#added onto the end there

[ofcrowsanddragons]

And I appreciate your post! There's a lot to chew on when it comes to who Lucanis is and what he wants. Even Lucanis himself isn't very clear on what that means, I suspect!

And "he's rebelling against the specific mentality caterina tried to instill" is a great jumping off point for thinking about Lucanis's arc, and I love it. Lucanis figuring out how to LIVE is central to who he is at the beginning of Veilguard, and his little rebellions up to this point inform what that means to him.

Lucanis has so many character traits established by the "Coffee with the Crows" quest:

He's doing the "grocery shopping for the team", regardless of whether anyone thinks someone of his status should be doing it. (I doubt this was a mentality Catarina deliberately instilled in him.)

He pays close attention to what his companions want or need, regardless of whether they like each other.

He never thought to buy a Wyvern tooth dagger for himself, making this a rebellion he never considered for himself.

His family relationships are fraught, with him and Illario undermining each other constantly. Illario deliberately tries to ingratiate himself with authority figures and/or Lucanis's friends by putting Lucanis down. Meanwhile, Lucanis undermines Illario in a more patronizing, and even patriarchal way: Illario isn't good enough, so Lucanis needs to take care of him. (The fact that Illario has to position himself as less competent than he is because of the deception has to rankle him.)

Lucanis believes that "to live fully is to live truly" and muses that most of his path up to this point has been "determined for him" (the nod to determination is an interesting play on words). It opens this as the core question of his arc.

If you're a Crow, Lucanis won't stand for you being self-deprecating, and expresses how much he believes in you

Edit: also takes that extra moment to enjoy the coffee before heading back to the Lighthouse: another rebellion?

It's really fun to consider what elements of Lucanis's personality are a rebellion against Catarina under the guise of being a good assassin. After all, if doing x, y, and z make him more effective, she can't stop him from doing it.

If working with an abolitionist vigilante here or there makes it easier to complete a job, then why wouldn't he free (eyewitness) slaves? If his hobbies make for a more effective arsenal, why wouldn't he knit? If feeding the team makes him more indispensible, then the Veilguard can't cut the Crows out of a world-changing event. More importantly, he gets to exercise the elements of his personality that are softer, without being called "soft." No one would ever accuse the Demon of Vyrantium of THAT!

If he can hone himself into the sharpest blade in the world, then he can also define for himself what that means. If he's more effective than anyone else, then no one can question his methods.

I think that makes the question of what enjoyment he can get from his tainted-by-association profession even more interesting. Because literally everything he does—including his little rebellions—are done in the service of being a better assassin. Arguably, he has appeared to become exactly what Catarina wanted, while maintaining the core of who he is... all out of spite.

Where does that leave him, if he has the power and determination to determine his own fate?

(Image description under cut)

Screenshot of my tags under user covertleathers's post:

#fun thoughts #little rebellions #i think some of the pushback has been on the idea of simplifying lucanis into someone who #specifically doesn't want to be an assasin because assassination is morally wrong #as opposed to someone who's being forced to figure himself out because several issues have come to a head #possession but also the inheritance question rearing its ugly head #also more opportunities for relationships (platonic and otherwise) than he's ever had #lucanis dellamorte #crow thoughts #veilguard meta

this is just me yapping about lucanis tbh

one of the big things DAtV tells you about Lucanis is that he has been robbed of basically any agency in his own life. I am very fond of his exchange with a trans Rook, where he expresses with the slightest hint of jealousy that he admires Rook for being themselves unashamedly.

I've seen some back and forth re: Lucanis enjoying being an assassin, and I think the rub for me is that any enjoyment he finds in it is tainted, in a way, because it isn't a life he chose. He rebels against it in the ways that he can (freeing eyewitness slaves in WMJ, for example), and expresses no interest in ever having a higher position than the one he does. Most of his "enjoyment" is derived from going after the Venatori, objectively bad people. He makes it his whole thing. He exercises the very little control he has by bending the rules and shaping his situation into something he can swallow more easily. He takes pride in the more vigilante aspects of the Crows.

(sidenote: being a weapons enthusiast or any similar hobby is not inherently tied to being an assassin.)

But ultimately he's incapable of freeing himself from that life if he wants to, and as someone else said, Caterina very much puts him on the spot with that public promotion and he *can't* say no. They can't afford to look weak in front of all those eyes.

So it's not that i want to "simplify" him into a househusband. I just want him to be allowed to get to know himself and find who he wants to be. I want him to have choices.

[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.

[mintypsii]

guys i love them i promise i just have the urge to put them through the grinder sometimes

umm on the bright side here's the alternate good ending version lol!!!!!

[meowsticmarvels]

posted this on twt but god. i have talked a lot about how insane phi's character is to me but it's just. i will never get over how for most of both vlr and ztd she's relatively cold and unemotional but ztd has moments where she just. breaks. i.e. the shoot:live option of fire where she literally breaks down crying and can barely get a sentence out even BEFORE diana kills herself. or in the final decision when she fucking YELLS at delta and kicks him in the face not even out of reasons like with dio but out of sheer anger for everything he's put her though. like IDK. i fold easily for the "unemotional character is pushed to their breaking point and shows MUCH more emotion than usual" trope but its so fucking interesting. phi i love you we will get you therapy

[swiftllama]

Anthony Complimenting Ian ☀️🔍

“I think that’s a big difference in us reuniting, is I am so willing to praise you and mention your strengths.”

Hey guys! Been working on this post for a while and so happy to finally share!

Before we knew of their reunion, there was this window of time where Anthony kept complimenting Ian on social media. That stood out to me then, especially after having very little interaction between them in so long. But now having the context that they were actually hanging out again behind the scenes, and that Anthony now makes a conscious effort to compliment/praise Ian makes it all the more sweeter. The said compliments I mentioned were posted at the time but the fandom wasn’t as active as it now is again so I wanted to compile a list of all the moments of Anthony complimenting Ian from their reunion to present for anyone who might’ve missed it. Enjoy!

Pre-Reunion

Okay so this first post is actually from before they reconnected. We know from the Smosh Reunion t-shirt that they reconnected in November 2022 and this post is from July 2022.

I like to think Anthony was in a better place with his emotions towards Smosh/Ian by this point, and that Ian had been on his mind and so a nice little compliment was to be had.

Post-Reunion

April 2023

5 months post-reunion and Anthony’s feeling more confident to joke around whilst still complimenting Ian. You love to see it! And Ian’s reply, him getting all embarrassed is cute 🤭

It also reminded me of these tweets from back in September 2017 :-

Confirmed: Anthony has a thing for calling Ian ‘daddy’. Noted. 👀

May 2023

Less than a month later and Anthony was back at it again with the compliments

Ian looks good and Anthony is determined to tell him at every opportunity!

And then…

June 2023

THE (PUBLIC) REUNION

And so ensued an abundance of compliments.

Anthony’s Interview

First lot of praise we saw from Anthony to Ian was in his interview with him. Tumblr sadly doesn’t allow you to add more than one video to a post so these are all quotes from said interview.

Like the tweet above of Ian getting his first chain necklace, they reference it once again. Ian is talking about how even though they’ve grown as people they haven’t changed that much, he references the fact Anthony has “more bling and tattoos” now, Anthony then interjects with :-

“Hey, you got a little bling too, let’s not discount it.”

Ian then shows the jewellery off and Anthony comes in saying “Baby’s first chain.” I like to think he was the first one to say that when Ian got the chain and where Ian got the inspo for his Twitter caption. Anthony then finishes this topic of conversation off by adding on that Ian also got “face bling too” in reference to his glasses. I know this isn’t really a full-out compliment and they’re just kinda messing about, but I think it still stands with Anthony saying that’s something that’s changed between them now is that he’s willing to compliment him, and I love how when Ian tries to downplay something about himself, Anthony jumps straight in there to lift him up too.

Another complimentary moment from the interview was when Anthony was talking about when he was 15 and came down with an autoimmune disease resulting in him missing half a year of school and Ian got a bunch of people to sign a ‘Get Well Soon’ card to give to Anthony to make him feel better.

“There is one moment, one thing that you did for me, when we were younger that really stood out to me that I never mentioned to you and I never thanked you for. I’ve been holding it in and I have never expressed it…. I don’t know how you got it to me, but somehow you got a ‘get well soon’ card that you gave to me - Okay, I don’t know if it was you who came up with the idea or your mom, or if like your mom told you, you had to do it. And a whole a bunch of people signed it and you wrote a message like ‘get well soon, we can’t wait to see you again’. And that, it really meant a lot to me, and yeah, it kinda kept me motivated and focused, and I don’t know why but for some reason it motived me to learn how to program a website, program a game, and I feel like because of that in some ways I was able to channel all my energy into creating the things that eventually culminated in what the foundation of Smosh was.”

I really love this moment, and I think it really shows Anthony’s growth. As was revealed in his letter to Ian, there was a period of time in which he felt he had more of a hand in creating Smosh in the early days, but the fact he can now acknowledge and recognise Ian’s input in it all, even before Smosh was a thing, and thank him for it really shows how far Anthony has come.

The last lot of praise from the interview is actually something Anthony has mentioned multiple times as you will see later on in this post and that is about their dynamic and how they work together.

“I think the fact we work in such different ways, like I’m able to really hyper-focus on something and put all my energy, just like back-to-back constantly in one chunk, I think that works really well when compared against the way that you work, where you are super creative and..”

Ian interjects by saying his head is “up in the clouds” when he works. Anthony continues by saying that Ian needs to be there to come up with the ideas that he does and then praises him once more :-

“I could never come up with most of the ideas that you come up with, but I feel I know how to formulate it and put it together.”

Next lot of praise for the month was this tweet :-

Anthony praising Ian, along with everyone else who had a hand in keeping Smosh going all these years. Similar to something he said at Vidcon when he interviewed Ian once again :-

“I just want to say huge, huge respect to you for staying with Smosh. For having that faith in it that it could continue to grow and be something bigger…” [audience cheers and Anthony points to Ian] “So huge, huge respect to Ian. That took a lot of tenacity - the tenacity you said I had, that’s where you really showed up. And Ian had to learn how to be a leader, Ian had to learn how to do all these things where he was just thrown into that because I made the decision to leave because Smosh, what it had become, was eating a hole in me and I felt I needed to walk away to figure myself out, to just grow on my own and I’m so thankful that you stuck around to keep it going so that we could do this [own Smosh again].”

And there was more where that came from and leads me onto the next lot of compliments :-

Vidcon 2023

“When Ian came over to my place to write… I remember I was sitting on the coffee table writing these jokes and you would say something and it would totally catch me off guard just like you used to do.”

Anthony said this so fondly to Ian, the “just like you used to do.” It goes back to what he said during his interview with Ian, which he got emotional about, that during the lunch where they reconnected properly for the first time, he saw his childhood friend in that moment. That despite how much they had both changed, the Ian he knew, the only one who can make him laugh like he does, was and is still there.

Anthony goes on to bring up their working dynamic again as he did in his interview :-

“While we were writing that sketch, while we were shooting it, there was this feeling - I didn’t realise it, but there was something missing from my creative process. Especially in creating comedy, that Ian just perfectly… I don’t know if I want to say yin and yang - I don’t know what I want to say about it. But it was just this perfect balance, that feels like in order for us to reach our fullest potential creatively, us working together is, in my heart, the only way for that to really reach its fullest capacity.”

Ian then responds in his usual way, trying to downplay his efforts by agreeing that their dynamic works well that way because he’s, in his own words, “kind of lazy.”

Anthony is quick to jump in though :-

“I think that’s a misconception, you’re not lazy.”

I love how he just outright refuses to let Ian talk down about himself nowadays. He will absolutely not have it!

Ian continues on and compliments Anthony in return by saying he is very ‘tenacious’ and ‘focused’, and ‘particular about things.’ Whereas Ian’s way of working, as Anthony goes on to say, is “throwing stuff out” and Anthony likes to pick out the best of the best from those ideas. And this is when we got the first of the ☀️🔍 analogies :-

“It feels almost like Ian is the sun radiating all these ideas in every direction, and then I’m the magnifying glass that’s like ‘let’s focus on this one, let’s make this one fire. This one’s amazing.’ And something about just the way that we work together just meshes so perfectly, and I think that’s how we became best friends in sixth grade, that’s how we established our sense of humour and why the Smosh videos that we created resonated with so many people, is because there is that perfect dichotomy between us.”

Do you think Anthony thinks their dynamic is perfect? I don’t know 🤔 I don’t think he mentioned it enough.

Jokes aside, it is very sweet. And I love how much he loves their connection.

The next lot of compliments come straight after the quote of Anthony praising Ian for sticking with Smosh whilst he was gone :-

“I’m super thankful - you know for the past six years it just felt like there was a hole in there [in his heart]. You know I’ve been creating my own interview series and it’s felt like this is a great way for me to be able to express a part of me, but not all of me. And that other part of me that wasn’t being expressed is that part of me that I now get to experience with you, and working with you, my childhood best friend, in creating something and being able to capture that magic and express it, and be able to present it for all of you [the audience], it’s a really, really great feeling.”

Ian then responds with another little compliment of his own :-

“I think on my side, you know when you left I was still making sketch comedy, I was still writing, but I never found the same kind of writing partner that I did after you. It was never the same. The way that we work together, I never quite found that kind of person to easily bounce ideas off to, so I kind of stepped back a little bit from the writing.”

It also reminds me of something Ian said during Anthony’s interview, about how they have this level of ‘trust’ between them, that Ian never found again with anyone else after Anthony left. Makes me so soft, they feel so lucky to have each other again. No one quite gets them like the other does and they can never replace what they have. Their connection truly is special.

This is more of a silly one and just them joking around but I’m including it anyways! They had a Q&A session with the audience after the interview and the person asking the question starts off by introducing themselves and saying how they met Ian the other day and apologises for calling him “old.”

They both laugh and Ian pretends to begin to walk off stage. And then, you guessed it, Anthony swoops in with a retort :-

“Hey! He’s 35 years young.”

Moving on to later the same day, after playing a live version of TNTL with the cast, they all had a sit-down Q&A :-

Q: “What inspires you? What made you who you are?”

And of course, as if he hadn’t already killed us enough, Anthony has to go and say this :-

“I’m about to say something totally whack. I’d say, Ian and my friendship when we first started really connecting. I feel like Ian taught me to not take myself too seriously and his sense of humour is just all over the place and I eat that shit up, I think it’s so funny.”

Like wtf. WHAT THE FUCK.

Ian’s reaction to him saying that pretty much sums up my emotions.

And that was it for Vidcon!

Except if you count this little cherry on top and the perfect closing to June as the picture is from Vidcon :-

Anthony being obsessed with Ian on main! You love to see it!

July 2023

Started off July with a bang and the ☀️🔍 article :-

Never getting over this! Anthony just loves the sun and magnifying glass analogy and I couldn’t be more here for it. Ian is the sun in his life 💛🖤

Ian Reads Anthony’s Angry Letter

And then came the infamous letter video. Which even though there were a few hurtful things revealed, there still managed to be a few nods of acknowledgment towards Ian even in that hurt Anthony felt.

As mentioned earlier in this post, in part of the letter Anthony writes that in the early days of Smosh he wanted it to be something ‘he’ made with Ian’s help, and that he considered Ian to only be “tagging along”. He goes on to apologise [in the letter] for if he ever made Ian feel like he didn’t deserve as much credit as he did.

“You may not have done some of the heavy lifting I did in the early days, but definitely encouraged us to keep going and you kept things light and full of laughs as we did it. We accomplished so much and I am just now realising how important you were in making that happen.”

Anthony then brings up something that happened recently between them :-

“But that thing that you read there - you did, and this was actually really nice for me to hear from you. It was a few days after we had confirmation that we had bought Smosh, you came over to my place, we had a little celebratory hang; very luxurious. We chilled with cigars and some whiskey, and we just bro-ed it up, and you said that to me. That exact thing - you said, “hey, I don’t think I ever really acknowledged the heavy lifting that you did in the early days” and you said that you “felt really lucky to be there at that time and that I included you in that.” And that was really nice to hear, even though I know.”

So I know technically this compliment/praise/acknowledgment isn’t new as the letter was written in 2017, but it’s ‘new’ to us. But I’m glad to hear that Anthony does acknowledge Ian’s involvement in Smosh’s success, even in the early days when Anthony was doing more of the technical things. He acknowledges that Ian still had a role to play in it all being what it was.

Ian agrees with what Anthony is saying, and that he always felt ‘guilt’ over the fact Anthony had to do the things he didn’t have the skillset to do, but recognises that he didn’t acknowledge or thank Anthony enough for it because he was ‘afraid’ that he might have to do more when their whole thing was about doing “equal work” because they felt as a duo they had to, and that if the other felt they were doing more work then there was some resentment there. Ian tries to downplay himself by joking “In most cases you were doing more work than me…” but Anthony is quick to jump in again and not allow it.

“I was doing more hours, but I think you were doing more of the creative heavy-lifting which is more taxing in many ways. So I think that you needed your time to recoup your energy, cause you’re coming up with funny stuff, and at that time I was like ‘I’m doing so much work’.”

Also another mention of Ian’s creativity and humour when it comes to writing, that Anthony acknowledges he wouldn’t be able come up with. But you can see where the ‘resentment’ they talked of came from, and why Anthony felt he was doing more. When in reality it’s just that’s their strengths lie in different areas, but that doesn’t make the work they both do individually any less important. So I am happy they can see that now and praise each other for the unique ways in which they shine which compliments their own strengths in their own special ways.

WE WERE ROBBED! Watch Party

It happened again. Anthony calling Ian ‘daddy’. Can we just all agree that he has a thing for it? Okay. Good.

They’re discussing how everyone in chat is poking fun at Ian for saying “you guys are a fun bunch” to the rest of the group during the ‘Do Men Know Reproductive Anatomy?’ Smosh Pit video and how it was a ‘dad’ comment. Ian reads out a comment talking about how Arasha called him ‘dad’ and he says “[she] can because she’s my son”. And then Mr ‘Ian is Daddy’ Padilla jumps in with the correction once again :-

Anthony: “I think you’re becoming ‘daddy’.”

Ian: [asks if it’s when he puts his glasses on]

Anthony: “Especially.”

Ian: [puts glasses on]

Anthony: “Oh damn, daddy.”

Like why is this Anthony’s thing now? Whatever the reason - I’m here for it.

Also, Ian doesn’t like to be referred to as ‘pops’ but Anthony’s into it. So, Daddy and Pops. It’s settled. Love our parents 👨‍👨‍👧‍👦

Smosh Mouth

And just like we started July, we ended it the same - with a bang!

I urge you if you haven’t seen it yet (or even if you have), to go watch this video. It may as well have been named ‘Praise Ian Hour’. Not only have we got Anthony, but also Shayne and Amanda coming in to add to the many compliments.

I know all these compliments the others were giving Ian were probably making Anthony’s heart swell with pride. To know that not only himself, but everyone else also recognises Ian’s strengths. To know that these things he loves about Ian, others see in him too.

So a lot of the video was the others complimenting Ian rather than from Anthony himself, but he agreed with everything they were saying and added a few little tidbits. So this next lot of compliments will be what Shayne and Amanda said, along with Anthony’s comments :-

Amanda: [talking about when she first auditioned for Smosh] “And I’ll never forget after I did that [read the script], it was really fun - they asked me a question, and I was in a really interesting place in my life… And they were like “If you could have one superpower, what would it be?” and I just said “Vulnerability.”… And I’ll never forget, Ian stood up and went “Do you write comedy also?” and I said “Yeah!”, and he went [nods] and he shook my hand.”

Anthony: [grinning ear to ear] “He knew. He knew.”

Happy boy loving hearing people praise his bff 🥰

“I think honestly that statement alone is exactly why you’re doing a podcast. I think Ian was able, if he really did know in that moment, I think it probably was seeing that there was more to you than just the comedy, there’s more depth there, there’s multiple layers, and you can build on that a lot more than just somebody who can only do one type of thing.”

A very sweet comment. How Ian recognised the talent in Amanda from that one thing she said, and also cute how well Anthony knows Ian so can see exactly where he was coming from in seeing that talent in her and why she ended up at Smosh.

Shayne: “…I’m curious how you [Anthony] think things were going in the years you were gone? It’s been fun to see this arc of Ian. And being honest I’ve gotten to know Ian so well over the course of 6 years and that’s what’s so interesting about you coming back. You know Ian better than any of us-”

Anthony: “But I don’t know the Ian from the past 6 years as well as well as you guys do.”

Shayne: “…But you haven’t seen president Ian.” [talks about how when Anthony was still there both him and Ian were so busy under Defy that they weren’t around much to act as leaders]

Anthony: “Yeah, there was no leadership really coming from Ian and I, except that I think we showed excitement and passion… We showed that, and I think that’s where we kinda led, but it wasn’t really ‘we’re the leaders’ and when I left, and especially when Defy collapsed and Ian was left there making a lot of those decisions, he had to be the leader that had to lead by example and get everyone onboard with his ideas, and that was a really unique role for him because he was kinda forced into that position, and he was forced to get really good at it. And I think, over the 6 year time period that I was gone, I’ve seen him, observing from the outside, I’ve seen him get better and better at that role. Even though I know he doesn’t ‘love’ it, he’s not like ‘I can’t wait to go and be a leader when I go to work’, and he’s told me that he feels like he thrives most when we have the dynamic between us where I can pick up when he’s not really-”

“observing from the outside” 🥺 the fact he was still checking up on Ian even when they weren’t close anymore, it shows that the care was still there despite the strain on the relationship. It also reminds me of what Ian said during Anthony’s interview, that he could tell Anthony was floundering when he first left :-

Ian: “I could see very clearly what you were doing and what was going on. It was very clear that you were trying to find your individual creative voice. And with the types of videos you were putting out it felt very much like you’d throw this out and see if that would stick, you’d throw that out and see if that would stick. You’d get excited about something - I could tell there was a time when I think you were watching Nathan For You, and you were getting excited about this one kind of style.”

Anthony: “Damn, you read me like a book.”

It’s just like Shayne said - they know each other better than anyone. And that extends to even when they weren’t speaking, they still knew the other inside and out.

Amanda: “He’s glowing right now.”

Shayne: “He’s been so happy.”

Anthony: “It’s really, really cool to see because you know watching from the outside, I was able to observe his mannerisms and kind of get a general idea of where his headspace was at, but even then I wasn’t able to fully understand him because I didn’t fully understand him for so many years leading up to it, so I was just an outside observer trying to just keep tabs. But I do notice a stark difference, ever since Ian and I had that discussion, and were like ‘you know what, let’s buy Smosh and anything we can do to make that happen, let’s do it’. And after that conversation I’ve been keeping up-to-date with the content a lot more and I’ve seen Ian shine in such an interesting way, where I don’t even know if you guys felt it - like before the announcement, you felt something good was coming?”

Is everyone sufficiently in tears? Good, because me too. This isn’t even the end of this convo, I just had the pause to go over all of what was just said. Both Amanda and Shayne saying how happy Ian is now, I don’t know how Anthony didn’t cry on the spot! I did and it’s not even about me! Like hearing that, knowing it’s because of him that Ian is so happy 😭 and I think the same can be said for Anthony. They’re both so happy to have each other again ❤️

Shayne: “I did start to notice a change these past few months. I started to notice - this dude, there’s something about him, like the ‘cool’ factor started to change. He started wearing a chain! He started tucking shirts in.”

Amanda: “Oh yeah! He tucked in every shirt. He wore a chain. He was glowing. And our conversations were about life and joy and not really what he was reading on the internet.”

Shayne: “His confidence level has changed this year. When you guys announced the whole thing [buying Smosh], you walked into the building and I was like ‘Okay this makes sense!’ He’s feeling a lot more confident because things are feeling more certain and this place is going to turn into more of what he wants.”

Anthony: [agrees, and talks about how he thinks the confidence comes from a place of Ian now knowing the future of Smosh is secure under them after not knowing for a long time] “And I think for some reason, just naturally his confidence started growing as - I don’t know if this is related, but he is so good at writing and coming up with jokes, and I think for a long time he got the impression in his head that he wasn’t good at that anymore. And I think the Smosh channel moving away from written stuff, which I feel like he just really shines at - these absurd ideas, and when they come to life on screen maybe I’m able to help keep them a little bit more focused. But I really love that, cause he has so many great ideas and I started noticing just how many good ideas - he would throw out like 30 ideas and 20 of them were brilliant. But I feel like he started to gain confidence too in our writing sessions where he realised, ‘oh this isn’t a fluke, I wasn’t just funny in the past’ - I don’t know if this was the worry that was going on in his head, but it certainly was in mine. I was like, ‘was I only good at this in the past? can I be good at this now?’ and we both discovered together that what we were good at in the past, was more of a representation of our innate abilities and personality on our own but also the dynamic between us, and it seems like his confidence was growing there, and on camera when I would watch him from the outside, even hosting ‘Let’s Do This’ - when I saw him hosting these things it seemed like he was much more confident and he was able to take initiative.”

I love how much Anthony talks about how good Ian is at writing and coming up with jokes, and how much he reiterates that nowadays. I love that he recognises that talent in him and acknowledges how his own abilities complement Ian’s so well and why their dynamic is so special and works so well.

Shayne: “Ian is so much funnier than he realises. And maybe he’s realising it now-“

Anthony: “Yeah, I hope so.”

Aw Anthony 🥺 well if he doesn’t, you’re there to remind him tenfold.

Shayne: “But over these past years, I think the thing that has always frustrated me is - as you said [Anthony], he’ll throw out ideas but he’ll be like ‘oh this one’s dumb’ and I’m like ‘no that’s really funny, man’…. But whenever he goes 100% and he commits fully it’s always great.”

Anthony: “Always great.”

Shayne: “And I think he really does that in your guy’s sketches, there’s no doubt - the Ian that people know and love is that guy. And I think when he’s able to write and know what it is, he goes full force. But I will say even with the improvised stuff he held himself back - he’s so good, but he just needs to allow himself go full force.”

Anthony: “I think he would second guess.”

Shayne: “He second guesses. And I feel bad talking about him without him here, but it’s all good things. Cause reality is he’s really, really talented.”

Anthony: “The truth is he was doubting himself, but the less he’s doubting himself [he’s able to go full force].”

Shayne: [talks about how Ian has said 2019 was one of the hardest years after Defy collapsed and he had to step up as a leader and figure things out on his own] “So suddenly one day Smosh is gone and all these people are just gone, they don’t care. And I remember talking to Ian and being like “hey, so what are we gonna do?” and I remember this look of just - it’s still Ian where everything’s very casual and just kinda shrugged off almost, but I remember him just being like “We’re gonna figure it out. I’m gonna get this together”, and I was just like “That’s the most confident you’ve ever sounded about anything.”

Amanda: “It’s cause he was a single dad, he had to figure it out.”

Shayne: “But Ian’s always like ‘yeah, I dunno’ but this was the first time he was like ‘we’re gonna - I’m gonna - we’re gonna have it.’

Anthony: “And I feel like we see that [confidence] a lot more from him now.”

Shayne: “Yeah, and that was the first time that I was like ‘Dude, this Ian’s crazy. This guy’s not fucking around.’ and he had to do so much behind the scenes that I didn’t see, but he was making business deals and he was working all day, every day to get that shit together. And you know people say Rhett and Link saved Smosh, it’s like Ian saved Smosh. Rhett and Link were there to make that deal happen, but Ian was the one who put that shit together.”

Anthony: “For sure.”

Loved this from Shayne! Because it’s so true, yes R&L were there when Smosh needed a home, but Ian was the one who put in the hard work to make that happen. None of it could have happened without him. And I’m glad Anthony agrees, and as his comments at Vidcon suggest, he’s very thankful that Ian was there to save Smosh so he could come back and they could rightfully own what is their’s, doing what they love, together again.

Shayne: [talking about how Ian and Anthony going their separate ways needed to happen] “You started this thing forever ago when you were kids and it’s completely overshadowed your own lives and your friendship. To be able to take a step away and figure out who you guys are on your own and then come back - you guys at a certain point were forced to be best friends on camera and that’s tough and it becomes a product more than an actual friendship, so to be able to walk away and leave that alone and then choose to be best friends again.”

Not so much a compliment, just loved this. It’s the choice to be best friends again that gets me. Something they’re actively choosing and put above everything else, they’re never going to let anything get in the way of their friendship again and that is so special.

The famous quote comes to mind :-

“If you love something, set it free. If it comes back, it’s yours.”

Shayne: “I said it to Ian when he was on the podcast - I really respect both of you for your both individual journeys in all this. Like your choice to leave the thing you made forever ago as a kid, that meant everything to you, that’s an insane choice. And you made it for your own good, and you recognised your own happiness and that was gigantic. And Ian, I think really was scared to be a leader here, he was scared to be on his own, like president, and he really did it and he’s stuck with it through crazy [times] - not only the shutdown where he stepped up, but the pandemic as well, where we were all filming stuff on our own by ourselves, and he stuck with it, man. That dude, he’s had some endurance with all of this and so to see you guys back together, I know for him there’s pressure taken off because he has you, and I can see there’s so many aspects of the job that he questions himself - I think he’s great at it, but he questions himself and I think you can fill in that part for him where he’s like ‘oh sweet, I know I can rely on you’.”

Anthony looks like he’s about ready to cry when Shayne said that and I don’t blame him because I could too.

Knowing just how important he is to Ian. That he is the only person Ian can rely on when it comes the leadership side of the business, an area where he’s been alone in for so long, doubting himself, I’m sure it makes Anthony want to hype him up and reassure him even more that he’s doing a good job.

Shayne: “And I said this to you, I think the day you first came back, but I’m like - you both together is one of the greatest YouTubers ever.”

Anthony: “I appreciate that.”

Shayne: “You individually - super successful. Like you went and you were successful on your own. Ian maintained Smosh on his own. That’s really cool to see that there was success from both of you individually, but together - I mean when we’re at Vidcon and we’re talking to other YouTubers, Smosh has, there’s something to it right? Like other YouTubers go ‘Oh! Smosh!’ that’s a big deal.”

It’s so emotional how this thing that Ian and Anthony created together as teenagers is what it is now 🥲 and it’s so true - together, they’re something special.

Anthony: [discussing how he discovered his interview format for his videos after trying lots of different kinds of content after leaving Smosh] “I thought that my lane was making sketch comedy so I was writing out some stuff. But I realised that on my own, without Ian, I am not a very strong writer. I do not have the funniest jokes.”

Again, Anthony recognising Ian’s talent when it comes to writing and the Yin and Yang of their dynamic, and how they need each other to really be at their best.

[Amanda says how Anthony seems like an extrovert in his interviews. He says it’s an illusion and that he’s really introverted - Shayne agrees that he is]

Shayne: “I mean I’m just now hanging out with you again recently, but I always got the sense, and I get the sense still, that Ian is the outgoing one.”

Anthony: “Yeah.”

Shayne: “Ian’s super outgoing, and people maybe don’t clock that… At parties, Ian will walk up to any group of people and he’ll just join the conversation.”

Anthony: “For sure.”

Amanda: “You’re right, he does.”

Shayne: “It is shocking to me. And he’s so chill about it.”

I know this was mainly just Anthony agreeing, but I found it interesting and it made me wonder if that is another reason their dynamic works so well and if it’s maybe also a comfort for Anthony? As a fellow introvert, I know how much easier it makes things when you have an extroverted person with you in social situations that you feel uncomfortable with. So I wonder if it’s the same for Anthony with Ian, that he has him there to lean on, knowing he’ll take the forefront in those types of situations if he needs it.

And that was it for the podcast and for the month of July.

And so draws to a close the first instalment of this compliments series. I plan to continue this month to month, or every few depending on how much content there is - you’ll be able to find all parts in the Compliments Masterlist.

Thank you for reading and catching up with the world of the Anthony Padilla Ian Hecox Fanclub with me. Hope you enjoyed and I shall see you next time!

[yourlocalabomination]

Sometimes even sleazeball’s get lucky.

+ Bonus:

[landinrris]

On my hands and knees pleading for authors to stop including "(brief)" or "(mentioned)" next to a ship pairing in your ao3 tag listing if that relationship is not a central tenant to the work itself 😭. Just stop including it in those cases. It all goes into the main relationship tag for the love of god just put the brief/mentioned pairing into the tags in that case.

[sunshine-and-her-ikevil-stuff]

*thinking about the villains' tragic fates*

You know, their routes never really talk too much about their fates and how it effects them mentally. Or how the MC feels about it, and dealing with the fear and angst of it with the slight exception of William's route

*eyes widen*

... I think I know what the sequels are gonna be about

[daisywords]

"just focus on book 1 without mapping out the entire trilogy" I need you to understand how much I cannot do that

[coolbattlegirl]

Burnt Toast is Best Eaten Together

Silver nibbled on the corner of the semi-burnt bread, glancing up to look at his father, who sat opposite of him, his usual serene smile still plastered on his face. His father must have noticed his staring because he finally speaks, his voice as soothing as a lullaby. 

“Silver, what’s wrong? Is it not tasty?” His father asked. Silver quickly shook his head, “No, I like it!” Silver said as he took another bite of his bread. It wasn’t exactly a lie; the bread was definitely better than his father’s previous attempts, even if it was a bit charred. It seemed his attempts at getting his father to follow the recipes were finally paying off. 

Silver watched as his father’s smile got almost impossibly wider, seemingly happy with his answer, “Hmm, that’s good! It seems my cooking skills have improved.” His father hummed thoughtfully, “Perhaps I will attempt to make that mushroom soup again…” 

As Silver listened to his father’s musing for tonight’s dinner, his eyes landed on the empty plate that sat in front of his father. Something that Silver had come to realize over the following weeks was that father was strange.

He can’t really remember if father was always this way, his memory has been blurry ever since he recovered from his illness, but memories or not, he didn’t mind his oddness. He loves his father! Which is why he can’t help but worry for his father. It’s just… father doesn’t seem to eat. It didn’t matter whether they sat down to have breakfast, lunch, or dinner, his father never touched any of the food. 

Silver swallowed the last bite of his toast before looking down at the remaining pieces. Surely his father had to be hungry by now? Silver snuck another look at his father’s empty plate before slipping a piece of toast onto it. Looking up, he found his father staring unblinkingly at him, making Silver worry that he might have upset him. “Um… Papa? Are you going to eat?” he asked sheepishly. 

His father blink at the question before smiling once more, “How sweet you are… Ah, but don’t worry, little prince. I’m simply not very hungry right now.” Silver’s face fell slightly at the answer. As usual, his father noticed the change in his attitude.

A clawed hand gently brushed away the hair from Silver’s face, “Are you… upset, little one?” His father asked, his voice sounding surprised if not also curious. Silver pouted, “I want to eat together with Papa…” He whispered quietly.  

After what felt like an eternity, he heard a fond sigh and suddenly, the toast in his hand was gently taken from his grasp, causing Silver to look up in surprise.

With wide hopeful eyes, he watched as his father scrutinized the toast before taking a small bite from it, “Hmm… Not bad.” His father hummed before turning to look at him with a smile, “Well? Aren’t you going to eat together with me?”   

Silver stared at his father, “Papa, does this mean you’ll eat with me from now on?” He asked hopefully. His father smiled, “Well, since it means so much to you, how could I refuse?”

Beaming with joy, Silver wasted no time leaping from his chair and running over to hug his father. With a small laugh, his father picked up the toast and broke it in half, handing one piece of Silver. As they sat together and ate, Silver felt that the toast tasted a bit better than before. 

~

Humans are such peculiar creatures. Despite all the years he had observed them from afar, he still couldn’t grasp their nature—and perhaps he never will. Personally, he found them to be quite simple minded and silly. 

Lilia let out a small huff as he dried the dishes, a human task he found quite troublesome and time-consuming. Honestly, what was the point of having plates and utensils anyways? Lilia glanced out the kitchen window, spotting the silver-haired boy playing around with a stick. He couldn’t help but let out an amused huff at the sight. 

The child’s antics looked exactly like those soldiers from last night, brandishing their swords around in a futile attempt to subdue him. Lilia set down the drying cloth and began to make his way upstairs, musing about the soldiers. He really did have to get rid of the remaining soldiers soon before the little prince stumbled upon them in the woods. Not that Lilia would let him stray too far. No, he learned from that mistake. Oh, but children are such curious creatures. It truly would be a shame if he stumbled across the gruesome scene. 

While he had been planning to eat the rest of them, Silver had asked him so sweetly for him to eat together during meal time, and he couldn’t quite do that if he was full. With a sigh, he settled on the idea of saving them on a rainy day, allowing him to play along with his little prince’s whims.

Yes, that would simply do. Suddenly, he heard the front door open and the sound of little footsteps excitedly making their way inside and up the stairs. Smiling, Lilia turned around to greet the child before pausing at the sight that greeted him.

He watched as Silver, his beloved little child, emerged from the top of the stairs crawling on all fours. Lilia blinked owlishly at the sight, clearly befuddled by the action. “Hello, Papa!” He beamed as he stood up, brushing the dust off his knees, “Look what I got for you!” Silver thrusted a small bundle of crumpled flowers in his direction, smiling proudly at his father.

“Ah… humans are such silly creatures…”

[reblog-house]

Some things can change.

[sforzesco]

Not long after, some cattle were stolen from Euboea by Autolycus, and Eurytus supposed that it was done by Hercules; but Iphitus did not believe it and went to Hercules. And meeting him, as he came from Pherae after saving the dead Alcestis or Admetus, he invited him to seek the kine with him. Hercules promised to do so and entertained him; but going mad again he threw him from the walls of Tiryns.

Pseudo Apollodorus, Bibliotheca, 2.6.2

Iphitos, Herakles, and behind the scene of the murder: Iphitos gifting Odysseus with a bow, and then Odysseus, alone.

okay, so I quoted Apollodorus first, but what actually intrigues me about it is how it goes against a general narrative by making it seem like the act was against his will

Sophokles, Trachiniae

Diodorus Siculus, Bibliotheca Historica

Herakles and Omphale, Elmer G. Suhr

I'm also fascinated Odysseus' in this moment of the arc, with rituals of friendships cut short and paths diverging where they might have otherwise continued along side each other. there is a tragedy and intimacy of it and the role it plays in the Odyssey that gets to me. Odysseus strings his bow and its a kind of crescendo of several different threads coming together!! and underneath it all, inescapable, Iphitos. everything's interconnected! we're all made up of the people we met along whichever roads we take!!

Greek Notions of the Past in the Archaic and Classical Eras, edited by John Marincola, Lloyd Llewellyn-Jones, Calum Maciver

The Odyssey, trans. Fagles

society6 | ko-fi | twitter (pillowfort, cohost) | deviantart

[lesbianneopolitan]

wdym tomorrow's the last day of 2024

I'm also kinda hyper because of the Monster and I'm sure I'll regret it later, but for NOW

[hitachiincest]

"PICK UP THE PHONE, F*CKER." (-'Bury Me In Black')

an edit of the Three Cheers For Sweet Revenge album cover but with adashu! using pics from panels of the official p4 manga by shuji sogabe ^^ 🩸

[seagull-scribbles]

*Something poetic about the duality of humans or the impact our environment has on our behaviours and lifestyles*

[jacksmusesdrv3]

So I'm taking from one of my old theory posts - roughly: 'the Ultimate Hunt may be a group formed of the DRV3 cast after the world became increasingly hostile towards Ultimates' - and setting aside specifics of that for now, expanding on hostility to Ultimates, specifically.

Because this is... unnerving.

The 'kill the very concept of Ultimates' part reminds me, that during the Tragedy itself-

-you would get comments like this, in some rando's notebook, about the survivors of DR1's killing game and their affiliation with Future Foundation.

Although the general public (in this state) would typically not care to trade their convenient scapegoat for the nuances of who's to blame for what - like for starters, HPA and the Steering Committee for orchestrating human experiments and covering up murders - there are also-

-conspiracy theories in print, about the Future Foundation and its 'protection of the Despair', who were Ultimate students that Makoto wanted to save from the brainwashing. While Future Foundation has its share of... issues, this book is clearly propaganda, and in this case it's especially fucked up because Towa Group was very directly responsible for accelerating the Tragedy themselves.

This could be a very bad omen for the future of Ultimates, especially since Towa Group were highly influential and boasted their ability to reach the people. To say nothing of 99 other organisations noted in the Alexander Magazine as 'the most influential worldwide', at least one of which may want to fill the 'void' Towa Group left behind, and could gain just as much, if not more cultish fervour left unchecked.

All the while distorting events to the populace in their own favour.

Lastly...

One of the books suggested that it would be imperative to learn from the Tragedy. And sure enough, in the time of DRV3, there is a book with the Complete History of Hope's Peak Academy- the most thorough and comprehensive collection of details on the events, including organisations like Future Foundation. No doubt one of the things covered would be the first case, where one Leon Kuwata used his baseball talent to shuck a ball through a tight space.

Under these circumstances, it's reasonable to be a wee bit leery of there being 52 files in a lab, a large amount with bloody photos and documented notation of 'tricks that culprits used', then being prompted to ignore this detail - and HPA's existence itself - as 'fiction' on some uh, decidedly arbitrary evidence. Just saying.