#I will be turning these into character pages at some point

[domjaehyun]

there's a stranger in my house (l.jn)

PAIRING. lee jeno x fem!reader 

GENRE. thriller, smut

CONTENTS. major character death, seriously dubious consent that turns noncon (please believe me when i say this), spitting, unprotected sex, fear play, oral (fem receiving), anal play, degradation, praise, biting, marking, ass smacking, mirror sex, non-consensual filming, choking, hair pulling (receiving), manhandling/strength kink, some role play 

WORD COUNT. 3.8k

SUMMARY. something’s not quite right about jeno, and you’re not sure what it is.

PLAYLIST. stranger in my house - tamia

NOTES.  hiii well. i can’t explain myself. important context is the movie “us” by jordan peele but if you haven’t seen it, i try to explain without explaining. READ AT YOUR OWN DISCRETION. happy birthday to my dear dear dear friend @renjunfocus!! i hope you all like it and don’t come tell me if you didn’t 💖 but if you enjoyed it, by all means let me know! 

“Jeno, please be safe tonight.” you say worriedly as he adjusts his costume in the mirror. “Halloween is scary; people are always doing something fucked up.”

“I’ll be as safe as possible, baby.” Jeno assures you, turning to face you with that crescent-eyed smile you love. “Plus, I’m literally dressed as a cop; they might think it’s real.” 

“True,” you hum, nibbling your bottom lip worriedly as you take in his appearance. “You look really… really good, Jeno.”

“Oh, yeah? Can I get a kiss for looking this good?” he asks hopefully, and you smile, leaning in to kiss him sweetly on the lips, Jeno chasing after you as you pull back.

“There’s more where that came from when you get back home.” you promise, and he gives you a cute frown before straightening back up and smoothing out his costume one last time.

He pulls you into a hug as he always does before he leaves and when he comes back, and you breathe in deeply, his comforting scent of peppermint body wash, a soft musk, and baby powder enveloping you.

He presses a kiss to the side of your head and slowly retracts from you, a hint of reluctance in his movements.

“I’ll see you in a couple of hours,” he bids you goodbye, blowing you a kiss before exiting your bedroom and, you deduce when the front door shuts, your apartment.

You decide to get cozy in bed and wait for him to come home while you read a book you’ve been neglecting recently, but it’s only about thirty pages in before your eyelids start to droop and you find yourself curling up under your covers and drifting off to sleep.

When you wake up, it’s with a start, sitting straight up in bed when you hear the front door shut roughly. You wait for Jeno to make his way into your room, surprise and confusion filling you when he appears and—

“You changed your costume.” you point out, and he looks down at it as if he’s forgotten.

“Some girl spilled her drink on me at the party, so Jaemin loaned me his spare costume.” Jeno answers with a shrug, and you nod.

“It’s hot,” you admit with a grin. 

He chuckles as he draws closer to you. “Oh, yeah?”

You nod encouragingly. “The robber thing is kind of a 180 from the police officer, but it’s really hot… kinda makes me a little flustered.”

“Oh, really?” he teases, and you nod again, slower this time. 

“The ski mask is a good touch; kinda scary, too.” you compliment, and his gaze darkens as he looks down at you.

“Are you scared, then, baby?” he questions, and you can hear the grin in his voice. “Hm? The big, scary robber’s making you nervous?”

“Oh, yes, mister robber, sir, please! You can take all my money, just please don’t hurt me!” you plead, clasping your hands together and blinking up at him through your lashes.

“It’s not money I want, sweet girl,” Jeno growls through his ski mask, his voice muffled but still so convincing and deeply unsettling that you feel apprehension creeping up on the back of your neck. “Sit on the windowsill,” he grunts, jerking his chin towards the bay window beside your bed, and you climb to your feet, obediently moving to sit at the edge of the windowsill. The seat is cold on the backs of your thighs, making you wince slightly, and you find yourself drawing back in fear as Jeno stalks towards you and stands before you, practically looming menacingly over you.

He slams his hands down on either side of you loudly and suddenly, making you yelp in panic. “Relax,” he purrs, lowering himself so he’s eye level with you. “So pretty,” he rasps, tilting his head to the side as he watches you, but the compliment fails to warm your cheeks the way it usually does, because this time, it sounds… foreign and unfamiliar to you. It’s a type of observation Jeno’s never demonstrated before, your loving boyfriend usually eyeing you with adoration, love, or fondness in his eyes. Tonight, it’s different. It’s almost… sadistic in its fascination, as if the flashes of fear behind your eyes are fueling him somewhat.

You’re so focused on decoding the entirely unsettling look Jeno’s giving you that you don’t notice one of his hands sneaking up behind your back until his fingers are looping in the locks at the base of your neck and tugging your head back roughly. His eyes darken at the flash of panic and pain across your face before he���s ripping the ski mask off and practically smashing his mouth against yours, kissing you more ferociously than he ever has before. He’s all sharp teeth and forceful tongue, the wet, thick muscle bullying its way into your mouth as you whimper for mercy. His tongue swirls around the inside of your mouth possessively, coating every last bit of it with his saliva like he’s marking his territory.

He pulls back slightly before spitting directly into your mouth just as you go to gasp for air. You promptly choke on his saliva, coughing and spluttering pathetically as tears spring to your eyes. You’ve barely recovered before Jeno stuffs two fingers into your mouth, parting them in a V so your lips are stretched horizontally, and he wags his tongue lewdly in the open space of your parted lips, licking against your tongue with long strokes punctuated by guttural grunts of delight. 

He spits once more, a long drop of saliva landing on your tongue, and you whimper in protest, shaking your head in refusal.

He cups your chin in his hand with a firm, almost too tight grip, staring you down challengingly. “Swallow it. Take my spit in your mouth like the good little slut you are.” 

You blink back tears of confusion and hurt as you do just that, swallowing his spit, and he smiles, pleased as he pats your cheek roughly.

“Good.” he grunts, releasing you and knocking your legs apart with two quick slaps to your inner thighs. He drops to his knees between your thighs and yanks the straps of your satin nightie off your shoulders, tugging the fabric down to reveal your bare breasts. He pinches at one nipple, twisting until you squirm away from his touch. He latches onto your neck, biting roughly and sucking harshly and working his way downward until marks are blooming all over your sensitive, buzzing skin.

When he gets to your breast, he looks up at you, studying your reaction when he sucks as much of your breast into his mouth as he can fit. You hiss in surprise and move to push him back slightly, finding yourself overwhelmed by the intense sensations, but he snatches your hands out of the way, linking them together in his larger one before trapping your hands between your legs. He sucks on your nipples roughly, rapidly flicking his tongue over the buds and even nipping at them every once in a while, and you can’t tell if you want to moan or cry.

After what feels like ages of inner turmoil, he releases your breasts from his greedy clutches, your nipple slipping from his lips with a loud, wet, pop sound. He leaves a trail of bite marks down from the underside of your breast to your stomach, where he sinks his teeth into your flesh so roughly that you fear he’s aiming to draw blood. He pulls back when there’s a clear indentation of his teeth on you, marks that are sure to bruise, and spreads your legs as wide as they’ll go. 

“Been dying to taste this pussy,” he grunts under his breath, and you swallow thickly, watching him warily as he drags his tongue up your folds forcefully. Spreading your folds apart with two fingers, he prods the thick tip of his tongue against your entrance. You gasp in surprise when he slithers his tongue into you, the muscle fat and long as he moves it around along your inner walls. “Delicious,” he groans, dragging his tongue over your hole and relishing the way your hips jolt.

When two thick fingers push into you without warning, a weak moan falls from your lips at the surprise of the stretch. Jeno grins cockily, and it hits you what’s different: there’s a hollowness to his every emotion, like there’s a lack of… humanity to it.

Something about him is off; he's not acting like the man that loves you. He's touching you with the desperation of a man that's never had you before. He even smells different; like smoke, ash even, and something metallic and dark. What clues you in the most that this is not your boyfriend is that his signature scent, his personal blend of musk, is nowhere to be found. This man smells tangy, sharp, and strong, a heady blend but most importantly enough, not your boyfriend's blend.

This man is not Jeno.

“Um,” you pipe up tentatively, and he takes a minor break from licking at your core to look up at you with a raised eyebrow. “Who are you?”

With your question, the energy in the room shifts completely; a smile nothing short of sinister appears on his lips, and there’s a wicked glint in his eye that has you clutching at the windowsill.

“What’s wrong, baby?” he asks, and there’s an attempt at tenderness, but it all feels so deceptive, like he’s pantomiming an emotion he’s never experienced. “You don’t recognize me?”

“No,” you say breathlessly. “You’re not Jeno.”

“Smart girl,” he replies before lowering his head to return to eating you out. When you start to close your legs from fear and panic, he growls threateningly, the sound guttural and unnatural, and moves faster than you could’ve thought possible. He pushes the bay window open behind you, the bottom of the window swinging out, and forces you back and down until your torso dangles precariously from your tenth floor apartment unit.

“If you make any wrong moves, I will drop you.” he threatens, and you whimper in terror, the wind chilling your cheeks and rushing through your hair as you dangle, contorted partially upside down, at the mercy of this man who looks just like your boyfriend yet behaves like anything but. “Unless you’ve always wanted to paint the concrete with brain matter, I’d stay still.”

You nod vigorously in understanding, letting your trembling thighs fall apart once more, and he hums appreciatively.

“Like I said,” he remarks as he attaches his lips to your clit, “smart girl.” He sucks roughly at your sensitive bud with lewd moans and wet smacking noises and if he can hear your sniffles and whimpers of fear, he doesn’t comment.

The hand not keeping you in your life-threatening position strokes against your folds, parting them and pushing two fingers back into you, starting to pump them in and out.

“I’ve been waiting for this for too long.” he mumbles against your folds before proceeding to sloppily make out with your core, tongue slurping and licking at every drop of arousal that drips out of your poor hole. “Waited in the shadows, listening to that bastard fuck you every night—”

“Every night?” you gasp, and he chuckles darkly.

“I’ve been watching you both for some time now.” he informs you, fingers moving in and out of you while he speaks as if it’s the most casual conversation in the world. “He was a real fucking soft guy, huh?” 

“Was?!” you squeak in alarm, and he laughs loudly, fingers speeding up cruelly and hooking into your g-spot, making it abundantly clear to you that you’re about to cum, whether you like it or not.

“Oh, he’s not coming back, baby,” he says with an audible grin, malice laced in the pet name he so evilly threw back in your face. “Unless anyone at that Halloween party can perform open heart surgery.”

“Oh, my God,” you whimper, and you’re not sure if it’s from abject horror or your rapidly approaching climax. The unmistakable sounds of his fingers squelching in your arousal fills the inside of the room, loud enough for you to hear it from your precarious pose halfway outside. “Please, you have to stop, I don’t want to cum—”

“Do you think I give a fuck what you want?” he spits back at you, and you flinch at the venom in his voice. “All my life, we’ve been forced to mimic you all up here like puppets while you get to do whatever the fuck you want. Now it’s time to do what I want, and I? I want you to cum all over my fingers and my tongue.”

“Please—” you whisper, and he shushes you, the sound adjacent to something close to loving, but lacking any real sympathy; he must have heard Jeno soothing you at some point and mimicked the sound to the best of his abilities. 

“Cum, baby,” he urges, fingers pistoning in and out of you rapidly before he curls and fucks them directly into your g-spot and brings you to a powerful climax that you wish you could explain away to your guilty conscience. His lips wrapped around your clit, he sucks hard and flicks his tongue over the sensitive bud as you ride out your high against his face. 

When you’ve recovered somewhat, he looks up at you with a wicked grin, lips still glistening with your arousal. 

“That wasn’t so bad, was it?” he taunts with a sly grin, and you just sniffle forlornly in response. “Get up, baby—wanna feel that pussy around my cock next.” He pulls you up unceremoniously, shutting the window behind you and guiding you to the bed. He plops you down on the mattress and hovers over you, encroaching on your space bit by bit until you’re lying with your back on the bed and your legs are reluctantly spread to welcome him in. “You scared?”

“Yes,” you whimper, and he pouts at you, not a hint of sympathy in his expression. 

“Good.” he chuckles darkly before lining his thick tip—thicker than Jeno’s—up with your entrance and pushing into you with one fluid motion. You grab roughly at the sheets at the intrusion, gasping out loudly, and he seals his mouth over yours to silence your cry of surprise, tongue pushing into your mouth and licking into it filthily. “Relax, you’re never gonna take it well if you don’t relax.”

How the hell am I meant to relax when you killed my boyfriend and are in my home about to do Lord knows what to me? You think, but you refrain from mouthing off just yet.

He pushes down on your lower abdomen, groaning in delight as he feels the bulge of his length dragging along your inner walls, and you let out a choked-off squeak as he stretches you to your limits and fills you impossibly deep. 

“That’s it, pretty little thing, feel me nice and deep right here,” he growls, starting to move his hips faster to fuck into you at a gradually building pace. His hand slides up your stomach to twist your nipple before continuing up to cup your chin and turn your face towards the mirror by the door. You shake your head vigorously, not wanting to see yourself like this, but he holds fast, practically smushing your cheek into the comforter. “I want you to watch as I ruin you.” he urges, and you whimper in protest. 

Your face looks nothing short of fucked out, and he’s just gotten started; your eyes glassy with unshed tears, a few tear streaks sliding down your cheeks, and your jaw feels permanently dropped open as he fucks into you at a brutal pace. His sinewy arms hold you in place as he bullies his cock into your tight hole and his abdomen tenses with every thrust, tight muscle tensing and flexing in a regrettably attractive way.

He reaches in his pocket and takes out his phone, holding it up and aiming it at you. “Smile, baby; you’re on camera.” You reach to cover your face and chest immediately, crying out in protest when he snatches your hands away. “Don’t tell me you’re camera-shy,” he taunts cruelly. “That loser never filmed you two fucking?” 

“No,” you say pleadingly, and he tuts in disapproval.

“Sight as pretty as this can’t go to waste.” he decides, moving the phone closer to your face. Fresh tears spill forth, and he licks his lips slowly, watching one tear in particular drip down your cheek before leaning down and licking a fat, wet stripe up your cheek where the tear track was. “God, and now you’re crying—it’s like you’re trying to make me cum.”

“No, I’m not, please, I’m not—” you beg, and he shushes you impatiently, brows furrowed in concentration.

“Yes, baby, you’re gonna make me cum nice and deep in this tight little pussy—gonna fuck you full of my cum—” he grunts, and you squirm under his hold desperately, fighting to get free. “That’s it, struggle a little bit for me—so fucking hot,” he mutters before bringing his forearm to your throat to press down harshly, constricting your airway. “Not too much, now—don’t want you getting away from me.”

“Please—” you croak out, struggling to breathe. “Can’t—breathe—”

His smile only widens and two things dawn on you: one, he could very well kill you right now, and two, there’s no way in hell you’re going down without a fight.

You reach up and claw at his forearm, scratching as hard and as deep as you can, and to your alarm, he grins widely, even among the wince in his expression.

“Love that little fighter in you.” he growls, pressing down harder, so hard you fear it might bruise. “Can’t wait to break it.”

Your vision starts to cloud, black spots forming in your line of sight, and you can feel your consciousness slipping away from you even as you try desperately to remain awake and free yourself. It all proves to be in vain as you slip away from this world, barely able to hear his faint murmur of “That’s it,” before you pass out completely.

When you come to, your throat is sore and you can’t move your body. Your vision spins as you take in the sight of your bedroom, eyes squinting reflexively as the glare of the television hits your retinas.

You turn your head this way and that only to see, to your horror, that your hands and feet are tied to each bedpost with thick, coarse rope. No matter how hard you tug, there seems to be no breaking free, and panic creeps up your still hoarse throat, hot and thick and dully aching. 

The television catches your attention once more, your mind focusing on it in an attempt to calm yourself down, and you watch whatever’s on, your brain catching up quickly.

“...in what reporters everywhere are calling the ‘Doppelgäng​er Takeover,’ recent news has shown that people are being viciously attacked and some even killed by someone that looks exactly like them. If you see someone behaving not quite right, stay back and do not approach; they are known to be violent and highly dangerous.”

Your breathing hitches and starts to shallow rapidly as you start to hyperventilate, tugging harder and harder on your restraints. 

“They won’t budge,” Jeno’s voice calls out, and you flinch, whipping your head around to find the source of the sound. Jeno emerges from the hallway, now clad in a short sleeved black tank top and dark gray sweats. “You can thank Jeno’s mom for that; she signed him—and therefore me—up for Boy Scout training when we were eight.” He steps further into the room, dark piercing eyes scanning your frame trembling with fear. “Her precious Jeno never quite got the hang of the knots, but me? I mastered them.”

A terrified whimper slips from you before you can stop it, and his lips quirk up into a wickedly delighted smile.

“What should I, um…” you swallow thickly before continuing, “call you?”

“Jeno.” he replies easily, and his keen eyes catch the almost imperceptible grimace that takes to your lips at his answer. 

“What are you going to do with me?” you ask worriedly, and he raises an eyebrow.

“I’m going to keep you.” he states plainly, and your body stills entirely, fear igniting in your bloodstream and leaving you close to paralyzed. 

“What about my doppelgänger?” you question, not knowing what answer could possibly make you feel better at this point.

“I got rid of her.” His answer is simple again, and you suck in a breath of surprise. “She’s not as fun as you.”

“Fun?” you croak, and he nods, a gleeful smile on his lips as he nears the bed slowly.

“Doppelgängers are essentially a ‘crude’ copy of the ‘original’ person,” Jeno explains, making one-handed air quotes around the words he spits with disdain, “and only the ‘original’ person has a soul.” 

“So… so that means—”

“I don’t have a soul.” Jeno confirms with a hollow laugh made all the more terrifying now that you know he’s literally hollow spiritually, devoid of humanity. “None of my people do.”

“And you want my soul?” you ask fearfully, and he snorts in amusement, shaking his head.

“You really are cute, you know that?” he chuckles. “I’m not going to take it from you,” he says, waiting until your body slackens with relief to add, “I’m going to break it.”

“What does that mean?” you whimper, fresh tears spilling from your eyes. “Jeno, what do you mean?”

“I want you to understand that this is your reality now. I don’t want there to be any fight left in you at all. But you people are like that… hopeful,” he spits the word with disgust. “Your spirits are like a fire that won’t go out. Every once in a while, there’s a little,” he pauses to scan your face, eyes brightening with excitement when he catches sight of your eyes, no doubt reading the fear, fury, and desperation you have to save yourself— “ember… that sparks up, and I’m going to be here to snuff yours out every… single… time.” He’s close enough to bring his mouth to your ear, lips grazing the lobe and making you shudder with revulsion. “You’re not going anywhere unless I say so.”

You don’t say anything, setting your jaw firmly and staring straight ahead to ignore him. Maybe he’ll get angry enough and kill you, putting you out of your misery.

“There’s that little fighter,” he remarks with fascination. “I saw a hint of it earlier when I was choking you; that fight to survive, to live—you fucked my arm up pretty badly, I was impressed.” he remarks, extending his arm to show you the deep, angry, red cuts clawed into his forearm he’d wrapped around your throat just hours ago. His other arm emerges from behind his back, and your eyes widen when you see a Hitachi wand in his hand, his thumb already resting on the “on” button. “I am going to have so much fun breaking you.” he rasps with unrestrained excitement as he turns the vibrator up to the highest setting.

well.........congrats for making it to the end!! *insert obligatory "i definitely don't think jeno's like this" part that technically doesn't need to be there considering that wasn't jeno* i hope you liked it and if you didn't.... well sorry ig tune in next time for a lovey dovey fic 💖

[dream-with-a-fever]

the people who claim ginny’s “personality” came out of nowhere never fail to amaze me with their inability to actually comprehend the text

it’s literally shown in PS (fleetingly) on the train platform and talked about as early as CoS that ginny weasley is a certified YAPPER. she’s a talkative, opinionated gal. ron points out that her quiet / shy behaviour is very unusual for her, so if one does have basic comprehension skills, it is pretty clear that the ginny we see in the earlier books (which are from harry’s pov) is not who she really is. ginny says as much herself in HBP, “i never used to be able to talk in front of you remember? hermione thought you’d take more notice if i was a bit more… myself”? like are we comprehending this? it’s not rocket science…

as the books go on, her confidence around harry grows the more she detaches herself from the idea of harry that she grew up with, and the actual harry. this journey is slightly impeded by the fact that harry saves ginny’s life in CoS, which she feels a significant amount of guilt and embarrassment over (which harry himself picks up on this in PoA), not to mention she’s still processing the trauma that accompanied that experience (as seen in the way she reacts to the dementors — she is the only one who has a strong reaction to them, like harry). in the years following, we find out in CC (whether you take that to be canon or not), ginny explains she was very lonely during and after the diary debacle, as she felt very isolated from everyone else. this would also cause her self-confidence to take a severe battering, therefore her true personality is not able to shine, especially not in front of harry potter aka her crush aka the boy who saved her life and almost died doing it.

in GoF, harry (and in turn us, as the readers) start to see glimpses of her playful personality - she’s close with fred and george, she calls her brothers out when they’re being unkind, she goes to the yule ball with neville (turning down the opportunity to go with harry, because she doesn’t want to go back on her word), she gives ron’s owl a silly name and she starts to let go of her childhood crush, and takes a chance on another boy who’s actually shown interest in her.

by the time we see her again in OotP, OF COURSE she has undergone some serious character development. she has a boyfriend now! she has a group of friends now! she’s able to be herself around harry! she has a better support system now, her self confidence has returned, and with it, her sense of self worth. she calls harry out on his shit when he needs it, she also comforts him and gives him the space to share his worries without judgement or admonition, she stands up for what’s right, she kicks ass at quidditch (which she’s been wanting to do for the past four years bc she has been practising since she was six years old!), she joins the fight at the DoM, risking her life and dumps her boyfriend for being a sore loser! because she deserves better than that!

the ginny we see in HBP has gone through So Much. but she has only continued to grow as a character - with so much heart, wit and spunk. of course, harry is paying attention now and of COURSE he’s a flustered mess trying not to fall for his bestfriend’s sister for nearly 800 pages but he can’t help it!!!

a lot of ginny’s development happens behind the scenes, in quiet ways, but if you actually pay attention, it’s very obvious who she truly is. the reader slowly becomes more fascinated by this girl as more and more of her story unravels — as does harry. and that’s the beauty of it.

[cinamun]

Elliot Emmanuel Mahajan

September 21st, 2021 - May 7th, 2023

OC - Role: Childhood/Teenage Best Friend, First Crush/Kiss, First Love to Hope Diamond Drake (OC)

Traits: Bro, Neat

Life Aspiration: Soulmate

Education: B.S in Computer Science, Foxbury Institute

Career: Running Back - San MyShuno Mustangs - #10

Career Yards Rushing: 8,505 - 37 TDs (2023 - 2023)

Age at death: Young Adult

Bio:

Elliot Mahajan entered this saga in the Fall of 2021 as a childhood friend to the oldest daughter of Indya and Darren Drake, the main characters. Later we would learn that Elliot is the son of Sean Mahajan of whom Indya and Darren are greatly familiar with and who entered the saga even earlier in 2019. Elliot never knew his mother (as discussed here) and we only recently learned that Elena Vasquez (no role) is his other biological parent. Elliot played a key role in Hope's life through elementary school, high school and Young Adulthood and was a close friend of The Drake Family.

He passed away in early May 2023.

Voice Claim.

[anominous-user]

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.

[rotomartsblog]

The reason EAH is a children’s franchise is because only a child who Doesn’t Understand Things could possibly consider Royal being the right stance

[miraclemioart]

mashing together my two teenage years interests for dopamine

[magnusmodig]

||. me, still waiting for updated confirmation that thor will be in avengers 5...

[thats-a-lot-of-cortisol]

Aspect of Order: Primordial & Present-Day

One of the first deities, part of what is known as the Primordial Triad. It created the planes alongside the Aspects of Chaos and the In-Between and held dominion over the Material Plane. It embodied order in the way nature has order: the life cycle, gravity, the tides, the surety that the seasons will change, the patterns that appear in flora and fauna alike, the symmetry of pinecones and butterflies. It was associated with the night as a time of quiet preparation where the world rests, and when one can see the remains of creation in the darkened sky. It is said that the two moons of the Material Plane are its eyes, watching over its creations.

All three members of the Primordial Triad are referred to with "it", so ancient and unfathomable that applying a mortal, transient concept of gender to them seemed almost blasphemous.

Almost.

The modern-day conception of Order is quite different. Though she still reigns over the night and natural laws, her followers have placed her at the forefront of the creation process, reducing the In-Between's role and rejecting Chaos altogether. Though most present-day cultures think of her in this way, many of them do not emphasize her: she is an invisible Over-God, keeping the other deities and forces in line and maintaining cosmic balance from behind the scenes. In places where she is worshipped heavily, however, she is placed at the forefront of the pantheon. In those cases, worship of deities with overlapping domains is either illegal (ex local gods of justice) or considered secondary to her (ex the god of the Wilds). The worship of smaller, local deities is usually discouraged or suppressed over-all in these areas in order to encourage a more structured, uniform religious practice. While both aspects of Order championed paladins, Primordial Order also championed druids and rangers while Modern Order champions clerics.

Ancient theologians debated whether or not Order and Chaos were two aspects of the same being (ironically, there was no question that the In-Between was its own separate force). However, following the iconoclasm that effectively forced Chaos out of the pantheon and created the modern conception of Order, such lines of thought were considered heretical, and then blasphemous.

The iconoclasm did have an unintended consequence, however. Crying motifs appeared in some art of Primordial Order around that time, particularly in the areas that resisted the iconoclasts more intensely. Some scholars believe that it may have been a direct reaction to the event: Order mourning the loss of its counterpart. Others have argued, however, that the lack of such motifs (or equivalents) in depictions of the In-Between prove this wrong. After all, why would it not also be grieving?

[raiiny-bay]

did a writing exercise wherein i tried to describe my characters only through random things i associate them with & it was hard !!!

[msfcatlover]

If your “holy grail” of characterization uses said character as nothing more than a prop to move the plot along, while objectifying them to hell & back, gives them minimal motivation, no agency to speak of, calls back to some of the most messed up shit they’ve done to people in a tee-hee isn’t that cute! light, and the only possibly character revealing choice they make is given less than a page of buildup and just so happens to be exactly what needed to happen to reinstate the status quo and never mention this little side adventure again (making it feel way more like writer convenience, rather than character-motivated choices)…

…If this is seriously the best version of this character you can point to, you can’t honestly expect me to see them as any deeper or more complex than the shallow prop this specific story used them for.

[ambersky0319]

Jumped into writing Not of This World and am I possibly making too short of sections/adding too many chances for decisions on the reader's part to be made?

Poasibly.

But is that also the point that I want to convey with this story?

Yes.

[s-soulwriter]

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

[babycharmander]

(BOOK OF BILL SPOILERS)

I just finished reading The Book of Bill and I am kindof losing my mind over some of this stuff.

I had wondered if Alex Hirsch might make Bill sympathetic in some way and oh boy I was not expecting him to do it so successfully (and without cheapening Bill's character).

So, we learn that Bill was born into a 2D world... as a mutant who can see into the third dimension. He claims he was absolutely loved by all, but when talking about his powers, he mentions under Pyrokinesis:

"Cipher, Cipher, he's insane / Starting fires with his brain." The kids in grade school could be so cruel. But where are they now, huh? WHERE ARE THEY NOW?

So probably not quite as liked as he was letting on. To add to that, there's the silly straw page, which looks like silly nonsense until you decipher some of the codes:

"EYE DOCTOR OF A DIFFERENT KIND / WHO WANTS TO MAKE HIS PATIENTS BLIND" "THE DOCTOR SAYS / THREE SIPS A DAY / WILL MAKE THE VISIONS / GO AWAY"

I wasn't sure what this meant until I saw someone point out... he was seeing a third dimension that no one else could see. His parents probably took him to the eye doctor to try to "fix" him. Which, speaking of his eye doctor, the coded message in the section about human eyeballs says something interesting:

"MY OPTOMETRIST NEVER SAW IT COMING"

It could be a joke given beforehand he's talking about dissecting a human eye, but given the previous hints of medical abuse, I wouldn't put it past him that he tried to get revenge on his eye doctor.

Oh yeah and the whole thing about him setting his entire dimension on fire? Yeah it turns out it was entirely a mistake (he just wanted everyone to understand the third dimension he was seeing so they could be free of only two dimensions), he was so traumatized by it he blacks out when trying to recall it. He deeply, deeply regrets it, and...

"What? Your ENTIRE home dimension? destroyed? How? By what?" Bill looked distant, more distant than I'd ever seen him. "By a monster."

He sees himself as a monster.

And yet, he's not some innocent, misunderstood being. He still revels in causing pain and chaos. He's terrible in general, but becomes incredibly abusive toward Ford.

"YOU'RE MY PROPERTY. DON'T FORGET IT. The hillbilly abandoned you, your father won't want you returning without millions, you have no friends, and if you died out here in the snow, who would even miss you?"

Which... speaking of him and Ford...

Yes, yes, I know people ship them. But like, whether you see their relationship as romantic or platonic (I see it as the latter), there's some interesting parallels to be made here.

Both Bill and Ford are mutants who were mocked for their being different. (Bill was not physically a mutant, as far as we know, but more in the sense of him having vision stronger than that of everyone else in his dimension, and also having special powers. And he does describe himself as a mutant.) Both became social outcasts, separated from their families but still haunted by them (Ford seeing commercials of Stan on TV and running across old photos of him and his brother, Bill being haunted by his family in some form). Neither could return home for one reason or another. Both more powerful than their peers (Ford intellectually, Bill in terms of actual powers). Both of them isolated and alone. (Yes, Bill does have the Henchmaniacs, but they seem like shallow friends, and only really seem to follow him out of a desire to have a place to party.)

Ford was not aware of most of this, aside from knowing that Bill could not go home because his dimension was destroyed. But Bill absolutely saw himself in Ford. There was no other person he tried to use whom he felt a stronger connection to.

And he actually seems to care about Ford--he actually gave him a birthday present, and when Ford didn't like it, he decided to get drunk and party with him instead to make up for it.

And then when Ford realizes what Bill's plan actually is and refuses to go along with it, and fights back no matter what Bill does, Bill completely breaks down.

After living for trillions of years, he met someone who was like him, and that person rejected him.

He goes berserk, wreaking havoc, being caught by the dimensional authority that he's been taunting for most of his life.

And then after dying and being cast out of hell for being too annoying, he winds up faced with the Axolotl, who sends him to therapy, where he continues to break down further, sending out the book in a desperate attempt to find someone, anyone who will help him break loose and wreak havoc once again.

"You have no friends, and if you died ... who would even miss you?"

I don't know, Bill. Who would even miss you?

In short,

[ID: The front and back of one of Bill's Valentines cards. On the front is a black void with Bill Cipher lying down without his hat, gazing blankly upwards, with the text "I DON'T WANT TO DIE ALONE" above him. On the back is a simple white "TO/FROM" in red, with a red outline illustration of Bill spontaneously growing a mouth and eating a realistic, bloody heart. /end ID]

[druid-for-hire]

hawkeye and trapper get fake septums

(id under the cut)

[image id: a three-page digital comic about characters from the TV show MASH, illustrated by "druid-for-hire." On page 1, frank burns squints at Hawkeye from a short distance, who is next to Trapper, who is reading a newspaper that obscures his face. "Pierce," Burns asks, "what's on your face?" Hawkeye turns to face him, revealing a septum piercing. "what's what, Frank?" he asks. Shocked and affronted by this breach in army regulations, he shouts, "I can't!! Believe you!! It's not enough for you to disagrace the army uniform by being out of it all the time? You have to go and--and do that! You look like a punk! Or a cow!"

On page 2, Hawkeye, unbothered, replies "Y'know, Frank, I'm finally living up to the Pierce name. I was thinking about going for some ear tag earrings. Maybe I can get a nurse to pull my udders." Frank howls, "That's disgusting!" Turning to Trapper he shouts, "Did you have anything to do with this, McIntyre?" Trapper pulls down the newspaper to reveal that he's wearing three septum rings and says, "I sure did! He stole my look!"

On page 3, Frank says "You're both terrible. Both of your butts are going on report!" while Hawkeye takes out his apparently fake septum ring behind his back. "Report for what, Frank?" he asks; Frank turns to see that the piercing is now missing. "Yeah, what's the matter, Frank?" Trapper says, whose piercing is suddenly missing as well. Frank storms off, yelling "Neither of you can pull the wool over my eyes!! Just wait until General Barker hears about this!" Some time later, Frank is standing next to General Barker, pointing at Hawk. "General, I'm telling you, the hole is THERE!" he shouts. "Go and take a look in those nostrils for yourself!" There is a long and awkward pause. The General did not like that. Hawkeye remarks, "Gee Frank, take a girl to dinner first." end id]

[hurtspideyparker]

Peter places an envelope on Tony's desk.

Tony looks up confused, "huh? What's that for?"

"It's for you," he points awkwardly at the plain blue envelope, held closed with a Darth Vader sticker.

"It's not my birthday kid." He snaps the protective face shield back down as he picks up his soldering iron, sparks flying as he gets back to work.

"I know that I, uh. It's from, it's for. It's yours. I gotta go, see you later Mr. Stark!" Peter hikes his backpack up tighter as he skips out of the lab.

Tony grunts in acknowledgement without looking up, eyes focused on the searing metal in front of him.

* * *

"Tony? I thought you were gonna have dinner with me after Peter left," Pepper saunters down into the workspace in a flattering pair of jeans and baby blue blouse.

"I was. I am. He left like five minutes ago," Tony waves at her without taking his eyes from the computer he's typing on.

"Happy drove him home two hours ago. Come, have a nice sit down meal with me." Pepper wraps her arms around his shoulders from behind, kissing the top of his head.

"I can have a sit down meal. I'm sitting right now, bring the carbonara down here and it'll be a proper date," Tony replies.

"Yeah, you me and your computer. How romantic. Tony, come upstairs- what's this?"

Tony glances up to see her holding a blue envelope.

"Uh, it's the kids."

Pepper flips it around, "it says To Mr. Stark From Peter on the back."

Tony just shrugs and goes back to typing on his computer.

The delicate glue of the sticker is undone under Pepper's sharp nails as she opens up the envelope and pulls something from inside.

"It's illegal to open someone else's mail y'know," Tony teases.

"Tony this- god you are such an asshole!" Pepper smacks Tony on the back of the head with the envelope.

"Ow! What the- what did I do now! I was just joking about the carbonara thing... mostly."

Tony finally meets Pepper's eyes of scorn. She tosses something in front of him with a huff.

"Tony, he even used a Darth Vader sticker. Do you know how adorably geeky and topical that is? You have got to start paying more attention to the living breathing people in front of you instead of your machines. Dinner is ready, please come upstairs."

Tony watches her leave as the clack of her heels fade away with every step. He's not sure what Darth Vader has to do with missing dinner, but he's quick to get up and start to follow.

He pauses before he makes it out the door, turning to finish the last line of code before he forgets the function. He pushes something off of his keyboard to type and press save.

Tony can't remember the last time he looked up from his work long enough to consume solid food. He's so ready to carb-load with some Italian food, turning away from the computer and blue envelope.

Tony's eyebrows furrow. Hm. Darth Vader sticker.

Tony turns back around and picks up the envelope from beside his keyboard.

This must be what the kid was yapping about earlier. Tony sticks his hand inside and finds a card, pulling it out.

"Father's Day it is," the front says in bold lettering with a picture of Yoda crudely hand-drawn with a sharpie and green highlighter. Tony flips it open, "celebrate you we must" is written in the middle of the page.

Below is a message in smaller writing; "Thank you for everything Mr. Stark, we wouldn't be here without you!" with a blob of sharpie that looks suspiciously like it's scribbled out a small heart, then signed "From Peter, Dum-E and U" each name written in their own unique handwriting.

"Friday, what day is it?"

"It is Sunday June 16th, also celebrated as Father's Day in countries such as the United States, Canada, and the UK."

Hm.

Tony stands there and stares at the card for longer than he'd ever admit before looking up at Dum-E.

"You help with this?" he asks, pointing at the card.

Dum-E chirps happily, twirling his claw around.

"Your hand writing's terrible."

* * *

Peter enters the lab slowly, an unsureness to him that's out of character.

It's Wednesday, his usual day for coming over to Tony's workshop. He hasn't heard anything from Tony since Sunday, not that he usually does. Still, the quietness has unnerved him. He's not sure what he was even expecting from his mentor; silence is probably the nicest response he could hope for after embarrassing himself like that.

"Hi Mr. Stark," he greets once he spots the older man sitting next to a complicated tangle of wires.

"Hey kid, can you go to the computer and run the command I have open for me?"

"Sure thing!" Peter says as he dumps his backpack onto the floor and jogs over.

The two get into an easy rhythm and Peter's practically forgotten why he was nervous in the first place when, "hey grab us some sodas will you," Mr. Stark asks him.

Peter walks up to the fridge in the corner of the room when he notices something new.

In the center of the silver metal lies a single piece of paper, stuck to the refrigerator with a plain magnet seemingly scrapped from some old hardware in the lab.

Tony has his Father's Day card displayed like some dorky parent whose kid got a half-decent report card, showcased on a fridge like a toddler's finger painted masterpiece.

It makes Peter so happy he can't wipe the stupid grin off his face the entire time he's grabbing sodas and delivering one to Tony.

The older hums a thanks without looking away from his project, but as Peter turns away Tony's own face contorts into a pleased smile all of his own.

The two share identical smiles all afternoon, hidden behind soda cans and computer screens.

[orionsangel86]

I watched X-Men 2000 tonight. Yup the Deadpool and Wolverine brain worms got me - at least for a little while - so I figured I'd rewatch the old movies that I havent seen in over a decade and have basically forgotten entirely at this point.

You know what really stunned me? Even more than the slow pace, serious tone, actual dedication to telling a coherent and interesting story with layers of meaning and social commentary attached to it, as well as a sincerity that's been missing from most superhero films since the MCU was born (thanks Josh Whedon).

Nope, what shocked me most was this:

This is a perfect specimen of a man. Look at him. He's gorgeous. But look at his chest? His arms? He's muscular, he's pretty well toned, he's hairy. He's definitely got a six pack - but it's nicely covered by a healthy layer of fat. His skin is plump, he has a bit of squish to him. He'd probably be great to hug (Jean Grey certainly gives him a good squeeze lol).

When he sits down he looks like his stomach will roll just nicely. Like a stomach should.

I know my point here is obvious. It's just that scrolling the Deadpool and Wolvering tag is basically 50% "oh they definitely fucked in the Honda Odyssey" (yes lol) and the other 50% is just horny posting over Wolverine's topless scene like the entire site suddenly adopted Deadpools horny brain.

I gotta give props to Hugh Jackman for his dedication to turn himself into an actual comic book character - because that's what this new movie does. It gives us a comic accurate Wolverine in practically every way (except for his height lol) the suit is amazing, the cowl was a joy to see brought into live action. The body too though was straight out of a comic book artists male power fantasy.

What I wanted to emphasise was that this:

Is extremely tough on the human body. What I wanna know is how long he starved and dehydrated himself for before filming this scene? How long before they shot this did he last drink some water? Because damn that must have been tough. The oil and the lighting probably help further emphasise the muscle, vein, and sinew definition. It's probably similar to how body builders prepare before a show.

Nothing about body building is healthy though. So in the coming weeks as the whole entertainment industry rides on the coat tales of this movies success, and everyone goes crazy over Hugh Jackmans physique, please don't feel pressured into thinking that his 2024 physique in the movie is remotely realistic - or realistically attractive. Like I get the fantasy sure, but come on. I'd personally rather lie on a cushioned bed than a concrete floor.

Deadpool may disagree with me, but he's a masochist lol.

Oh and whilst I stand by the shade I threw at the MCU above, I think Wolverine's different physiques in the movies is a good standard of comparison for how much superhero movies have changed. Because when superhero comics first started getting adapted I think a lot of the choices made were about how to bring them to live action realistically and believably and the attitude was to try not to make them look ridiculous. The first X-Men movies definitely do this.

It was about bringing the comics to life in a way that fit in our world. But over the years, as audiences got more and more used to comic book movies the movies became more and more like comic books and less like a realistic adaptation of a comic book. Does that make sense? So as the movies attempted to bring the comics to life in a way that was less realistic and more comic accurate, the demands on the actors to sculpt their physiques to meet the standards of comic book art became normalised.

I think Deadpool and Wolverine is the MOST comic book accurate of all superhero movies made in the past 2 decades. Half the time the images from the movie look like they could be literally pulled from the pages of the comic books. The story is convoluted and stupid, the plot is barely there and is full of gaping plot holes and elements that don't fit any past stories. The action is ridiculous, extremely fast paced, gratuitous, and violent to a hilarious level. But it's so entertaining, joyful, exciting, and laugh out loud hilarious throughout.

It reminded me a LOT of my attempts at reading through the Deadpool comics (I've read a lot of them but no where near all of them).

To sum up this rambling message with multiple points, I'll say that Deadpool and Wolverine is a really fun movie that I thoroughly enjoyed, but make no mistake there is nothing real in it at all. It is almost literally a comic on screen. Don't expect anything more than that and you'll enjoy the experience.