#gosh yes this
The new-TV-GoodOmens fanon tendency to take Aziraphale’s very-soft presentation as unadorned truth is be/amusing to me.
He was the angel left to guard one of the Gates to Eden and he did in fact have a flaming sword. He is also the one who WOULD have shot Adam, had Madame Tracy not intervened.
He is also the angel who’s response to “wait I need to get back to Earth to stop Armageddon” is to do something that clearly SCARED THE SHIT out of the other angels who watched him do it, with a malicious-glee-glint in his eye, who hopped disembodied down to earth, and then floated around to try to find the right place.
He also, well. Fucked around with Heaven at all. There’s such a thread of comic corporate-absurd involved that it can be easy to miss, but what we’re shown is that the hierarchy of Heaven is just as happy as that of Hell to murder, torture, restrain, make captive and otherwise punish its own in the most horrible ways possible and in fact they’re far more effective at it. They just have a lot of Rules they follow, whereas Hell acts on a whim.
And there’s Aziraphale running around lying to them and pulling the wool over their eyes and so on. Something which, very clearly, none of those other angels are interested in doing.
Fundamentally Aziraphale is a stone cold agent of divine wroth.
He just doesn’t want to be.
He doesn’t like being like that. He doesn’t likesuffering, his own or other people’s. All those times Crowley saves him, it’s important to keep in mind that Aziraphale’s in no more fundamental danger than he is when he loses his corporal form in the bookshop fire: if Crowley hadn’t shown up to save him in the church, for example, all that would have happened is that either a) he would have been discorporated and had to wait in line for a new body (or risk being reassigned) or b) Aziraphale would have had to do something Nasty to the Nazis there in order to save himself that trouble.
He doesn’t like either of those options! Those are both crappy options. But they’re not existential threats.
I’m the nice one he snaps when Crowley’s too busy having his Moment over his Bentley to take care of dealing with the soldier.
Aziraphale doesn’t like having to be cruel, or mean, or scary, or stone cold. He doesn’t enjoy it and given the choice he will in fact choose not to be.
What Crowley saves him from, over and over again, isn’t actually being killed.
Because what interests Crowley in him, and we see that, all the way back, is that very first instance of Aziraphale choosing not to be that person. That first time when what Aziraphale was supposed to be was Stern and Frightening and Judgemental and Harsh and Terrifying … . and instead he chose to court potential punishment (and actual existential threat) to give the people he was supposed to Terrify a way to protect themselves from all the scary things.
Aziraphale doesn’t want to be an instrument of judgement and wrath and what Crowley keeps saving him from is having to be. Crowley condemns the bloodthirsty executioner, so that Aziraphale doesn’t have to; blows up the Nazis so Aziraphale doesn’t have to.
Lets Aziraphale be the nice one, in fact.
Which I think is frankly far more fucking adorable.
But never let it make you think that Aziraphale is the safe one, or the helpless one.
He’s the one who, when faced with the apparent choice between killing a child and the end of the world, chooses to kill the child. Actually chooses to do it - not just plan, not just talk about, not just contemplate, but do it - and is only saved from having done it by sharing the body of someone who won’t let him.
Aziraphale is soft and slightly silly and gentle and non-confrontational and all of those things because that’s what he wants to be. He has fought for a long time to get to be that.
This is important.
Yes, this! That’s it, and it’s written out so well, too.
Good Omens is about choices. That’s a main element, this free will idea. You’re not defined by what you are born to be or told is your role. The guardian angel chooses to give away his sword and to be soft. The demon chooses to cause minor inconveniences rather than death and terror, and then he chooses to stop the end of the world, too. The Antichrist chooses his friends over the horsepeople, his home over ruling the world, the father that was there over the satanic father who was not. The professional descendent who lived her whole life following the words of a five hundred years old witch chooses to burn the next batch of prophecies instead.
Good Omens is about defining one’s own destiny and identity. That’s probably why it clicks with so many queer people, too. You aren’t what others tell you to be. You aren’t what you are expected to be. You are what you are most comfortable being.
