#In Video Veritas

[pazzoincasamatta]

video kill the radio star

[cheriafreya]

Dendro x Imaginary

[syadoodles]

what is wrong with them!!!!

[chain-peoplebreaker]

*hits you with a follow up* ah shit sorry *hits you with a follow up* oh oops *hits you with a follow up* sorry accident *hits you with a follow up* ah i didnt mean to do that *hits you with a follow up* gomen oomf chan *hits you with a follow up*

[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.

[artemisjpotter]

Just looking at some of Ratio’s voice lines and this one. What do you mean “our man?” Idk, sounds kinda gay to me

[delzinrowe]

DR. RATIO Honkai: Star Rail | 2024

[slowd1ving]

✦ III. OH, HOW TRAGIC IS HE

'It was an accident.  “I’m sorry. Ah, shit—” Something wet splashed your cheek, followed by a fumbling hand that tried to brush it away but only succeeded in smearing the thin liquid across your face awkwardly. “Don’t— fuck, I’ll stay with you, alright?”  Fingers wrapped around your own, flesh against bone. Pulsing life alongside a silent end.  The last thing on your lips was an apology, in the form of a salty tear dripping from above.' • . * cursed prince ratio + alchemist m reader rough design for minoan fashion ratio here warnings: video game violence, death? kind of? tyranny (are we surprised), male-coded reader (or at least the in-game avatar is) wc: 11.9k

LAMENT OF OUROBOROS MASTERLIST

HONKAI STAR RAIL MASTERLIST

MASTERLIST ・゜・NAVIGATION

‘If man’s hour were to come, no one could escape it: not the brave, nor the cowardly. In the case of the city-state of Metis—referred to by romantics as the ‘Eroded Kingdom’—its collapse was widely regarded as inevitable. Frankly, as al-Ghazali pointed out in his ‘Fall of Empires’, Metis was inherently doomed to fail from its intrinsic characteristics: military hubris (relying on the susceptible and corrupt polemarch Aetos in the final decade of the kingdom’s existence); economic failure (due to the recessions Aha created and failed to mitigate); the subsequent loss of capital, and perhaps, most poignantly, its alienation of alchemists and increasingly alarming anti-heretical laws which provoked regional rebellions that soon spiralled into the so-called ‘Scholar’s March’ of 786 of the Attican Calendar, or year 352 of the Amber Age¹. 

Who could’ve predicted that the citizens could grow so united in the face of such tyranny? For years the Metisians had endured the brutal taxation, the reforms in education, and the yokes of the cult-like Elation—the catalyst could only be the mass executions and disappearances that occurred the year prior the March. Of course, scholars like Ignis the Argumentative would insist it was the sudden disappearance of capable officials that set the cataclysm into motion—but further examination by other contemporaries reproached this interpretation as there was no real policy difference between the lawmakers in terms of addressing both long- and short-term triggers that led to the fall of Old Metis, as Antiquus the Elder points out in his ‘Treatises of the Archipelago’². 

Now, a millennium later, New Metis continues to repeat its historical mistakes from a bygone age—continuing legislation to heavily restrict and outright ban certain schools of thought. For most of the New Metis citizens, this isn’t an issue; but this begs the question, when will it be a problem? Tyranny has not been redefined—it’s still hiding in New Metis today, under the smiling masks of your politicians! Wake up, New Metis!’ 

— Inana, P. (1433 2AA). Civilisation: Modeling Metis as a continuation of a failed empire. Journal Politik, 47 (3), 101-110

. 　⁺ ✦ 

Like all days, the pills were particularly hard to swallow. Chalky, bitter—a tepid medley of medicine that neither made you more energetic nor erased the hangover of the liquor still remaining in your system. It was an unfortunate cocktail: vitamins and painkillers tossed from a drugstore shelf with no regard for its expiry date but rather the price and time you were running out of. 

It was a tepid day, that day was. Humid streams of vapour clung to the asphalt as you stumbled out of the store with a plastic, rustling bag slung onto your wrist hurriedly—reusable coffee cup grasped tight in one hand, the dose of tablets clutched painstakingly in the other. It felt like a rush to work, and perhaps it was; this day was like all others, in hindsight. For others, the routine mundanity of your life might’ve been hellish; for you, however, the brimstone and fire had long faded into a tired cliché, where all the impact of your suffering trickled into a steady background hum. 

There was a sort of beauty in the aches and pains of your life—not in the pretentious way, not in the nihilistic way—but rather in the sense that one might feel a brow raise at the sight of a pattern embroidered delicately into cloth. If you were to give a less quixotic analogy, it would be the satisfaction of a computer programme doing its job: lines upon lines of code melding seamlessly into a never ending loop with no errors. 

Yes. Comfort came in the shape of these grey roads, these monochromatic buildings, and the stink of pollution on your way to your monotonous job. Comfort came in the ritualistic bread (drugstore painkillers) and wine (bitter, cheap coffee) that you partook in each morning after Friday. Comfort came in the perfunctory, solid thump of sole against pavement; the cat you’d passed by for the past month; and the worn earbuds that were slowly reaching the limits with their tinny quality and exposed wire. 

It was a painful life. It was a painless life. 

Tragedy seeped in through the sterile nitrile of your gloves. Tragedy ghosted its fingers over your polyester lab coat, and tapped on the clear plastic of your goggles. Tragedy weaved through the tired yawns as you spun on your stool and waited for the centrifuge to settle to a halt. Maybe if you crossed your fingers enough, the seconds would pass by quicker, and maybe there’d be something decent in the cafeteria. Well. It was never worth the money, but then again, there was nothing to save for. No occasions to buy nice clothes for. No particular want or need for holidays. 

No one to treat, either, not even the nice old lady in the apartment next to yours. Not anymore, at least. 

You sighed, and the matter in the Petri dish sighed with you. 

And thus, a sense of purpose continued eluding you—but so did any profound pain. This was ordinary, as an achromatic existence like this didn’t stand out in the grand machine, and you didn’t think it ever would. That was fine. That was expected. In fact, it was downright comforting that you wouldn’t particularly matter in the long run. 

(Is it truly an anodyne, like you make it seem? Where is the solace, when your teeth worry at your lips as you gaze at human connexion?)

You lied. You lied, but who would persecute you for your sin, when the sin was merely doubt about your reality?

Like all other days, it began with a healthy dosage of denial, and perhaps that is what led to the events that transpired. 

. 　⁺ ✦ 

In retrospect, it was practically expected that your tired life would beget yet another tired cliché. 

There was something completely unoriginal in the series of misfortunes that befell the proletariat salaryman (read: you). In novels, movies, and the occasional game, the most ordinary of souls stumbled across a situation that chose them. For once, someone in their weary lives had need of them; not as a pushover, nor a lackey, but someone courageous and brave who became a hero. Forums and comments oft scorned these overused plotlines—and you agreed, of course—but it was an interesting premise to think about. 

“There’s a survivor on the third floor—”

Still, no matter how intriguing the promise of escape from the mundane was, it was pointless. It wouldn’t happen. 

“Hey— can you get up? Blink if you can hear me, alright? 

The accident in the lab was almost poetic. Of course, when a protagonist encountered an explosion in their place of work, there was always an accompanying montage that indicated something was wrong. Whether it be the change in key in the background chords, or a close up of cracking machinery, the audience got some sort of closure as to why. Was it fate? Was it the cruel machinations of man? Was it just an unfortunate accident?

“We need oxygen here—he’s going into shock! Help—you—get a gurney immediately!”

But actually, there was none of that fanfare for you. Just a sluggish warmth that crawled from your limbs and back into your heart, from limbs far too cold to move. No, not cold. You simply couldn’t feel them—much like when a body part suddenly fell asleep on you. 

If you scrunched your face a bit, you could smell the acrid wisps of rubble: paint chips and stone all congealing into an antiquated scent. You couldn’t exactly see, but maybe that was for the better. 

“What’s happen—” Your tongue felt leaden in your mouth: heavy and contorted as you awkwardly sounded out your question. An explosion? A gas leak? A mine that somehow went off? There was something wet dribbling from your mouth; tasting like white hot iron, seeping past your aching lips. A hero would know. A hero would have that information playing out panel by panel while they bled out, farewells and anguish for their loved ones already melding into the fabric of existence. 

Ow. 

“Shh, don’t talk, okay? We’ll get you out of here, alright?” There weren’t any reassurances for your state. No ‘you’ll be okay’, no ‘stay with me, alright?’. You weren’t stupid. You weren’t, but it was in that moment when you wished you were—dropping out before doing your degree and doctorate, keeping far from the lab, and holding on to your life with blissful ignorance on your side. 

You opened your mouth. 

“No, you don’t need to say anything, alright?” The voice was kind, you noted drowsily. If not a little clumsy, swaddling you in a foil blanket like some overgrown child. Well. You couldn’t see it, and neither could you feel its texture, but you could feel your limbs lolling this way and that way at the movements—like some grotesque, decommissioned marionette. 

At least it didn’t hurt.  

“Thank you,” you whispered. There was nothing outrageous about your last words. Like the rest of your life, the syllables were as ordinary as they came. A quiet beginning. A quiet end. There was nobody to say goodbye to, nobody to wait for past the veil. 

It was an accident. 

“I’m sorry. Ah, shit—” Something wet splashed your cheek, followed by a fumbling hand that tried to brush it away but only succeeded in smearing the thin liquid across your face awkwardly. “Don’t— fuck, I’ll stay with you, alright?” 

Fingers wrapped around your own, flesh against bone. Pulsing life alongside a silent end. 

The last thing on your lips was an apology, in the form of a salty tear dripping from above. 

. 　⁺ ✦

“Hey, wake up.”

Death came in the gentle touch of a rolling breeze; riding on its coattails was the disembodied laughter of a child, alongside the kiss of three words that stirred your sleep-crusted lashes. Death seeped into the loamy scent of petrichor: soaked past the balmy fragrance of wildflowers and grass, against the clean soap of freshly-laundered linen. Death trailed its sepulchral fingers past the damp ground cradling your slumbering body—rustling and tugging at the jewel-toned robe draping your limbs that rose and fell with your chest. 

“How peaceful,” you murmured, and the mouthfeel of the words was as crisp as water straight from a burbling brook. Copper no longer defiled your lips, and neither did the burning heat of your dying syllables. Rather, cool air replaced the oily blood that slid across your tongue mere moments ago. 

Had you trespassed the veil warding life from death?

Peeking at the haze hanging over your head, something had clearly gone wrong with your passage to the afterlife. No, was it even an afterlife? Clumsily, like a foal stumbling on its hooves for the first time, you sat up shakily—to find your limbs sprightly and healthy, with none of the gelid quality you’d felt before you woke up. In fact, your head was clearer than ever: not a hint of any throbbing in your temples.

Even the very breeze felt different: fuller, yet decidedly more empty. 

In hindsight, it was likely shock that delayed your registration of the very obvious problem at hand. Rolling, verdant fields aside, the firmament stretching from horizon to horizon shone bright with two heavenly bodies. Were you seeing double?

“Two suns,” you muttered, squinting at the brilliant sky. Brilliant, though it wasn’t blue like you’d expected—but a more melancholy array of hues, even with the twin bodies illuminating the vast canvas. Two suns, an unfamiliar sky, and alien constellations littering it. “Where the fuck am I?”

Great. Wonderful. A new headache had presented itself, because clearly you were no longer on Earth—which now begged the question, where were you?

Or, more poignantly, who were you? 

The first law of thermodynamics proposed energy was neither created nor destroyed, simply transferred from one form to another. In turn, perhaps it was less surprising that you’d reawakened in another form—rather, the puzzling element was how this new vessel came to be. Its movements were familiar, its shape and flow of limbs, too, was an exact replica of your Earthbound form, but far less bone-weary than you had been. 

You died. This you accepted. 

You… reawoke. Passed on? Ended up in a coma? Got stuck in limbo? That was something far more difficult to fathom: flung into a world far removed from your own, it was hard to suppress the epistemic needs of a human. 

Would it have been easier, being reborn into this otherworldly place, without any memories of before your death? Was it… normal, continuing existence like this? Were there any precedents? 

What the hell was going on?

It was perhaps on a whim that you finally looked down, gazing at the lush field and your vivid clothes. Staring at the garb that adorned you, you neither recognised the cut of the material nor the rich dye that stained it—but you supposed that was par for the course when not even the sky looked familiar to you. That was expected. 

The translucent, almost glass-like window that popped up over in your line of vision was decidedly not. Immediately, your focus snapped from the delicate embroidery right on to the rolling script appearing; a series of whorls and lines that somehow resonated with your tired brain. 

“Rida mis vizenia,” you murmured as the syllables made themselves known to you, something you didn’t even need to translate manually. Your breath caught in your throat when the mechanical pronunciation loosened your fumbling tongue—like speaking your mother tongue after decades of disuse. 

You squinted at the block of text, alongside the tiny mannequin depicting what you wore. 

[Robes of Ambiguity (◼◼◼◼◼ Robes): a style of clothing popular among New Metis officials wishing to keep their exact station unknown. Neither this colourful palette nor this traditional embroidery belongs to any particular rank nor department, ◼◼ning those wishing to stay obscure typically favour these well-made garments; ◼◼◼◼◼◼   ◼◼ ◼◼◼. There’s more to the wearer than meets the eye, you know? ◼◼◼◼ limited to those of high rank, thus regular civilians also enjoy wearing these for more special occasions.]

What was this, a game? An exasperated groan left your mouth at the new possibility—furious due to that, but also the lack of any helpful information given by these garments. No clue about your identity, only that these clothes were from New Metis. New Metis. There was nothing—no sudden recognition, no extra-heavy thump of your heart, and certainly not any memories from this new body that could point you in any direction. 

The only thing that was truly helpful was the appearance of this floating, rectangular entity: two valuable clues had sprung from it, after all.

One: this interface could be the light that would guide you, providing its information was reliable. Game or not, it could very well be that this apparent saviour was some sick ploy, for whatever reason. It was a welcome sight regardless; you’d seen it countless times in various media, whether it be in novels or video games. 

Still, you eyed the screen sceptically. Who was behind it, anyway?

Two: it appeared there was still information you weren’t privy to, judging by the error marks against the azure window. Or maybe this information was never intended for you in the first place; the screen blurred and glitched like it couldn’t wait to escape your view. Like cotton candy, its shape dissolved and formed just as capriciously in the rolling breeze: melting and undulating with virtual strands of data. 

[Name: ◼◼◼◼ ◼◼◼◼◼, working currently as ◼◼◼◼◼◼. One of unknown origin, fluent in common tongue, honey tongue, and the ancient tongue of thought.]

“That’s it?” you muttered incredulously. That was your face displayed on the pixelated screen, your name that kept ebbing and flowing from existence like an evasive childhood song. Even the damn clothing you donned had a more detailed log of information—and the important part was erased from existence. 

It was the latter part that intrigued you most, unknown occupation aside. Common tongue. It felt right when describing the syllables leaving your mouth, even if you hadn’t realised you’d been talking to yourself in it for the past however many minutes. 

With a long-winded sigh, you unfocused your gaze and it seemed the window sighed with relief too: fading out with nary a blip. If this was a game, clearly you weren’t the protagonist; no cutscene greeted you, not even an introduction to the error-laden system it seemed to have anomalously assigned you. 

Honey tongue. 

Tongue of thought. 

They were important enough to mention, important enough that they were present in your profile without regard for anything else. But in a way, the lack of expectations was nice. A simple blank resumé, waiting to develop into a ‘you’. ‘You’ weren’t assuming someone else’s identity. ‘You’ were freshly dumped anew, without the ties to burden you to an overused plot and allegiance. 

But that wasn’t a tangent to mull over at the moment. There were far more pressing matters to contend with. 

Think. You were in the vast open country, with neither food, water, nor a map. Neither horizon boasted any traces of civilisation, which made your situation slightly more dire. No landmarks. No forests. No creatures either, but the abundance of flora called for pollination, right? Unless, of course, the rules of biology and physics have all been messed up… what’s the gravitational field strength on this planet…. is this even the same universe as Earth… does this follow video game mechanics or is it its own world… what does an atom look like….

Needless to say, the post-rebirth clarity hit you hard. 

“Useless,” you muttered in common tongue—turned to a long string of foreign-yet-familiar profanity as you tried to switch back to your mother tongue. It was only after a tense concentration that the word ‘fuck’ breached your stumbling lips; though, by the reverence and relief in your voice, nobody would ever think you were letting loose imprecations in this serene landscape. 

But that begged the question: to what were you saying useless to?

As it turned out, the hand rummaging through the luxurious fabric draped across you came back barren—utterly empty as you stared at the flesh, haggard. 

There was no map, and you could forget about a compass. 

There was no sustenance. 

There wasn’t even a fly to pitifully leave your vacuous pocket. 

Instead, the pulling and tugging of these sumptuous clothes revealed elaborate lines inking your roughened skin—colours melded into labyrinthine formulae you instinctively understood. Somehow, the intricate tattoos that wove against your dermis and shimmered expectantly—just like the window that faded in and out of view capriciously—resembled the long strings of formulae you’d derived and memorised for your degree and doctorate, to the point where blood dribbled from your nose each night. Metallic letters, meaningless without the painstaking effort behind them. 

But…

Your brows furrowed. Inked upon your arms and torso, and likely extending to your very legs, were shifting chromatic designs that visually could not be the same formulae you knew. That was what anyone from Earth would say, but something in your gut told you to decipher and understand these complex designs on you—like the most delicate of embroideries on a magnificent tapestry, your body was covered in the most exquisite of patterns. 

On your wrist, the characters grew incandescent as you clumsily sounded out the tongue of thought. This was neither the familiar shape of Earth languages, nor was it the common tongue you’d grown accustomed to—but something far more ancient, something far more unconstrained. It was guttural, it was refined: it was everything in between and outside of it as you mouthed the patterns on you aloud. 

“◼◼◼◼◼◼ ◼◼◼◼.” Equivalent exchange, you finally read out—and something rose within as collateral. It was neither your soul nor your life, but a warm, pulsing energy: enough to make you drowsy with its absence. 

A prayer fluttered in the wind, just like the slow blink of your lashes as they fought to keep awake—heavy as they were from the price offered for your request. 

“Want… answers,” you slurred, unintelligible to all but the concentric circles forming beneath you and seeping into your flesh. “Humans.”

And the world whispered back, hearing your supplication. 

. 　⁺ ✦

It was with a dazed (though quite refreshed, you had to say) sort of stupor that you woke to the sound of light footsteps. Senses that had somehow been honed to a fine, sharp point now served you well as you stirred at the slightest tremors in the ground. In fact, the smallest of changes in air flow had already put you on high alert—but something was telling you to wait it out. 

People. 

Your plea had altered a predestined course. 

[Name: ◼◼◼◼ ◼◼◼◼◼, working currently as an a◼che◼◼. One of unknown origin, fluent in common tongue, honey tongue, and the ancient tongue of thought.]

A◼che◼◼.

Change was good. Change would free you from stagnancy, even if you weren’t aware of its shift. 

. 　⁺ ✦

She gave a sweeping bow: complete with the elegant curl of her hand and not a strand of fiery hair out of place. It was perfect in all its points—though you didn’t quite know why it registered as such. A perfunctory standard greeting… complete with, but not limited to, the hand gesture that typically denotes merchants or nomadic ones… The thoughts whirled incoherently alongside the fragmented cerulean window that intermittently, though no information of the woman before you appeared. 

“Himeko, of house Murata, greets thee.” She spoke with the polite dialect of common tongue—the specific intonation in her words carried a query in return for her civility: who are you? Why are you here? Behind her was a sizable procession of wagons—or at least, what you thought were wagons. Their elegant shape was utterly unlike any of the crude wooden ones you’d seen; rather, colourful cars of various forms were interlinked. Almost like a train, if a train was pulled by beasts the size of a small hut: complete with a steely carapace and long, floppy ears that were scarily like a rabbit’s. 

You swallowed. No longer could Earth be considered your point of reference. 

This was not Earth. This was not Earth, so you gave the most basic of bows back—a hand placed gently on your chest sincerely, eyes fluttering closed—and hoped she didn’t take affront. This was not Earth, thus you didn’t quite know whether the abrupt guffaw she gave at your awkward greeting was positive or not. This was not Earth, therefore her continued introduction of being a caravan master meant little to you. Navigator and caravan master of the Blazing Trail, she’d summarised, though you were distracted by the glitching window that appeared promptly in the moment she spoke. 

[Himeko Mura◼◼a. Navigator and caravan master of the Blazing Trail, a renowned nomadic force known for its astute inter- and intra-continental diplomacy. Its ◼◼◼ makes it almost like a private army, though none can ◼◼ hire it. ◼◼◼◼ ◼◼◼◼ she is utterly astute and a brilliant engineer.]

It was a name you didn’t recognise. Maybe if you looked through your games library on your old laptop, or pulled up each and every novel you’d read, maybe there’d be something similar—but at the moment, none of the information resembled anything you knew. 

The caravan master was kind, if not a little eccentric. Her kindness came in the form of a seat round the elegant burner—the two suns had long since winked past the horizon, after all, and in their place shone a lonely moon. 

It’s warm, you thought.

Her kindness also came in the round shape of a bowl of stew: handed unceremoniously into your fumbling hands by a hare-like creature who seemed all too accustomed to Miss Himeko bringing along strange things with her. The stares you received were curious, but not hostile—though one dark-haired man with frigid irises seemed to gaze at you as if saying ‘another one?’. And as unreliable as your system was, there were no introductions afforded to the other few nomads. 

“Could you tell me about New Metis?” The meat was salty and gamey as you chewed and swallowed, accompanied by the flatbread that needed no ingredients save coarse flour and a clear liquid that was likely this planet’s form of water. In fact, the bread’s unexpected soft texture distracted you enough that you almost didn’t see Miss Himeko’s eyes pause right on your clothes. 

Her blood-hued lips opened and closed, quite incredulously at that. From the cut of clearly Metisian garb, to the Metisian style of greeting, would you not have been the better authority than a nomad who flitted from place to place?

“Don’t get me wrong,” you continued in a more informal dialect, as did she after she invited you to sit with her round the small, contained fire. It flickered green in the engraved metal bowl, then a blazing azure. “I woke up and couldn’t remember anything, except my name and the name New Metis.” 

Without an ounce of shame, it was far better to simply confess your shortcomings, rather than masquerade as something you were not. 

“Better off than me,” the girl with cotton candy-pink hair sighed in solidarity. The tips of your fingers burned at the sudden acknowledgement—unused to any attention on you for prolonged lengths of time. “I didn’t remember anything after I awoke and Himeko found me, not even my name. I got called March 7th after the day I was dislodged from ice—funny how life works, huh?”

Does she make a habit of picking up amnesiacs or something? The fire crackled with your silent query. But before that, there was something in the girl’s words that gave you pause: lodged glaringly in her very name. 

March 7th. March 7th. Spoken with the common tongue accent, but undeniably the same system of dates as Earth—why? Unless this place shared ties to your former planet, it was nigh impossible for the calendar to be the exact same. 

Unless this really is a game. That would make more sense if this world was a creation of your past one; if small details were to match up with what you knew from Earth, then the evidence would no doubt point to this world being present in Earthen media. 

Nonetheless, you couldn’t take this place lightly, even if it wasn’t real. After all, there were books that took place on Earth—and that alone didn’t make the planet fictional. 

Nothing was out of the question anymore. 

“March 7th?” you muttered, half to yourself, half-probing. “What does the calendar currently look like?”

The cost of figuring out whether Earth played a part in the formation of this place was a mere question and a few scraps of your dignity. 

“Worldwide, the Amber Calendar is currently used—twelve months, three hundred and sixty five and a quarter days,” the man with those frigid eyes answered in a clipped, but not unfriendly tone. It was as if he was used to patiently explaining information to people, over and over—and for that he immediately became more useful than the stupid system windows. 

Thank you, March 8th, you replied, silently. 

“Split into twelve months? January, February and so forth?” you probed. The month names felt awkward to insert into the smooth flow of the common tongue, but there were no looks of confusion thrown your way. Well, shit. 

“Yes, that’s correct,” he affirmed quietly—gaze turning slightly less guarded in the face of what appeared to be an idiot.  “Are you sure you don’t remember anything?”

Three hundred and sixty five days and a quarter. What an oddly specific number to assign, even arbitrarily. It seemed the developers had unconsciously used Earth as a point of reference, once more. Or maybe this world used the same metric to assign ‘years’, with the exact same length of time it took to orbit the binary pair in the sky. In that case, it would truly be an amazing coincidence, would it not, that the angular frequency of orbit and the distance travelled by this new planet was exactly the same?

“How long is a day?” It was your final question, one so earnest he had to scrap the thought of you purposefully asking stupid questions. In actuality, the passion in your voice was a very final verification. 

“Twenty-four hours, with an hour being sixty minutes and a minute being sixty seconds.” Prompt and curt, in that melodious voice.  

“Thank you.” And there was a smile on your face this time, so mellow and warm that he couldn’t help but duck his head back to his bowl at your sincerity. “Looks like I won’t have to relearn as much as I thought.”

“Ah— right,” he murmured, but the crack in his voice went unnoticed by all but his dinner. That, and the countless stars dotting the ever-changing sky. 

“But New Metis still eludes me,” you sighed, dipping the spoon back into the broth. The utensil was weirder than the ones on earth—deeper and more cone-like in the centre, like a miniature ladle. It made savouring the complex flavours far easier; both piquante broth and the salty game were eagerly wolfed down by your hungry mouth.

“We’re pretty close to it now, actually, only around ten ro away.” The set of Himeko’s mouth was thoughtful as she unstoppered the carafe at her side, taking a large swig from it. Then, from an ornate tube hanging from her belt, she slid out a scroll of what appeared to be expensive parchment—revealing an intricate map of what appeared to be the side of a continent alongside a large archipelago. “New Metis is located—here, on that central island—and past the straits, the mountains on the continent signal the Borderlands. Well, it would be more accurate to say that these islands are all technically part of Metis—but the capital, New Metis, is located on the central one specifically. We’re currently on the northern isles.”

“I see.” You used the remaining carb to mop up the last of the stew in your bowl, scooping up what appeared to be aromatics—onion-equivalents, maybe?—and the last of the umami broth. “I think I’ll get more answers if I go there myself. Is there anything I should be wary of while I’m there?”

Ding! Something chimed, but you paid it no heed.

“Well, if you’re not a scholar, then regulations are a bit more lax. Uh, new legislation was passed quite recently, but it’s mostly just caution for nomads and merchants. If you’re completely new to the city—that is, if your memories of New Metis are completely gone, then the anti-heretical laws are pretty tough,” the man with inky curls rambled, causing your eyes to snap from Miss Himeko to his face in slight incredulity at his sudden talkativeness.

Ding! Ding!

“Anti-heretical?” you questioned, already feeling a headache form at the sudden onslaught of religion. “Could you expand on that?” 

Ding!

“Ah, yes,” he cleared his throat, setting his bowl down by his side with an awkward clunk. “Um, strictly speaking, they’re colloquially dubbed anti-heresy—since the legislation condemns it based on more fraudulent grounds than religious, but everyone who’s ever stepped foot in New Metis—”

Ding! You subconsciously swatted the window away as you stared right at him. 

“Dan Heng, get to the point before he falls asleep,” March 7th interrupted: looking at the man completely askance, as if asking ‘can you believe this guy?’. 

“Uh, sorry,” he said sheepishly, with a self-conscious smile. Dan Heng. Dan Heng. The name was no more familiar than any other, but it was pleasant to sound out. “They’ve banned most magical arts in the city and the wider span of islands for several centuries now, actually—”

Ding!

Irritatedly, you glanced at your hand, only to find an updated profile shining against the back of your wrist. What—you squinted, feeling a tad bit more sleepy, before the rolling script faded into focus. 

“—Heng, don’t just say magical arts without explaining what those entail.”

[Name: ◼◼◼◼ ◼◼◼◼◼, working currently as an a◼che◼◼. One of unknown origin, fluent in common tongue, honey tongue, and the ancient tongue of thought.]

But… the section in the middle was glitching particularly furiously, as though it were urgently trying to tell you something. You furrowed your brow. What? 

Ding!

“Stuff like subverting from typical paths and orthodox elements—instead gaining power through sorcery, witchcraft and—”

Ding! Ding!

[Name: ◼◼◼◼ ◼◼◼◼◼, working currently as an alchemist. One of unknown origin, fluent in common tongue, honey tongue, and the ancient tongue of thought.]

“—alchemy.” 

You paused. You stared. The headache you’d been anticipating finally had its advent. 

(Equivalent exchange.) 

“I don’t think you’ll have anything to worry about,” March 7th smiled reassuringly, but her beaming face felt more like a threat. “Do you remember what your job was?”

“I’m a sculptor,” you deadpanned, working your jaw. It was said on a whim, but who knew the wavering between an art or a chemistry doctorate would finally come in handy today? 

Ding!

[Name: ◼◼◼◼ ◼◼◼◼◼, working currently as an alchemist. One of unknown origin, fluent in common tongue, honey tongue, and the ancient tongue of thought. Although practising alchemists typically require various apparatuses to perform transmutation and practise the law of equivalent exchange, ◼◼◼◼ ◼◼◼◼◼ is a bit unique in that his body is the medium for the price instead—rather than formulae in common tongue on paper, the tattoos he’s earned in the tongue of thought are far more effective. After all, he is the only alchemist to have survived the life ‘price’.]

What… did that mean?

“Life price,” you murmured in concentration. Was that related to your death? Not only that, the sudden influx of knowledge made you dizzy. It seemed you’d go undetected as an alchemist for the foreseeable future, but what were the limits? 

“Sorry, did you say something?” Himeko glanced to her left, but you only shook your head in defeat. 

Was that what you did earlier? Summoned help by offering your energy as collateral? Was it also your life that you were offering in exchange? More importantly, what did it mean by life price? Did your meaningless death coalesce into boundless regrets? 

Your heart throbbed. 

“Here.” An elegant silver chalice nudged the delicate patterns on the back of your hands, and you startled—all with what you could only assume was a very stupid expression on your face. Dan Heng looked equally taken aback, fumbling a hurried apology on his lips in his lilting common tongue (“Ack, sorry—you just looked out of it so I thought you needed something to slake your thirst.”). A crescent smile formed briefly on your face as you stared at his honest face; far less world-weary than yours, far more eager. You accepted the goblet, running your fingers across its intricate engravings. 

“Thank you,” you replied warmly, taking a sip of the sweet liquid within—some saccharine nectar that had a similar tartness to cherry. “It’s delicious.”

His fingers touched yours as he settled on your other side by the flames. He’s shivering slightly, you noted—a slight trembling that was out of character on this warm night. Well, you washed down the observation with drink thoughtfully, you always did run on the hotter side. 

To business—you instead prioritised, which was to figure out what game you’d landed in exactly. 

“Um,” you turned to Dan Heng as you munched on the fresh fruit set out, juice dripping down your fingers. Its flesh was orange and tender, seeping sweet across your skin as you tore into its fragrant body. Yum. Licking your fingers clean, it was perhaps for the best that you didn’t witness the rosy flush that spread across his face. After all, you were preoccupied with the equations that now heated the inside of your mouth—squiggling formulae now taking root on your tongue, all warm and fuzzy. “Have there been any heroes lately?”

“Hmm?” he started, fingers fidgeting against his own, well-crafted robes. “You’d… uh… need to be more specific than that.”

“People we look up to? People who’ve contributed to developing their nations? People who’ve made leaps and progressions in their industries?” Himeko interjected, and the three questions made you realise that this wasn’t a two-dimensional pixelated world, but a real one. Numbskull, you criticised yourself—of course something as ambiguous as ‘hero’ was wholly open to interpretation. 

“Like…” you paused. How the fuck would you describe it? A protagonist? Someone who saved the world? This looked like an open-world RPG, so maybe— “...a travelling hero who took care of threats to the world? Alongside companions? Defeated evil entities? Was extremely well-known globally?”

Your questions were as unsure as Himeko’s face was. 

“That’s not my expertise,” she answered hesitantly. “There are quite a few who fit the description, but perhaps you’re thinking of Akivili, the late founder of the Blazing Trail?” 

Akivili. That name didn’t ring a bell either, but it couldn’t hurt to probe. “When… was the Blazing Trail established?”

“Ah… about a millennium ago,” she replied, somewhat abashed. Your brows furrowed—of course, transmigrating into a game didn’t necessarily mean you’d get into the same timeline as the hero, but a thousand years… 

“Any prophesied heroes?” you questioned desperately.

“Hold on,” Dan Heng murmured beside you thoughtfully—tapping his fingers against his knee. “There’s a more recent one that makes more sense.”

“How recent is recent?” you deadpanned. 

“Three hundred years ago, this time,” he furrowed his brows. Okay, but there was still hope if this still wasn’t the protagonist. “This ‘hero’ got rid of the Stellarons, the countless seeds of destruction from which spawned countless monsters, with his companions. Then, after his glory, he abruptly disappeared.”

It sounded like a classic conclusion—a hero returning back to their homeworld after the game reached its end. Of course, had you not died back on Earth, maybe you would have despaired more; this protagonist might’ve held the key to allowing you to go back home. But as it stood, his existence would only serve to inform you exactly where you were stuck. 

“And this hero’s name?” you prompted. A slight foreboding trickled down your spine as you waited. 

“Odysseus.”

Odysseus. Odysseus. Odysseus. It sounded unpleasantly familiar, not just because it was the name of a classical hero, but also—

“What’s the name of this planet, again?” You prayed it wasn’t so. With a head bowed in supplication, and fingers ardently crossed, you were the picture of devout want. 

“Ouroboros,” he concluded, and it was then that a tear slipped down your face. 

. 　⁺ ✦

Lament of Ouroboros. As the title suggested, the indie, open-world RPG narrated the woes of the planet and the hero come to save it—a format popular among most, if not all, adventure-themed video games. It was on a whim you downloaded it: clicking on the surprisingly well-drawn icon and quickly skimming the synopsis to escape your boring life for a bit. On forums it was well-known enough to be frequently discussed, but it didn’t have the widespread recognition to garner severe criticisms. 

With a large mug of tea and an abandoned pack of sweets, you’d booted up that game one August afternoon—worn keys clacking smoothly against your fingers as you tapped out your name. It was a nice interface, you acknowledged while erasing all traces of ‘Odysseus’. The graphics may have been the standard open world fields, but there was something charming about the two cheery suns and pretty backdrop of the sky. 

Your mouse selected the specialisation generator randomly, though you hadn’t paid attention enough to the animation apart from noting what appeared to be a sword, then a staff at one frame in particular. A warrior, and a mage, you observed in slight interest, but ultimately it didn’t matter what it picked. 

Although, neither warrior nor mage appeared as your final selection: rather, a pair of ornate scales floated into view from the tranquil lake. 

{Alchemist (S-Class) (hidden).]

“Cool,” you’d said at the time, clicking past the opening animation and into the story. Your brief fascination was just that—brief. The story was somewhat engaging, yet the plotline was saturated with tropes you’d seen time and time again in various games. A protagonist chosen to save the world, a home to return to, and companions that were pushy at best, and completely irritating at worst. 

Maybe if you hadn’t played through and seen countless media like this, the plotline might’ve been more engaging—but for your tired, exhausted mind, this clichéd game was not unlike your clichéd, boring life. 

It took the span of one afternoon for you to promptly delete Lament from your laptop, staring at the dregs of your tea in defeat. In any case, only the hero’s name and the actual title was retained in your disinterested memory: no lore, no plotline apart from what you could easily piece together based on context, and absolutely zero clue of the ending of the story. 

“Are you alright?” March 7th’s shoulder bumped yours on the large landbeast. The carapace was surprisingly comfortable to ride on, if you ignored the large tusks coming from that furry thing’s mouth, and the perpetual death stare in its red eyes. “I know it’s hard waking up and not knowing anything.”

“Yeah,” you replied quietly, resisting the urge to bash your head in. “It is hard.”

Seriously, what the hell did you do to reincarnate into this shitty RPG?

. 　⁺ ✦

“Do you think he’s grateful for the new opportunity?” In HER deft palms, the distaff continued to spin as the maiden began the conversation. Everything started with HER—the youngest, the most rash, but also the most creative. As it were, the threads SHE spun were of highest quality; mixed with the most tragic emotions and the most joyful, but humans would never appreciate the work SHE did for them. “His life was rather miserable, was it not?”

“He should be,” the matron scorned. HER own fingers unravelled the spool, pressing HER rod to measure adequate life spans fairly—for SHE was nothing if not just. “He’ll never grasp just how much probability we had to sacrifice to tamper with his string of fate.”

“You know mortals. They’re never grateful, Lachesis.” The hag’s shears didn’t hesitate to cut the string where marked—HER blinded eyes needed not to see in order to precisely locate where the matron had allotted an end. After all, THEIR habits were known to each other from the very beginning of time, when the universe was still in its cradle. 

“I was against this from the start, you hear?” Lachesis complained. SHE was the most cynical out of the three, or as SHE liked to describe: the most pragmatic. 

“Yes, yes, yet you were the one who opened up communications to find a suitable vessel for his rebirth,” the maiden scoffed. HER words were callous and sharp, but they parsed directly into the heart of the matter: the Moirai were far more soft-hearted than they appeared,

“If I hadn’t, then I would’ve missed the opportunity for Atropos to owe me a favour,” Lachesis returned, turning back to HER ruler. Those who knew HER saw the abashedness in her bowed head and clenched fists. 

“Ha. As if you weren’t also rooting for the prince still entrapped in stone,” Atropos cackled. HER gnarled hands were the only ones that paused in their duties as SHE wheezed with laughter; even as tears ran down HER wrinkled cheeks. 

“He’s paid too much already. Who else will settle the balance of fate if not us?” Lachesis rationalised, waving HER rod against the cosmos in frustration. “I do not pity mortals.”

THEY were quiet, for once. Only the sound of thread against thread, the whish of a rod, and the snip of scissors seeped into the silence. 

“This one too. He has also paid the life-price. He is entitled to lesser sacrifices to fulfil his whims,” the youngest commented for the final time, for Clotho enjoyed making the balance too. Both the beginning and end were HERS for this conversation. 

The three watched on.

. 　⁺ ✦

In accordance with your propensity to live a quiet life, there were three things you came to accept: one, it was impossible to get your old life back, not just because of your death, but Odysseus and his irritating cast were long gone; two, venturing into the city of New Metis for anything prolonged was probably the stupidest move you could do, even if your status as an alchemist wasn’t obvious at all; and three, to live a new quiet life as a sculptor, your new priority was finding a place to live. 

“Are you sure you don’t want to come with us?” the caravan master worried, golden eyes surveying you up and down. Her arms crossed over her loose white robes, sharpened nails tapping right against her skin—a dead giveaway for her thoughts that clearly questioned your capacity to fend for yourself. Honestly, you couldn’t blame her; finding someone fast asleep in the middle of nowhere was sure to cast doubt into their capability to stay safe. “There’s always open spots if you wish to travel with us.”

A quiet life. Awkwardly, you scratched the side of your neck, and the chromatic patterns on your fingers pressed warmly into your flesh. A quiet life, unlike the suffering of your past one. There was no debt to pay off this time, no shitty apartment nor landlord, and nothing to tie you to one place any longer. A quiet life, more idealistic and stable than the previous one. It was far past time to take a rest—in a peaceful paradise that you’d create.

A truly serene life. Were you to tread on the fiery path they did, you would not find the future you wanted. This you deduced not from the unreliable system, but the careful observations you’d made over the past day. 

A quiet beginning, and a quiet end. You’d accept that. Thus, you bade the woman who’d rescued you a sincere goodbye filled with well wishes. 

“Stay safe.” It was Dan Heng who spoke to you last, pressing a talisman with his cool fingers against your own, heated palm. The spherical, intricately carved bauble resembled glassy jade—a soft green just like his robes. Corded through the middle was a length of twine that formed a loop, one that you slid over your head. Coldly, it lay against the dip of your chest, peeking out from your exquisite garb and shining right against the almost-incandescent equations etched into your body. 

The immediate acceptance of his gift made him flush—as did the evident trust you held in him. “I— this contains around ten minae, or about a thousand drachma. Breaking it down further, it’s around six-thousand obols, enough to get you board and food in New Metis for around two months if you’re frugal. Here—”

His thumb pressed into a specific etching on the jade: a snake that appeared to wriggle somewhat in invitation as you stared at it. Just like that, a shadow around a handspan wide appeared in front of you, then vanished just as quickly when he pressed it once more. This close, you couldn’t help but stare wonderingly at his face as he explained how to reach in and grab the exact sum of Metisian currency, how six obols were one drachma, a hundred drachma were one mina, six hundred minae were one talent, how a loaf of bread cost only one obol and so forth. He smelled faintly of mint. 

“—and that’s how it works. You can store other objects in there as well. If you get in trouble or change your mind, go to the local bank and let them guide you to the designated vault when you show them this key; there’s a way to contact us from there…” he rambled, trailing off when you clasped his hand in yours. 

“Thank you.” Perfunctorily, you performed the appropriate gesture of profound gratefulness—a kiss on a merchant’s index knuckle for his generosity—and watched his composed face melt into a stupid little smile. 

A wolf whistle pierced the air from where a certain pink-haired nomad sat. “The rich young master’s got moves!” she cackled gleefully, and you laughed for the first time in months: so bright it was hard to imagine it came from you. 

Your own face donned a drowsy grin—offering energy as a collateral once more. There were no flowers by the docks, after all, thus the bloom in your hands seemed to have been conjured from thin air. “One last thanks, Dan Heng.” 

Thus, there was only one thing you left behind on the isle of Thasos: a flower, pinned against a robe fluttering wildly in the salty breeze. 

. 　⁺ ✦

New Metis was cold, in the same way your parents were cold—one buried and frigid, the other gone with only debts left behind. 

Objectively, the city was stunning. Ancient architecture entwined itself with more modern innovation, blending into captivating citadels that held the essence of the past and the painstaking strides towards the future. Everywhere you looked, massive structures housed scholars and extensive collections of books, while the public buildings and amphitheatres were bursting with symposia and teeming discussions. 

This really is the scholar capital, you thought. Though, as you bit into the soft sesame ring you’d purchased at the toss of an obol, it seemed… stagnant. In comparison to the warm bread in your mouth, the metropolis could not be considered friendly. 

“No wonder, if what Dan Heng said was true.” You licked the remainder of the sesame from your lips, washing them down with an orange-like sort of juice that had the rich sweetness of honey and the sharpness of carbonation. If the city truly was as restrictive as claimed, there was little surprise as to why the scholars and every other citizen seemed a bit standoffish. Though, you couldn’t deny that the students that you observed in their element seemed to be in the throes of joy (and pain) as they buried themselves in their work and studying—the quality of teaching in Metis clearly was a cut above the rest, even with the restrictions in place. “Corruption really is everywhere, huh.”

In the places of reading, the students crammed on tables with books piled as tall as them reminded you sorely of your own days of youth. Your degrees were displayed proudly in your tiny apartment, alongside a small plaque you’d bought on a whim that simply read doctor’s office. 

The sudden thought made your heart ache. Where were those certificates now? 

There was nobody you were close enough to, nobody to carefully place your belongings into a cardboard box—then stow it away in some corner of their hearts. Nobody would miss you, not even your estranged mother. 

With a sombre expression, you thumbed through the tomes on the dark shelves. Synthetic methods and reaction mechanisms. Industrial and environmental chemistry. Inorganic and organometallic molecules. How far was this a creation of another? How far had the humans here developed on their own, outside the limits of a game? 

Bitterly, you left the library and walked back out into the stifling streets: past the agora, past the bustling market stalls, past a scholar earnestly discussing philosophy with passersby. The streets were paved with achromatic stones that appeared to have centuries-worth of wear on them, yet still seemed as pristine as if they’d just been laid yesterday—thus your shoes remained clean and unscuffed, though your heart certainly wasn’t. 

You… couldn’t stay in this city. Even if you put up a front and became an artisan, even if you assimilated into New Metis with your local clothing and perfectly accented common tongue, even if you decided to take back your chemistry certification in this world too, the sheer crowds and constant reminders that this was not Earth made you sick to your stomach. 

Bile spilled over your tongue and tainted the honey-sweet remainders of your drink. 

More accurately, it was the stares you garnered with the intricate formulae marking your skin. Though you wore their garb and spoke their dialect with native fluency, there was something clearly ‘other’ about you—enough that you didn’t even bother checking into a hotel, but asked around for an estate agent instead. Master of houses, etched carefully into the marble-like stone, was a welcome sight in comparison to the looks you’d received throughout the day. They weren’t overtly hostile. They weren’t, but the inherently elitist atmosphere and cold you’d felt in this arid climate answered for you. 

Would you like to see the rooms in the synoikia near the plaza? A firm diagonal slant of your hand signalled no: the quick, but also local way of traders and merchants communicating in busy environments. How about a townhouse? In the end, you flatly asked the housemaster if there were any remote houses for sale—to which a hologram from a recording stone showed a house nestled right in the Borderlands, surrounded by forests with mountains cradling the structure. House was too modest; the architecture, like all the buildings here, was practically a work of art in itself. 

Tense location at the Borderlands… remote location… universities located on the central island and concentrated in New Metis… 

You suppressed the devilish smile on your face as you smelled a bargain. It was a triad of real estate woes: poor location, low demand, and even more poor location. 

“Four hundred drachma is the asking price,” he offered with a tentative smile—less than half the market price for a box apartment in the metropolis. After even more haggling (in between maintaining a look of disinterest), the property was sold with twelve percent shaved off the already-bargain. 

Score for the penny-pinchers.

In the end, you made one final purchase from New Metis. Two technically, bought for only one drachma and one obol. 

The first was a set of chisels and a hammer. The second was a small wooden piece of wood. It was not a plank, nor an offcut, but had the perfect size for a plaque. A new doctor’s office, to carve in with painstaking effort and calloused hands. 

It was crude, and somewhat ugly—etched first in English, then below in the curling script of the common tongue (which was wholly unsuitable for this type of woodwork)—but looking at it made your bleeding heart ache slightly less. 

After all, it was your last piece of Earth. 

. 　⁺ ✦

Retrospectively, it would’ve been wiser to spend several nights in the city and send necessities to your new home by courier. More pragmatic, if you would—easing into your life in a new world rather than jumping headlong into it. But unfortunately, it seemed you’d become more lax as you crossed the boundaries between lives: electing instead to take the high-speed rail right across the sea and into the Borderlands, with nothing but the clothes on your back, a money dimension pocket, and a crudely made plaque. And your hammer and chisels, naturally, as well as some Metisian street food that vanished far too quickly. 

In fact, it was downright foolish to come to the Borderlands on your first day. Even the conductor stared at you in disbelief—though your clothing and your accent was purposefully as Metisian as they came—so you got the gist that it was even more fucking stupid to go as a complete newcomer. 

Borderlands, remnants of monsters from the Stellarons, highly volatile region, most travellers typically make the journey in groups, you nodded as you pieced together the rough state of the area whilst watching the sea and land speed by. Was it recklessness that endowed you with the guts to arm yourself with only a map and your wits? Were you perhaps… turning into an imbecile?

Actually, it was neither. The combination of brimming energy (from the street foods you gorged yourself on) and the updated character profile had ignited a chilling sort of passion for experimentation that was hard to extinguish, even as you crossed into this life. 

[Name: ◼◼◼◼ ◼◼◼◼◼, working currently as an alchemist. One of unknown origin, fluent in common tongue, honey tongue, and the ancient tongue of thought. Although practising alchemists typically require various apparatuses to perform transmutation and practise the law of equivalent exchange, ◼◼◼◼ ◼◼◼◼◼ is a bit unique in that his body is the medium for the price instead—rather than formulae in common tongue on paper, the tattoos he’s earned in the tongue of thought are far more effective. After all, he is the only alchemist to have survived the life ‘price’. The law of equivalent exchange for ◼◼◼◼ ◼◼◼◼◼ specifically calls for energy, in return granting a ‘wish’. The larger the desire, the more energy will be depleted; but the most efficient ‘wishes’ involve transmuting one type of energy into another. Of course, a longer incantation—a more accurate incantation—will make the conversion less burdensome as well.]

So, quite literally, as long as you stayed fed and watered, you could transfer that chemical energy into explosive kinetic energy, or imbue weapons with heat or charge with the right ‘equation’. The Borderlands were yours for lab rat exploitation, essentially. 

But the question remained—what were the limits?

And more importantly, how were the limits of these ‘wishes’ enforced?

You didn’t actually have to wait all that long to test out your abilities as an alchemist, though perhaps not in the way you’d expected. The journey to the house—with its own garden and goddamn pillars and stunning architecture—was far more uneventful than you’d anticipated (read: hoped), thus in a last ditch attempt, you decided to take matters into your own hands. 

It really wasn’t on a whim, though. Seeing the sparse rooms, as well as a profound lack of a bed to sleep on—the binary suns had begun their slumber too, after all—it was perhaps pragmatic rather than foolish that you built up the long chant in the tongue of thought. More accurate, more accurate, you sweated, tracing the length of the equations up your arms and on your chest by using the small looking-glass attached to your belt. 

“◼◼◼◼◼◼ ◼◼◼◼,” you finished the incantation, feeling warmth seep from your limbs as the payment. “Refurbish.”

It wasn’t the wisest move, not at all. But who could blame you, when the materialised gauzy fabrics against stone walls, as well as the jewel-hued rugs, looked so darn nice? 

Well, before you collapsed, of course—with a dopey grin on your face nonetheless. Those two things were all you could appreciate before you got totally knocked out. 

Thus, the limits were deduced to be large-scale summonings, enforced by a good night's sleep—noted cheerfully by the alchemist who peeled his face off a brand new ornate rug in the morning, rather than the bed he’d sacrificed his consciousness for. 

. 　⁺ ✦

When you unstuck yourself off the fastidiously complex rug (skin imprinted with its thread patterns, since you slept corpse-like in a single position), you almost didn’t recognise the once sparse house. To be more accurate, the intricate tapestries and glitzy trinkets, vases and decorations were familiar to what you pictured; but placed in conjunction with the stone walls, delicately carved pillars, and spacious, airy rooms took them to a completely new level. 

The wish was thorough, you had to admit. With your feel pattering against the almost-glassy, colourful tiles, you took in the area where you woke up: the kitchen. Dried bundles of herbs hung from copper-hued rafters, perfuming the air with aromatic fragrances and balsamic scents. Past sage cupboards were conjured utensils that gleamed with a disused sort of enthusiasm that made your brows raise. I didn’t even think of these, you noted, flinging open the cupboards by the elegant cooker to reveal stacks upon stacks of charming ceramics and everything else you might possibly need to exist in the kitchen. Even the icebox, a large storeroom imbued with enchantments above its doorway (the Metisian equivalent of a modern refrigerator) was packed with meats and vegetables that looked visually dissimilar to Earth’s, but were somehow familiar to your mind. 

It raised a question—if you ate food you conjured, would it not just be an endless loop of energy?

More importantly, would you even need the money still stored in the jade bead around your neck?

On the other side of the open-plan ground floor was the living area, strewn with various oddities and memorabilia. Two bookshelves stood proudly in a rich walnut colour, creaking under the weight of various books you’d skimmed in those reading-places back in the city. There were also titles you’d never come across before, but were sure to read on the plushy couches strewn with soft, patterned blankets and jewel-toned cushions. It was cosier than anything you might’ve desired, especially with the dim amber lamps perched on the dark-stained low table and the vibrant, low-hanging mosaic ceiling lights that looked like delicate baubles dropping from the heavens. 

You ignored the stairs that spiralled to the top floor—to where there were a few rooms still detailed on the floor plan—since they were likely to contain the same levels of decoration both the kitchen and salon had. Rather, you tiptoed through the sunny corridor leading to the eastern part of the sprawling home: gauzy, rich-hued curtains brushing lightly past your skin. There, past the stunning mahogany door was a bright, vast studio—complete with floor-to-ceiling windows overlooking the extensive gardens and the distant mountains, as well as all the tools you could possibly need for sculpting, alongside the hammer and chisels you’d purchased just yesterday. 

For a while you simply stared at the scenic landscape—nothing you’d ever seen on Earth, not when every day consisted of grey asphalt and ash-coloured buildings. There was a damn pond in your backyard, with a delicately wrought table and chair set at the edge. Had you imagined this too?

In any case, it was in a slight daze that you finally checked out the rooms upstairs; two guest rooms with large beds, desks and wardrobes; a large bathroom with picturesque views of the distant horizon and forests, as well as a massive tub; and finally, your room. 

How did you know it was your room? 

It looked lived in. Just like downstairs, a massive bookshelf lined the wall adjacent to the large windows: gauzy curtains fluttered over the tomes and let in the cool, fresh breeze. A large rug decorated the panels on the floor and slipped beneath your bed: a massive, round thing that looked like a jewel-bright, appetising cloud to simply dive into. And past the bed, an imposing armoire was stuffed to its seams in outfits both similar to the ones you were wearing (intricate, soft garments with detailed embroidery and vibrant palettes) as well as simpler, yet extraordinarily well-crafted, garments. 

In essence, you were set for life. This space was an ideal, permanent vacation home: even if it were in no-man’s territory, with monsters sullying its landscape. You intended to sequester yourself until you died once more—with a book laid on your chest, a mug of tea still on the table, and a fat bee bumbling past as you closed your eyes in peaceful, eternal slumber. That was the ignorant bliss you would afford yourself: the you who got a break in this idyllic game after you passed on. 

Perhaps this form of living would’ve been considered lamentable back on Earth. You, with the laurels of being a doctor in your profession, now spent the afternoon languidly draped over a soft couch simply reading. There were no samples to analyse, no reports to check, no research to work on. In fact, it was only a week later that you finally ventured out the sprawling gardens and into the forests. It wasn’t to check out the academic fruits of the bustling metropolis, nor was it to analyse the chemical makeup of the soil and flora—the most you’d done for that was conjuring some compost to make your new vegetable garden more acidic. 

No, setting out into the forest was more to idly take inspiration from these pulchritudinous sights, and maybe fight a few monsters to learn how real combat worked in this open-world, combat-based RPG. 

Maybe you’d get lucky and find some clay to practise sculpting before you found stone to work on. It was a forgiving medium, after all—soft and supple under your hands, rather than cold and flawless. Any mistakes could be worked away, any blunders would fade in the face of the cool, wet earth, and if you polished your rusty skills, you could make it into a job—it was a solid cover to disguise your use of alchemy. 

As the grass with no apparent paths was trodden on (for the first time in perhaps decades), the loamy scent of petrichor and foliage quickly filled your senses; it was so tranquil, in fact, that your hold on your metal pail grew more absent-minded as you swept a large stick this way and that to brush longer plants aside. If you unfurled the slightly-outdated map you’d paid a sesame ring for, there was… a river nearby, right? 

You squinted at the parchment, still unheeding of the warnings you’d received about this forest. With a full belly and over twelve hours of sleep, there was a dormant energy that was somewhat overshadowed by a bumbling drowsiness: only dispelling when you heard the sound of running water. 

Clay—your eyes lit up like beacons, and the formulae on your body seemed to glow as you rolled the sleeves of your loose cream shirt up, as well as the soft material of your navy trousers. It was casual, to the point of being somewhat scandalous—nothing like the classy drapes of fabric that constituted every day in New Metis.

Well, you thought with a smug sort of vehemence. This is the Borderlands. Thus, there was an unseemly sort of flippancy to your gait as you trod in the direction of what you hoped was the river, pail and stick in hand as your shield and sword. 

It was, perhaps, far too easy to find the softer clay deposits on the bank of the river; prying into the earth above to reveal the slick medium beneath and depositing it into your bucket. In fact, life had been going so smoothly in the past few days that you were lulled into a sense of false security. 

Had you forgotten how your life was prior to your death?

You’d gotten complacent as you dusted yourself off—shirt and pants plastered with a gorgeous mauve, though you paid it little mind. It would be hell to clean out, unless you simply dubbed these the ‘work clothes’. In any case, your biggest worry currently was the staining of your conjured clothes—a far cry from the life and death you’d experienced. 

It couldn’t simply be attributed to accustomising yourself to mundanity—no, maybe you were a bit of a reckless idiot as you strolled along the banks, sunning yourself with the binary stars in the heavens. There was not a care in the world as you closed your eyes to the Borderlands in favour of merely existing. Listening to the clear sounds of water cascading over riverstones. Feeling the clean breeze wash over your bare forearms and wet legs. Tasting the powdery, thick scent of clay after practically burying your face in it as you dug the mauve medium up. 

But like all good things, they eventually had to end. 

You weren’t foolish enough to keep turning a blind eye when you sensed danger. 

The leaves stirred. The waters vacillated—equilibrium was no longer an option. The forest, like a stricken pulse, seemed to constrict around you; the very wind took shallow breaths against your skin. 

Please, the Borderlands seemed to whisper. Get out while you can. 

Your stick tapped a rhythm against the soft mud—partly passively sinking, partly actively getting dragged into what was quickly becoming quicksand. 

For a brief moment, everything stilled—before you heard rapidly approaching footsteps coming right your way. Mentally, you began the long chant… tongue of thought for strengthening…. equation for charge… Coulomb’s law…. 

From the water too, came a sudden rush of volume flung to the skies—though the fleeting steps reached you first. A flash of blond. Your eyes met widened, almost-neon coloured irises. The stench of blood, too, filled the banks—before he crashed right into you, barrelling you against the rough bark of a tree whilst desperately clasping a hand over your mouth. 

“Niedra; ćhiho tu, albo ka arakhel,” he breathed, panic so thick in each syllable that you could only stare. It wasn’t the common tongue, but you instinctively got the message from his hushed cadence. No, wait. 

Don’t panic, the words had ghosted over your dampened flesh. Quiet, or it’ll find us. 

In a language so smooth that it sounded like song, like an intricate tapestry woven from gossamer, he’d conveyed to you panic, fear, and a camaraderie so primal that this partnership was instinctual. 

“Don’t speak, and hold your breath,” he then urgently translated into common tongue, when you merely looked at him, unblinking. “The Borderlands are very dangerous.”

The sudden switch allowed you to figure out why exactly you could parse together the clear meaning in his silvery syllables. 

“Xatarav,” you murmured. ‘I understand’, for it was not in a language you didn’t know. The language that had not seen use—the tongue of honey—had finally encountered one of its own. 

But the surprise in his face—the questions imbibed on insatiable lips—went unnoticed by you, for ‘it’ had finally found you. 

Water splashed against the tree where the two of you were pressed against—soaking into the bark, and seeping cold into the fabric of your shirt. You couldn’t see ‘it’ from your position, but you could see the behemoth reflected in those captivating eyes—towering in his sclera as the leviathan uncoiled from the depths of the now-raging river. It shook its mane out—webbed tendrils fanning out angrily as it swung its massive head this way and that. 

A frigid sort of fear washed over you, leeching any sort of warmth that had remained in your limbs. 

Well over forty-metres high, it was only its poor eyesight that prevented it from slithering round this tree and snapping the two of you up in its deadly snapping jaws—reminding you acutely of the thrumming iron that pumped deep in your veins, and just how easy it was to spill. 

You were painfully aware of the fact your only emergency ally was covered in gashes and wounds, bleeding into the already-purple mess of your clothes. His breathing was unsteady and his pulse was arrhythmic, but his eyes bore into yours with an intensity that seemed to ask ‘what will you do?’.

Would you run? Would you sling his arm over your shoulders and somehow evade the lightning-quick serpent? Would you leave him behind? 

Your grip tightened around the stick—interrupted equations leaving it with a slight prickly sensation, rather than the full extent of charge. He noticed the muscles of your arm clench in response to your urgent grasp, and he frantically slanted his hand diagonally in an abject ‘no’.

“Na ka umire,” you muttered, making sure he understood exactly what you were saying in his mother tongue. ‘I won’t die.’

And you wouldn’t. 

Not today, not tomorrow. 

You wouldn’t die in vain a second time. 

. 　⁺ ✦

[lazy-sand-wich]

Sometimes I want to draw something hot 🔥

And, yes, a small part of the game gives me this pretty idea. I don't regret anything.

[clowningclownn]

still comic is under the cut, but this one's with music :3

[cheriafreya]

Dr. Ratio's idle animation (▰˘◡˘▰)

[saunterdownwards]

“I need a version where his ultimate hits but it's just falling_metal_pipe.mp4”

@king-alpha-wolfz-blog say no more

[smile-files]

kris - headcanons, theories, and analysis (a jumbled mess from yours truly)

kris has selective mutism and is semi-verbal: they have the capability of speech, but the extent to which they are willing and eager to speak at any given moment is highly dependent on their current mental state as well as the people around them. generally speaking, kris is not very talkative and infrequently starts or participates in conversation, even when in the presence of people they are comfortable with and when feeling fine; it is noted, though, that kris only ever actively wants to speak and is eager to do so in such situations -- when uncomfortable, kris will not speak unless direly necessary (and even then, their ability to speak is not guaranteed). also worthy of note is how unexpressive kris's face tends to be; they rarely wear anything other than a blank expression. exceptions only occur under extreme, catastrophic distress, or when around friends and family -- kris has been known to laugh, especially since they would like making mischief.

in kris's youth, they had close, warm relationships with their adoptive mother, toriel, their adoptive father, asgore, their adoptive brother, asriel, their next-door neighbor and friend, noelle, and, to a slightly lesser extent, noelle's sister, dess, and father, rudy. while still quiet most of the time, kris would actively want to speak to them on some occasions, and would often be happy to point out things to them (kris is a very observant person, noticing small details in their environment) and play games that had some minor speaking component (such as playing a video game in which comments are often exchanged between players). given their emotional proximity to kris, these individuals knew kris well enough to have a general sense of how they were feeling, even in moments when kris wasn't in the mindspace to speak; asriel and noelle could tell what kris was feeling better than anyone else, asriel especially understanding why kris felt what they did (noelle always knew what kris felt, but often didn't understand why they were feeling it and required an explanation kris wasn't able to provide), and so kris was very attached to them. however, this attachment was wrought with insecurity: asriel was growing up, soon to leave for college, and a well-beloved golden boy; noelle was always leagues better than kris in school, and a darling, endearing girl; kris couldn't help but fixate on asriel and noelle leaving them someday.

unfortunately, a cascade of events eventually pulled the majority of kris's loved ones away from them, including azzy and noelle. dess disappeared, splintering the relationship between kris's family, the dreemurrs, and noelle's family, the holidays; kris and noelle began to grow apart as their families lost touch; asgore was fired from his position as police chief, and toriel divorced him; finally, asriel went off to college. the only close connection kris maintained from their childhood was toriel -- and even if toriel never understood them quite as thoroughly as azzy or noelle, kris was still strongly attached to her and her ability to understand them at all, to the point that, in the absence of anyone else to connect with, kris became very clingy to her. kris has been massively lonely and depressed, fixated on the great time asriel must be having in college and how happy and beloved noelle seemed to be -- while they've been alone, with nobody to truly know how they feel when they're uncomfortable. oh, and how often kris is uncomfortable! basically friendless, constantly sleep-deprived, and harboring a hidden self-loathing stewing in their soul since their childhood… since asriel moved away, kris has been quieter than ever, unable to express the pain festering within. they were never that expressive, but that seemed to have come to a head, with kris becoming almost completely unresponsive to any emotional stimuli. kris seemed completely unfazed by susie's cruel bullying when she joined the class… however, her words seemed to strike a chord deep, deep within them, and they couldn't help but laugh.

since the player has taken control over kris's soul near the beginning of the game, however, kris's verbal "self"-expression has increased. the player can compel kris to speak -- not only in moments where kris would choose to speak themselves, in which the player just directs what it is they are to say (possibly contradicting what kris wants to say), but also in moments where kris would be uncomfortable and wouldn't even be willing to speak at all. the player seems to not have control over kris's facial expression, however -- so, despite having suppressed most show of emotion in recent months, kris now has the chance to take advantage of their ability to communicate their true feelings through their face, and might well seize it… though, why would kris not take the player's manipulation as another sign from above that they will never be understood? why even try? regardless what they think, though, a certain primal desire to be understood overrides any logic or loss of hope: like always, if disturbed enough, kris's face will show it; likewise, if something strikes their funny bone -- or if it strikes a chord deep, deep within them -- kris will laugh.

kris, no matter what, does not like being suppressed, and even if the player isn't hurting them (which can certainly, certainly happen), kris will have some negative opinion of them. they want to be loved and understood for who they truly are, more than anything else in the world, and the player, even if unintentionally, is actively undermining that. if we imagine some alternate timeline, where kris made friends with ralsei and susie all on their own, that friendship having formed at all would imply that kris believes that ralsei and susie either do or will love and understand kris for who they truly are; why would kris become friends with them otherwise? in this hypothetical, kris would learn that they aren't truly alone, and that there are always people to connect and relate to, if they believe they're capable of being understood -- that they don't have to wait forever for people like asriel. however, as the "friendship" kris has with ralsei and susie is entirely manufactured by the player and the game, it is little more than a distant dream. as we control kris's body and words, it's as if kris's self is watching what "they" do from within themselves, looking at the friendships "they" have and wishing they were truly theirs: it is dissociation, a feeling that these relationships aren't real.

at the same time, though, kris desires these relationships as they currently are, even in their apparently empty state, or wants to desire them; kris desires a world in which they aren't constantly craving understanding, in which closeness was taken for granted, in which they were open and talkative, in which, perhaps, they were a different person who isn't such a weird, quiet loser. this is what the player provides; this is what the dark world provides; this is what the game provides. the dark world is a game that kris is playing: it is doubtful that kris summoned the player to control them, but the player's control is what gives kris these relationships, and so, in some strange way, kris might desire the player as much as they hate the player. kris has never been good with people, but now they can be piloted by someone who, via the game (which, notably, is a path ralsei sets for us: the prophecy), follows a relatively stable path in which they must be good with people. chapter 1 always ends with kris being "friends" with ralsei and susie, with kris doing the "right thing", with kris being "happy". perhaps kris can come out of chapter 1, half-satisfied with having lived vicariously through themselves. chapter 2 is largely the same for basically every player, and would perhaps result in noelle genuinely, earnestly reconnecting with kris (kris themselves) through their adventure in the dark world; however, if the player tries hard enough to defy the game's path, they can force kris to do terrible things to people: to emotionally abuse noelle right as she was about to rekindle something with kris, manipulating her into killing someone. this, obviously, would f*ck kris up, the main reason for which need not even be spoken. but there is something more subtly tragic about it all: that the one genuine, non-vicarious, non-player relationship kris might foster through the game -- their faded friendship with noelle -- was forcibly dashed on the rocks with kris's own, puppeted hands. is that not horrible?

no matter what path the player makes kris take in either chapter, kris removes their soul each night (twice during chapter 2) and, shambling like a silent zombie, performs some impulsive, violent act with their knife -- cutting a pie, slashing toriel's car tires, or opening a dark fountain. worthy of note is that the soul the player controls is still kris's soul, and yet they are willing to literally remove their soul, the culmination of their being, to be free of us from a little while. in two of three cases, kris clearly returns the soul to their body; in the third at the end of chapter 2, they hold it up as their handmade dark fountain billows smoke, and it is ambiguous what they do with it. are they gazing at it in awe, or glaring at it in disgust? how much do they need the soul, and how much can they act without it? will they return it to their body? the player, the dark world, and the game are what allow kris to reconnect with noelle -- or break her. in the former case, kris might be opening a dark fountain in the hopes that perhaps more good will come out of this strange system of control at which they are centered; in the latter, they might be opening it to spite the player's attempts at closing dark fountains, in accordance to ralsei and the game's will. true, the path that leads kris to manipulate noelle is one that defies the game's central intent -- but the game still allowed it to happen, tantalizing the observant player with a secret route. or, in both cases, kris just might want to create a dark world where their mother is present, given that the dark world has either brought people closer to them, or left them completely alone…

[cateatinglemons]

Audio credit: Hinaudios on Instagram

[octoswan]

new crazy rightwing conspiracy theory coming up the pipeline guys: a recording of some guy claiming to be a director of pfizer, who looks about 30 years old, giggling at a restaurant and laying out cartoonishly evil plans about genetically altering the vaccines to whoever is interviewing him lol

the wingnuts are spinning ! so far it’s confined to the small corners of Twitter, but I expect they’ll take it and run with it. so be prepared to hear some silliness

[gemkun]

dh and ratio interaction dh and ratio interaction