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hyperfixatinator · 2 months ago

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Where is the line?

In the comics, Tim Drake's moral code is an enigma to me, particularly his stance on the Batclan's no-kill rule. For all the fans who say he's always one step away from full blown villainy, there are even more saying he's a strict goody two-shoes who could never stoop that low.

Then there's the different takes on where Tim draws the line between these two extremes. Personally, I find that line hard to pinpoint. Digging for canon demonstrations of his morals has lead me to more questions than answers. My biggest question right now is:

What counts as breaking the no-kill rule in Tim's eyes?

Luckily, the Robins 2021 comics shed some light on this. In issue #3, "Tim", or rather an imposter of him, said that choosing not to save someone isn't the same as killing them, and that letting a villain die can be a way to get justice. Normally, this point would be moot since it's not Tim himself who said it. However, at the end of issue #6, the real Tim clarified that what the imposter said WAS his real opinion on the matter.

Not only that, but Tim has shown this belief through his thoughts and actions before. Twice.

The first time goes all the way back to Robin 1991 #5. During the fight against King Snake, Tim kicked him through a nearby window, fifty stories above the ground. As King Snake's life hung in the balance, Shiva appeared and commanded Tim to kill him.

Tim refused. He walked away, leaving King Snake entirely at Shiva's mercy.

What gets me is that Tim made no move to save King Snake from falling. And he made no effort to stop Shiva from committing the murder, either. His only thought as he heard the man's scream was "Fifty stories is a long way to fall."

The second time was in Red Robin 2009 #26. Tim orchestrated a whole plan to manipulate Captain Boomerang into getting killed by Mr. Freeze. The whole time, Tim blamed Captain Boomerang for making all those bad choices, despite Tim being the one raising the chances of them being made. Tim believed he was innocent because he wasn't directly participating.

Tim then stopped that plan, but not for any noble reason. He decided that he couldn't let anyone else kill Captain Boomerang but himself.

Tim couldn't bring himself to do that, either. So he had to spare his father's killer in the end.

This seems pretty cut and dry so far, right? Tim believing that letting villains die is alright as long he doesn't do the deed himself? I'd think so too, if there weren't other moments contradicting this.

In Robin #35, Steph insisted on leaving an enemy who got buried under the snow to die. Tim chastised her for it.

Neither of them were responsible for the snow, or for the enemy getting trapped in it. Plus, that guy tried to kill them with a chainsaw moments prior, so he's not exactly an innocent damsel in distress.

Maybe it was because this enemy wasn't a big enough fish to fry. We didn't really get confirmation that this guy has actually killed before, and he's around goon status at best.

But then in Robin #46, Tim chose to save another enemy who got himself into a deadly situation. That enemy was a murderer known as Young El. This time, Tim wasn't telling anyone else why they should save a murderer's life out loud. These were his private thoughts.

Notice how Tim's inner monologue sounded kind of on-the-fence. He contemplated justice finally catching up with Young El as the floorboards gave way, bringing a support beam down on him in the process.

However, Tim immediately switched gears to rescue Young El from under that beam before the water rose too high.

But Tim, as he told Young El the reasons he's saving him, asked himself "Do I even believe what I'm saying?" He could be asking this about two different things he said here. A) "Maybe it's not too late for you to learn something, Young El.", or B) "Death's easier for you when it's the other guy. Death's never been easy for me."

For Tim to doubt his belief in either of these statements is very interesting. He could be questioning if Young El is already too far gone for redemption, or he could be questioning if seeing someone die has never been easy for himself. For all we know, it could be both.

Unfortunately, Tim never got to see if his choice to save him would pay off. Tim wasn't strong enough to lift that beam, and Young El drowned.

There's a question on my mind as I read these pages. What makes this murderer's death different from when Tim let King Snake fall to his "death"? Sure, King Snake didn't actually die, but Tim didn't know that until later when the man came looking for revenge in Gotham.

Tim was once able to simply walk away from what he was certain would be a killer's demise. But then he's consumed by guilt over not being able to prevent a different killer's death down the line, to the point of hallucinating.

On top of that, what changed Tim's mind later? Red Robin #26 and Robins 2021 #3-6 still happened in the future. The only significant difference I can tell is that these two comics involved the killer's of Tim's parents, making it personal. But if the Imposter from Robins 2021 got his beliefs from his profile before his mother's killer got involved, then does that still hold up?

Maybe we should put a pin on it for now. There are other things Tim's done that brings the details of his no-kill rule into question.

Such as that one time Tim actually killed someone with his bare hands.

In Robin issues #51-52, Tim accidentally killed Lady Shiva while drugged on amarilla, a plant that enhances the user's speed beyond human limitations.

It may be argued if the amarilla altered Tim's mind enough to excuse him of fault or not. However, I want to focus on what happened after Shiva was revived. Here's another question to go with the first one:

Does Tim believe the kill still counts if the victim was revived afterwards?

From what I've gathered, yes and no. It's kind of complicated.

After Tim killed Shiva, he was understandably distressed about it, about how he can never take it back.

But after Shiva came back to life? Nothing. He didn't dwell on the fact he broke the vow to never kill. For something that devastating to happen in his life, it's odd that Tim didn't bring it up ever again, privately or otherwise. Especially considering what happened later in Robin #123, when Tim thought he killed Johnny Warlock.

Tim was utterly inconsolable. He lost all faith in his abilities as Robin, and in himself as a whole. It also contributed to his decision to quit being Robin after his dad found out. In general, he seriously dwelled on that "kill" for a much longer time than he had after killing Shiva. The difference being that he knew Shiva was resuscitated immediately afterwards, while Tim didn't know Johnny survived until issue #141.

But there's the fact that Shiva really did die. Her heart and breathing both stopped. So are we to believe Tim moved on from that so easily because she's alive now? What happened to never getting that back?

Come to think of it, not long after Tim killed and revived Shiva, there was someone else who landed in that same boat. Dick.

In Joker: The Last Laugh #6, Dick brutally attacked the Joker after believing he killed Tim. Dick ended up accidentally killing Joker instead, before the clown was resuscitated.

Here's the thing. While Tim was trying to comfort Dick, saying that it's ok because Joker's alive now, Dick didn't believe so. He was still distraught that he killed someone. The fact Joker came back to life afterwards didn't matter to him. To Dick, it still counted. So what does that say about Tim?

Before we move on, there's another person Tim knows who also died and came back from the grave. Jason.

Tim openly acknowledged Jason was killed before coming back, too. Multiple times. For example, when they met up in Red Hood and the Outlaws 2011 #8.

Tim hadn't shown any signs that he thinks Jason's murder doesn't count anywhere, except for maybe once.

In Knight Terrors: Robin #2, Tim and Jason had a heart-to-heart, and Tim said something strange.

"You survived."

Except Jason didn't survive. He died. To say Jason survived that night would've meant he never died to begin with. Him being alive now doesn't change that. Was this Tim telling a white lie to make Jason feel better? Or does Tim see being revived after death as "surviving"?

Ok, now we can move onto the next question. Or rather, bear with me as we go back to the first question. It's a broad topic with plenty more to talk about.

What does Tim count as breaking the no-kill rule?

We already asked how Tim feels about bringing villains back from the dead after killing them. And we asked how Tim feels about leaving a villain to die without getting directly involved. However, we still don't know how much involvement Tim needs to have in an enemy's death before he'll take responsibility for it.

We can confirm he won't mercy kill in Red Robin #21, even if it means giving someone a fate worse than death. No exceptions.

Tim also doesn't allow anyone he's actively teaming up with to kill, especially if he's the one in command. He's been amicable with known killers before (Huntress and Pru, for example), but only when they remain non-lethal while working alongside him.

Apart from that, though, it becomes less clear. However, I think this is a good place to expand on when Tim blew up a lot of League of Assassins bases in Red Robin #8.

I'm not going into whether or not those explosions actually killed anyone. I've seen evidence supporting both sides of this debate, so I'm just going to say it's up to interpretation. What I AM talking about is whether or not Tim would've felt responsible if they had killed someone.

Before overloading every generator in the LOA database, Tim gave a warning to the Wanderer. He told her that he couldn't be held responsible for what would happen to her if she didn't leave.

After initiating the explosions, Tim warned the White Ghost that they had fifteen seconds to leave before it was too late.

Fifteen seconds. That explanation on the mistake of letting him in might've taken roughly another fifteen to twenty seconds. Did the other bases even get a full minute head start? The way some of the people were already running away could imply they at least got a warning, but it's possible they might not have.

Even if everyone in every base received a warning, would that be enough for Tim to avoid holding himself accountable if they didn't make it out in time? Tim's the one who rigged the bases to explode, but I guess giving someone a warning means it's now their fault for not heeding it?

We can't be sure he even considered the possibility of those explosions killing anyone. Tim knew they were dangerous enough to bring the whole Cradle down, and the other ones we saw looked pretty powerful (except the ones in Ra's hideout). But Tim also called Ra's a murderer right after that happened, which would've been very hypocritical if Tim himself thought he committed murder.

So, my guess is either A) Tim relied on sheer luck for those explosions not causing any casualties and chose to believe they hadn't, or B) Tim didn't believe the deaths of anyone caught in them would be his fault.

Again, this isn't about whether or not blowing up the LOA bases killed anyone. It's about how willing Tim was to take that risk, and if he would've blamed himself for anyone getting killed from it.

Either way, it's canon that Tim had no guilt for the explosions he caused, or for anything he did before Red Robin #22. Just ask the Sword of Sin.

This is an exerpt I got from the Fandom DC Database on the Sword of Sin:

"The Sword of Sin can be ignited with the mind of the wielder, if the person is powerful enough. The sword has the ability to conjure in the mind its victims all of the sins for which they are guilty or have not atoned for."

When Tim was stabbed with this sword, he was immune. The Sword of Sin decided he was innocent. Although, I have to ask how reliable this sword was in making that judgement. If the sword is judging others based on its own set principles, then something's not right here.

The Sword of Sin was also used on Dick, and he wasn't immune. It dug into Dicks subconscious and unearthed memories he'd long since repressed. Memories of himself watching a boy get beaten to near death, and then doing nothing. He just walked away.

Now, tell me why the sword brought this to light, but not the time Tim left King Snake to die!

It wasn't an accident. Tim deliberately chose to leave instead of trying to save this man from the murderous Lady Shiva. Sure, Tim was no match for Shiva and he might've not been able to stop her, but the same could be said for an eight year old Dick not stopping a group of much older kids. Neither of them tried to stop the attackers.

Tim didn't atone for it, either. When King Snake returned in Batman #469, Bruce told King Snake that it wasn't Tim who left him to die. We know that's a lie, but Tim never corrected this. He let Shiva take all the blame.

We have two instances of a boy choosing not to prevent someone from having a near death experience. One guilty, and one innocent.

Did the Sword of Sin think Tim was justified because King Snake was corrupt? That doesn't sound holy to me.

Was it because Tim didn't feel any guilt over it, while Dick did? Can the sword's judgement be thrown off by the victim not feeling any shred of guilt over their actions, even subconsciously?

That could make sense given what we know Tim did in the past: King Snake falling, the vandalism (explosions), and ALL the lying over the years (Tim reviving Shiva might count as atonement, so I'm not including that). If the sword based its judgement on God's will alone, then odds are high it would've picked up on one of these.

Even so, I'm not going to sit here and say this is definitely the case. I'm not familiar enough with how the sword effects other characters to make that call.

If this is indeed false, then did the DC universe's version of God decide to pardon Tim of his sins when he prayed earlier that same issue, despite him not believing he had any? I mean, who knows, right?

You can probably see why there's more questions than answers. The point is Tim didn't have any guilt for the things he did before Red Robin #22. Tim was canonically convinced he had nothing to atone for.

So then why did he say the opposite later in Knight Terrors: Robin #2?!

In the heart-to-heart between Tim and Jason, Tim tells him this:

"You have a lot to atone for...We all do..."

Tim knows that the words "we all" include him, right? By saying this, Tim admitted to also having things he needs to atone for, right?

Is this another white lie to make Jason feel better? Is it one of those slight changes the New 52 made to the canon? If not, then why did he change his mind? Did his no-kill rule change and make him feel guilty for some past actions? Is it not the no-kill rule, but something else?

What changed?!

Where does Tim draw the line?

I don't know. We've narrowed it down to a general area, but it's kinda hard to see a line when it's so blurred it could be a gradient.

Tim baffles me. He acts as a steady moral compass for others when he can't even seem to stay consistent with his own. You're free to call it poor writing (and honestly, fair), but I find his hypocrisy fascinating.

That's what it is, isn't it? Tim's a hypocrite who's completely oblivious to being one. And it's not like this was never mentioned in the comics before. Damian called him out on it!

In Batman & Robin 2011 #10, Damian confronted Tim about his near-murderous reaction when Fist Point killed Artemis (Teen Titans Vol 4 annual #1). Damian then accused Tim of constantly rejecting him because they have more in common than Tim's willing to admit.

It's debatable how accurate that accusation was, but Tim had a pretty volatile reaction to it.

"I believe in every choice I make!"

Does he? I don't think someone who's so sure of what he believes in would contradict himself to this extent. Especially if he wasn't doing it on purpose.

He wouldn't vehemently push Bruce's no-kill rule onto others and berate them for bending that rule, only to go and bend that same rule himself when the Batclan isn't around. He also wouldn't exploit what he thinks are loopholes, decide later that those loopholes broke the no-kill rule, and then earnestly claim he never broke it.

Why is he like this?! He's had arguably the most normal childhood out of the whole Batclan before becoming Robin! What could've made him so fickle about this?!

Where does he draw the line? And how will he know when he's crossed it?

#batman #dc #robin #tim drake #red robin #theory #analysis #long post #tim drake is a menace #unhinged tim drake #To think all of this was written without mentioning Tim's corrupt future selves #or the numerous times he's actually contemplated or attempted murder #Believe me I would've loved to add 5-10 more screenshots of those moments alone #but I hit the 30 image limit :(#Anyway I want to study Tim in a lab #Feedback is welcome #I'm aware I hadn't read all the DC comics so I could've missed something

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starcurtain · 6 months ago

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Female Guidance in Aventurine's Life

One thing I haven't seen discussed in much depth yet, but which I think is especially interesting, is the consistency of female guidance in Aventurine's life: Every single person who we have seen on screen offering Aventurine assistance or making a positive difference in his life is female (with one exception, yes, I'll get there).

Under the read more cause it's longggg:

Before even diving into his family, let's just get the obvious out of the way: Aventurine is, at least supposedly, blessed by a goddess. The very origin of his good fortune--be it actual blessing or curse--comes from the literal "mother goddess" who watches over him. This is one of the only instances in Star Rail where a god character is specifically given a gender, and Gaiathra is not ever ambiguous. She is the classic female fertility goddess with all the trappings of other famous triple goddess figures of the real world. Aventurine's personal belief in the goddess may be shaky, but he nevertheless continues to treasure his people's faith. Thus, at the core, we can say Aventurine is a character who is guarded by the most quintessential mother figure possible.

Now, with the most obvious out of the way:

We know that Aventurine's father died before Aventurine was even born, and therefore he would not have any memories of his father, leaving him to be raised by his mother and sister.

Both women clearly made an enormous and lasting impression on Aventurine; they haunt every single one of his memories of Sigonia and are the key elements of the family Aventurine longs to return to. While he flirts with the concept of death as a way to see his family members again, it was also his mother and sister who instilled in him any sense of self-worth and meaning to his existence, the only things keeping him from giving up on living. His mother believed him to be blessed; his sister insisted to his face that not even the only remaining remnant of their mother had any value in comparison to his life.

It is for his sister that Aventurine first begins expressing a self-sacrificial nature, and from his sister that this self-sacrifice is reinforced when she uses herself as a shield to help him escape massacre at the hands of the Katicans.

It is also from his sister that Aventurine learns many of the deeply meaningful actions he holds onto to the present day, despite having been so far removed from his own culture.

Conversely, every one of Aventurine's early negative experiences on screen appear to have been driven (at least primarily) by men.

Although the Katican tribe of course would have both men and women, the tribal societies on Sigonia appear to be on the fairly traditional side, with Aventurine's mother staying at the camp with her child while his father was the one to go out and hunt for offerings for Gaiathra. This is also supported by Aventurine asking Jade to take him to her "chief" later on. Therefore, it is likely (although of course not guaranteed) that a majority of the Katicans' army was male, and that Aventurine's early experiences with outsiders consisted almost entirely of indiscriminate pillaging and massacre at the hands of what the Avgin viewed as savage, invading warriors. In separate instances, Aventurine was traumatized by these warrior figures three times--first with the loss of his father, then his mother, and then finally his sister.

And even their hope, supposed to come in the form of the "men in black" from the IPC, completely abandoned them, leaving Aventurine once again betrayed by masculine figures that were supposed to be there to protect him. Led by Oswaldo Schneider, another cruel male authority figure, the Marketing Department of the IPC permitted the wholesale slaughter of Aventurine's people--something which we know Aventurine is now aware of.

Then, of course, the next piece of Aventurine's backstory we're given is his male slave master. I don't really need to say anything about this, do I? This man violated Aventurine's human dignity and bodily autonomy, and forced Aventurine's hand in a life or death battle for which Aventurine still punishes himself mentally, even years in the future.

In part to escape the difficulty of his situation and rise to a position where he would have enough resources to--he thought--help his people, Aventurine joins up with the IPC. But when he attempts to make contact with a powerful man in the organization, Diamond, he is instead met by a woman, Jade, who against Aventurine's own expectations determines that she will raise Aventurine up (or use him as a tool, depending on how you currently choose to interpret Jade's motivations), granting him wealth and status beyond his imagination.

(And this line in particular is interesting, because you can take it one of two ways: 1) Aventurine comes from a patriarchal planet that traditionally put men into positions of power [thereby making his own slavery an emasculating act, aligning him further with disenfranchised women]; thus, he is making the assumption that to get anywhere in this organization, he will need to work with a man; or 2) He actually was counting on Jade taking his bet and helping him right from the beginning, because Aventurine perceives women as inherently more likely to protect and aid him than men would be.)

In the end, Jade does exactly as she claims she will, launching Aventurine into a position of power while also closing golden handcuffs around his wrists. She positions herself not only as his supervisor, but as his advocate and ally. She entrusts him with her Cornerstone, a sign of significant faith in his abilities. She even seems to be keenly aware of his bias towards the mother figure, referring to him as "child" in their conversations.

Whether this is genuine or a manipulation tactic can certainly be debated (and I'm not inclined to think at this point that Jade is a genuinely good role model or selflessly supportive person in Aventurine's life), but whatever the case, women are the only people Aventurine even remotely considers to be "in his corner."

We see this even earlier, in Aventurine's call to Topaz. Like with the example of his mother and sister, Aventurine trusts in Topaz's ability implicitly, and considers her above anyone else when it comes to completing the mission in Penacony.

Although of course we don't know if Aventurine has any other friends or allies among the Strategic Investment Department, it seems very likely that Topaz, yet another woman, is the one he is closest with. At the very least, she is the only IPC character (so far) that Aventurine has a complimentary voice line for, one that shows his respect for her talent:

Over and over again, the story aligns Aventurine with female figures in positions of authority, and demonstrates that he is comfortable (although maybe not too comfortable, in the case of Jade) with relying on them and trusting their judgment, just as he did with his mother and sister.

And this pretty much goes off the charts in Penacony, where Aventurine has more involvement with the female cast than virtually any other non-female character (even the Trailblazer!). We set the pattern off right away, with Aventurine immediately being placed into a negotiation situation with Himeko, respecting her role as the Express's leader and working to get himself aligned with the Express by acquiescing to her request for support.

Then there's the fact that Aventurine is the one who finds Robin's body, an event which, although he didn't let it show too much, was almost certainly traumatic for him, given the violent death of his own sister.

Next, twice in Penacony's story, we see Aventurine seek out Sparkle for information. He may not personally like her and her comments may be both racist and dehumanizing, but Aventurine does rely on her--being the only character explicitly seeking her aid, which no one else in Penacony seems to want.

In 2.0...

And in 2.1.

Now, say it with me, guys: Aventurine built an entire portion of his grand plan around the idea that if he looked pathetic enough, a female character would absolutely come and help him. And sure enough, the women come through for him, always! Sparkle gives him the exact last clue he needs to confirm his belief that he could use "Death" to reach the true Penacony, sealing the deal for the rest of his plan.

His plan which also hinged significantly on Black Swan's involvement too, another woman that he views as, if not trustworthy, then at least intelligent and hyper-competent.

Contrast all this, of course, with the treatment Aventurine receives at the hands of Sunday, the lone opposing male character he faces in Penacony.

Sparkle implies that Sunday would humiliate Aventurine in an unmistakably sexual and degrading way, and Sunday himself professes this same desire to see Aventurine humiliated.

Then we're "treated" to the moment in which Sunday uses the Harmony's (or perhaps actually the Order's?) power against Aventurine, in a scene which is supposed to reflect an interrogation but is also, very clearly, another nonconsensual violation of Aventurine's bodily autonomy and dignity by a man. While ostensibly seeking confirmation of the Cornerstone ruse, Sunday instead subjects Aventurine to unnecessary questions about his past on Sigonia, which recall and force Aventurine to re-endure memories of his trauma.

Even if this is what Aventurine prepared himself for and planned to have happen, the pain he experiences is very real, and he suffers both the physical and emotional consequences of Sunday's assault all the way up to his "Death" and possibly even beyond.

(Also, Sunday fans please don't get too up in arms with me for this; I also like Sunday! It's okay for characters to be morally grey!)

I think there's one other interesting example I would bring up here too, and that's Aventurine's conscious decision to weaponize his own masculinity against the Trailblazer. Through the 2.0 and 2.1 Trailblaze missions, Aventurine deliberately acts in an off-putting manner to the Astral Express crew, particularly the Trailblazer, in order to build up to the 2.1 climax where the Trailblazer is supposed to view him as an unrepentant villain and attack him without hesitation.

In order to achieve this uncomfortable, villainous effect, what does Aventurine do? Exactly what other men have done to him.

This is especially apparent if you're playing Stelle because of the ingrained societal taboo of a man entering a woman's personal space without consent, but even as Caelus, it is very clear that Aventurine is leveraging behaviors typically used to show dominance: In a complete 180 to all Aventurine's other body language in the game (normally quite withdrawn, frequently in defensive postures with his arms crossed or hand behind his back, almost always standing several feet away from other people), Aventurine violates the Trailblazer's personal bubble, looming over them (Caelus was sitting in this cutscene, lol), forcing eye contact, and commanding the space while informing them that they will have no choice.

For someone who was hunted, enslaved, had his movements restricted with chains, and due to his own slight stature has very likely been towered over by others who were intentionally asserting their power over him all his life, it is clear that Aventurine associates dominant, typically more masculine-coded physically-imposing behaviors with discomfort and even villainy.

Any girl who has ever had a man loom over her like this will realize very quickly: Aventurine wanted to make himself scary so he made himself act more like a bad man.

(Yes of course I know "not all men." I'm not saying every man behaves in this domineering way or that women cannot be domineering too, obviously, just that Aventurine had a very specific image in mind when constructing a "villainous persona," and the physically controlling tactics most typically used by aggressive men toward women was his immediate go-to.)

But where does that leave Dr. Ratio, the one male character actually on Aventurine's side?

Frankly, I don't want to derail my post about how intensely Hoyo chose to hammer on the message of "Women will protect you" in Aventurine's story with a discussion about a mlm ship, but the take-away here is going to lead in that direction anyway--so yes, Dr. Ratio is the exception.

What is interesting is that he does not come across as an exception at first, and in fact initially appears as another male character being rude and dismissive to Aventurine. Like, there are still people out there calling Ratio an unrepentant racist for this one.

Of course, it's later clarified that this is an act--likely even these insults were scripted specifically to give Sunday's spying ears the "insight" he needed to exploit Aventurine during the interrogation.

But even though it is an act, Aventurine still has noticeable trouble putting his faith in Ratio. He does genuinely doubt him a few times, despite knowing that they are working together to fool the Family.

Even his voice line about Ratio confirms that he doesn't think Ratio particularly cares for him; rather, he thinks Ratio simply tolerates him because he's slightly less unintelligent than those around them.

Ultimately, the entire act with Ratio ends up being a mirror of the real scenarios Aventurine has been experiencing with men his whole life (at least as far as we are shown his life). Men abandon him to fend for himself (unwillingly, like his father, or willingly, like Diamond leaving Aventurine to deal with Penacony alone on the inside). Ratio keeps leaving Aventurine completely alone. Men attempt to humiliate him and violate his boundaries (like Sunday and his slave master). Ratio insults Aventurine's appearance and intelligence repeatedly. Men betray him (like Oswaldo Schneider and his men leaving the Avgin to die). Ratio "betrays" him.

I'm not saying when Aventurine devised the plan for their act, he consciously drew up a list of all the ways men had hurt him in the past and had Ratio re-enact them one by one, but like... that's what happened, whether or not Aventurine intended it.

And okay, the shrinking scene in Dewlight Pavilion was just for fun and probably only slightly fetishy, the devs promise; yes, it was supposed to be a joke! ...But it's also not a mistake that this is yet another instance of a male character in a glaringly metaphorical position of power over Aventurine. Aventurine's tiny in this scene! He's completely vulnerable! He's in a dangerous position and the male character could very much hurt him in this moment.

But Ratio doesn't. (In fact, his line here is supposed to be sarcastic, very ha ha--but also, what is Ratio really saying? "I won't do anything to you without your express consent." What a good guy.)

Virtually everything negative that we see in 2.1 is Ratio doing these things as an act at Aventurine's own request. He doesn't actually disdain Aventurine; his own voiceline about Aventurine reinforces that he sees Aventurine as talented and intelligent.

Whatever you think he was apologizing for in their early scene, he's the only person we're ever shown in-game apologizing to Aventurine at all.

He worked hard to "betray" Aventurine but only as he was instructed to do, and immediately checks in on Aventurine's well-being afterward, even urging him to give up the plan if it becomes too much to handle.

And then, of course, there's the note: "Do stay alive. I wish you the best of luck."

After this point, it cannot be denied that Ratio is unequivocally on Aventurine's side, wants to help him, and is not doing so out of any sense of self-gain but largely because he is a good person who simply cares about Aventurine's fate. By the end of 2.1, it can no longer be doubted that Ratio is the exception to the "gender rule" of Aventurine's life, which--the story shows us again and again--was that guidance, protection, and care for Aventurine come from women, while men repeatedly represent dismissal, betrayal, or pain.

Ratio is, at least as far as Aventurine's story shows us, the proof that men can be good, that things are not as black and white in Aventurine's life as they might appear, and that--if you do choose to ship him with or see Aventurine as attracted to men--his attraction could be validated (and potentially reciprocated) by a male figure who would not bring additional harm to Aventurine's life. Aventurine makes the final decision to live after seeing Ratio's note--the exception to the rule ultimately proves to be the last piece needed to keep him alive.

But I promised I wasn't going to derail my own post about w o m e n, so let me get to the final point, and the one I really wanted to talk about: Although Ratio gets virtually all the credit for "saving" Aventurine in the fandom, Aventurine was actually saved by, you guessed it, another woman.

Not going to lie, the reason I started this post was specifically because I wanted to talk about how Acheron and Aventurine's dynamic was completely unexpected but actually fits flawlessly with the theme of feminine guidance in Aventurine's story.

Despite the fact that Aventurine made Acheron's life much harder and actively used her as a chip in his grand gamble, she doesn't blame or chastise him for those actions. Although she expresses some incredulity that Aventurine is actually that lucky, she then turns around and congratulations him for his ingenuity, immediately supporting him despite the fact that they don't even truly know each other.

Then it gets even more interesting. Acheron, who frequently hits her companions with deep and sometimes very emotionally fraught questions, asks Aventurine: "Have you never wavered?"

We as players know for a fact that Aventurine is constantly wavering, constantly doubting himself, his luck, and whether he'll even live--or even wants to live--to see tomorrow. But we also know that Aventurine is not forthcoming about those truths, refusing to express them to anyone, even himself. The only way we hear those dark truths is through his "future" self (who by the way, is once again another male figure cutting Aventurine down--of course it's himself but it's also, from the player's perspective, once again reinforcing the message that he isn't going to find safety or kindness in an adult male presence). Aventurine almost constantly deflects and diverts when his emotions or struggles are brought to the fore (unless he's divulging them for the specific purpose of allowing someone else to weaponize them). "I'm fine," he says, like a lying liar who lies.

But he doesn't lie to Acheron.

He chooses to be completely candid with her, to lance open the deepest wound of his life--that he can win and win and win and still have lost everything. The glitz and the glamour has all been stripped away here, at the end of everything, and Aventurine finally feels safe enough to admit that he fears he has absolutely nothing in his life worth living for.

And then, we get this direct parallel: Aventurine looks to Acheron, the woman now before him, for guidance, for explanation, exactly as he looked to his sister in the past.

He needs help, he needs answers, and he is continually seeking that help from the female figures in his life, whose support and kindness echo the lost care of his mother and sister.

"Go where you should be," Acheron tells Aventurine, guiding him across the river of death just as his sister insisted that he flee through the rain toward life.

Look guys, Acheron's even the one who reminds Aventurine to look at Ratio's note in the first place because apparently being an emanator of Nihility gives you x-ray vision, but my girl just gets no credit at all for being Aventurine's real savior, come on now!! Yes, Ratio's note was the final reminder Aventurine needed that someone would be waiting for him on the other side, but Aventurine would never have even gotten to the point of being willing to read that note if Acheron hadn't stepped in and provided him an answer to his question.

She feeds him back his own answer: "Why does life slumber? To rehearse the death for which we are not currently prepared." It is Acheron who reminds Aventurine that giving into the Nihility is pointless, and that rather than simply embracing a meaningless death, it is up to humanity itself to find and make meaning by living. It's this, not Ratio's note, that Aventurine gives as his reason for choosing to go on when asked by his own younger self. It's Acheron's words that finally give Aventurine an answer--why do we live just to die? Because there are people we can still make proud. Because when we go into death, we should do so with our heads held high, having achieved our own sense of purpose in this life.

Ratio gave Aventurine a promise: Someone is waiting for you to come back.

But Acheron gave Aventurine a reason: If life is inherently meaningless, doesn't that just mean you are free to give it meaning yourself?

She saved him, as women have been saving him all his life.

Anyway, this has already been horrendously long, but really what I wanted to say is that I think it is absolutely fascinating how consistent Aventurine's writing is when it comes to portraying where his support comes from and who he seeks guidance from. (Psst, just in case you still haven't figured it out, it's women!) In virtually every instance we are shown, we see the message reinforced that women are Aventurine's greatest allies and role models, while male figures are continually positioned to intentionally or unintentionally let him down and cause him distress.

"But women playing the supporting role to a male character is nothing new, Star, why are you so excited by this?"

Because the role women are playing in Aventurine's life is not the subservient supporter and emotional crutch role that female characters all too often play to male counterparts. None of the women in Penacony or Aventurine's past were there to do the emotional labor for him, to be a trophy or prize, or to cater to his needs. They don't exist solely to help him fulfill his character motivations; they aren't following him around waiting for his next request as their only role in the plot.

Instead, with Aventurine's story, we almost have an inversion of gender roles, where the male character eschews the stereotypical "men are leaders, fighters, and stoic heroes" archetype. Instead, no matter how hard he tries to hide it and keep a stiff upper lip, it is clear from 2.0-2.1's story that Aventurine is a deeply insecure, lonely, and explicitly traumatized survivor of genocide, slavery, and exploitation. Unlike most male characters, who are very rarely portrayed as genuine victims--because come on, shouldn't men be strong enough to fight back? Shouldn't men be able to shrug it off when they are hurt, emotionally or physically? (Of course I'm rolling my eyes here!)--Aventurine is belittled, humiliated, emasculated, and victimized on-screen, roles almost exclusively reserved for women, for whom surviving victimization in fiction is seen as noble.

Meanwhile, the women in Aventurine's life take on the roles traditionally given to male characters. They're both emotionally and physically his protectors. Aventurine's sister gave her life to guard his safety; Acheron ensured he could safely pass beyond the river of Nihility into the Primordial Dreamscape. They give him the tools necessary to succeed where he could not succeed on his own. His plan could never have gotten off the ground without Topaz and Jade entrusting their Cornerstones to him. The knowledge and capabilities of the women around him--not their "feminine charms"--are what allow them to help keep Aventurine on the right path even though he does waver. Even women who disrespect him, like Sparkle, still play a positive role in his life, able to provide him insight gained with their own intellect and talents.

When he has no one to rely on and doesn't know what to do, Aventurine is able to continually turn to the women around him, asking for and receiving not servitude or fawning, but their genuine wisdom and guidance.

tl;dr: If nobody else has him, Aventurine knows this random woman he met two minutes ago on the street will have him, because the women in his life literally never let him down.

(It's just so, so good, and ultimately, it should be very clear why Aventurine's story is as popular with women as it is! A+, Hoyo!)

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hum--hallelujah · 3 months ago

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#every time I see some of these pictures I just think of this #I did hit image limit on this one btw. 30 images 👍#she speaks!#fob #fall out boy #two halves of a whole member of fall out boy #I'm.. going to maintag this. for posterity #p2 #peterick #ww #web weaving #image quality on some of these flopped when I cropped them lol

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anominous-user · 6 months ago

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Double Indemnity, Veritas Ratio and Aventurine

This was originally a part of my compilation post as a short analysis on the Double Indemnity references, linking to this great thread by Manya on Twitter. However, I've recently watched the movie and found that the parallels run much deeper than just the mission name and the light cone itself, plus as the short synopsis I've read online. Since there isn't really an in-depth attempt at an analysis on the film in relation to the way Aventurine and Ratio present themselves throughout Penacony, I thought I'd take a stab at doing just that. I will also be bringing up things from Manya's thread as well as another thread that has some extra points.

Disclaimer that I... don't do analyses very often. Or write, in general — I'm someone who likes to illustrate their thoughts (in the artistic sense) more than write. There's just something about these two that makes me want to rip into them so badly, so here we are. If there's anything you'd like to add or correct me on, feel free to let me know in the replies or reblogs, or asks. This ended up being a rather extensive deep dive into the movie and its influences on the pairing, so please keep that in mind when pressing Read More.

There are two distinct layers on display in Ratio and Aventurine's relationship throughout Penacony, which are references to the two most important relationships in the movie — where they act like they hate/don’t know each other, and where they trust each other.

SPOILER WARNING for the entire movie, by the way. You can watch the film for free here on archive.org, as well as follow along with the screenplay here. I will also be taking dialogue and such from the screenplay, and cite quotes from the original novel in its own dedicated section. SPOILER WARNING for the Cat Among Pigeons Trailblaze mission, as well.

CONTENT WARNING FOR MENTIONS OF SUICIDE. YOU HAVE BEEN WARNED.

To start, Double Indemnity (1944) is a film noir by Billy Wilder (and co-written by Raymond Chandler) based on the novel of the same name by James M. Cain (1927). There are stark differences between the movie adaptation and the original novel which I will get into later on in this post, albeit in a smaller section, as this analysis is mainly focused on the movie adaptation. I will talk about the basics (summaries for the movie and the game, specifically the Penacony mission in tandem with Ratio and Aventurine) before diving into the character and scene parallels, among other things.

—

[THE NAME]

The term "double indemnity" is a clause in which if there’s a case of accidental death of a statistically rare variety, the insurance company has to pay out multiple of the original amount. This excludes deaths by murder, suicide, gross negligence, and natural causes.

The part of the mission in Cat Among Pigeons where Ratio and Aventurine meet with Sunday is named after the movie. And before we get further into things, let's get this part out of the way: The Chinese name used in the mission is the CN title of the movie, so there's no liberties taken with the localization — this makes it clear that it’s a nod to the movie and not localization doing its own thing like with the mission name for Heaven Is A Place On Earth (EN) / This Side of Paradise (人间天堂) (CN).

—

[SUMMARY OF THE 1944 MOVIE]

Here I summarised the important parts that will eventually be relevant in the analysis related to the game.

Insurance salesman Walter Neff, wounded from a gunshot, enters his office and confesses his crime on a dictaphone to his boss Barton Keyes, the claims manager. Much earlier, he had met Phyllis Dietrichson, the wife of Mr. Dietrichson and former nurse. Neff had initially wanted to meet Mr. Dietrichson because of car insurance. Phyllis claims her husband is mean to her and that his life insurance goes to his daughter Lola. With Neff seduced by Phyllis, they eventually brew up a scheme to murder Mr. Dietrichson in such a way that they activate the "double indemnity" clause, and the plan goes off almost perfectly. Initially, the death is labeled a suicide by the president of the company, Norton.

Keyes finds the whole situation suspicious, and starts to suspect Phyllis may have had an accomplice. The label on the death goes from accidental, to suicide, to then murder. When it’s ruled that the husband had no idea of the accidental policy, the company refuses to pay. Neff befriends Phyllis’ stepdaughter Lola, and after finding out Phyllis may have played a part in the death of her father’s previous wife, Neff begins to fear for Lola and himself, as the life insurance would go all towards her, not Phyllis.

After the plan begins to unravel as a witness is found, it comes out that Lola’s boyfriend Nino Zachette has been visiting Phyllis every night after the murder. Neff goes to confront Phyllis, intending to kill her. Phyllis has her own plans, and ends up shooting him, but is unable to fire any more shots once she realises she did love him. Neff kills her in two shots. Soon after telling Zachette not to go inside the house, Neff drives to his office to record the confession. When Keyes arrives, Neff tells him he will go to Mexico, but he collapses before he could get out of the building.

—

[THE PENACONY MISSION TIMELINE]

I won’t be summarising the entirety of Aventurine and Ratio’s endeavours from the beginning of their relationship to their final conversation in Heaven Is A Place On Earth the same way as I summarised the plot of the movie, so I will instead present a timeline. Bolded parts means they are important and have clear parallels, and texts that are in [brackets] and italics stand for the names of either the light cone, or the mission names.

[Final Victor] Their first meeting. Ratio’s ideals are turned on its head as he finally meets his match.

Several missions happen in-between their first encounter and the Penacony project. They come to grow so close and trusting with each other that they can guess, understand each other’s thoughts, way of thinking and minds even in high stakes missions. Enough to pull off the Prisoner’s Dilemma (Aventurine’s E1) and Stag Hunt Game (Aventurine’s E6) and come out on top.

Aventurine turns towards Ratio for assisting him in the Penacony project. Ratio's involvement in the project is implied to be done without the knowledge of Jade, Topaz, and the IPC in general, as he was only sent to Penacony to represent the Intelligentsia Guild, and the two other Stonehearts never mention Ratio.

Aventurine and Ratio cook up the plan to deceive Sunday before ever setting foot on Penacony. Aventurine does not tell Ratio the entirety of his plan.

Aventurine convinces Topaz and Jade to trust him with their Cornerstones. Aventurine also breaks his own Cornerstone and hides it along with the jade within a bag of gift money.

[The Youth Who Chase Dreams] They enter Penacony in the Reverie Hotel. Aventurine is taken to the side by Sunday and has all his valuables taken, which includes the gift money that contains the broken aventurine stone, the jade, and the case containing the topaz.

Aventurine and Ratio speak in a “private” room about how Aventurine messed up the plan. After faking an argument to the all-seeing eyes of Sunday, Ratio leaves in a huff.

Ratio, wearing his alabaster head, is seen around Golden Hour in the (Dusk) Auction House by March 7th.

[Double Indemnity] Ratio meets up with Sunday and “exposes” Aventurine to him. Sunday buys his “betrayal”, and is now in possession of the topaz and jade. Note that this is in truth Ratio betraying Sunday all along.

Ratio meets up with Aventurine again at the bar. Ratio tells Aventurine Sunday wants to see him again.

They go to Dewlight Pavilion and solve a bunch of puzzles to prove their worth to Sunday.

They meet up with Sunday. Sunday forces Aventurine to tell the truth using his Harmony powers. Ratio cannot watch on. It ends with Aventurine taking the gift money with his Cornerstone.

[Heaven Is A Place On Earth] They are in Golden Hour. Ratio tries to pry Aventurine about his plan, but Aventurine reins him in to stop breaking character. Ratio gives him the Mundanite’s Insight before leaving. This is their final conversation before Aventurine’s grandest death.

Now how exactly does the word “double indemnity” relate to their mission in-game? What is their payout? For the IPC, this would be Penacony itself — Aventurine, as the IPC ambassador, handing in the Jade Cornerstone as well as orchestrating a huge show for everybody to witness his death, means the IPC have a reason to reclaim the former prison frontier. As for Ratio, his payout would be information on Penacony’s Stellaron, although whether or not this was actually something he sought out is debatable. And Aventurine? It’s highly implied that he seeks an audience with Diamond, and breaking the Aventurine Cornerstone is a one way trip to getting into hot water with Diamond. With Aventurine’s self-destructive behaviour, however, it would also make sense to say that death would be his potential payout, had he taken that path in the realm of IX.

Compared to the movie, the timeline happens in reverse and opposite in some aspects. I will get into it later. As for the intended parallels, these are pretty clear and cut:

Veritas Ratio - Walter Neff

Aventurine - Phyllis Dietrichson

Sunday - Mr. Dietrichson

There is one other character who I feel also is represented in Ratio, but I won’t bring them up until later down the line.

For the sake of this analysis, I won’t be exploring Sunday’s parallel to Mr. Dietrichson, as there isn’t much on Dietrichson’s character in the first place in both the movie and the novel. He just kind of exists to be a bastard that is killed off at the halfway point. Plus, the analysis is specifically hyper focused on the other two.

—

[SO, WHAT’S THE PLAN?]

To make things less confusing in the long run whenever I mention the words “scheme” and “plan”, I will be going through the details of Phyllis and Neff’s scheme, and Aventurine and Ratio’s plan respectively. Anything that happens after either pair separate from another isn’t going to be included. Written in a way for the plans to have gone perfectly with no outside problems.

Phyllis and Neff —> Mr. Dietrichson

Goal: Activate the double indemnity clause by killing Mr. Dietrichson and making it look like a freak train accident

Payout: Twice or more of the face value of the life insurance ($100,000)

Main Actor: Walter Neff | Accomplice: Phyllis Dietrichson

During the entire time until the payout, Phyllis and Neff have to make sure to any outsiders that they look like complete strangers instead of lovers in an affair.

Step-by-step:

Neff convinces Mr. Dietrichson to sign the policy with the clause without him suspecting foul play, preferably with a third party to act as an alibi. This is done discreetly, making Mr. Dietrichson not read the policy closely and being told to just sign.

Neff and Phyllis talk to each other about small details through the phone (specified to be never at Phyllis’ own house and never when Neff was in his office) and in the marketplace only, to make their meetings look accidental. They shouldn’t be seen nor tracked together, after all.

Phyllis asks Mr. Dietrichson to take the train. She will be the one driving him to the train station.

On the night of the murder, after making sure his alibi is airtight, Neff sneaks into their residence and hides in their car in the second row seating, behind the front row passenger seat. He wears the same colour of clothes as Mr. Dietrichson.

Phyllis and Mr. Dietrichson get inside the car — Phyllis in the driver’s seat and Mr. Dietrichson in the passenger seat. Phyllis drives. On the way to the train station, she makes a detour into an alley. She honks the horn three times.

After the third honk, Neff breaks Mr. Dietrichson’s neck. The body is then hidden in the second row seating under a rug.

They drive to the train station. Phyllis helps Neff, now posing as Mr. Dietrichson, onto the train. The train leaves the station.

Neff makes it to the observation platform of the parlour car and drops onto the train tracks when nobody else is there.

Phyllis is at the dump beside the tracks. She makes the car blink twice as a signal.

The two drag Mr. Dietrichson’s corpse onto the tracks.

They leave.

When Phyllis eventually gets questioned by the insurance company, she pretends she has no idea what they are talking about and eventually storms off.

Phyllis and Neff continue to lay low until the insurance company pays out.

Profit!

Actual Result: The actual murder plan goes almost smoothly, with a bonus of Mr. Dietrichson having broken a leg. But with him not filing a claim for the broken leg, a witness at the observation platform, and Zachette visiting Phyllis every night after the murder, Keyes works out the murder scheme on his own, but pins the blame on Phyllis and Zachette, not Neff.

Now for Aventurine and Ratio. You can skip this section if you understand how deep their act goes, but to those who need a refresher, here’s a thorough explanation:

Aventurine and Ratio —> Sunday

Goal: Collect the aventurine stone without Sunday knowing, ruin the dream (and create the grandest death)

Payout: Penacony for the IPC, information on the Stellaron for Ratio, a meeting with Diamond / death for Aventurine

Main Actor: Aventurine | Accomplice: Veritas Ratio

From the moment they step onto Penacony, they are under Sunday’s ever present and watchful eyes. “Privacy” is a foreign word to The Family. They have to act like they don’t like each other’s company the entire time and feed Sunday information through indirect means so that the eventual “betrayal” by Ratio seems truthful to Sunday. Despite what it looks like, they are closer than one would ever think, and Ratio would never sell out a person purely for information.

Step-by-step:

After Sunday takes away the bag of gift money and box, Aventurine and Ratio talk in a room in the Reverie Hotel.

Aventurine establishes the Cornerstones’ importance, and how he lost the gift money and the case containing the Cornerstones to Sunday. Ratio turns to leave, saying “some idiot ruined everything”, meaning the Cornerstones were vital to their plan. (Note that Ratio is not wearing his alabaster head while saying it to said “idiot”.)

Aventurine then proceeds to downplay the importance of the Cornerstones, stating they are “nothing more than a few rocks” and “who cares if they are gone”. This lets Sunday know that something suspicious may be going on for him to act like it’s nothing, and the mention of multiple stones, and leaves him to look up what a Cornerstone is to the Ten Stonehearts of the IPC.

Ratio points out his absurd choice of outfit, mentioning the Attini Peacock and their song.

Ratio implies that without the aventurine stone, he is useless to the IPC. He also establishes that Aventurine is from Sigonia(-IV), and points out the mark on his neck. To Sunday, this means that Aventurine is shackled to the IPC, and how Aventurine may possibly go through extreme lengths to get the stone back, because a death sentence always looms above him.

Aventurine claims Ratio had done his homework on his background, which can be taken that this is their very first time working together. (It isn’t, and it only takes one look to know that Aventurine is an Avgin because of his unique eyes, so this comment does not make sense even in a “sincere” way, a running theme for the interaction.)

Ratio mentions how the true goal is to reclaim Penacony for the IPC, establishing their ulterior motive for attending the banquet.

Ratio asks if Aventurine went to pre-school in Sigonia after saying trust was reliant on cooperation. Aventurine mentions how he didn’t go to school and how he doesn’t have any parents. He even brings up how friends are weapons of the Avgins. This tells Sunday that the Avgins supposedly are good at manipulation and potentially sees Ratio possibly betraying Aventurine due to his carelessness with his “friends”. Sunday would also then research about the Avgins in general (and research about Sigonia-IV comes straight from the Intelligentsia Guild.)

Ratio goes to Dewlight Pavilion in Sunday’s Mansion and exposes a part of Aventurine’s “plan”. When being handed the suitcase, Ratio opens it up due to his apparent high status in the IPC. He tells Sunday that the Cornerstone in the suitcase is a topaz, not an aventurine, and that the real aventurine stone is in the bag of gift money. This is a double betrayal — on Aventurine (who knows) and Sunday (who doesn’t). Note that while Ratio is not officially an IPC member in name — the Intelligentsia Guild (which is run by the IPC head of the Technology Department Yabuli) frequently collaborates with the IPC. Either Aventurine had given him access to the box, or Ratio’s status in general is ambiguous enough for Sunday not to question him further. He then explains parts of Aventurine’s gamble to Sunday in order to sell the betrayal. Note that Ratio does not ever mention Aventurine’s race to Sunday.

Ratio brings Aventurine to Sunday. Aventurine offers help in the investigation of Robin's death, requesting the gift money and the box in return.

Sunday objects to the trade offer. Aventurine then asks for just the bag. A classic car insurance sales tactic. Sunday then interrogates Aventurine, and uses everything Ratio and Aventurine brought up in the Reverie Hotel conversation and their interactions in the Mansion, as well as aspects that Ratio had brought up to Sunday himself.

Aventurine feigns defeat and ignorance enough so that Sunday willingly lets him go with the gift bag. After all is said and done, Aventurine leaves with the gift money, where the Aventurine Cornerstone is stored all along.

Ratio and Aventurine continue to pretend they dislike each other until they go their separate ways for their respective goals and plans. Aventurine would go on to orchestrate his own demise at the hands of Acheron, and Ratio… lurks in the shadows like the owl he is.

Profit!

Actual Result: The plan goes perfectly, even with minor hiccups like Ratio coming close to breaking character several times and Aventurine being sentenced to execution by Sunday.

This is how Sunday uses the information he gathered against Aventurine:

• Sunday going on a tirade about the way Aventurine dresses and how he’s not one to take risks — Ratio’s comment about Aventurine’s outfit being peacock-esque and how he’s “short of a feather or two”. • “Do you own a Cornerstone?” — Ratio talked about the aventurine stone. • “Did you hand over the Cornerstone to The Family when you entered Penacony?” — Aventurine mentioned the box containing the Cornerstones. • “Does the Cornerstone you handed over to The Family belong to you?” — Aventurine specifically pluralized the word Cornerstone and “a bunch of rocks” when talking to Ratio. • “Is your Cornerstone in this room right now?” — The box in the room supposedly contained Aventurine’s own cornerstone, when Aventurine mentioned multiple stones. • “Are you an Avgin from Sigonia?” —Aventurine mentioned that he’s an Avgin, and Ratio brought up Sigonia. • “Do the Avgins have any ability to read, control, and manipulate one’s own or another’s minds?” — Aventurine’s comment on how friends are weapons, as well as Sunday’s own research on the Avgins, leading him to find out about the negative stereotypes associated with them. • “Do you love your family more than yourself?” — His lost parents. “All the Avgins were killed in a massacre. Am I right?” — Based on Sunday’s research into his background. • “Are you your clan’s sole survivor?” — Same as the last point. “Do you hate and wish to destroy this world with your own hands?” — Ratio mentioned the IPC’s goal to regain Penacony, and Aventurine’s whole shtick is “all or nothing”. • “Can you swear that at this very moment, the aventurine stone is safe and sound in this box?” — Repeat.

As seen here, both duos have convoluted plans that involve the deception of one or more parties while also pretending that the relationship between each other isn’t as close as in reality. Unless you knew both of them personally and their histories, there was no way you could tell that they have something else going on.

On to the next point: Comparing Aventurine and Ratio with Phyllis and Neff.

—

[NEFF & PHYLLIS — RATIO & AVENTURINE]

With the short summaries of the movie and the mission out of the way, let’s look at Phyllis and Neff as characters and how Aventurine and Ratio are similar or opposite to them.

Starting off with Aventurine and Phyllis. Here is where they are the most similar:

Phyllis is blonde and described as a provocative woman. Aventurine is also a blond and eyes Ratio provocatively in the Final Victor light cone.

Phyllis was put under surveillance after Keyes starts figuring out that the so-called accidental death/suicide may have been a murder after all. Similarly, Aventurine was watched by Sunday the entire time in Penacony.

Phyllis never tells Neff how she's seeing another man on the side to possibly kill him too (as well as how she was responsible for the death of her husband‘s previous wife). Aventurine also didn't tell Ratio the entirety of his plan of his own death.

Phyllis puts on a somewhat helpless act at first but is incredibly capable of making things go her way, having everything seemingly wrapped around her finger. Aventurine — even when putting on a facade that masks his true motives — always comes out at the top.

Now the differences between Aventurine and Phyllis:

Phyllis does not care about her family and has no issue with killing her husband, his previous wife, and possibly her daughter Lola. Opposite of that, Aventurine is a family man… with no family left, as well as feeling an insane level of survivor’s guilt.

Really, Phyllis just… does not care at all about anyone but herself and the money. Aventurine, while he uses every trick in the book to get out on top, does care about the way Jade and Topaz had entrusted him with their Cornerstones, in spite of the stones being worth their lives.

Phyllis also uses other people to her advantage to get what she wants, often behind other people's backs, with the way she treats Neff and Zachette. Aventurine does as well (what with him making deals with the Trailblazer while also making a deal with Black Swan that involves the Trailblazer). The difference here is Phyllis uses her allure deliberately to seduce men while Aventurine simply uses others as pawns while also allowing others to do the same to himself.

Phyllis makes no attempt at compromising the policy when questioned by Norton. Aventurine ends up compromising by only taking the gift money (which is exactly what he needs).

The wig that Barbara Stanwyck (the actress of Phyllis) wore was chosen to make her look as “sleazy” as possible, make her look insincere and a fraud, a manipulator. A sort of cheapness. Aventurine’s flashy peacock-esque outfit can be sort of seen as something similar, except the outfit isn’t cheap.

Moving on to Ratio’s similarities to Neff… There isn’t much to extrapolate here as Ratio is more of a side character in the grand scheme of Penacony, however this is what I’ve figured out.

Neff has dark hair. Ratio has dark purple hair.

Neff almost never refers to Phyllis by her name when speaking with her, only as “baby”. The few times he refers to her as Phyllis or Mrs. Dietrichson is during their first conversations and when he has to act like he doesn’t know her. Ratio never calls Aventurine by his name when he’s around him — only as “gambler”, sometimes “damned” or “dear” (EN-only) gambler. Only in the Aventurine's Keeping Up With Star Rail episode does Ratio repeatedly say his name, and yet he still calls him by monikers like “gambler” or, bafflingly, a “system of chaos devoid of logic”.

Both Neff and Ratio committed two betrayals: Neff on Mr. Dietrichson and Keyes, and Ratio on Sunday and Aventurine. With the former cases it was to reach the end of the trolley line, and with the latter it was on a man who had put his trust in him.

As for the differences…

Neff is described as someone who’s not smart by his peers. Ratio is someone who is repeatedly idolised and put on a pedestal by other people.

Neff is excellent at pretending to not know nor care for Phyllis whenever he speaks about her with Keyes or when he and she are in a place that could land them in hot water (the office, the mansion when there are witnesses). His acting is on the same level as Phyllis. With Ratio it’s… complicated. While he does pull off the hater act well, he straight up isn’t great at pretending not to care about Aventurine’s wellbeing.

Instead of getting his gunshot wound treated in the hospital like a normal person, Neff makes the absolutely brilliant decision of driving to his office and talking to a dictaphone for hours. Needless to say, this is something a medical doctor like Ratio would never do.

Now here's the thing. Though it's very easy to just look at Phyllis and Neff in the movie and go "okay, Aventurine is Phyllis and Ratio is Neff — end of story" and leave it at that, I find that they both take from the two leads in different ways. Let me explain. Beginning with Aventurine and Neff…

Neff is the one who hatches the plan and encourages Phyllis to go through and claim the double indemnity clause in the first place. He is also the key player of his own risky plan, having to fake being the husband to enter the train as well as fake the death. Aventurine puts himself at great risk just by being in Sunday’s presence, and hoping that Sunday wouldn’t figure out that the green stone he had uncovered wasn’t the aventurine stone.

Adding onto the last point, Neff had fantasised about pulling off the perfect murder for a long time — the catalyst was simply him meeting Phyllis. Aventurine presumably sought out Ratio alone for his plan against Sunday.

Neff makes a roulette wheel analogy and talks about a pile of blue and yellow poker chips (the latter in the script only). I don‘t even have to explain why this is relevant here. (Aventurine’s Ultimate features a roulette wheel and the motif is on his belt, thigh strap, and back, too. And of course, Aventurine is all about his chips.)

Neff has certain ways to hide when he’s nervous, which include hiding his hands in his pockets when they were shaking, putting on glasses so people couldn’t see his eyes. Aventurine hides his left hand behind his back when he’s nervous: Future Aventurine says that "they don't know the other hand is below the table, clutching [his] chips for dear life", and in multiple occasions such as the Final Victor LC, his character trailer, and even in his boss form in the overworld you can see that Aventurine hides his left hand behind his back. And he is also seen with his glasses on sometimes.

Neff says a bunch of stuff to make sure that Phyllis acts her part and does not act out of character (i.e. during their interactions at the market), like how Aventurine repeatedly tries to get Ratio back on track from his subpar acting.

Neff is always one step ahead of the game, and the only reason the plan blows up in his face is due to outside forces that he could not have foreseen (a witness, Keyes figuring out the plan, the broken leg). Aventurine meanwhile plays 5D chess and even with the odds against him, he uses everything he can to come out on the top (i. e. getting Acheron to kill him in the dream).

Even after coming home on the night of the murder, Neff still felt that everything could have gone wrong. Aventurine, with his blessed luck, occasionally wavers and fears everything could go wrong whenever he takes a gamble.

Neff was not put under surveillance by Keyes due to him being extensive with his alibi. After witnessing Robin’s death with eyewitnesses at the scene, the Family had accepted Aventurine’s alibi, though he would be under watch from the Bloodhounds according to Ratio.

Neff talks about the entire murder scheme to the dictaphone. Aventurine during Cat Among Pigeons also retells his plan, albeit in a more convoluted manner, what with his future self and all.

Continuing with Ratio and Phyllis, even with their personalities and motivations being quite different, they do have a few commonalities.

Phyllis was a nurse. Ratio is a medical doctor.

Her name is Greek of origin. Veritas Ratio, though his name is Latin, has Greco-Roman influences throughout his entire character.

The very first scene Phyllis appears in has her wearing a bath towel around her torso. Ratio loves to take baths to clear his mind.

Phyllis was instructed by Neff to be at the market every morning at eleven buying things. Ratio is seen in an auction house with his alabaster head on so no one could recognize him.

Phyllis mostly acts as an accomplice to the scheme, being the one to convince her husband to take the train instead. She is also generally seen only when Neff is involved. Ratio plays the same role as well, only really appearing in the story in relation to Aventurine as well as being the accomplice in Aventurine’s own death. Even him standing in the auction house randomly can be explained by the theory that he and Aventurine had attempted to destabilise Penacony’s economy through a pump and dump scheme.

With these pointers out of the way, let’s take a closer look at select scenes from the film and their relation to the mission and the pair.

—

[THE PHONE CALL — THE REVERIE HOTEL]

Before the murder, there is a scene with a phone call between Phyllis and Neff discussing the plan while Keyes is in the same room as Neff. Neff has to make sure that Keyes doesn’t think of anything of the phone call, so he acts like he’s calling a “Margie”, and says a bunch of stuff that sounds innocent out of context (“Can’t I call you back, ‘Margie’?” “What color did you pick out?” “Navy blue. I like that fine”), but are actually hinting at the real plan all along (the suit that Mr. Dietrichson wears.)

In a roundabout way, the conversation between Ratio and Aventurine in the Reverie Hotel can be seen as the opposite of that scene — with the two talking about their supposed plan out loud on Penacony ground, a place where the Family (and in turn, Sunday) has eyes everywhere. Despite being in a “private” room, they still act like they hate each other while airing out details that really do not make sense to air out if they really did meet the first time in Penacony (which they didn’t — they’ve been on several missions beforehand). It’s almost like they want a secret third person to know what they were doing, instead of trying to be hushed up about it. The TVs in the room that Sunday can look through based on Inherently Unjust Destiny — A Moment Among The Stars, the Bloodhound statue that disappears upon being inspected, the owl clock on the left which side eyes Ratio and Aventurine, all point to that Sunday is watching their every move, listening to every word.

Rewinding back to before the phone call, in one of the encounters at the marketplace where they “accidentally” run into each other, Phyllis talks about how the trip was off. How her husband wouldn’t get on the train, which was vital for their plan, because of a broken leg. All this, while pretending to be strangers by the passersby. You could say that the part where Ratio almost leaves because Aventurine had “ruined the plan” is the opposite of this, as the husband breaking his leg was something they couldn’t account for, while Aventurine “being short of a few feathers” was entirely part of the plan.

—

[QUESTIONING PHYLLIS — THE INTERROGATION]

This section is going to be a little longer as I will cover two scenes in the movie in a more detailed manner — Mr. Dietrichson signing the policy, and Phyllis being questioned — and how they are represented in the Sunday-Aventurine interrogation and the prior conversation between Ratio and Sunday in multitudes of ways.

Going about their plan, Neff has to make sure that Mr. Dietrichson signs the policy with the double indemnity clause without him knowing the details, all the while having Phyllis (and Lola) in the same room. He and Phyllis have to pretend that they don’t know each other, and that this is just the standard accidental insurance process, instead of signing what would be his downfall. To sell it, he gets Mr. Dietrichson to sign two “copies” of the form, except with Mr. Dietrichson’s second signature, he’s duped into signing the accident insurance policy with the respective clause.

You can tie this to how Ratio goes to Sunday in order to “expose” the lie that the suitcase didn’t actually contain the Aventurine Cornerstone, as well as there being more than one Cornerstone involved in the scheme. Ratio must make sure that Sunday truly believes that he dislikes Aventurine’s company, while also making sure that Sunday doesn’t figure out the actual aventurine stone is broken and hidden in the gift bag. The scheme turns out to be successful, as Sunday retrieves the two Cornerstones, but not the aventurine stone, and truly does think that the green stone he has in his possession is the aventurine.

This whole scene with Sunday is also reminiscent of the interrogation scene in the middle of the movie, where Phyllis was questioned by the boss (Norton) who was deducing that Mr. Dietrichson's death was a suicide, not accidental death. Neff, Phyllis, Keyes and Norton were all in the same room, and Neff and Phyllis had to act like they never knew the other. Phyllis acts like she knows nothing about what Norton insinuates about her husband and eventually, Phyllis explodes in anger and storms out the room, even slamming the door. Her act is very believable to any outsider.

Now back to the Ratio and Sunday conversation. One glaring difference between the movie and here is that his acting isn’t great compared to either Phyllis nor Neff. It never was throughout the Penacony mission. He even comes very close to breaking character several times, and is even defending Aventurine in a somewhat aggressive manner during his one-on-one conversation with Sunday, as in he literally tells Sunday to see a shrink. It’s very different from the way he was acting in Herta Space Station — like Ratio cares about Aventurine too much to keep his hands off.

It's also worth pointing out that Neff doesn't speak a word when Phyllis was being interrogated. Similarly, Ratio is silent throughout the entire scene with Sunday and Aventurine, with his only “line” being a “hm”. When Aventurine calls him a wretch to his face, all he does is look to the side. In fact, he can only look at Aventurine when the other isn’t staring back. Almost like him uttering a single word would give them away. Or his acting is terrible when it has to do with Aventurine, as he has no issue doing the same thing in Crown of the Mundane and Divine (Mundane Troubles).

So, Sunday finds out about the Cornerstones and reveals them to Aventurine, and reasons that he cannot give them back to him because Aventurine had lied. Note that in that same scene, Aventurine attempted to use the two murders that had occurred beforehand against Sunday to retrieve his own cornerstone. Similarly, when it was revealed that Mr. Dietrichson did not know about the accident policy and that the so-called “accidental death” was not, in fact, accidental, the insurance company refused to pay out the money.

Unlike the movie, this was all planned, however. The double-crossing by Ratio, the gift money being the only thing required for Aventurine’s real plan. All of it was an act of betrayal against Sunday, in the same manner as the meticulous planning as Mr. Dietrichson’s murder — To sign the policy, get him to take the train, kill him on the way, and to have Neff pose as the husband on the train until the time is right to get off and lay the body on the tracks. A key difference is that they could not have expected their scheme to be busted wide open due to forces outside of their control, while Ratio and Aventurine went straight down the line for the both of them no matter what.

From here on out, we can conclude that the way Ratio and Aventurine present themselves in Penacony to onlookers is in line with Neff and Phyllis.

—

[“GOODBYE, BABY” — FINAL VICTOR]

And now for the (in)famous light cone, Final Victor. The thing that truly kickstarted the Ratio and Aventurine ship in the fanbase, and the partnership between the two in general. It’s a direct reference to the final confrontation between Neff and Phyllis in the movie.

I’ll fire through all the similarities between the two scenes.

During the respective scenes, Aventurine and Phyllis both outsmart their partner one way or the other: Aventurine with his one-sided game of Russian Roulette, and Phyllis hiding her gun underneath the cushions until Neff turned away.

The guns are owned by Phyllis and Aventurine, not Neff and Ratio.

Phyllis couldn’t bring herself to fire any more shots after she realised she truly did love Neff. Ratio could do nothing but watch as Aventurine did what he did — he couldn’t even pull away if the LC animation is anything to go by him struggling as Aventurine firmly keeps the gun to his chest.

Neff says he doesn’t buy (believe) that Phyllis loved him. She then goes “I’m not asking you to buy […]”. The LC description has Aventurine ask Ratio “You don’t believe me?”, while in the LC animation Ratio straight up says “You expect me to believe you?” and Aventurine answering “Why not, doctor/professor?”

The visual composition of the LC and the scene are nearly identical, from the lighting to the posing to the way Aventurine looks at Ratio — Aventurine and Ratio are even wearing different outfits to fit the scene better. The background in the LC is also like the blinders in the movie, just horizontal.

In the shot where Phyllis’ face is more visible, the way she looks at Neff is strikingly like the way provocatively looks at Ratio. Even their eyes have a visible shine — Phyllis’ eyes brightly shining the moment she realised she really fell in love with Neff, and Aventurine having just a little light return to his eyes in that specific moment.

And now the differences!

Neff holds the gun in his right hand. Aventurine makes Ratio hold his gun in his left.

Neff is the one who takes the gun from Phyllis‘ hand. Aventurine is the one who places the gun in Ratio’s hand and fires it.

Three gunshots are fired. In the movie, Phyllis shoots the first shot and Neff the second and third. Aventurine unloads the gun and leaves only one bullet for this game of Russian Roulette. He pulls the trigger three times, but they all turn out to be blanks.

Phyllis does not break her façade of not smiling until the very last moment where she gets shot. Aventurine is smiling the entire time according to the light cone description, whilst in the animation, it’s only when he guides the gun to his chest that he puts it on.

So, you know how Neff meets Phyllis and it all goes off the rails from there. The way Neff goes from a decent guy to willingly involve himself in a murder scheme, having his morals corrupted by Phyllis. His world having been turned upside down the moment he lays eyes on Phyllis in that first meeting. Doesn’t that sound like something that happened with the Final Victor LC? Ratio, a man all about logic and rationality — a scholar with eight PhDs to his name — all of that is flipped on its head the moment Aventurine pulls out his gun in their first meeting and forces Ratio to play a game of Russian roulette with him. Aventurine casually gambles using his own life like it’s nothing and seemingly without fear (barring his hidden left hand). All or nothing — and yet Aventurine comes out alive after three blanks. Poetic, considering there’s a consumable in the game called “All or Nothing” which features a broken chess piece and a poker chip bound together by a tie. The poker chip obviously represents the gambler, but the chess piece specifically stands for Ratio because he plays chess in his character trailer, his Keeping Up With Star Rail episode and his introduction is centred around him playing chess with himself. Plus, the design of the chess piece has golden accents, similar to his own chess set. In the end, Aventurine will always be the final victor.

Furthermore, Neff had deduced that Phyllis wanted to kill her husband and initially wanted no part in it, but in a subsequent visit it was his own idea that they trigger the double indemnity clause for more money. As the movie progresses though, he starts to have his doubts (thanks in part to him befriending Lola) and makes the move to kill Phyllis when everything starts to come to light. It’s strikingly similar to how Ratio initially wanted no part in whatever Aventurine had in mind when they first met, but in the subsequent missions where they were paired up, he willingly goes along with Aventurine's risky plans, and they come to trust each other. Enough so that Aventurine and Ratio can go to Penacony all on their own and put on an act, knowing that nobody in the IPC other than them can enter the Dreamscape. The mutual respect grew over time, instead of burning passionately before quickly fizzling out like in the movie.

Basically, in one scene, three shots (blanks) start a relationship, and in the other, it ends a relationship. In the anan magazine interview with Aventurine, he says himself that “form[ing] an alliance with just one bullet” with Ratio was one of his personal achievements. The moment itself was so impactful for both parties that it was immortalised and turned into a light cone.

—

[THE ENDING — GOLDEN HOUR]

The ending of Double Indemnity that made it into the final cut has Neff continue his confession on the dictaphone until he realised that he wasn’t alone in the room. Keyes had come inside at some point, but none had said a thing, only listening to a dead man speak of his crime. When Neff sees Keyes, they talk for a moment, Neff says he plans on fleeing to Mexico. Keyes does not think he will make it. He tries to leave, only to collapse at the front of the elevator, Keyes following just behind him. Neff attempts to light a cigar but is too weak to do so, so Keyes does it for him.

Parts of the ending can still be attributed to the interrogation scene between Sunday and Aventurine, so I’ll make this quick before moving on to the conversation in Heaven Is A Place On Earth, Ratio and Aventurine’s final conversation together. Once Sunday mentions how quickly Aventurine gave up the suitcase, he inflicts the Harmony’s consecration on him, which forces Aventurine to confess everything that Sunday asks of. In a way, it’s the opposite of what happens in the movie — where Neff willingly tells the truth about the murder to his coworker. Aventurine does not like Sunday, and Neff is close to Keyes. Ratio also does not speak, similarly to how Keyes didn’t speak and stood silently off to the side.

Post-interrogation in Golden Hour, Ratio worriedly prods at Aventurine and asks him about his plan. He then gives him the Mundanite’s Insight with the Doctor’s Advice inside when Aventurine tells him to leave. Throughout Heaven Is A Place On Earth, Aventurine gets weaker and his head starts to buzz, until he falls to the ground before he can hand in the final gems. Similarly, Neff progressively grows weaker as he records his confession. Keyes says he’s going to call a doctor and Neff says he’s planning to go to Mexico. And when Neff collapses near the elevator, they talk one final time and Keyes lights Neff’s cigar as the other was too weak to do so himself.

—

[OPPOSITE TIMELINES AND DEVELOPMENTS]

Remember how I said the way certain events happen in the movie and the game are mostly opposite and reverse of one another?

The Final Victor LC is the first meeting of Ratio and Aventurine, and Neff killing Phyllis is their final meeting.

Between that first and last meeting between Phyllis and Neff’s whirlwind romance, their relationship becomes strained which ultimately leads to Neff not trusting whatever Phyllis has to say at the end point of the movie. As for Ratio and Aventurine, the exact opposite had happened, to the point where Ratio trusts Aventurine enough to go along with his plans even if they went against his own ideals. The basis of the mission involved Veritas Ratio, whose full name includes the Latin word for “truth”, lying the entire time on Penacony.

Aventurine is sentenced to the gallows by Sunday after his unwilling interrogation. The movie starts and ends with Neff willingly confessing everything to Keyes.

It bears repeating, but I have to make it so clear that the trust between Ratio and Aventurine runs incredibly deep. Being able to predict what your partner says and thinks and plans in a mission as critical as the Penacony project is not something first-time co-workers can pull off flawlessly. All the while having to put on masks that prevent you from speaking sincerely towards one another lest you rat yourselves out. You have no way of contacting outside reinforcements from within Penacony, as the rest of the IPC are barred from entering. To be able to play everybody for fools while said fools believe you yourselves have handed your case on a silver platter requires a lot — trust, knowledge of the other, past experience, and so on. With Phyllis and Neff, the trust they had had been snuffed out when Neff grew closer to Lola and found out what kind of person Phyllis truly was on the inside. Phyllis did not trust nor love Neff enough and was going behind his back to meet with Zachette to possibly take Neff and Lola out. And the whole reason Neff wanted to perpetrate the murder was due to him being initially taken by Phyllis' appearance, which single handedly got the ball rolling on the crime.

Now then, how come trust is one of the defining aspects of Aventurine and Ratio’s relationship, when Phyllis and Neff’s trust eventually lead to both their deaths at the hands of the other? Sure, this can be explained away with the opposite theory, but there’s one other relationship involving Neff which I haven’t brought up in excruciating detail yet. The other side of Ratio and Aventurine’s relationship.

—

[NEFF & KEYES — AVENTURINE & RATIO]

Here is where it gets more interesting — while Phyllis and Neff are at the centre point of the movie, there is another character to whom Neff has a close relationship with — Keyes. It’s also the only relationship with no pretences, at least, until the whole murder thing happened and Neff had to hide his involvement from Keyes. Watching the movie, I couldn't help but feel there was something more to the two than meets the eye. I knew that queer readings of the film existed, but I didn't think too much of them until now. And though Aventurine and Ratio parallel Phyllis and Neff respectively, the fact that they also have traits of their opposite means that it wouldn’t be completely out of the question if parts of their relationship were also influenced by Keyes and Neff on a deeper and personal level. Let me explain.

Keyes and Neff were intimate friends for eleven years and have shown mutual respect and trust towards one another. They understood each other on a level not seen with Phyllis and Neff. Even after hearing Neff confess his crimes through the dictaphone (and eventually standing in the same room while Neff confessed), he still cared for the other man, and stayed with him when Neff collapsed at the front door. The only reason Keyes hadn’t deduced that it was Neff who was behind the murder was because he had his absolute trust in him. Keyes is also Neff’s boss, and they are always seen exchanging playful banter when they are on screen together. Neff even says the words “I love you, too” twice in the movie — first at the beginning and second at the end, as the final line. There’s also the persistent theme of Neff lighting Keyes’ cigarettes (which happens in every scene where they are face-to-face), except in the end where it’s Keyes who lights Neff’s.

Doesn’t that sound familiar? Mutual respect, caring too much about the other person, the immense amount of trust… Ratio says he’s even the manager of the Penacony project (which may or may not be a lie), and despite their banter being laced with them acting as “enemies”, you can tell that in Dewlight Pavilion pre-Sunday confrontation that Aventurine genuinely likes Ratio’s company and believes him to be a reliable person. From the way he acts carefree in his words to the thoughts in his head, as seen in the mission descriptions for Double Indemnity. Their interactions in that specific mission are possibly the closest thing to their normal way of speaking that we get to see on Penacony.

Not to mention, this is the way Neff describes Keyes. He even says (not in the script) “you never fooled me with your song and dance, not for a second.” Apart from the line about the cigar ashes, doesn’t this ring a bell to a certain doctor? “Jerk” with a heart of gold?

After solving the puzzle with the statues, Ratio jokingly offers Aventurine to join the Genius Society. Aventurine then goes "Really? I thought you’ve given up on that already", and then Ratio says it was, in fact, a joke. Solving the puzzle through brute force has Ratio telling Aventurine that the Council of Mundanites (which Ratio himself is a part of) should consider him a member. In the movie, where the scene with the phone call with Neff and Phyllis reiterating details of their plan happens, Keyes actually offered Neff a better job (specifically a desk job, as Keyes’ assistant). The two pairs saw the other as smart, equals, and were invested in each other’s careers one way or another.

Because of all this, the character parallels for this side of the relationship are as follows:

Aventurine - Walter Neff

Veritas Ratio - Barton Keyes

With the way I’ve talked about how Aventurine and Ratio take from both leads in terms, it does fit to say that Aventurine is Neff, and Ratio is Keyes in this layer of their relationship. Since we’re on the topic of Keyes, let me also go through some similarities with him and Ratio specifically.

Keyes says the words “dimwitted amateurs” in his first on-screen conversation with Neff. You can’t have Dr. Ratio without him talking about idiocy in some way.

Keyes almost only appears in the movie in relation to Neff, and barring a single interaction in Neff’s house, is also only seen in the office. Same with Phyllis, Ratio also only ever appears regarding Aventurine.

Keyes genuinely wanted the best for Neff, even offering to celebrate with him when he thought the case truly had been busted wide open by forces when Zachette entered the picture. You could say the same for Ratio, as he hoped that Aventurine wouldn’t dwell on the past according to his response on Aventurine’s Interview, as well as telling him to “stay alive/live on (CN)” and wishing him the best of luck in his Doctor’s Advice note.

Whether or not you believe that there was more going on with Neff and Keyes is up to you, but what matters is that the two were very close. Just like Ratio and Aventurine.

—

[THE ORIGINAL FILM ENDING]

Something that I hadn’t seen brought up is the original ending of Double Indemnity, where Neff is executed in a gas chamber while Keyes watches on, shocked, and afterwards leaves somberly. The ending was taken out because they were worried about the Hays Code, but I felt it was important to bring it up, because in a way, you can kind of see the Sunday interrogation scene as Sunday sending Aventurine to his death in seventeen system hours. And Ratio doesn’t speak at all in that scene, and Keyes doesn’t either according to the script.

Another thing that’s noteworthy is that Wilder himself said “the story was about the two guys” in Conversations with Wilder. The two guys in question are Keyes and Neff.

—

[THE NOVEL]

With the original film ending covered, now it is time to bring up the novel by James M. Cain. I bought the book just to read about the differences between the adaptation and the original source material, and to list a few more similarities and opposites I could gather. For this section alone, due to the changes in the (last) names of certain characters, I will be referring to Walter Huff (Neff in the movie) as Walter, and Mr. Dietrichson as Nirdlinger. The plot is pretty much the same as the movie’s apart from a couple of changes so there isn’t a need to recount everything.

From my two read-throughs of the novel, these are the following passages that stood out to me the most. Starting with Aventurine:

Walter, as a top businessman of the company, knows how to sway a deal and to get what he truly wants with what the other gives him. Aventurine is the same, reliant on his intuition, experience and whatever information he has on the table to claim the win. Him luring out Sparkle in Heaven Is A Place On Earth and his conversation with Acheron in the Nihility is indicative of that.

• "But you sell as many people as I do, you don't go by what they say. You feel it, how the deal is going. And after a while I knew this woman didn't care anything about the Automobile Club. Maybe the husband did, but she didn't. There was something else, and this was nothing but a stall. I figured it would be some kind of a proposition to split the commission, maybe so she could get a ten-spot out of it without the husband knowing. There's plenty of that going on. And I was just wondering what I would say to her."

Phyllis, like in the movie, had been hiding her true intentions of talking to Walter in their first conversations, always saying things that she didn’t actually mean. In a similar vein, Aventurine consistently says stuff but almost never truly means any of it, which is all part of his façade.

• "And I could feel it again, that she wasn't saying what she meant. It was the same as it was the first afternoon I met her, that there was something else, besides what she was telling me. And I couldn't shake it off, that I had to call it on her."

When discussing the murder plan with Phyllis, Walter makes this comment, kind of like how Aventurine seems to operate in a way where he has a plan, but is ready to improvise and think fast when needed.

• "And then it's one of those things where you've got to watch for your chance, and you can't plan it in advance, and know where you're going to come out to the last decimal point."

Remember the roulette wheel line from the movie? In the novel, the gambling metaphor that Walter makes about the insurance business goes on for two paragraphs, mentioning a gambling wheel, stack of chips, a place with a big casino and the little ivory ball, even about a bet on the table. Walter also talks about how he thinks of tricks at night after being in the business for so long, and how he could game the system. Needless to say, insanely reminiscent of Aventurine.

• "You think I’m nuts? All right, maybe I am. But you spend fifteen years in the business I’m in, and maybe a little better than that, it’s the friend of the widow, the orphan, and the needy in time of trouble? It’s not. It’s the biggest gambling wheel in the world. It don’t look like it, but it is, from the way they figure the percentage on the oo to the look on their face when they cash your chips. You bet that your house will burn down, they bet it won’t, that’s all. What fools you is that you didn’t want your house to burn down when you made the bet, and so you forget it’s a bet. To them, a bet is a bet, and a hedge bet don’t look any different than any other bet. But there comes a time, maybe, when you do want your house to burn down, when the money is worth more than the house. And right there is where the trouble starts." • "Alright, I’m an agent. I’m a croupier in that game. I know all their tricks, I lie awake thinking up tricks, so I’ll be ready for them when they come at me. And then one night I think up a trick, and get to thinking I could crook the wheel myself if I could only put a plant out there to put down my bet." • "I had seen so many houses burned down, so many cars wrecked, so many corpses with blue holes in their temples, so many awful things that people had pulled to crook the wheel, that that stuff didn’t seem real to me anymore. If you don’t understand that, go to Monte Carlo or some other place where there’s a big casino, sit at a table, and watch the face of the man that spins the little ivory ball. After you’ve watched it a while, ask yourself how much he would care if you went out and plugged yourself in the head. His eyes might drop when he heard the shot, but it wouldn’t be from the worry whether you lived or died. It would be to make sure you didn’t leave a bet on the table, that he would have to cash for your estate. No, he wouldn’t care."

Returning home from the murder, Walter attempted to pray, but was unable to do it. Some time passed and after speaking to Phyllis, he prayed. Aventurine presumably hadn’t done the prayer ever since the day of the massacre, and the first time he does it again, he does it with his child self.

• "I went to the dining room and took a drink. I took another drink. I started mumbling to myself, trying to get so I could talk. I had to have something to mumble. I thought of the Lord's Prayer. I mumbled that, a couple of times. I tried to mumble it another time, and couldn't remember how it went." • "That night I did something I hadn’t done in years. I prayed."

Phyllis in the book is much more inclined towards death than her movie version, even thinking of herself as a personification of death. She’s killed ten other people (including infants) prior to the events of the novel. Something to keep in mind as Aventurine had mentioned several times that he attempted to kill himself in the dream, plus his leadup to his “grandest death”. Just like Phyllis, he’s even killed at least a few people before, though the circumstances of that were less on his own volition and more so for the sake of his survival (i.e. the death game in the maze involving the 34 other slaves where he was the winner and another time where he murdered his own master). Instead of Phyllis playing the active role of Death towards everybody else, Aventurine himself dances with Death with every gamble, every time his luck comes into play. Danse Macabre.

• "But there’s something in me, I don’t know what. Maybe I’m crazy. But there’s something in me that loves Death. I think of myself as Death, sometimes." • "Walter, The time has come. For me to meet my bridegroom [Death]. The only one I ever loved."

Moving on to Ratio:

Walter says several times that it’s hard to get along with Keyes, and how he says nice things after getting you all worked up. A hard-headed man to get along with, but damn good at his job. Sound like someone familiar?

• "That would be like Keyes, that even when he wanted to say something nice to you, he had to make you sore first." • "It makes your head ache to be around him, but he’s the best claim man on the Coast, and he was the one I was afraid of."

Keyes sees Walter as smarter than half the fools in the company. Ratio can only stand the company of Aventurine in regards to the IPC.

• "Walter, I'm not beefing with you. I know you said he ought to be investigated. I've got your memo right here on my desk. That's what I wanted to tell you. If other departments of this company would show half the sense that you show—" • "Oh, he confessed. He's taking a plea tomorrow morning, and that ends it. But my point is, that if you, just by looking at that man, could have your suspicions, why couldn't they—! Oh well, what's the use? I just wanted you to know it."

After going on a rant about the H.S. Nirdlinger case (Phyllis’ husband) and how Norton is doing a horrible job, he ends it by saying that it’s sheer stupidity. “Supreme idiocy”, anybody?

• "You can’t take many body blows like this and last. Holy smoke. Fifty thousand bucks, and all from dumbness. Just sheer, willful, stupidity!"

Phyllis’ former occupation as a nurse is more elaborated on, including her specialization — pulmonary diseases. One of Ratio’s crowning achievements is curing lithogenesis, the “King of Diseases”.

• "She’s one of the best nurses in the city of Los Angeles. […] She’s a nurse, and she specialized in pulmonary diseases. She would know the time of crisis, almost to a minute, as well as any doctor would."

As for the murder scheme, they talk about it a lot more explicitly in the novel. Specifically, Walter mentions how a single person cannot get away with it and that it requires more people to be involved. How everything is known to the party committing the crime, but not the victim. And most importantly: Audacity.

"Say, this is a beauty, if I do say it myself. I didn't spend all this time in the business for nothing, did I? Listen, he knows all about this policy, and yet he don't know a thing about it. He applies for it, in writing, and yet he don't apply for it. He pays me for it with his own check, and yet he don't pay me. He has an accident happen to him and yet he don't have an accident happen to him. He gets on the train, and yet he don't get on it."

"The first is, help. One person can't get away with it, that is unless they're going to admit it and plead the unwritten law or something. It takes more than one. The second is, the time, the place, the way, all known in advance—to us, but not him. The third is, audacity. That's the one that all amateur murderers forget. They know the first two, sometimes, but that third, only a professional knows. There comes a time in any murder when the only thing that can see you through is audacity, and I can't tell you why."

"And if we want to get away with it, we've got to do it the way they do it, […]" "Be bold?" "Be bold. It's the only way."

"I still don't know—what we're going to do." "You'll know. You'll know in plenty of time."

"We were right up with it, the moment of audacity that has to be be part of any successful murder."

It fits the situation that Aventurine and Ratio find themselves in extremely well: For the first point— Aventurine would not be able to get away with simply airing out details by himself, as that would immediately cast suspicion on him. Having another person accompany him who not only isn’t really a part of the IPC in name (as the IPC and The Family have a strenuous relationship) but would probably be able to get closer to Sunday because of that means they can simply bounce off each other without risking as much suspicion with a one-man army. Which is exactly what Ratio and Aventurine do in the conversations they have on Penacony. Secondly — they knew how Sunday operates: as a control freak, he leaves no stone unturned, which is how he became Head of the Oak Family, so their acting required them to give off the impression that a. they hated each other, b. Ratio would go against Aventurine’s wishes and expose him in return for knowledge, c. there were only the two Cornerstones that were hidden. This would give Sunday the illusion of control, and lead to Sunday to lower his guard long enough for Aventurine to take the gift money in the end. The pair knew this in advance, but not Sunday. And thirdly — the plan hinged on a high-level of risk. From breaking the Aventurine Cornerstone, to hoping that Sunday wouldn’t find it in the gift bag, to not telling Ratio what the true plan is (meaning Ratio had to figure it out on his own later on), to Sunday even buying Ratio’s story, it was practically the only way they could go about it. “Charming audacity”, indeed.

An interesting aspect about the novel is that the ending of the novel is divergent from the movie’s final cut and the original ending: Phyllis and Walter commit suicide during a ferry ride to Mexico. The main reason this was changed for the movie was because of the Hays Code, and they wouldn’t allow a double suicide to be screened without reprecussions for criminals. There’s also a bunch of other aspects that differentiate the novel from the movie (no narration-confession as the confession happens in a hospital, less characterization for Keyes and instead a bigger focus on Lola and her boyfriend, the focus on the murderous aspect of Walter and Phyllis’ relationship instead of actual romance, Walter falling in love with Lola (with an unfortunately large age gap attached), etc.)

As for the ending, this wouldn’t even be the first romance media reference related to Aventurine and Ratio where both the leads die, with the other being The Happy Prince and San Junipero (in relation to the EN-only Heaven Is A Place On Earth reference), which I normally would chalk up as a coincidence, though with the opposite line-of-thought I have going on here (and the fact that it’s three out of four media references where the couple die at the end…), I think it’s reasonable to say that Ratio and Aventurine will get that happy ending. Subverting expectations, hopefully.

—

[THE HAYS CODE — LGBT CENSORSHIP IN CHINA]

I’ve brought up the Hays code twice now in the previous two sections, but I haven’t actually explained what exactly it entails.

The Hays Code (also known as the Motion Picture Production Code) is a set of rules and guidelines imposed on all American films from around 1934 to 1968, intended to make films less scandalous, morally acceptable and more “safe” for the general audiences. Some of the “Don’ts” and “Be Carefuls” include but are not limited to…

(Don’t) Pointed profanity

(Don’t) Inference of sex perversion (which includes homosexuality)

(Don’t) Nudity

(Be Careful) Sympathy for criminals

(Be Careful) Use of firearms

(Be Careful) Man and woman in bed together

What does this have to do with a Chinese gacha game released in 2023? If you know a little bit about miHoYo’s past, you would know that pre-censorship laws being upheld to a much stronger and stricter degree, they had no problem showcasing their gay couples in Guns Girl Z (Honkai Gakuen 2/GGZ) and Honkai Impact 3rd, with the main three being Bronya/Seele, Kiana/Mei (admittedly the latter one is a more recent example, from 2023), and Sakura/Kallen. Ever since the Bronya and Seele kiss, censorship in regards to LGBT content ramped up, causing the kiss to be removed on the CN side, and they had to lay low with the way they present two same-sex characters who are meant to be together. They can’t explicitly say that two female or male characters are romantically involved, but they can lace their dynamics with references for those “in the know” — Subtext. Just enough to imply something more but not too much that they get censored to hell and back.

So what I’m getting at is this: The trouble that Double Indemnity had to go through in order to be made while also keeping the dialogue of Phyllis and Neff as flirtatious as they could under the Hays Code among other things is quite similar to the way Ratio and Aventurine are presented as of now. We never see them interact outside of Penacony (at least up until 2.2, when this post was drafted), so we can only infer those interactions specifically until they actually talk without the fear of being found out by Sunday. But, there’s still some small moments scattered here and there, such as when Aventurine goes near Ratio in the Dewlight Pavilion Sandpit, he exclaims that “the view here is breathtaking” (he can only see Ratio’s chest from that distance) and that Ratio could “easily squash [him] with just a pinch”. Ratio then goes “If that is your wish, I will do so without a moment’s hesitation.” Not to mention the (in)famous “Doctor, you’re huge!” quote.

It’s not a coincidence that Ratio and Aventurine have three explicit references to romance media (Double Indemnity, Spellbound, Oscar Wilde’s The Happy Prince), possibly even four if you take the EN-only Heaven Is A Place On Earth as a reference to Black Mirror’s San Junipero. It’s not a coincidence that the storylines or characters of said references parallel the pairing, from surface-level to deep cuts. It’s not a coincidence that the CN voice actors were asked to “tone it down” by the voice director when it came to their chemistry. It’s not a coincidence that Aventurine has only flirted with (three) men throughout Penacony, even referring to a Bloodhound NPC as a “hunk of a man” inside his thoughts, all the while ignoring Himeko and Robin when it came to their looks — women who are known across the cosmos with a myriad of adoring fans. There are so many other so-called “coincidences” related to the two that you could make an iceberg just based on versions 2.0-2.2 as well as content miHoYo themselves have put out on social media. They absolutely knew what they were doing, and were trying to get their point across through subtle means — the extent they went to with the Double Indemnity reference while also keeping it under wraps from a “surface” level point of view is proof of this — the implications are there if you take the time to look for them, and are simply hard to ignore or deny once you do find them.

—

[CONCLUSION]

This was supposed to be short considering the other analyses I’ve seen were also pretty short in comparison, but I couldn’t get the movie out of my head and ended up getting carried away in the brainrot. I hope you could follow along with my line of thinking, even with the absurd length of this post, and the thirty-image limit. I tried to supplement context with some links to videos and wiki pages among other sources wherever I can to get around it.

I will end it with this though — the love in the movie turned out to be fake and a farce, going off track from what was a passionate romance in the beginning because of the murder scheme. Meanwhile, the whole reason why Ratio and Aventurine can pull off whatever they want is because of their immense trust in one another. What was initially shown to be distrust in the Final Victor LC grew into something more, for Ratio, someone who would have never put faith into mere chance and probability before this, put his trust in Aventurine, of all people.

TL;DR — (I get it, it’s over ten thousand words.)

Not only is the relationship between Neff and Phyllis represented in the deception and acting side of Ratio and Aventurine, but the real and trusting side is shown in Neff and Keyes. They have a fascinating, multi-layered dynamic that is extremely fun to pick apart once you realise what’s going on underneath the bickering and “hatred” they display.

Many thanks to Manya again for making the original thread on the movie. I wouldn’t be here comparing the game and movie myself if it weren’t for that.

By the way, I really do believe that Shaoji totally watched this movie at least once and really wanted that Double Indemnity AU for his OCs. I know exactly how it feels.

—

Other points I'd like to mention that didn't fit anywhere else in the main analysis and/or don’t hold much significance, have nothing to do with the Penacony mission, or may even be considered reaching (...if some of the other points weren’t). Just some potentially interesting side bits.

Phyllis honks three times to signal Neff to go for the kill. That, and the three gunshots in the confrontation. Aventurine is all about the number three.

The height difference Aventurine and Ratio have going on is close to Phyllis and Neff’s.

Phyllis had killed her husband’s previous wife and went on to marry Mr. Dietrichson, pretty much taking the wife’s place. Aventurine killed his previous master, and had taken certain attributes from him like his wristwatch and the rings on his hand and the “all or nothing” mantra.

When calling Ratio a wretch (bastard), Aventurine smiles for a moment. This is exclusive to the EN, KR and JP voiceovers, as in CN, he does not smile at all. (Most definitely a quirk from the AI they use for lip syncing, but the smile is something that’s been pointed out quite a few times so I thought I’d mention it here.)

Sunday specifically says in the CN version that he knew of Aventurine's plans the moment Aventurine left the mansion, meaning that he realized he had been played the fool the moment Ratio and Aventurine talked in Golden Hour

In the description for the "All or Nothing" consumable, teenage Aventurine says this specific line: "Temptation is a virtue for mortals, whereas hesitation proves to be a fatal flaw for gamblers." According to Ratio, this is Aventurine's motto - he says as such in Aventurine's Keeping Up With Star Rail episode. Note that in the anan interview he explicitly says he does not have a motto, and yet Ratio in the video says otherwise. They definitely have to know each other for a while for Ratio to even know this.

A big reason why Neff even pulled off the murder scheme in the first place was because he wanted to see if his good friend Keyes could figure it out, the Mundane Troubles Trailblaze Continuance showcases Ratio attempting to teach the Herta Space Station researches a lesson to not trust the Genius society as much as they did.

In Keyes’ first scene he’s exposing a worker for writing a policy on his truck that he claimed had burnt down on its own, when he was the one who burnt it down. Ratio gets into an Ace Attorney-style argument with the Trailblazer in Mundane Troubles.

Neff talks repeatedly about how it won’t be sloppy. Nothing weak. And how it’ll be perfect to Phyllis, and how she’s going to do it and he’s going to help her. Doing it right — “straight down the line”. Beautifully ironic, considering what happens in the movie, and even more ironic as Ratio and Aventurine’s scheme went exactly the way they wanted to in the end. Straight down the line.

#honkai star rail #double indemnity #veritas ratio #aventurine #golden ratio #ratiorine #an attempt at analysis by one a-u #relationship analysis #you know what‚ i guess i can tag the other names of this ship #aventio #raturine #you could make a fucking tierlist of these names #um‚ dynamics (yk what i mean) dont really matter here in the analysis just fyi if youre wondering its general enough #also if you're wondering about the compilation thread - its not done. it'll take a while (a long while.)#this post was so long it was initially just a tumblr draft that i then put into google docs. and it ended up being over 2k+ words long #is this a research paper‚ thesis‚ or essay? who knows! this just started as just a short analysis after watching the movie on may 5 #final word count according to docs (excluding alt text): 13013 - 43 pages with formatting #i wish i could have added more images to this‚ 10k words vs 30 images really is not doing me any favours…#plus‚ i hit the character limit for alt text for one of the images.#if you see me mixing up british and american spelling‚ you probably have!#oh yeah. if any of the links happen to break at some point. do tell. i have everything backed up #there also may be multiple links strung together‚ just so you know.#I link videos using the EN and CN voiceovers. Just keep that in mind if the jump between two languages seems sudden.#I had to copy and paste this thing from the original tumblr draft onto a new post because tumblr wouldn't let me edit the old one anymore.#Feels just like when I was finalising my song comic…#(Note: I had to do this three times.)#I started this at May 5 as a way to pass the time before 2.2. You can probably tell how that turned out.#Did you know there is a limit to the amount of links you can add to a single tumblr post? It's 100. I hit that limit as well.#So if you want context for some of these parts... just ask.#I'm gonna stop here before I hit the tag limit (30) as well LMAOO (never mind I just did.)

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authenticyuri · 1 year ago

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Fave Chilchuck + Laios interactions

Moments when they're on the same page

2. Chilchuck being pissed off at Laios

3. Chilchuck generally being unable to show he cares about Laios without violence

4. Whatever these are <3

#yes i do have brain worms thanks for askin #dungeon meshi spoilers #dungeon meshi #delicious in dungeon spoilers #delicious in dungeon #chilchuck tims #chilchack tims #laios touden #laios thorden #chilaios #i just uggghhhhh!!!!! I care them!!!!!!!#btw this isn't even all of them i just hit the 30 image limit

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wikipedie · 2 years ago

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The train is late and your family is dead

I think grief is like a really ugly couch. It never goes away. You can decorate around it; you can slap a doily on top of it; you can push it to the corner of the room—but eventually, you learn to live with it. ― Jodi Picoult, Leaving Time

Joan Didion, The Year of Magical Thinking | The Mentalist season 1, episode 7: Seeing Red | Linda Pastan, The Five Stages of Grief | The Mentalist season 2, episode 23: Red Sky in the Morning | teashoesandhair, grief | The Mentalist season 1, episode 5: Redwood | Lemony Snicket, A Series of Unfortunate Events (for Beatrice) | The Mentalist season 4, episode 23: Red Rover, Red Rover | The Mentalist season 5, episode 2: Devil's Cherry | Anne Carson, Glass, irony and god | Jamie Anderson | Anne Carson, Grief Lessons: Four Plays by Euripides | The Mentalist season 7, episode 13: White Orchids | Glennon Doyle Melton, Love Warrior

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deathzgf · 6 months ago

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( almost ) all of my sketches & wips from ~ 5 november 12023 - now

vaguely oldest - newest but i am lowk just fuck it we balling it

ogay let ' s go

shitty hamlet hamilton thing to start us off yay based off of that one line in the musical

thomas jefferson

i cannae remember if this was meant to be sj or cami but Pony

GET OUT OF MY HEAD GET OUT OF MY HEAD GET OUT OF MY HEAD

me versus drawing sj with a Fuck Ton of piercings ( the demons )

kill

This Fucking THING

holy fucking shit my first napolexander art

yeah

i drew this whilst rewatching 2023 napoleon in cinema Based upon a 2002 napoleon scene

james fitzjames

shkroeder please i have a wife and kids

ekkochoso

i hate his stupid fucking hair so i drew a cat with him

i love my wife i forgive her for almost killing me

thomas jefferson getting high with the french except rousseau keels over and dies whilst robespierre just Oh Dear

idk why i drew the social contract that thick brah

based upon a twitter interaction i had with the owners of these ocs

what the fuck is going on in the upper right corner

different jules times ( 1789 , 1793 ( ? ) , 1794 )

calijules i drew on the plane to japan

i also watched succession on the plane . catboys & catgirls You ' re welcome

turn washington ' s spies hewlett sorry i am the # 1 annalett yuri truther

jules ref sketch i forgot to fucking crop

sleepy calijules

violent calijules

freak

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fullscoreshenanigans · 29 days ago

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When do you think each of the fullscore trio realizes their feelings for each other?

Copying from this post but I generally hold these sentiments:

Sometimes I go back and forth on this with Emma realizing it earlier but keeping it to herself so the boys have more time to digest and put a name to their feelings so as not to pressure them. She has a very acute emotional awareness.

…except maybe when it comes to herself, lol. Feel like the comparative obliviousness on the matter is the final roadblock for most of her ships with her Type A personality. If she’s aware of it and knows it’s mutual, it’s so hard to see her not just going for it, especially with these two with how badly they can get stuck in their own heads.

As for when exactly it happens, Ray realizes Emma and Norman are special to him early on, though he doesn't conceptualize that love to the full extent it would eventually become. Again borrowing from earlier posts, but:

(Chapter 181.1 | Chapter 93 | S1 Episode 6)

He loved them more than he feared the consequences of revealing what he knew to Isabella. They comforted him when he'd have nightmares that left him screaming and crying in terror, even when they couldn’t understand what was upsetting their friend so badly and he couldn’t articulate to them what was wrong.

But he's also the last to act on his feelings after years of self-loathing and his firm commitment to ensuring Emma and Norman survive as a set.

(2020 Exhibition Interview)

One of the immutable truth's of his universe is the two of them belong together, and he would never do anything to jeopardize that, even if it meant remaining silent about how he felt.

Norman feelings for Emma are evident by his eleventh birthday in the fourth story of the first light novel, "A Gift from the 39th Girl."

He admires her deeply, and she inspires him to do better and strive for the seemingly impossible.

(Chapter 14)

With Ray, Norman always had someone he could show his more prideful and impish side to.

(S1 Episode 2 | Mystic Code Book Chapter 2)

I disagree on the wording a bit here because it's not that Norman doesn't show his true nature to Emma, but that the two of them are seeing different facets of a multifaceted person. Emma sees Norman caring for and helping their siblings all the time, and he's not disingenuous in those actions, even if in his pragmatism his mind immediately jumped to just him, Emma, and Ray escaping after being confronted with the truth. Ray was someone he valued and trusted enough to show aspects of himself that he didn't share with anyone else openly at this point in his life.

But it's after two weeks of hating Ray's guts that Norman discovers the true motivation behind Ray's plan at Grace Field:

I adore the way the anime adapts his realization of this, further discussed here:

(S1 Episode 5)

Norman reaching the same conclusion is one of humbling, relief, and grief. Since Krone first arrived at the house, he suspected Ray was the traitor. He hated himself for it, but that didn’t change the conclusion he drew, and he spent two weeks stewing around in those negative, vindictive thoughts. This is the only time I believe Norman ever truly hated Ray as a person. His being aloof and withdrawn might have been annoying and frustrating when they were younger, but he still accepted Ray as he was and didn’t hate him. This development, however, was infuriating. Norman would have been willing to sacrifice Ray, like Ray tells him he should have done, if he hadn’t talked to Emma in the flashback from the manga that instead plays out chronologically here. It isn’t stated by him directly how he aspires to be like her, but it does cause him to pause, reevaluate, and take a step back from adhering to his more rigid sense of morality. And then he realizes Ray’s true motivation and is humbled even further. In the final seconds of the song, the distorted crackling cuts out, and we’re left with the last rueful notes of the string instrument as the camera zooms in on a single child’s drawing, one that we know is Eugene’s based on the chapter 31 extra of the Grace Field House art gallery… …A good use of resources to convey to the viewer the same affirmation Ray had given to Norman: whatever his machinations might entail, his motivation has always, always been his two most precious friends. There’s relief in that realization: Ray isn’t out to maliciously harm them, but there’s also grief in how Ray doesn’t see himself as worth saving. A very humbling experience when just a few hours ago Norman had been so willing to throw him away, just like Ray wanted.

This settles something in Norman—that Ray is once again firmly in the "dear friend who must be saved and protected at all costs" category of his mind, reflected in his resolute stare in these two additional frames in episode 11 of season 1:

Ray intends to die. From what he said, he's doing it so you and I don't get killed. He didn't include himself in the numbers. He's not escaping. Ray has decided to die inside this house. He's going to set himself on fire to distract Mom in order to let us run away. That's his entire plan. But I won't allow him to do that. Not ever.

But it also leads him to begin reexamining what exactly that all entails, and he has over a year to pore over those thoughts in Lambda.

By the time he razes the facility to the ground, he recognizes that he cares for Ray in the same way he cares for Emma (@vinokurinner conveys it beautifully through this comic)

Emma's cherished the boys as her best friends her whole life at Grace Field. As they're inspired by her, she in turn is inspired by them.

(Chapter 5 | Chapter 88)

But when exactly she consciously puts a name to those feelings and recognizes them in their totality, I don't have as specific of period for because I like to play around with it.

(Chapter 123)

But there's the beat of pronounced, wide-eyed clarity when Ray mentions Norman's special to both of them.

(Chapter 153)

There's her bold declaration of "I'm never letting you go!" to Norman, firm in her conviction that she'll won't let him sacrifice himself or be separated from them again.

(Chapter 161)

There's the faith that now that she has both of them at her side again, they can achieve the impossible.

(Chapter 180)

And there's the visions she has of them in her dreams after they arrive separately in the human world and she's lost her memories, because not even a god can remove the place they hold in her heart.

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redstrewn · 1 year ago

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Intimacy in the city of secrets

Linda Hogan / Anne Carson / Giuseppe Maria Crespi / Joseph Jacobs / Rainer Maria Rilke / D.W. Winnicott / John D. Batten / Dunya Mikhail / Etymonline / Ingmar Bergman / Sarah Kane / L.M. Dorsey / Michael Ewans / The Real Housewives & Tim Kreider / David Foster Wallace / Neil Hilborn / Maggie Nelson / no-droids / Mihály von Zichy & Micah Nemerever / Marie Howe

#BE KNOWN #no way touchstarved web weave #i was gonna add an ais one but i hit the 30 image limit darn #touchstarved game #touchstarved type beat

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quaranmine · 2 years ago

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jimmy solidarity mood board

#what do u mean the image limit is 10 i thought they upped it to 30 #did that not hit the app yet....

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fluffalpenguin · 1 year ago

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IT'S HERE AT LAST @arcvmonth AU DAY YEAHHHH never mind that this post is late

I managed to stuff 10 AUs into this bad boy, so this is a image AND text heavy post, be warned! (I genuinely hope you enjoy the ride)

Not arranged in any particular order, and hyperlinks lead to doodles I've posted on Twitter unless stated otherwise!

(CW: imagery of drug use in the first one and mentions of violence in another)

1. Triad AU

It's the 1800s and everybody* does crimes! (*Not everyone)

Raised in the Fusion Society from an early age, Serena has always had mixed feelings about the child trafficking that her foster father's involved in. One day, she comes across a red-haired street performer that brings dazzling smiles of unbridled joy to children and decides to cut ties with her current life. As she eludes the men sent to retrieve her, she runs into who but the leader of a rival organisation, the Lancers!

This holds the distinction of being the only au that I didn't include pawn in some way or another because I can't figure out where to fit Yugo in (probably why my interest in it has somewhat fizzled out already lmao)

I wrote a short ~500 words fic of Serena announcing her departure to Dennis, Sora, and Yuri (conceptually the latter perpetually seethes about her audacity throughout the length of this au because that's funny)

2. Vampire Knight AU

Vampires and humans learning to co-exist in a boarding school is a genius set-up, thank you Hino Matsuri for giving me undying brainrot (pun intended) through creating this (albeit cursed) manga

Turned into a vampire against his will during a brutal massacre, Yugo curses his fate to be a blood-sucking monster every waking hour. And if his life didn't suck hard enough already, he's also forced to partner with (be the research subject of) a human with a set of morals worse than the most depraved vampire he's ever met. At least that lessens his guilt about drinking blood, because if anyone deserves to be a juice box, it's that smug purple-headed bastard! Life at the academy revolves around humans attending Day classes and vampires attending Night classes, but Yugo begs the headmaster to allow him some semblance of normalcy (denial) by letting him attend the Day Class, in which he dozes off often. Luckily, his roommate, Yuto, is there to poke him awake just enough times for him to pass his classes. Like his cousin Yuri, Yuto is also paired with a vampire through the latter's term in the academy. As one of the last surviving pure-bloods in the world, Yuya is uncomfortably used to his fellow vampires looking at him with undiluted reverence while fending off dubious intentions. The two quickly form a close relationship, a stark contrast to the other two boys that they share a house with.

I'm still deciding between having Yuri and Yuya being seatmates or not because both have their pros and cons (Also Yoko is a human, but is also the Night Class teacher; Yuya takes a liking to her pretty quickly)

Yuto, Shun, and Kaito are part of the school's Disciplinary Squad made out of vampire hunters-in training that patrol the grounds after dusk (to make sure their vampiric classmates aren't running around charming guileless humans into being supper) and Yuri, of course, despite being human has asked his beloved Papa for permission to attend Night Class in order to observe his research subjects in their natural habitat! (He unnerves everyone, but they don't disturb him because the last time someone tried they learnt first-hand that he has an taser whip to protect himself)

3. OCG AU

I've recently posted (how recent is recent?) a compilation post of doodles for this AU then I realised I never talked about the plot so

Childhood friends Yuto, Shun, and Ruri are training hard to join the elite ranks of the Dogmatikan Order. When Ruri doesn't return from her Ascension ceremony, the two defy sect rules to search for her. Yuto comes across a mysterious red-headed boy incarcerated within the inner confines of the Order's keep and...

I know it doesn't look like it but pawn is more of a background ship in this story, counterpart and swift take center stage (because Yuto and Rin are the main characters to me)

When I cooked this up in 2021, I was so desperate to escape from my schoolwork that I ended up making an 15+ chapter outline, here's an excerpt

(Just kidding I do have half a prologue and one chapter written out, one day I'll revisit this for sure)

Oh also, Yuri and Yuya are twins separated at birth

4. Exorcist AU

This one is the multi-series AU, because everyone has one, right!

This started as my 2022 Halloween pawn piece and then over a five-hour midnight bus ride at midnight two months later I decided to make a bad decision that led me to dozing off while queuing up in a theme park in the middle of the afternoon

(Yuto's design is so horribly outdated but I haven't digitalised his new one yet sorry, also shark and kaito heads are by @2-ennn)

In a world ravaged by demons, Yugo has spent his entire life on the tiny island he's called home learning the ropes of exorcism. His life is shaken up when he's assigned to show a visitor around, an exorcist from the mainland with a devilish smile that raises his hackles. He finally drops his suspicions and guard when Joeri sustains injuries protecting him from a demonic attack, and the two become closer... (They even have cute fluffy dates) Well, only until Joeri reveals that it was all staged and that he's a demon (and that his name is actually Yuri) before making off with the church's most prized weapon/artifact/thing/sorry I haven't really decided yet

If you saw my tweet from last year complaining about how I have to write 7 chapters first before I can write about my otp kissing I was referring to this au (joke's on my past self because I skipped ahead to write it anyway)

Yubel, Placido, and IV are the respective leaders of the three factions, but the island that Yugo (and Rin) grew up on is managed by Sherry because man am I hungry for Sherry Yugo sibling-like interactions

I love this AU, but writer's block crashes down like a brick (I've attempted to rewrite Chapter 1 more than two times and I'm still pulling my hair out because I need it to be Perfect)

5. DGS AU

What's up Ace Attorney fans, do I have a fangame in the works for you! It's based on The Great Ace Attorney/Daigyakuten Saiban, but there's no spoilers for it if you haven't played it

I can't talk too much about the plot since I do want to make a playable version one day but I will say that the first trial is defending Yugo from a murder charge (lol)

It's also one of the rare AUs where there's barely any explicit romance(?), only murder and mystery here! (you bet I'm going to write so many allusions for my favourite ships though winky face)

I started writing trial scripts for this but then I got really overwhelmed when looking for a good AA game maker so if anyone has recommendations please send them my way (Ideally they'd have the DGS UI...)

6. Casino AU

The Yuboys are dealers in a casino, and maybe it's a fun goofy little vn (it's a vn)

I have a whole thread on twitter for this one for the drawings i've made, but I'll post some on here so I can ramble a little

It started out as a concept for gacha cards, but then became its own monster (that's currently slumbering)

Originally Reiji was the owner of the casino, but I'm trying my best to include Ray and Zarc more into my aus when I can because I just want more excuses to write/draw my trophy wife (zarc)

this drawing is so old but clutches head i love u4 so much rrrrrrr

I wanted to make little acrylic standees back then (honestly still do a little)

Speaking of little acrylic standees...

7. Rune Factory AU

This one is roughly based on Rune Factory 5, but all you need to know is... nothing, actually; I can't even reference the plot because I've barely played the game myself lol but i just really wanted fantasy farming yuboys

(and then none of the characters ended up being vegetable farmers, even outside of the yuboys)

Harvest Moon/Rune Factory is a game where you live on a farm and eventually maybe marry someone, so one day when I've done all of the full body sprites (pauses and looks to the horizon) I want to make a uquiz that tells you who your destined Bachelor/ette is

It'd be one of the AUs without any 'canon' ships but Ray and Zarc's backstories are kinda tied together so... yup anyway here's a list of things that are true in this AU:

yuya zarc siblings and zarc is a mean older brother

i was going to make zarc the cool mysterious guy that you rarely see but gap moe is one hell of a drug

yuzu and her dad own the grocery store, yuya helms the local inn with yoko, who manages the baths within, zarc opens his diner for business when he feels like it (he's actually so good at cooking), yugo and rin are a blacksmith/carpenter duo, kurosakis have a bakery, though ruri spends her time playing detective, yuto runs the local clinic and sawatari is the town mascot

every monday night, a mysterious phantom thief with orange hair stalks the streets!

the squad that reiji captains serves to fix problems like monster infestations, but they usually have a lot of free time on their hands (well, not reiji) so yuri is constantly annoying yugo and yuto for fun and serena spends her time befriending the girls

ray only returns to town and opens up her flower shop when you defeat the 2nd boss and yuri can be found loitering there often, ray is the only person that makes him remotely uncomfortable

i was going to make yuto the 'protagonist' with amnesia (it's a RF thing) but then i was told he'd be funnier as a doctor (and now I can also give him glasses)

8. Gunvolt AU

Azure Striker Gunvolt is a fast-paced 2D action sidescr-- okay you know what, all you have to know is that the yuboys are villains belonging to a mega corporation that aims to control society through the power of virtual idols and music (yes, this is a real plot point from the original work) and Serena storms their hideout to kick their asses in order to truly free Yuzu (who escaped and was found unconscious in an alley by her now gf) from their clutches

Yuuri: Well, well. Maybe today won't be boring, after all. Serena: Is… Is he in a straitjacket? Yuuri: I'd really appreciate it if you didn’t talk about me like that to my face, thank you. Serena: If I did, would you move out of the way? Yuuri: If I did, would you free me of these restraints? Rin: That doesn’t seem to be the wisest thing to do. Serena: Yeah. Dream on. Yuuri: Then we only have one choice left, don’t we?

(Yeah I put him in a straitjacket)

The grey numbers are for the design notes I wrote alongside when drawing this, here's a pastebin! (It's not required reading, but I would deeply appreciate it if you checked my rambling out)

Reiji is the final boss for some light AkaSere, but I'm still figuring out his character (and everyone elses', tbh)

The main fun of this AU for me was definitely making parodies of the skill cut-ins! (Yuri's one is due for a remake... I also really need to get around to finishing Yuto and start on Yugo's to complete the set)

Yuya's second one is for when you beat his first form and he uses his last resort to merge with the other three or something (His pose and cape is a nod to Astrograph!)

9. Obelisk Force AU

Okay, before you continue, go and get this song playing in the background first (I will give you a cookie if you read the lyrics too)

Okay, let's go! (with the energy of an excited tour guide)

It'd be an absolute understatement to say I love the concept of Obelisk Force Yugo; one time I made a 10-minute TED talk trying to pick apart why I liked it so much, but back then I still didn't have a good grasp of what my ideal ObeFo Yugo/Pawn was... Until I came across that song on Spotify and asked a friend for help on brainstorming (lost if u see this HI) and the rest, as they say, was history

Yugo is picked up (kidnapped) by Academia at an early age (think like, 5-6) after they witness his duelling skills (Leo really needs LOTS of child soldiers)

they erase his memories then for better assimilation into the academy, though he still retains a sense of stubborn individuality

he's constantly bullied by the other students for being an orphan from the Synchro Dimension, and he gets into fights often

eventually, Leo orders Yuri to take care of the matter (children will be children, but Academia MUST have order)

when Yuri approaches Yugo, he's just finished throwing hands against yet another crowd of students

Yuri attempts diplomacy, even challenging him to a duel, but Yugo is exhausted from his earlier fight and turns him down brusquely, stalking back to his room

Yuri attempts to block his way and gets shoved aside, falling to the ground and cracking his duel disk

he snaps, as the duel disk had been a gift from the professor, and how dare you?

he's beating Yugo half to death when a lightbulb goes off in his head

he proposes to Yugo to personally take charge of his education because he is so gracious and charitable and it's the least he could do for someone who shares his face

Yugo, of course, is completely dumbfounded but faints from a combination of blood loss and fatigue before he can reply no

when Yugo has recovered, Yuri pops the question again, and the two decide to settle the matter through a duel

Yugo loses (duh)

time flies as Yuri teaches Yugo how to stop students from coming back for revenge, among other things (it also helps that the other students are already creeped out by him) and significantly raises his quality of life at Academia which Yugo is thankful for

time skip! Yugo successfully joins the Obelisk Force and promptly unbuttons the jacket instantly (it's a tight fit, okay)

Yugo can feel his serpentine gaze drill into him from where Yuri sits cross-legged on a chair a distance away, his chin cradled thoughtfully in one hand. He waits for a comment, but nothing but silence comes. Finally, he mutters, "What, you're not going to scold me for desecrating the uniform?" A wide smile crinkles Yuri's face. "Not just your wardrobe, but even your vocabulary's upgraded, hm?" Before Yugo can form a retort, he goes on, "Actually, I think I like it." His chair barely makes a sound, muffled by the carpet as he stands up and makes his way across the room. The footsteps stop when teal and magenta are inches away. Lightly, he fingers the lapel of Yugo's new jacket as he rakes a half-lidded gaze from head-to-toe. "It makes you stand out from the others in the Force. And that's fitting. After all..." "You're not the Professor's. You're mine."

One day, Yuri and/or Yugo are sent to capture... Rin! Her picture gives Yugo a sense of deja vu, but he doesn't understand why...

Yugo's memories come back in a flood when he makes eye contact with his old childhood friend that he hasn't seen in almost a decade

The capture is successful, and back at Academia Yugo begs the Professor for the authority to be in charge of her incarceration (In trying to mold Yugo into his shadow, Yuri has unknowingly created a competitor for the Professor's acknowledgement)

Before the Professor can respond, a girl of Yugo's age steps into the room to report to the Professor as a fresh recruit

Leo introduces a brainwashed yandere Ruri as Rin's appointed jailer

Yeah that's right I managed to fit apple and swift in here thumbs up emoji

Anyway it's now a romantic comedy with a love triangle (it's not)

10. Hades AU

No deep thoughts nor any plans for this one it was more of a costume design exercise but I'm including it here because I still like them quite a bit

***

If you've actually made it this far, I don't know what to say... thank you!

If you'd like to see more of any of these (including some of the ones that I didn't manage to include but might have posted before like the Alice in Wonderland one, or the Dark Signer one, or the university one, or the Yuri half-turns into a Starve Venom dragon boy one, or the the Monster Hunter one (less of an AU and just a hey they are gaming), or the Z-arc suddenly has four toddlers and they are the yus and he has to juggle parenting and pro-duelling one, and whichever ones I might have forgotten, my ask box is open!! Again, thanks for reading!

#arcvmonth #arcvmonth2023 #arc-v #yugioh arc v #yugioh arc-v #would you believe i hit the 30 image limit on this because i did grrrr #i was going to make a rating for pawn/yugo angst/yuri abnormality but it was already wordy enough #i actually have a chart version of it but!!! the 30 image limit!!!!#god no way am i tagging the characters im gonna just tag the aus #obelisk force au #rune factory au #gunvolt au #dgs au #exorcist au #i really need a better name for that one #ocg au #vampire knight au #pawnshipping #swiftshipping

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kujo1597 · 7 months ago

Text

Hey remember how I said I was writing a few verses for a song in Unbreakable? Yeah I changed my mind. Nothing’s coming to my mind so instead of delaying the update for a couple months I’m just going to describe the song and let the readers imagine their own version. Sometimes the best thing you can do as a writer is know when to cut things out.

Anyway, time for another episode of Jem!

When we last left off the TV set was on fire and Jem was caught in the middle of the blaze.

I’m glad Pizzazz slapping Lindsey was part of the episode recap.

Jem manages to dodge all the flying equipment and Rio rides on a... camera thing and picks Jem up and brings her to safety. But Jem is shaken up, as anyone would be, and Lindsey tells Rio to take Jem to Lindsey’s dressing room. (You’d think all the femslash I write would make me better at being clear which girl’s is the “she” in the sentence.)

Lindsey tell the Holograms to get up on stage with her to finish the interview. I wonder how Jem suddenly being missing got explained. Did Lindsey tell the viewers that Pizzazz started a fire on the set? If she didn’t I’m sure Kimber did.

And this is when we get our episode’s title.

Frame Up

We see Jem delirious in the dressing room mumbling about The Misfits and Rio’s being attentive, telling Jem that she’s in no shape to get up.

We get a spinning pan of both Jem, and Rio before they start to kiss.

And Aja and Shana come into the room in the middle of it and sees. Rio immediately gets up and runs out. Then Aja has a bit of a chuckle about how Rio’s going to be steamed when he finds out that Jem is actually Jerrica.

And then Jem says, “It isn’t funny. Rio’s very proud. How can I tell him the truth without him feeling like I made a fool out of him?”

Shana holds Jem’s shoulders and tells her that she’s dealing with a very delicate situation.

And now to talk about Rio and how Jerrica is nervous about hurting his pride. The “Rio’s very proud” line is a pretty clear indication of why Jerrica doesn’t tell him. We see later in the series that Rio’s “pride” can get bruised easily and that leads to yelling and kicking things over. We don’t see this side of Rio yet but they have sown the seeds of future problems in this relationship.

But let’s deal with that later. Mrs. Bailey tells Jerrica that she’s worries about Ashley who’s barely been at home lately. Time to see what Ashley is up to.

She’s in her room imagining how she’ll look in a Misfits t-shirt at their next concert.

I forgot to talk about this last time when I was talking about why Ashley’s behaviour is understandable. One of the biggest reasons why she’s hanging out with The Misfits a lot is because they made her feel welcome. Pizzazz scares her a little with how loud and pushy she is. But overall Ashley doesn’t feel like she has to live up to an impossible standard to earn their approval. They immediately invited her into the bar, showed her the ropes, and started hanging out with her. What has Lela done to make Ashley feel welcome? Not much. Maybe in moments we don’t see Lela has been a lot nicer to Ashley but even if that is the case those moments where Lela’s making Ashley feel like she’s not good enough probably stand out far more in Ashley’s mind than those moments where Lela’s being nice.

Like it’s no wonder Ashley has been spending so much time with the Misfits.

I appreciate Jerrica’s respect for Ashley’s privacy, she knocks on the door and waits to be invited in. Jerrica mentions to Ashley that she’s heard that she’s been away from home a lot and Ashley immediately gets defensive. But before Jerrica can talk to Ashley some more Kimber catches up to Jerrica to tell her that an a concert promoter from Vegas has arrived. So Jerrica tells Ashley that they’ll finish their conversation later.

But Ashley won’t be around. She takes the t-shirt and runs off.

Now we cut to the promoter, Dirk Hayes and he asks where Jem is during the contract signing. Jerrica explains it by saying that she handles all of Jem’s business. And Hayes accepts that answer pretty quickly. No fussing from him. Kimber asks who the opening act is and Hayes says that it’s The Misfits. All of the women in the room get worked up about that because the Misfits hate them.

Hayes laughs and says that he knows they hate each other, he just likes to watch sparks fly. With a chuckle he walks out of the room.

While everybody else is still steamed Shana points out a bright side. Being Jem’s warm-up act with drive Pizzazz berserk.

Everybody has a laugh at that one.

As Pizzazz is signing the contract Stormer asks who the main act is and Hayes tells her it’s Jem and The Holograms. Which gets exactly the reaction you’d expect. Roxy even pulls a framed poster off the wall and charges toward Hayes with it. But he laughs and leaves the room before Roxy can hit him over the head with it.

After Hayes leaves Pizzazz declares that she’s the brains of the operation and hatches a scheme to make Jem unable to perform. And to do that she’s going to need some help from Ashley.

And right on cue Ashley sneaks into the building and knocks on the door to whatever room the Misfits are in.

Pizzazz uses her “sweet voice” and asks Ashley if she’d like to come to Vegas with them. And Ashley is touched by this, she asks Pizzazz if she means it and is reassured that yeah, they’ll be taking Ashley with them. And Ashley says that the Misfits are the best friends she’s ever had.

In the background Roxy and Stormer are laughing. Menacing music is playing during this scene.

We’ll find out the plan later. Now it’s time to catch up with Jem and The Holograms in Las Vegas. They rented a jeep I guess. I do like that they aren’t driving around in the Rockin’ Roadster.

While in a casino Shana is sitting at a table with Jem and asks if she’s decided what she’s gonna do about the Rio situation. Jem says, “I’d like to tell him but…” and Shana finishes the sentence with a slightly disapproving sounding, “You don’t know what he’ll do if he knows the truth.” and then she walks away.

And finally our first song of the episode.

I like Deception a lot. I like the song, I like the music video quite a bit. Give it a listen some time.

The song is about how Jerrica feels torn. She didn’t intend for things to turn out like this, and she truly didn’t, and now that this love triangle has started to take shape she doesn’t know what’ll happen if she comes clean. What would happen if she tells Rio that is was kind of a game for her at first but it went too far. She’s afraid that their relationship will go up in flames. And all of this is true. Jerrica is very in love with Rio and as we saw in previous episodes they do start off as a pretty darn cute and functional couple. However, Rio’s pride and anger issues didn’t suddenly become a thing. This is just when they start becoming a problem in the relationship. Or at least have the potential to. None of Jerrica’s fears have been realized yet. But she still has these fears.

I can’t wait to really dig into this relationship becoming as dysfunctional as it does. I’m just going to say that I am a big Jerrica defender but she’s definitely not blameless. But let’s move onto the next scene. Me breaking down this relationship will be a continuing thing throughout these recaps.

The Misfits are talking to Ashley in their dressing room in Las Vegas and filling her in on the scheme. Ashley’s hesitant, Stormer assures her that it’s just a joke, but Roxy gets Ashley onboard by egging her on. Something tells me that Roxy wasn’t much different from Ashley when she was a young teen.

The plan is simple, Ashley lures one of the Holograms, ends up being Aja, into the luggage compartment on a bus. Aja is surprised to see Ashley in the casino and chases after her. And my god, what a breakdown in communication. How did Ashley get here without anybody knowing? Did she just tell Mrs. Bailey that Jerrica invited her? But even if she did, Mrs. Bailey probably would have checked with Jerrica. *does a quick Google* Well I suppose it is only an hour long flight and Ashley has already been missing for much of the day anyway.

Anyway, Aja follows Ashley into the compartment and Roxy closes the doors after Ashley climbs out. Then we learn that this bus is on its way to New York. Hey fun fact, I have to specify that I want a labelled map of the US when I Google it. If I don’t specify I get unlabelled ones which are less than useful to me. There’s 50 States! FIFTY! Anyway, I looked up a map because fuck if I know where Las Vegas is compared to New York and wow that is on the other side of the country. Look man, I’m Canadian. I can barely label my own map.

Where was I?

Oh yeah, Ashley being in school currently and growing up in the US does know how far away New York is and is feeling really guilty about this scheme.

We cut to Pizzazz telling Hayes that one of the Holograms just ran off and tells him that The Misfits are ready to perform. And Hayes says that if Aja doesn’t show up in time then the Misfits will be the opening act. Jem tries to assure Hayes that Aja would never abandon a commitment.

Then we see Aja in the compartment banging on the door and shouting “help” over and over again as the bus is driving away to New York.

A couple passengers hear the banging but not the yelling and the husband figures it’s a flat tire. The wife tells the driver that she thinks he has a flat. The bus driver gets out to check the tires and hears Aja banging on the door. He opens it up and Aja just bolts. The driver’s reaction is so well acted. I love it.

Back to Jem and the remaining Holograms, they decide to split up and search for Aja.

We go back to Aja who asks a couple guys for directions and they get into an argument so Aja tries to find somebody else. She’s then picked up by a guy in a cowboy hat riding a motorcycle. I thought Texas was where the cowboys live, Hayes wears a cowboy hat too. Anyway, the cowboy gets stuck in traffic but he’s only a block away from the casino and point Aja to where she needs to go.

We keep moving locations. Rio asks if she can look in the Misfits’ dressing room. Roxy immediately opposes to it but Pizzazz lets Rio in. And then she flirts with him and promises Rio the world. But Rio tells Pizzazz that she isn’t fit to breathe the same air as Jem.

And then pushes Pizzazz. Yeah she’s not a great person but wow, what a shove. She went flying.

Welp, Aja is still missing and Hayes is sick of waiting. He tells Jem that it’s too late and that there’s a penalty clause for failing to perform.

But wait! Aja calls out that they always perform and runs up to her family and gets a hug from Jem. She says she’ll explain what happened later.

Hayes tells the Misfits to go up and warm up the audience. Pizzazz is mad and says that she wouldn’t even warm up leftovers for Jem. But they do still walk towards the stage. And I assume perform. But we don’t see them play anything because it’s time for the next music video.

Too Close for Comfort, I like this song. Britta Phillips has such a nice singing voice. Man. She’s great. The editing in the music video is a little strange. But eh.

Let’s see what Pizzazz is doing. Oh, complaining. She’s blaming Ashley for Aja getting back to the casino and Stormer points out that Ashley did exactly what she was told to. Ashley was about to come into the room but overhears Pizzazz and ducks out. Stormer also leaves.

Then Eric phones and tells Pizzazz that there’s going to be a commotion in the casino. And that the police are going to search it. Pizzazz’s job is to make sure they look in Jem’s room.

We cut to Ashley hiding behind a standee, she’s scared. Stormer spots Ashley who is terrified and Stormer assure her that she’d never hurt her. And joins Ashley behind the standee. Ashley says that Pizzazz and Roxy scare her sometimes, and Stormer confesses that they scare her a little too. Stormer has her sweet side and I wish we found out why she’s even in this band. How did she get involved with them?

While hiding behind the standee Stormer and Ashley witness Zipper and a couple of his goons stealing money from the casino. Then they hide the sack of cash in Jem’s dressing room.

Stormer asks Ashley what they should do. And Ashley being like, thirteen tells Stormer, “You tell me.” Because yeah, there’s one adult in this situation and it’s definitely not Ashley.

Meanwhile Jem and The Holograms are done their performance and apparently they gave three encores. Hayes is very pleased with them.

But not for long! Hayes is informed that the concert money has been stolen. Pizzazz immediately tells the cops to look in Jem’s dressing room.

And we get our first moment of Kimber wanting to throw hands! :D That’s my girl! I always forget about this one because it goes so fast. You can tell this is a semi-regular occurrence because Jem already has her arm blocking Kimber off. She didn’t even have to look.

I should make a “Kimber About to Throw Hands” folder to go with my crying folder.

One of the cops tells the detective that he found money in Jem’s room. And the detective promptly handcuffs Jem without hearing her out.

After the commercial break we see Pizzazz being bitter about Rio turning her down so she tells the detective to arrest him as well. Jem keeps arguing and makes a good point, she was on stage, how could she have possibly stolen the money.

The detective says that the thieves were men (How did he know this? The smell of cologne?) and that Jem is only suspected of being an accomplice.

Then Ashley shouts from off the screen that Jem didn’t do it. Pizzazz and Roxy try to stop her but fail. And Pizzazz tells the detective that Ashley is friends with Jem. And Jem being Jerrica and therefore being a mom stands up for Ashley saying that she would never lie about such a thing.

The detective says that what he thinks doesn’t matter. And then gasp! A raspy new voice enters the conversation! Who could it be? Definitely not anybody voiced by Sue Blu.

Nope, definitely not.

Well, the mysterious woman tells the detective that she also saw the crime and that she can prove that Jem didn’t commit it. The detective invites the mystery lady and Ashley into Jem’s dressing room to get their account of what happened.

What I wanna know is, what proof did Stormer have?

Outside of the dressing room Jem’s trying to figure out why Pizzazz wanted to get Rio arrested too. He laughs and says that Pizzazz doesn’t take rejection well.

Not too long after that the detective comes out and announces that Jem is free to go. Everybody who likes Jem cheers while Pizzazz tells Roxy that they need to find Stormer.

Who of course was the mystery lady. She promises Ashley that they’re going to keep this moment a secret.

I love Stormer so much. You have no idea.

With that all resolved we have a time skip. Pizzazz is in Eric’s office complaining to him that Jem’s more popular than ever. And Eric says that they need to take another approach to the problem. He figures that Jem is a stage name and that maybe if he can find out her real name he could blackmail her or something. So Eric hired a private detective named Malone to find out who Jem is. (I always want to spell it Malogne for some reason.)

And then to help our transition to the next scene Eric tells Pizzazz that Jem is at a fashion show being hosted by our good friend Danielle.

Why yes I am trying to avoid having to look up how to spell her title.

Naturally the Misfits are here to sabotage things. Stormer questions the wisdom of this. And she really should be.

Danielle announces Jem and The Holograms and how they’re wearing her designs. And we get our last music video of the episode.

Oh! This is when Truly Outrageous plays! It’s a nifty song.

Heeeey. Kimber’s been wearing that outfit in the last two episodes. Danielle met her in that jacket! In fact all these outfits are repeats!

After the song we see Roxy point out the lights shining onto the stage and Pizzazz knows exactly what she’s thinking. They shine the light onto the sprinkler because those things do get darn hot and the sprinklers go off soaking everybody. By the way, Jem and The Holograms did a quick outfit change and now they’re all in new clothes. I forgot a couple of them debuted here. They become wardrobe staples. (I ran out of screenshot room. I could have deleted Kimber wanting to throw hands but no. I will always include those moments.)

None of the Holograms would be surprised to find out that the Misfits were behind the sprinklering. But Jem points out that there’d be no way to prove it was their fault. While they’re driving we see Malone following behind them in his car.

He turns off at the drive-in theatre where Synergy is located and hides his car. He watches the rest on foot and see the Rockin’ Roadster go through a wall.

Inside the base everybody changes while talking about the fact that the battle of the bands was in only two days.

They all leave and Malone follows soon afterwards.

Synergy’s security system is shouting “intruder” over and over again. It’s not very effective.