks to Madame Tracey later. Perhaps those views are established later in his life, maybe even as a result of his spending time in London’s Red Light District (or at least, it was in the 1960s).

If you didn’t know something was about to happen as Crowley opens the car door, you should perhaps feel a little ashamed of yourself because… it’s the magical miracle noise! We know it’s not Crowley doing it because we can see him getting into the car, so I think it’s fair to say we should be assuming it has something to do with Aziraphale before we see him on camera. What I don’t understand is why he apparates inside the car. Or possibly why he bothers to apparate at all – as he’s about to point out, he works in Soho so it would be easy enough to simply approach Crowley on the street at any time. Perhaps it’s to ensure that the demon can’t make a hasty get-away? That doesn’t make a lot of sense in the declared canon of the series at this point. However, it’s my belief (and that of most of the fandom I think) that something happened between them after the scenes we get to see of 1941. I also think Aziraphale got spooked by it and left sharpish (more of that in the 1941 apology dance fanfic when I get to it). If we take that as canon, Aziraphale’s cautionary tone and covert apparition, along with Crowley’s look of surprise and longing at Aziraphale’s appearance make a lot of sense all of a sudden.

It looks as if Aziraphale is really struggling to say what he knows he must here, and the way Crowley reacts when he realises that the angel knows exactly what he’s planning makes it pretty clear that he’s not exactly comfortable with the topic of conversation either. I actually find it painful to watch this whole conversation (and I don’t think I’m the only one, though it’s not as tough as some we’ll come to later in both seasons). From the subtle revelation of how much Crowley has taken Aziraphale’s refusal to provide him with the holy water to heart (seeing as he knows exactly how many years have passed since that disagreement), to the searching look Aziraphale gives Crowley after he hands over the thermos (almost as it he’s trying to memorise his face), and everything in between, this is the most emotionally available we’ve seen the couple being with each other. And it takes its toll on them both – Crowley is rendered speechless and Aziraphale almost in tears, breathing heavily to try and stave them off. The angel is making a personal sacrifice to ensure Crowley stays out of danger here and Crowley knows it. What really is there to say, other than “thank you”? Alas, Aziraphale draws the line there (in a vaguely symmetrical fashion to what we say in Paris, when he asks Crowley if he can say thank you for the rescue), so he has to come up with something else. It’s such a desperate little gesture too - the only thing that he can offer to show any sort of favour in return is to offer Aziraphale a lift.

There’s a little reflexive noise from Crowley in response to Aziraphale’s refusal of his offer that really does convey how disappointed he is, and for once the angel is paying attention. I suspect he tells him not to look so disappointed because he finds it very hard to deny Crowley anything when he knows he really wants something. He even offers an alternative, something with promise and future in it, something that sounds suspiciously like a date.

Perhaps one day we could… I don’t know… Go for a picnic… Dine at the Ritz…

Crowley’s not done though, he’s going to keep trying to string out this meeting as long as he can. Let’s just bear in mind that his offer to take Aziraphale anywhere he wants to go is rather a moot point – they’re in Soho, a very small area of London, which is where Aziraphale works and lives. Even if we ignore the fact that the Bentley appears to be parked within 6 feet of the door to the book shop, there really wouldn’t be any need to drive to get from one place in Soho to another place in Soho. As such, I think this offer is simply Crowley wanting to spend time with Aziraphale, and it’s something he wants so much that he almost pleads with the angel to reconsider the invitation.

Tiny side note: the bullet holes you can see in the driver side window are referenced in the book. They’re actually a sticker, tied to a James Bond film promotion. The only time Crowley has ever put fuel in the Bentley he did to get it.

Aaaaaand we’re here. At the line. You all know the one.

Hnnnnnnnnh.

The first time I watched this show, I was only half paying attention and I just thought he was talking about Crowley’s driving. It wasn’t until I rewatched prior to bingeing through season 2 that I realised he really isn’t, and I can tell you it hit me like a tonne of bricks. If we assume it’s likely they haven’t seen each other since 1941, which makes sense if we’re also assuming that something happened between them at that time, Aziraphale has only been in the Bentley once before this (well, maybe multiple times in one evening, but you get the drift). What’s to say that one experience was typical of Crowley’s driving? Decades have passed since that evening, so it’s not out of the question to consider that his driving style might have changed in that time. And why not just say “yes thank you, but do you think you drive a bit slower”? Or even for Crowley to offer to drive slower on his behalf? No, this heartbreaking line has nothing to do with the driving at all, and Crowley’s lack of resistance to it and look of resignation says he knows it but has no idea who to talk the angel down from his position. This scene ends in the Script Book with Crowly driving away and Aziraphale watching him go, but my head canon has given me a different outcome here (which fits with what we actually see in the show), which I’ll be writing a fic about in the future.

This one has run a little long (hardly surprising given that it covers the 1941 AND 1967 historical scenes). I toyed with the idea of splitting into two parts but that felt excessive, particularly given I still have to deal with, what I think, is the first of the ineffable divorces later in this episode. As always, questions, comments, discussion, all welcome!

#good omens #aziracrow #episode analysis #ineffable idiots #good omens season 1 #ineffable husbands #head canon #crowley loves aziraphale #aziraphale #crowley #aziraphale loves crowley #crowley's bentley #sergeant shadwell #good omens 1941

38 notes · View notes