AHHHH YES. Of course it is, for anyone, and so much more so after 6000 years of not having to. Since there is very little actual knitting in the story, I liked to use that metaphor - and it was also very apt, because adjusting *is* difficult.
Love the image of Crowley slinking around in a kaftan, just on a very base kind of a level ;) :D And then facing down Gabriel -- excellent stuff. A kaftan is a lovely idea, but it was a kimono - bit like this, but black and with a snake motif. And no belt. (It's very very clear in my mind. Ahem.)
ouch ouch ouch. I really really like this engagement with something that does crop up in canon but not at this level; and it does make a difference that they're both on the same side now, even if it is still hard to deal with or even to understand. Yes, the show generally leaves witnessing atrocities to the distant past (the ark), but I wanted to introduce some angst and ground them more firmly in the present, as it were. And Aziraphale almost speaks then, but isn't quite able to yet, even though Crowley is open about his anger and pain. Instead he shares a snippet, ties it back to their past and tries to show-not-tell how unhappy he has been too.
And then Crowley being the stronger one, 'the strength of your own convictions' -- yes this! Crowley's the one who is asking right from the start, and making decisions about his own ethics ("you can't kill kids"). I really love this idea that Aziraphale too has been trying to think about this for rather longer than canon shows us.... I think we can clearly see the conflict on Aziraphale's face, but he toes the party line for SO long. And I wanted to delve into that, the internal conflict, because he is a very internal character who doesn't find it easy to voice his fears (see, um, the Bandstand scene for the prime example). But Julian of Norwich seemed perfect (I cannot explain how thrilled I was when I realised she lived in the 14th century - serendipity doesn't begin to cover it!), and I felt I needed some sort of deeper reason for him to hang in there, despite everything. For there to have been a point of overwhelming conflict, and something to give him hope.
ahhhhhhhh (oh gosh I am a terrible sap). and this was NECESSARY. So gorgeous. Such a beautiful place to land. That whole section (Aziraphale's declaration of love, and Crowley's reply) was written pretty much in one and hardly altered. Everything around it was edited down to molecular level, but those parts? Those just worked. <3 (I am a sap tooooo.)
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\o/
AHHHH YES. Of course it is, for anyone, and so much more so after 6000 years of not having to.
Since there is very little actual knitting in the story, I liked to use that metaphor - and it was also very apt, because adjusting *is* difficult.
Love the image of Crowley slinking around in a kaftan, just on a very base kind of a level ;) :D And then facing down Gabriel -- excellent stuff.
A kaftan is a lovely idea, but it was a kimono - bit like this, but black and with a snake motif. And no belt. (It's very very clear in my mind. Ahem.)
ouch ouch ouch. I really really like this engagement with something that does crop up in canon but not at this level; and it does make a difference that they're both on the same side now, even if it is still hard to deal with or even to understand.
Yes, the show generally leaves witnessing atrocities to the distant past (the ark), but I wanted to introduce some angst and ground them more firmly in the present, as it were. And Aziraphale almost speaks then, but isn't quite able to yet, even though Crowley is open about his anger and pain. Instead he shares a snippet, ties it back to their past and tries to show-not-tell how unhappy he has been too.
And then Crowley being the stronger one, 'the strength of your own convictions' -- yes this! Crowley's the one who is asking right from the start, and making decisions about his own ethics ("you can't kill kids"). I really love this idea that Aziraphale too has been trying to think about this for rather longer than canon shows us....
I think we can clearly see the conflict on Aziraphale's face, but he toes the party line for SO long. And I wanted to delve into that, the internal conflict, because he is a very internal character who doesn't find it easy to voice his fears (see, um, the Bandstand scene for the prime example). But Julian of Norwich seemed perfect (I cannot explain how thrilled I was when I realised she lived in the 14th century - serendipity doesn't begin to cover it!), and I felt I needed some sort of deeper reason for him to hang in there, despite everything. For there to have been a point of overwhelming conflict, and something to give him hope.
ahhhhhhhh (oh gosh I am a terrible sap). and this was NECESSARY. So gorgeous. Such a beautiful place to land.
That whole section (Aziraphale's declaration of love, and Crowley's reply) was written pretty much in one and hardly altered. Everything around it was edited down to molecular level, but those parts? Those just worked. <3 (I am a sap tooooo.)