The Divine Yet Diabolical Intervention of the ‘Artifact’ in Good Omens

An artifact is an object of human workmanship, usually recognized from a specific time and place. In the world of film and television, such props are generally accepted as essential to plot and are tied to character development. Captain America’s shield, Negan’s baseball bat, and Dorothy’s ruby red slippers, for example, all have an important role and we understand the inherent value being placed on these items in relation to character decisions and identity. In Good Omens, objects are certainly entwined within the narrative and imbue resonance for specific characters, such as Crowley’s affection for his Bentley or Aziraphale’s well-timed “loss” of his flaming sword in that they equally have a part to play. More specifically, recent technological artifacts, such as smart phones, tablets, and digital screens factor alongside their analog counterparts as surprising subtext, such as when Crowley’s tape-based ansaphone ends up serving as a prison for the demon Hastur when paired with his attempted escape through the digital confines of his cell phone or when Anathema simultaneously uses a theodolite and an iPad in her attempt to locate the Antichrist. Giving the same narrative weight to the printed word, such as with Aziraphale’s affinity for first edition prophetic texts and the elusive The Nice and Accurate Prophecies of Agnes Nutter, Witch, as being on par with the presumed outcome and technical feats of nuclear reactors that are controlled by computers show how both occupy the same sphere as central to avoiding or causing Armageddon respectively. Aziraphale finds nostalgic value in such items from an older time when he states, “amazing resilience, these old machines.” In the same vein, Newton Pulsifer feels quite the opposite when exclaiming, “you’re not going to be able to shut down 21st century technology with some random 17th century prediction.” Yet these objects serve a purpose well beyond the proverbial functions of mise-en-scène in the television series, as they are updated or revised from the book. Artifacts are actively employed as catalyst and character in and of themselves, for moral choices are to be made by the many participants during the end times in utilizing them. Such updated inclusions in the television adaptation allow for the noble pursuit of free will in making “good” or even questionable decisions to be more genuine, despite any prior notions of predestination or inherent makeup in being an angel, a demon, or the Lord of Darkness. In fact, it can be read as being more human-like and flawed, otherwise known as human incarnate. What is suggested is to look more closely at these intervening artifacts and analyze their exposure, interpretations, and direct employment that enable our two main supernatural beings, who, for better or worse, have grown exceedingly fond of such things during their time on Earth. For the point of Good Omens is that an understanding of the greater good, especially during an impending apocalypse, should not entirely be reduced to seemingly opposing camps, such as mere acceptance of good and evil, but to come to terms with something far more nuanced in between.