#an attempt at analysis by one a-u

[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.

[wheeliescoot]

It is not lost on me that noelle utilizes and weaponizes her childhood fear of ice (freezer, ICE-E) in the weird route as a mislead attempt to overcome it and become stronger…

[rumplereids]

wonderstruck.

part one. tags: spencer reid x fem!reader. tech analyst!reader. early-s1!spencer. a/n: tech analyst!reader won’t leave my little brain. i hope u like this :) masterlist. requests are open !

You were 21 when you got recruited into the bureau. Barely a graduate, and already on a FBI watchlist. Honestly, the only reason you’re under their watchful eyes is because of a lapse in judgment.

To celebrate the semester ending, your roommate decided that you both needed to get drunk. Being a psychology major with a pre-med roommate leads to tequila shots in your own dorm room. It’s the convenience and comfort of your own space that got you so drunk. This situation led to this: you admitting to your roommate, with heavy eyes, that you can “hack, you know. I learned when I was 15.”

She sat up from her place on the floor.

“Really? I don’t believe you!” she giggles, and then hiccups.

“I so can!” there’s indignation and a want to prove yourself in the tone of your voice.

“Okay, show me!”

Shuffling on heavy feet, you plop down in front of your laptop. A few clicks and the comforting clacks of your keyboard, and then a window pops open. You look at the wide-gaped mouth of your roommate. “What are you hacking?”

You hum, “I don’t know.”

And then you remember the talk from a few days ago. Two agents from the FBI’s Behavioral Analysis Unit came over to your college to talk about criminal profiling to psychology majors and anyone else interested.

Completely inebriated, you manage to hack into their database. Your hazy mind doesn’t forget to compliment the beauty and intricacy of the codes and firewalls you broke down.

At Quantico, Virginia, Technical Analyst Penelope Garcia rushes into her unit chief’s office.

“Sir, somebody is attempting to get into my system. I think they’re trying to communicate?”

Hotch follows Garcia into her office, the quickness of their steps catching the attention of Dr. Spencer Reid who was seated at his desk, skimming over a case report.

When Hotch gets into Penelope’s ‘lair’, his eyes squint, adjusting to the dimmed lights and bright screens. On the main monitor, a window displaying the barebones of a text chat is open.

<ATHEN411> ????

<ATHEN411> hiiiiidfgsd

<YOU> Who is this?

<ATHEN411> ohymgofd i didnt think anyonewould alsnwer

<ATHEN411> wh o it sthis?

<YOU> BAU Section Chief Aaron Hotchner.

<ATHEN411> omfdg i know uuu !! jason mentoined u

<YOU> Jason?

<ATHEN411> yhuhh jason digeon or sumn omg i cant tpoye

<ATHEN411> sorry

<YOU> Jason Gideon? How do you know him?

<ATHEN411 disconnected.>

You’ve completely forgotten about the conversation. Until, a few days later. You’re turning the corner of the hallway to get into your dorm. Backpack slung on a shoulder, arms full of your laptop, binders and a soft-bound copy of your final paper. You stop in your tracks when you see two men stationed outside your room’s door.

One man was in a shirt, jeans, and combat boots. He also had sunglasses on. The other had a permanent furrow to his brows, dressed formally in a suit and tie.

“Hi, can I help you?” you ask, hand reaching into your hoodie pocket for your keys and pepper spray.

The one in sunglasses holds up a badge and ID.

“FBI. I’m Agent Morgan, this is Agent Hotchner. Are you Y/N L/N?”

You gulp, wondering why they knew your name.

“Um, yeah. Why?”

“Can we talk somewhere private?”

Your bring out your keys, and you notice how Agent Hotchner eyes the pepper spray keychained to it.

“Um, yeah. We can talk inside? My roommate’s still out.”

You unlock your door and walk in, the agents following in after you. Dropping your bag on your desk chair, you turn to ask the agents, “How can I help you?”

Agent Hotchner asks, “Are you familiar with the name athen-four-one-one?”

You look up at them guilty.

“It’s athena-eleven.”

“So, it’s you?” Agent Morgan clarifies.

“Yes. How did you find me?”

The two men share a glance. A silent conversation passing with you unknowing.

“Two nights ago, you hacked into the BAU’s database.”

You look at them in suprise, “I did?”

“Yes,” Agent Hotchner says, passing a folder to you. Inside are images and a transcript of messages shared between a ‘P.GARCIA’ and ‘ATHEN411’.

“Oh my god,” you whisper, realizing what’s happening.

“I was drunk off my ass two nights ago! I’m so sorry,” that catches Agent Morgan’s attention.

“You were drunk?”

“Yeah, my roommate and I were celebrating our exams. I didn’t… Am I in trouble?”

Agent Hotchner raises a hand in a placating gesture, “You were drunk when you hacked into the bureau’s database?” Confusion and slight amusement evident in the tone of his voice.

“Yeah,” you confess, “It was just a dare! I don’t even remember much of it.”

Agent Morgan looks as if he doesn’t know what to think about the situation. You feel the same. Agent Hotchner extends a hand to get the file back from you, and you give it to him easily.

“Would you go with us back to the station?”

“What? For what? Am I being sued?”

“The opposite. I would like to conduct a proper interview.” Agent Hotchner explains.

“An interview? For what?”

“A job as a technical analyst at Quantico.”

You look at them, eyes furrowing in confusion and disbelief, “What? I can’t!”

“Why not?”

You gesture toward your desk, “I still have a paper to pass!”

Meeting Penelope Garcia was like a dream come true.

“I should have realized! The triple-stacked firewall should’ve been so obvious! The Black Queen signature!”

The blonde’s eyes sparkle, happy to meet a match.

“Athena-Eleven! I didn’t even notice you were in my systems until you sent your first message.”

You feel your chest puff up at the indirect praise.

“You were one of my idols,” you admit, “Your exposé on Griffith Industries was just… stunning! Absolutely flawless. You had a section in your code that I used to build my private server—” Agent Hotchner interrupts your spiel.

He gestures to the rest of the room, where agents were seated at a round table.

“This is Y/N L/N, the unit’s newest technical analyst. ” he says, and you give a shy wave. You get a wave back from the agent wearing glasses. He’s cute. Have you seen him before?

“This is Jennifer Jareau, our communications liaison,” you shake her outstretched hand. She’s so pretty, you start to think, gorgeous blue eyes too.

“You’ve met Derek Morgan,” Agent Hotchner says, and Agent Morgan gives a two finger salute, his hands wrapped around a coffee cup.

“Agent Jason Gideon,” you return his handshake, mumbling a shy; “Hello, sir. Nice to see you again.”

And then, “This is Dr. Spencer Reid—”

“Oh! You were with Agent Gideon at the seminar! You talked a bit about geoprofiling, and how an unsub’s subconscious can’t help but stick close to home, which helps you triangulate the—” Agent Hotchner lets out another soft cough.

“Um, yeah. I did. Nice to meet you,” he gives another small wave, smile close-lipped and awkward. Endearing. He’s really cute. “I don’t really shake hands.”

You nod, “I get that, germs and stuff. It’s actually, weirdly, safer to kiss.”

You don’t see the way JJ and Derek look at each other, nor do you notice when Penelope whispered, “Oh my God, there’s two of them.”

“Your code name, it’s for the Athena, right? The Greek goddess of wisdom, warfare, and handicraft?” Dr. Reid asks you, curiosity getting the better of him.

“Yeah. I love greek mythology.”

He gives you a smile, “I do, as well. I’m wondering about the eleven though. Does it mean anything?”

You tsk’d through your teeth, “The angel number 1111’s often seen as a spiritual wake-up call and awakening. I thought it was fitting, and I was 15 when I chose the name, okay? Excuse little old me.”

“That’s cool,” Dr. Reid admits. If he remembers your file right, you were barely 17 when you became a trademark and known name in underground hacking circles. He can’t properly meet your eyes, struck in awe. Athena. It’s perfect for you.

“Y/N formally starts her job with us in three days,” Hotch informs the team, “Be kind.”

With a final word, Gideon and Hotch start to return to their offices.

Derek straightens from his position on the office chair. “I am very kind!”

“He didn’t say anything about you,” Penelope teases.

“Ooh, that says a lot, Morgan. It says so much,” JJ teases back.

You smile at them, your new co-workers, taking the seat JJ was gesturing at for you. The three continue bickering, you start to tune them out as you make eye contact with Dr. Reid. The apple of his cheeks blush red, and you can’t stop the grin on your lips from getting wider. He’s downright enchanting.

[mntalbrakdown]

doin’ time - C. Fisher

masterlist!

mentions of: cussing, makeouts, smut… 18+ MDNI. fem receiving (fingering), cum play, piv unprotected (wrap b4 u tap)

synopsis: at the empty house party you play a quick game of cat and mouse with conrad

wc: 3.5k

a/n: i haven’t proofread this yet

gif from @thatonekimgirl

the purple pink and blue strobe lights that Conrad, Belly, and Jeremiah bought at Paty City made you look like you were glowing. the party was 70's theme and you were dressed in a lime green mini dress with gogo boots, you teased your hair to have a bump paired with a white headband. you had a graphic black liner and you felt beautiful. you were with Cam at the dj booth. you and Cam have always been close, you guys were touchy, but you never liked him, nor did he to you. in fact he told you about his feelings for Skye which you applauded to because you wanted him to be happy.

"can you guys play" Jumper the one who allowed Belly to buy the liquor started his sentence. which was cut off when Skye pointed at the "fuck the requests" sign they made

"sorry the sign speaks" you say sitting next to Cam at a random table

"but" Jumper continues

"respect the playlist" Cam cuts Jumper off with that he walks away from his attempt

"Steven curated this playlist with great intent" Skye says making it sound like a great medicine that could cure all diseases

"to make boys get bitches" you say jokingly which was true you saw four guys within 30 minutes pull a girl upstairs

"rest in peace to their backs" Cam jokes since there were no beds in the house to have sex comfortably with

"so how are you and Conrad" Skye asks you

"what do you mean" it was out of the blue, you didn't know what they were talking about

"y/n you can't be that clueless" Cam pokes at you making you squirm

"i seriously don't know what your guys' game is right now" you say searching their eyes

"he so very obviously likes you" Skye says

"you have some nerve Skye" you say mocking them since they are also in a similar situation with Cam

"what does that mean" Cam asks

"nothing" Skye and you say in unison

"all im saying is that man is smitten with you" Skye says making Cam nod his head in agreement

"yeah right since when" you say taking a sip from your coke

"since you and I got close last summer, he got really stiff and would clench his jaw when we would hold each others hand or even when i had my hand around your waist, his whole mood would switch" Cam says pointing all the times Conrad has been tense

"all those times Belly would walk into the room" you rebuttal Cam’s so very wrong analysis.

"ehhh wrong" both Cam and Skye said in the same time making you laugh at how alike they are

"i've ran tests and experiments, that man always sits next to you and looks for your vote in a decision," Skye says

"fuck you both" you say flipping them off

"time and place" Cam says at lightning speed

"i don't want to get scoliosis" you mock the previous joke you said before

"don't think that's how it works" Skye retorts but nonetheless they laughed as well

"hey y/n let's get a picture" Steven says pulling you away from the two others as Conrad was hiding behind him

"yeah sure" you say hopping off the table saying you'll be right back to the others

as you were following the two boys through the groups of sweaty highlighter bodies you were almost lost and by each step the gap between you and Conrad grew bigger. he looked right behind and saw what was happening. he extended his hand out so the gap would close and you grabbed on. you walked until you were at the bottoms steps of the staircase. surprisingly there was nobody there

"ok stand right there" Steven says as he was looking through the polaroid lens

"did you set this up" you whisper in Conrad's ears as you tiptoe

"no" he says flustered

"he's lying" Steven says making you shocked by his good hearing

"good" you say as you smile wide for the camera as you try your hardest to give Conrad bunny ears. you wait for the flash but Steven takes his time. you could feel Conrad's eyes on you. as well as his arm snake around your waist. were they right? did Conrad really like you? as you get out of your own head you finally get the bright white flash from the camera making this go by faster

"let me see" Conrad says as if he was out of his spell and going over to Steven to see the photo, but the thing about Polaroids is that you have to wait a moment to see the photo develop

"stay with me" Conrad says grabbing you by the waist to take you to the bottom of the stairs and sit

"ok" it wasn't like he asked you to stay it was a demand and you weren't mad about it

"I'm going to find Taylor" Steven says as he walks away

"wear a condom" you scream

"fuck off" Steven screams back

"so how are you and Cam" Conrad asks through gritted teeth

"he's good, going to see if Skye already asks him out" you say trying to slide the fact that you and Cam aren't dating

"oh, I thought you two were a thing" Conrad says trying his hardest to bite back his smile

"no, we're just really close" you say meeting his blue eyes that were now dark with a glint in his eye

"cool" he says not knowing what else to say

"cooool" you say not knowing how to carry the conversation

"yeah" was the only thing muttered from Conrad

"why cool" you say trying to see his thought process

"cool in the fact i spent all of last summer wasting my time with Nicole, no offense to her she's cool, just wanted to talk to you" he says searching your eyes to see if he struck a nerve

"you're cute, dumb and oblivious, but cute" you say as your hand goes to his hair and push it to his ear, making him almost pur to your touch

"i'm the oblivious one" he says in a confused and questionable way

"yes, I'm the one talking to you" you say in the same tone

"you clearly never looked my way" he says pointing at your chest

"bullshit" you say leaning against the railing

"everyone else picked up on it" Conrad says

"ok fine, i was the oblivious one" you say surrounding "give me the photo" you say as enough time has passed so it would be devloped

"what would you give me if i do" Conrad whispered lustfully which caught you off guard

"pfft nothing" you says as you extend your arm to get the photo from his other side

"than no" he says grabbing the photo and extending his arm backwards so you couldn't reach it

"fuck your long arms" you say climbing over his lap and trying to grab the photo which made your boobs hit his face making him kiss them "oh shit my bad" you say retracting back to your previous seat

"no" Conrad says wrapping his arms around your waist to keep you on his lap

"oh" you say as you see Conrad lean in for a kiss and you go in, letting all your muscles relax and allow you to really enjoy this kiss, both your hands on each side of Conrad's face as his are trained on your waist and tangled in your hair

"i really like you" he says pulling away from the kiss to look up at your face seeing how swollen your lips have already gotten

"good, because i like you too" you say smiling at the fact some of your pink lipgloss got on his lips "let me see the photo" you says looking deep into Conrad's eyes as he hands the photo to you

it was you the highest you could possibly go on your tiptoes to give Conrad the bunny ears, but even than you could barely see your fingers. your face was looking straight at the camera with the most derpiest smile you could plaster on. he on the other hand was looking deep into you, he wanted to savor the moment of how you looked while someone takes a picture of you, no one ever does that, their main priority was to look at the lens. and even now as you look deep into the photo and analyze it. Conrad is looking at you seeing how you take something as small as a picture and critique it

"why are you looking at me in this" you say flipping the photo to him

"i don't know" he says, but he was obvlously lying, you could tell he was lying when he says those three words

"you're a liar" you say as you go in for a quick kiss which makes Conrad excited, but you quickly pull away

"booo" he says like a seven year

"not until you tell me the truth" you say looking deep into his eyes as he eyes your lips to make sure he catches everything over the loud music and also because he wants to continue kissing you

"i never get to be that close to you and i really liked you and thought you were dating Cam so I had to take advantage of my time with you" he blurts everything out ready to kiss you again

"awe" you say clapping both of your hands to your face making Conrad pull you into a kiss by grabbing you by the back of your head

"get a fucking room" Jeremiah says to the both of you

"we'll take yours asshole" Conrad says jokingly

"ewww gross" he says walking down the hall

"do you want to" Conrad says trying not to push anything, but he did really want you, but he wouldn't say anything because he didn't want to sway your vote

"umm sure" you say putting a piece of hair behind your ear

“here follow me” Conrad says as he carrie’s you off his lap so you could stand and than he got up.

he grabbed your hand in his and led you up the stairs. you were close with Belly so you knew enough about the house layout. but it was all empty now so it felt odd and anything but a home. it was just a house now. his room was empty. you tried to picture having a good comfortable time but you couldn’t. he could see the expression all written on your face.

“we could use a floaty” he says scratching the back of his head

“and pop it” you laugh thinking of the idea of doing it only to pop it in the middle of it

“i want it to be nice” he says trying not to have just a hookup. he really liked you. he wanted this night to be special. he finally got his girl

“it could be nice another day, hooking up at a party is already so unclassy” you say pulling him for a kiss

“ok but than where” he says in between your kiss

“what about the bathroom” it was the only place that could be remotely nice

“ok follow me” he says kissing you once last time on your gore head, lips, and lastly neck

Conrad grabbed your hand and took you down the hall to the bathroom. surprising it wasn’t busy. when you opened the door Conrad immediately locked the door. after he instantly cornered you at a wall so you couldn’t leave him. which you weren’t planning on it either way

“hey” Conrad said leaning his forehead on yours

“hi” you say leaning in to kiss him. leaned in for a kiss. it was deep and passionate. you felt yourself relax. your shoulders fell down as your hands followed his face to his jaw and let them stay there. as Conrad was deepening the kiss you let out a slight moan. it was music to Conrad’s ears. he wanted to hear more. he was hungry to hear more.

“i need you” Conrad pulls away from you with blissed out eyes

“fuck- me too” you say as Conrad picks you up and sits you at the sink

he lifted your dress up to reveal your dark red laced thong. he felt himself snap. he needed you. he needed to be inside you.

as he pulled the thong all the way down. “god you’re so wet” he puts the red lace in his pocket for ‘safe keeping’

he licked his two fingers as lubricant and started to finger you. you followed his fingers as they disappeared and reappeared. sucking on your bottom lip to not draw attention to the bathroom. even though no one could hear you over the loud music.

“look at me when i’m fucking you” Conrad demanded. he wanted to see how your face contoured at his actions. making him feel good inside

if he could he would do this to you all day. he’s been dreaming about this ever since he could remember. he continued with his action. adding fingers as he goes. as he did you gasped into his forearm almost drawing blood with your red nails. Conrad was circling your clit with his other hand to speed the processes up. he needed you.

“Conrad” you whispered lowly and it snapped. Conrad and you. with the white liquid falling down his hand.

“god i need you” as he licks his fingers clean and leaning down to kiss you, tasting yourself

“you’re all i need” you say with fucked out eyes

Conrad unbuttoned his pants, dropping everything with it. making you take his shirt off. leaving him exposed. you opened your legs wider for him.

“fuck” Conrad leans in to kiss you biting your bottom lip as he pulls away “i don’t have a condom” he says flatly

“it’s fine, i’m on the pill” you say as you get the cum spilling from you and rubbing it on Conrad to lubricat him.

“i need to feel you” Conrad says desperately as he pushes inside you. kissing you to hide your moans.

he was huge. you don’t know what you were expecting but he was stretching you in the best way possible. the whole time knowing Conrad you never ever thought about his size. as he entered inside you, you leaned against the mirror and exposing your neck. moaning loudly to the way Conrad is making you feel giving him a confidence boost. as he continued his actions you would look down because you liked the view and every time Conrad lifted your head to see him. and when he did you moaned because he was the one fucking your cunt.

“let me hear you” Conrad whispered in your ear

“fuck Connie” you say grabbing Conrad and making out with him

something about you being fucked in retro clothes. and how Conrad liked the dress because he could see your boobs which allowed him to leave hickeys down your chest as a manrepelent. that he is the one for you and only you. you tugged on his hair to make him moan, which led to him kissing you deeply, hitting a new spot

“y/n you need to take a picture with me and Taylor” Belly says loudly through the door

“mm- yeah on it just doing some-e touch ups” you struggle to speak because Conrad just kept going deeper and circling your clit trying to make you mess up

as you heard the steps walk away you let out a loud moan which you weren’t expecting. the white substance running down your legs as Conrad just looks amazed at you.

“that was so hot” Conrad says hiding his face into your neck leaving new hickeys to decorate your body in the morning “turn around” Conrad demanded

“but-“

“please it’ll be quick”

and so you did. you didn’t know why but you trusted him with everything you had inside of you. maybe because you knew him amongst all your life, but either way he was making you feel so good today.

he turned you around so your face was looking at the mirror. it was fogged up from the steam coming from the both of you. Conrad aligned himself again going deeper and faster keeping the same pace he liked how your face would come close to the mirror almost hitting it. your eyes were watering and you were trying not to let them stream and ruin your makeup, but he just kept going

your hair was all sorts of tangled. your eyeliner and masacra running and your lipstick was smudged. your boobs were spilling out from the top of the dress as Conrad kept pounding inside of you.

“you look so fucking hot” Conrad says looking at you from the mirror

“yeah” you say half moan half question

“fuck yeah” Conrad affirmed

“take a picture” you say grabbing his phone from the counter and putting it on selfie mode. letting both you and Conrad in the photo as you but your lip and he concentrates on making you feel good

“fuck that was hot” he says as you put it in his hidden photos

you would look at his face from the mirror he was so focused on pleasuring you. and than another moment he would make eye contact with you through the mirror. his naked body heaving from the lost of air.

he leaned down to where your ear was nibbling at it and licking it to add more stimulus and make you come which was successful. you grasped into the sink so hard that you thought you would break it and moaned so loud that Conrad made you face him and kiss him to suppress the noise. because even though he liked hearing you, that was loud enough to hear over the music and didn’t want to stop the fun

“Conrad-” you say clenching on Conrad’s shaft

your stomach was tightening for the third time this night. you felt your body come to a stop, everything inside you started to tighten. you were sure your mascara was running

Fuck, fuck, fuck,” you ramble. He speeds his movements, knowing you’re close

“You’re so beautiful.” he thought. The way your head is titled back, your mouth wide open. He loves the way your eyes were screwed shut in pleasure. He couldn’t help but smile, not being able to stop admiring you.

He watches your face as you unravel, feeling him come close behind. “Ohmygod, fuck. Conrad, please,” you begin to pull away from him and look forward, the overstimulation almost painful. you came so hard tipping Conrad over the edge and following behind.

as he pulls out you felt the cold air hit you and you arched your back, Conrad looks at the sight and wishes he could take a picture. he uses his fingers to push the cum in.

“what are you doing” you ask standing straight but losing your balance

“i want you to walk around with my cum inside you” Conrad says leaning in to kiss you

“you’re so annoying” you say turning around to the fogged you mirror and cleaning it with your hand. fixing your eyes and smudged lips.

“i’m keeping these” Conrad pulls your underwear from his pocket

“no!” you yelp running to grab them but breaking your ankles

“did i do i that” Conrad asks at your lose of walking skills

“shut up” you say walking slowly to the door and walking away struggling

“two new photos today” he says referring back to the polaroid and the explicit version

“only for you” you say fixing your dress down your body as you take your shoes off to be able to walk a little better

“what now” Conrad asked

“i’m tired let me lay with you” you say wrapping your arms around his neck to kiss you

“ok” he says with a polite smile

you didn’t really understand how he could destroy you one moment and than the nicest person in the world. a person who would want to give you the world. and you enjoyed it. it kept you on your toes.

you quickly run to his room to make sure one one else could see your state of fucked up appearance. but your plan failed as Conrad quickly swooped you taking you in for a quick kiss making you smile.

“i have some extra clothes if you want” he asks pulling them out to you

“ooo give me” you say changing quickly in the corner of his room

“you’re funny” he says laughing laying down on his blanket and pillow

“what why” you say putting the shirt over your head and walking back to him

“you were all about yourself a second ago and than now you’re all shy” he says poking you

“oh shut up” you say moving your body so your back faced him

“make me” he says towering over your face so he could be kissed by you

a/n: i take requests!

[literatureloverx]

D A Z A I O S A M U

Dazai analysis [x relationship with his potential darling]

BSD Dazai x ideal type fem!reader

Disclaimer: MDNI, depression, melancholy, suggestive in general.

It would be better if you read THIS first.

I wanted to write NSFW head canons but guess who is in a soft mood? I’m going to write that in the near future. I promise. 🩵

No matter how much Dazai plays the role of “the player” and tries to distance himself from any deep connections to avoid being hurt, it doesn’t change the fact that he is a deeply wounded child.

He wears a mask of indifference and charm, yet behind that façade lies a heart ravaged by loss and abandonment.

“…anything I never want to lose is always lost. This is how it’s always been for me. Everything worth wanting is lost the moment I obtain it. And nothing I pursue is worth the cost of prolonging this life. The suffering.”

He feels that everything worth wanting disappears the moment he obtains it.

He didn’t feel anything until he learned to love, and only then did he truly understand the depth of his pain after losing the person he cherished the most—the one who, despite his brokenness, refused to abandon him.

The only person who ever loved him unconditionally; Odasaku.

His emotional state mirrors the chaos in his life: chaotic, uncertain, and perpetually in search of something he can never quite grasp.

In my opinion, his sexual behavior reflects his internal struggles—soulless, empty, and loveless.

It is desperate and fleeting, yet he remains too far removed from his true self to trust anyone with the full extent of his desperation.

The women he meets become mere distractions, tools to temporarily fill the void in his heart.

He yearns for connection and someone to understand his pain, hoping to be saved from his own darkness.

Dazai is secretly a romantic at heart, despite his flings and possible one-night stands that never satisfy his deeper longing.

These encounters leave him feeling more empty than fulfilled.

He has left “so many women crying,” as Chuuya puts it, because they cannot fill the void he carries within; they cannot bring him the solace he craves.

What Dazai truly needs in a partner is someone who can fill that void—not with superficial affection but with unconditional love and understanding.

If he had met his darling during his Port Mafia era, their story would be profoundly different, prompting a deeper exploration of that specific timeframe later.

Unlike Fyodor, who embodies an “all or nothing” mentality, Dazai strives to connect and to find something that might lift the weight from his heart.

Like Fyodor, he would either be entirely devoted to his darling or remain uncommitted altogether.

He would struggle with trust, finding it difficult to let anyone in and to believe in the possibility of lasting love.

Dazai would instinctively pull the “you can fix me” card at the beginning of the relationship, testing his darling’s resolve and kindness.

He would charm his darling with his wit and playful banter, but beneath that playful exterior lies a fear of vulnerability.

Dazai craves authenticity, a genuine connection that transcends the physical. In the presence of his darling, he would grapple with the realization that she sees the parts of him he hides from the world.

His darling’s unwavering support and compassion might frighten him, but she would also inspire a flicker of hope—a chance to feel, to love and be loved without fear.

As their relationship unfolds, Dazai would begin to experience moments of unexpected vulnerability, caught off guard by how easily his darling sees through his carefully crafted walls.

He would share fragments of his past—stories of loss, betrayal, and the darkness that lingers in his heart—creating a bridge between their souls and drawing them closer.

Dazai would wrestle with self-sabotage, often retreating into his old habits and pushing his partner away in an attempt to protect both of them. (My poor baby, I want to hug him.)

He would fear that his darling might wake up one day and realise that she deserves better than him, wrestling with his own insecurities.

As time passes, Dazai would begin to understand that love is not a weakness but a strength.

His darling would teach him that it’s okay to lean on someone, to share the burden of his past.

With every shared moment, he would learn to let go of the fear that had held him captive for so long.

Just when he begins to believe in the possibility of a brighter future, a haunting shadow from his past would emerge, threatening to shatter the fragile bond they’ve built. (I’m making some drama out of this)

A former associate from the Port Mafia might reappear, a reminder of the life Dazai had tried to escape, forcing him to confront his own demons. (I’m delusional but imagine this)

He would realise that he needs to take action and commit to the relationship, showing that he chooses his partner and their love.

Through it all, Dazai would discover that love is not just about finding someone to save him but about allowing himself to be vulnerable and to love in return.

He would learn that while the shadows of his past may never fully disappear, they no longer have to control him.

His partner would be his light, illuminating the path toward healing.

[flow33didontsmoke]

hi! i'm not sure if ur taking fic request atm, but if ever u r, can i ask for a fic where f!reader also works for the bau, she is hotch's daughter, and she is dating spencer reid? 🥹 thank uuuuu

hi there ! i’d write it with pleasure, tysm for your request. :) (reminder: english is not my first language so I might be wrong/get lost in naming stuff lmao. it’s also my first fic since quarantine.💀🙏)

“That’s kinda weird”; Three times getting noticed by Hotch + one where he gets confronted.

pairing: Spencer Reid x Hotchner!f!Reader (playlist)

summary: see request

warnings/type: angst, fluff, mention of a sex life, mention children kidnapping, no mention of Y/n, can be read as gn reader, SFW, not proofread (my bad i’m season 2 and being fed with fanfictions), fear of changing and going forward, reader and Hotch are kinda distant

word count: 1.81k

taglist and asks open.

1. Facial communication

10:07am, Behavioral Analysis Unit, bullpen.

You were sat at your desk, not really far from Spencer, looking up at him from time to time. It’s not as if your relationship was that new but it was still blossoming. However you weren’t over those looks you could give the other, the tiny smile on the corner of your lips when you catch the other’s eyes, mostly when you can't help thinking about last night. Skin against skin, warmth against warmth, and that relaxed feeling when waking up in the morning after those activities. To be honest, it may never fade. Your co-workers would find it cute if they noticed or just laugh at it at first if they catch you at the beginning, but they would stop with time.

It’s been over two months you’re dating, and a year of knowing each other, when you joined the BAU. Somehow, even by being the unit chief's daughter you’ve never got the chance to meet him before, as you were always out or the nose in your studies. Surprising right ? But to your father’s dismay, he would have preferred that it wouldn’t happen. That you would have continued to do your own stuff, become a pianist, instead of deciding to follow the same dangerous path as him AND decide to get in a relationship with one of your co-workers. As if you couldn’t get more involved with them, with a dangerous life that could, will definitely change you. But you were young, stubborn and now in love.

As you looked up at Spencer just to get a brief look at something else than down at your papers, somebody scrap his throat making you look to the side where the sound came from. You locked eyes with your father as he was walking to his office, eyebrows slightly furrowed in your direction. You feel your cheeks heat up and look back down at your work, as if nothing happened. This may be nothing but it was enough to feel embarrassed about, facial communication being important between the two Hotchners. You haven't told him but he is not dumb, it was that protective father scold, the "don't even come next to my daughter" type. Spencer seemed to have noticed that small interaction as he became a bit clumsy with his papers, which made you grin.

2. Longing touches

5:18pm, Kansas City, Kansas.

Here it is, the final moment. The UnSub was finally caught, Albert Schumacher an ex-teacher who couldn't bear the thought of being separated from his beloved job. If he couldn't take care of children, why not making his own kindergarten ?

Because of the sweet month of November, it was already dark at that time, and cold, but not enough to be blinded by the night. The unsub in the car, Spencer was once again to your side, his hand on the small of your back as usual. The case was heavy, but it was finally over. You let out a breath as he was just resting his hand here, stroking his thumb a bit as an attempt to provide you a bit of comfort. Honestly, if he could hold you closer, he would. Even in front of everyone, gluing at your side.

An hour and half later, you decided to take a walk to clear your mind. To warm your heart through Kansas' cold, Spencer decided to keep you company. Through the walk he resisted the urge to take your hand in his, wrap an arm around your waist, hold you, hug you, warming you with his body warmth to keep you from shaking and feeling yours as well. He hated when other people touched him but he never got enough of yours. He kept wanting more even more because of the situation with your father who still didn't know about the two of you.

3. Keeping compagny

9:10pm, FBI private jet, Kansas City, Kansas -> Quantico, Virginia.

It was late, the winter night and cold were almost overwhelming, the case was over, a case involving children disappearing. The flight from Kansas City to Quantico may have been a two hours flight, but everyone was tired from all the efforts given in the last few days, few hours of sleep in the agents' system and the possible small jet lag that might hit the next day, the cold hitting their bones.

When you sat in the jet, you sat as a reflex not next to your father but next to Spencer, seeking comfort to him just like most of your nights after work for the last few months. He didn't realize either that he took the seat where your father was about to sit on, as he just sat to your side, closer than if he was sitting next to anyone else. Your father walked, prepared to sit next to you but stopped when he saw Spencer almost glued to your side in a blink. Instead, he sat in the seat in front of him, keeping a visual on the both of you. It's been a while since he has been observing you, your bond. He knew something was happening, not just because he was your father but also because he knew there was something happening, something above co-working, above friendship.

You were doing your best not to show it even when going back together from a case but right now you just didn't really care hiding this. You were both too exhausted to continue on this, maybe it was the irrationality of tiredness talking but anyway. Everyone knew there was something between the two of you, he would have known a way or another. Fuck the way you planned again and again to tell him, you just want to lean into the other and sleep until the end of the flight.

Everyone took a small nap during the flight except Hotch who was keeping himself busy, thinking back about the details of your position, the way you leaned to the other in your sleep. He thought back about the glances you throw to the other, the touches and the more he thought about it, the more he was upset.

Two hours later, you woke up as long as the other as the plane had landed. You give Spencer a small shake to his shoulder to wake him up. At the same time, you saw your father getting up and giving you a quick look that told a lot. He seemed tense at you but you shake that thought off as Spencer woke up, looking at you. Oh, how you couldn't wait to go back to his apartment and just lie in the bed next to other and have rest.

You both get off the plane and see your father outside. Usually, he would wait for you to at least wish you a good night/evening or something of that kind, but this time no. He didn't go right away but when you got off the plane he was just starting to walk away.

"Good night..?" you said to catch his attention.

It visibly worked as he stopped walking. He looked at you with tired eyes but still with distance in his look.

"Good night..." he answered with a small hesitation. He seemed to want to add something so you just let him talk, even if it was a bit tensed. "Do you need a ride home ?" he added as he proposed you usually, but already knowing the answer this time. Not that he never did but this time he was just sure. He never liked the co-driving with Spencer. You had your driver license and you could afford for a car, why relying on your co-worker even if you lived not so far from the other ? He didn't need to make express his discontent to make himself understood this time. He wasn't waiting for an answer.

"No thanks.. Spencer is driving me back home tonight." you answered, it was a bit awkward but you tried to get past that.

+ Confrontation

He nodded and scoffed a bit. "Yeah, of course."

You felt a tinge of guilt at this, something was wrong. You may know why he reacts like this and you don't think to have the mind at this at the moment, and you don't think he has either. "What do you mean ?" you asked, oblivious.

He faced you, looking at you in the eyes. He was silent at first but finally answered. "You know what I mean." There was a hint of venom in his voice. He kept his voice low enough for you and Spencer to hear. Spencer who was just in the back, tired and uncomfortable. This was clearly not how he wanted to get things clear about your relationship and neither do you.

"Then tell me. Tell me what you mean, what's wrong." You replied, looking at him in the eyes. You knew it would hurt but the conversation had to be done, and if he was going that way then his suspicions would be confirmed that way.

"What's wrong is this," he said, referencing to Spencer and you, giving him a look. "Do you have any idea of how unconscious it is ? Dating your co-worker, really ? And without even preventing anyone, you could get more than suspended, did you even think about your lives ?" he added in his boss tone. Yes, he wasn't just your dad but also your chief, but to be honest, you weren't expecting your unit chief talking to you.

All you did was nod once, looking slightly down before raising your eyes to him again and as you were about to answer, throat tight, but he speaks again.

"I'm not finished. What if one of you gets in danger trying to avoid an something to the other ?" He added, his voice was hiding of emotion by his attitude. You catch a glance of Rossi in the back who was about to call for your dad to calm down a bit, to let his role of chief down to let the father speak. He knew that he just wasn't ready for you to grow up as your relationship looked serious and not just a story without tomorrow. He was still getting used to having you around at the BAU, his daughter, what's left of his family alongside Jack.

You said nothing, letting him cool down. The atmosphere wasn't as tensed but more awkward. "And- and he's too for you. Why didn't you choose someone your age ?" he added after a small blank. You knew it was just an excuse, your gap with Spencer wasn't even too big, around five years. You knew it was an excuse not to say "why didn't you choose someone who's not from the FBI ?", questioning your career choices.

A/N: I'm so sorry I didn't know how to end this so here it is. Might do this series though ? I would like that. I want to make a happy ending but I just can't align more words. I don't think anyone would be interested btw but let me know. Perhaps it made me think about the first chapters of that series "Spencer x Prentiss!Reader" if you read it but I can't explain why lmao. It was so weird how I wrote this: I started by 1 then continued with 3 and the bonus then ended with 2 so I'm sorry if it was short lol

[yameoto]

yam love love love that analysis on cate you just posted and was curious what your thoughts are on queers (lesbians in specific obviously) reading her as a closeted lesbian going through comphet?

tbh i could talk about this for hours but would just like to say that she legitimately had queen maeve posters all over her childhood bedroom lol didn’t believe that soldier boy shit for a SECOND.

comphet reading of cate dunlap ft. mariecate

TLDR so u don’t have to read the whole thing; all of cate’s relationships with men are overall fake and do not revolve around love, rather the forging of an idealised identity formed around media (comphet Classic). cate’s only real raw genuine untainted relationship is with a woman. ft. mariecate

id love to my favourite hobby is looking at characters through a orangepinkwhite tinged lens. cate’s relationship with luke fits the comphet bill almost too well. firstly, cate being locked up her whole childhood means the formation of identity would be entirely based on media. a very heteronormative landscape of media, which aligns with traditional comphet. you could say her relationship with luke—literally golden boy—is comphet based, the ‘gold standard’ for a relationship cate’s drawn from all that she’s consumed in her childhood years. effectually, cate’s entire early life was robbed of her. and here, she achieves her perception’s ‘perfect’ idea of a life through luke, and forms her entire identity around him (hence her desperation to keep him). this is especially evident in the fact she changed her major to ‘hero management’ just to support luke’s career. to fully commit in shadowing him, for the rest of her life.

except, it’s fake. the entire relationship is fake. by the time of the show, cate has erased and changed and warped luke’s memory, his identity to the point where his mind breaks by the pilot. the fauxness and dysfunction of luke/cate’s relationship despite their image of unattainable perfection is probably her largest comphet indicator. maybe she loved him (not enough to remain faithful, however), but it reads as more of a subconscious love of what he represented, and something to anchor her identity to, which she’s never had a chance to form. as well as a means as to gain shetty’s affection and trust, no matter if she thought it was for his own good or not. her relationship with luke was poisoned, for a multitude of reasons.

(sidenote: cate/luke comphet reminds me of jiper comphet down to the false memories piper’s charmspeak and jason as the golden boy who literally explodes so like. there’s that’s free tidbit for anybody who is tapped the fuck in.)

cate has been so deprived of love she seeks it wherever she can find it. hence her stint with andre, which obviously ends in shambles because it’s foundations are already shaky, considering she’s cheating on luke with him, and andre is fucking his best friend’s girlfriend, but is also disingenuous, because cate’s compulsion powers arguably affect andre the secondmost to luke (though, by a wide margin). these are her two only romantic interests, and they suffer the worst consequences of it.

enter.. marie moreau. and cate’s relationship with marie is more genuine than any of her romantic relationships, which i think is the most telling thing. cate and marie serve as foils to each other: both in the manslaughter of their loved ones, the way shetty attempts to use them, and how can you NOT ship two reflections of each other?

in the finale, cate reaches out her hand, and andre can’t take it, because he doesn’t trust her. you can’t blame him. inversely, marie is the one always reaching out to cate, who is constantly defending cate’s intentions and her motivations to the others—when cate doesn’t deserve the benefit of doubt. partly, it’s because marie has known cate the least amount of time, making the betrayal sting the least. but also, cate’s relationship with marie is also the one least tainted by her compulsion powers; marie is the least affected by cate’s manipulations (to love her, to stay with her), and yet, despite marie not being compelled to do so; she still retains her faith in cate. that cate is good. that cate can be good, which is a fact not even cate believes in.

marie actively sees through cate’s compulsion, and later, nulls it. there’s a reason why marie is the one to discover cate’s betryal. there’s also a reason why marie is the one to blow cate’s arm off when saving jordan. in the same episode that cate reaches out and andre draws away, marie reaches out to cate, and cate draws away. that is a very direct comparison. it also speaks to cate’s larger unwillingness to accept love that is untainted, either fear she herself will ruin it, or because she doesn’t think she deserves it.

anyways, all this to say that yes, cate could totally be read as comphet. and mariecate is totally metal as they are, romantically involved or not.

[lexikamics]

Luka Character Analysis

While all the characters in alien stage deal with some theme of control given the fact that they are literally pets I wanna explore how Luka deals with this theme specifically.

This is all my opinion and I would love to hear if u disagree or have anything to add cause I loveeee talking about this stuff. I’m probably just restating a bunch of stuff other ppl have said but I think I got some new stuff here… hopefully.

Main points

1) he’s a designer baby

2) his branding location

3) his heart

4) his age

5) his training

6) how this control leads to him manipulating others

7) other things

Luka is THE designer baby

Luka’s biology is not even something he can control. Even his genetics were designed by aliens showing how not even his nature and bodily functions is not something he has autonomy over.

Luka has surgery scars possibly from treatments done to benefit the aliens.

(From Luka’s bday post) Luka looks towards possible attempts to create him or recreate him IN HIS BIRTHDAY POST. This image always has an affect on me omg..

“Luka was born this way because I created him” (the guardian interview thing)

Luka’s Branding

All of the other main characters in alien stage have their brand either on their arms, neck, or shoulder area. This is why it’s odd that Luka’s branding is on his hip. This could mean a lot of things and probably does but my ongoing analysis is this. Brands are meant to be seen, they exist so people can look at them. Lukas is the only one with a brand in a place that stays hidden.

To me this is because the aliens like Luka because he appears to want to participate in Alien stage. He appears to enjoy being on stage and barely even wears a collar. In the same vain his brand is hidden as Heperu, his alien, doesn’t want other aliens to see Luka’s reluctance. He places his brand in a place inconspicuous so that the aliens can pretend Luka has control over himself. This is aided by the extent of Heperu’s control as it is so ingrained in Luka that even if it isn’t acknowledged Luka has no other choice but to obey. The fact that Luka can appear so willing is proof of just how much agency he lacks.

Another advantage of his branding placement is that while it remains hidden to other people it is obvious to Luka. It is very easy to see something on your hip when compared to you neck. The brand is to remind Luka he is under control while not reminding anyone else.

(Guys I couldn’t find the bigger version) when getting branded Luka lifts up his shirt while others seem unconscious or constrained. Showing just how deeply Luka is controlled that he willingly helps getting branded in order to give himself the illusion of a choice.

His Heart

Luka has immense control of his heartrate like his first song is literally called “ruler of my heart”. (For this section I assume the amount of purple on his finger correlates with the pumping of his heart.)

Luka was trained since birth to control his heart rate and fear. This reflects how even his most basic and unconscious actions are manipulated in order to benefit Heperu. It shows how collar or not he is under Heperu’s control.

An aspect of this can be seen in the flashbacks from All In when after the incident with Hyun Woo his finger tips turn purple. Whether Luka is surprised by this because it shows he was able to change his own heart-rate for the first time or because his heart-rate changed without him allowing it is ambiguous. Regardless it shows how even during important emotional situations Luka is always striving for more control over his heart just as Heperu had intended.

(Both images from the interview w Luka)

His Age

Luka is 30 years old. All the other competitors are in their early twenties, a time in your life when you are still not completely independent. Many people their age are in higher education and may still live with their parents. While other competitors should definitely have much more independence then they do they still are children in a way. Overall compared to the other contestants Luka is supposed to be in a stage of his life with much more autonomy. This further reflects his lack of control as he is at an age when he should be in control of himself and still has less freedom than a toddler.

Training

Growing up Luka has been under much more training than most. Heperu often trained him or outreached doctors and specialists to help make him into Heperu’s image. Heperu himself even notes it more extreme than what most aliens do showing how even compared to other humans Luka has very little agency as most other aliens simply enroll their humans into Anakt Garden.

(guardian interview)

(Interview with Luka)

Luka’s diet being monitored also shows how Heperu controls all aspects of Luka and how this harms Luka.

How this leads to Luka being manipulative.

This affects the way he interacts with the stage. I’ve seen many people say he manipulates his fellow competitors to survive and while I think this is in part the reason, given how his popularity already protects him I don’t think it’s the main one.

Luka controls his heart rate not only because he was so thoroughly taught to but because he wants to himself. Being able to have complete control over his body and actions brings him comfort as he has usually has none. His heart rate is something that only he can change which leads him to control it heavily and this pattern continues outside of his heart as well.

On the stage Luka does the same thing. He manipulates the performance and his performance mate for the sake of simply being able to. It’s clear his owner has no control over his performance. He seems shocked when Luka is beat up by Mizi while Luka clearly had pushed her to do so. The stage is the only place Luka is given autonomy and as such he wants control to the fullest extent pushing him to control every aspect of the stage, including others.

This is seen when Luka frowns as soon as Till notices Mizi as suddenly the round is out of Luka’s control.

In a way it’s a self fulfilling prophecy as his whole life Luka has been controlled to benefit Heperu and now the only way he can achieve any sort of control is by doing exactly what heperu wants. To gain control of his heart he has to give into his training. To gain control of the stage he has to win. Even the control Luka does have has little power. He can do what he wants but it changes none of the effects.

(Lukas interview) shows Luka is less focused on survival on stage and instead performance and control.

The whole comic where Hyuna describes singing as the one place she has control over herself to Luka describes this rlly well. Especially as when she does this the text is placed over Luka singing showing how he himself uses singing as his only pathway to freedom. This is even further explored in the last panel where Luka says that Hyuna is his. While interpreted as something sweet by Hyuna it definitely could have darker undertones when considering Luka’s tendencies to control anyone he can, or even foreshadow what happened to Hyun Woo.

Other stuff

Theory:

Now we’re getting into theory territory. The resistance has attempted twice to rescue someone. Both happen to be on Luka’s matches. Luka specifically led to Mizi’s ability to be rescued, directly pushing her to fight him which led to Hyuna having the chance to take her. It is possible Luka could be working with Hyuna.

With this theory you could also explain the moment where Luka gets upset when Till notices Mizi. If Luka is aware of Hyuna’s plan and Mizi being in the crowd ruined it, then it would be reasonable that he would accidentally break his mask by showing his distress at this.

This is definitely a reach of some sort but I think the concept could still be interesting as it implies Luka could’ve escaped with Hyuna but instead chose to stay to help others escape, or due to brainwashing. Possibly leading to Hyuna’s complicated feelings towards Luka. Overall though Hyuna and Luka’s relationship needs to explored a lot more before any of this could be close to true.

Character profile

Luka is the only character whose profile shows neither his likes nor dislikes, this could represent how due to the extreme control Heperu has over him he has been unable to form his own identity or express any of his opinions.

The end

Anyway that’s my rambling. Definitely missed some stuff but hoped you liked it. Thank you for reading this. All this is my opinion and I would love to hear critiques and other opinions please anything if it means more content.

[familyabolisher]

hi if u don’t mind me asking, could u please elaborate on your thoughts on the critique of contemporary anti-intellectualism (specifically on social media)? i’m legitimately curious and enjoy a lot of ur analysis and commentary i mean this in good faith :)

Broadly speaking, the philosophical concept of anti-intellectualism tends to critically describe the ideological + rhetorical relegation of intellectual production to an elitist practice fundamentally at odds with the interests of the layman; and, crucially, the treatment of these categories as fixities. I disagree with the propositions of that philosophical discourse as well, but that’s not always the form that the discourse takes on this website. On here, ‘anti-intellectualism’ is more of a vague catch-all used to describe anything from people who express frustration with the literary canon & mainstream schooling in ways that don’t coddle the sensibilities of people with literature degrees to people who come out with outright fascistic views on provocative art; it attempts to corral what are in fact very disparate positions and perspectives under the umbrella of insufficient ‘intellect,’ often shorthanded to ‘reading comprehension’ or ‘media literacy’ (or ‘[in]curiosity,’ a new favourite) without any materialist investigation into what we mean when we talk about intellect and literacy and a lack thereof or whether this is a politically expedient description of the dynamic[s] in question.

When I say materialism, I mean it in the Marxist sense, ie. as a counter to idealism—because what’s being described here is a fundamentally idealist (and therefore useless) position. The discourse of anti-intellectualism as it exists on this website relies on idealist propositions—people lack curiosity, they lack interest, they are ‘lazy,’ they are ‘illiterate’ where ‘illiterate’ is not a value-neutral statement about one’s relationship to a socially constituted ‘literacy’ but communicating a moral indictment, at its worst they are ‘stupid,’ ‘idiots’—these descriptors rely on an assumption of immutable internal properties rather than providing a materialist description for why things are the way that they are. These aren’t actionable descriptors; at best they’re evasive because they circumvent serious interrogation of the conditions they’re describing, at worst they’re harbingers of an inclination towards eugenicist rhetoric. The discourse casts those who are ‘illiterate’—which in this capacity means those who fail to perform conventional literacy, who lack a traditional education, who don’t demonstrate sufficient interest in classic literature—or the more unkind ‘stupid’ (which, frankly, is what people want to say when they say ‘illiterate’ or ‘incurious’ anyway, lmao) as socially disposable and places the onus of changing one’s behaviour (so as to not be cast as illiterate/incurious/stupid) on them rather than asking what conditions have produced XYZ discourse of social disposability and responding with compassion and ethical diligence; I hope I don’t have to explain why this is eugenicist.

The discourse also lacks an ability to coherently describe what is meant by the ‘intellectualism’ in question—after all, merely appealing to ‘intellectualism’ is a similarly idealist rhetorical move if you don’t have the material grounding to back it up—and indeed tends to dismiss legitimate critiques of intellectual + cultural production as ‘anti-intellectual.’ People love to talk about ‘literacy,’ but don’t like expounding on what they’re actually describing when they do so—the selection of traits and actions that come together to constitute a correct demonstration of ‘literacy’ are built on the bedrock of eg. an ability to thrive within the school system (a mechanism of social control and stratification), fluently speak the dominant language by which this ‘literacy’ is being assessed (in online spaces like Tumblr this is usually English), and engage with the ‘right’ texts in the ‘right’ ways where ‘right’ means ‘invested with legitimacy and authority by the governing body of the academy.’ Literacy is used as a metric of assimilation into hegemonic society by which immigrant and working-class children are made rhetorically disposable unless they demonstrate their ability to integrate into the hegemonic culture (linked post talks about immigrant families being rendered ‘illiterate’ as a tactic of racism in France, but the same applies to the US, UK, etc); similarly, disabled people who for whatever reason will never achieve the level of ‘literacy’ required to not have Tumblr users doing vagueposts about how you deserve a eugenicist death for watching a kids’ show are by this discourse rendered socially disposable, affirming the paradigms which already make up their experience under a social system which reifies ableism in order to sustain itself. (This includes, by the way, the genre of posts making fun of the idea that someone with ADHD could ever struggle with reading theory.) ‘Literacy’ as the ability to understand and respond to a text is difficult and dispersed according to disparate levels of social access, and a lack of what we call literacy is incredibly shameful; any movement towards liberation (and specifically liberatory pedagogy) worth its salt needs to challenge the stigma against illiteracy, but this website’s iteration of ‘anti-intellectualism’ discourse seems to only want to reaffirm it.

Similarly, the discourse dismisses out of hand efforts to give a materialist critique of the academy and the body of texts that make up the ‘canon’—I’m thinking of a post I saw literally this morning positing a hypothetical individual’s disinterest in reading canonical (“classic”) literature as an “anti-intellectual” practice which marked them as an “idiot.” (Obviously, cf. above comments re. ‘stupidity,’ ‘idiocy’ as eugenicist constructions.) People who will outright call themselves Marxists seem to get incredibly uncomfortable at the suggestion that there are individuals for whom the literary canon is not even slightly interesting and who will never in their lives engage with it or desire to engage with it, and this fact does not delegitimise their place in revolutionary thinking and organising (frankly, in many areas, it strengthens it); they seem determined to continue to defer to the canon as a signifier of authority and therefore value, rather than acknowledging its role as a marker of class and classed affects and a rubric by which civility (cf. linked post above) could be enforced. (I believe the introduction to Chris Baldick’s The Social Mission of English Criticism touches on this dimension of literary studies as a civilising mission of sorts, as well as expounding on the ways in which ‘literary studies’ as we presently understand it is a nineteenth-century phenomenon responding to the predictable nineteenth-century crises and contradictions.) People will defer to, for example, Dumas, Baldwin, Morrison, to contravene the idea that the literary canon is made up of ‘straight white men,’ without appreciating that this is a hugely condescending way to talk about their work, that this collapses three very different writers into the singular category of ‘Black canonical writer’ and thus stymies engagement with their work at any level other than that of 'Black canonical literature' (why else put Dumas and Morrison in the same sentence, unless as a cheap rhetorical ‘gotcha’? I like both but they’re completely different writers lmfao), and that this excises from the sphere of legitimacy those Black writers who don’t make it into the authorising space of the canon; and, of course, reaffirms the canon’s authenticity and dismisses out of hand the critique of loyalty to hegemony that the ‘straight white men’ aphorism rightly imposes.

The discourse operates on a unilateral scale by which the more ‘literacy’ (ie. ability to speak the language of the literati) one has, the greater their moral worth, and a lack of said ‘literacy’ indicates the inverse. This overlooks the ways in which the practice of literary criticism wholly in line with what these people would call ‘intellectualism’ has historically been wielded as a tactic of reactionary conservatism; one only has to look at the academic output of Harold Bloom for examples of this. People will often pay lipservice to the hegemony of the academy and the practices by which only certain individuals are allowed access to intellectual production (stratified along classed + racialised lines, of course), but fail to really internalise this idea in understanding that the critical practices they afford a significant degree of legitimacy are inextricable from the academy from which they emerged, and that we can and should be imagining alternative forms of pedagogy and criticism taking place away from sites which restrict access based on allegiance to capital. Part of my communism means believing in the abolition of the university; this is not an ‘anti-intellectual’ position but a straightforwardly materialist one.

A final core problem with the 'anti-intellectualism' discourse is that it's obscurantist. As I explained above, it posits the problem with eg. poor engagement with theoretical concepts, challenging art, etc., to be one of 'intellect' and 'curiosity,' idealist rather than materialist states. In practice, the reasons behind what gets cast as 'anti-intellectualism' are very disparate. Sometimes, we're talking about a situation wherein (as I explained above) someone lacks 'literacy'; sometimes we're talking about the reason for someone's refusal to engage with and interpret art with care and deference being one of bigotry (eg. racist dismissals of non-white artists' work, misogynistic devaluing of women's work, etc.); sometimes we're talking about a reactive discomfort with marginalised people communicating difficult concepts online as a 'know-your-place' response (eg. backlash against 'jargon' on here is almost always attacking posts from/about marginalised people talking about their oppression, with the attacks coming from people who have failed to properly understand that oppression; I've been called a jargonistic elitist for talking about antisemitism, I've seen similar things happen to mutuals who talk about racism and transmisogyny). All of these are incredibly different situations that require incredibly different responses; the person who doesn't care to engage with a text in a way that an English undergrad might because doing so doesn't interest them or they lack the requisite skill level is not comparable to the person who doesn't care to engage with a text because they don't respect the work of a person of colour enough to do so. Collapsing these things under the aegis of 'anti-intellectualism' lacks explanatory power and fails to provide a sufficient actionable response.

Ultimately, the discourse is made up of a lot of people who are very high on their own capabilities when it comes to literary analysis (which, as others have pointed out, seems to be the only arena where all this ever takes place, despite the conventional understanding of ‘media literacy’ referring as much to a discerning eye for propaganda and misinformation as an ability to churn out a cute little essay on Don Quixote) and have managed to find an acceptable outlet for their dislike of anyone who lacks the same, and have provided retroactive justification in the form of the claim that not only is [a specific form of] literary analysis [legible through deference to the authority of the literary canon & the scholarship of the nineteenth century and onward surrounding it] possible for everyone, it is in fact necessary in order to access the full breadth of one’s humanity such that an absence thereof reveals an individual as subhuman and thus socially disposable. A failure to be sufficiently literate is only ever a choice and a personal failing, which is how this discourse escapes accountability for the obviously bigoted presumptions upon which it rests. In this, all materialism is done away with; compassion is done away with, as it becomes possible to describe the multiplicity of reasons why someone cannot or does not demonstrate ‘literacy’ in X, Y or Z ways in the sum total of a couple of adjectives; nothing productive comes of this discourse but a reassertion of the conditions of hegemony in intellectual practice and the bolstering of the smugness of a few people at the expense of alienating everyone else.

As I’ve said countless times before, the way to counteract what we might perceive as ‘incuriosity’ or disinterest in challenging texts is to talk about these challenging texts and our approaches to them as often as we can, to make the pedagogical practices that are usually kept behind the walls of the academy as widely accessible as possible (and to adjust our pedagogy beyond the confines of ideological hegemony that the academy imposes), and to encourage a culture by which people feel empowered to share their thoughts, discuss, ask questions, and explore without being made to feel ashamed for not understanding something. The people who cry ‘anti-intellectualism’ because they saw someone on Tiktok express a disinterest in reading Jane Eyre are accomplishing none of this.

[duncebento]

while theyre dunking on homie i will add my bot which is that this is so divorced from any reality that i’m familiar with…..first of all “neolibs and radlibs” are a strange group to address here; i think it makes more sense to assume they just mean liberals….anyway neither is an example at at “attempted diversification” (like it’s an assassin’s creed game lol.) the first one quite obviously because jesus was. brown. and that’s not a headcanon. i can’t speak to racist caricatures of biblical figures bc i haven’t seen any that i’m aware of. “god the father being a woman” is not by any means modern; in fact imo any leftist worth their salt and with some basic knowledge of history would be able to correctly guess that the firmly gendered establishment of a god WITHOUT feminine, mothering qualities is a modern construction. what did u think the pussy wounds were about….god who will “comfort us like a mother” without forgetting us at the breast…who will cry out “like a woman in childbirth”…..like that’s not even interpretation that’s just text! but whatevz

anyway it’s such weak sauce analysis attempting to cram the recognition of biblical diversity into a framework of identity politics, because god is not a material system over which we have control, in the way of a presidential election or police force. who are the ppl interested in christofascism but like only if the icon is a brown woman? frankly the people who are identifying with a non-binary christ or somesuch are unlikely to be the same people with religious paranoia abt damning sexual sinners. ‘western’ christians who bring up jesus’ brownness, his palestinian jewishness, are more than likely to be doing so in order to oppose a christofascist emphasis on purity originating in whiteness. so they’re not the same groups of ppl….

now of course i have a million critiques to make about the way liberalism intersects w christianity….but to boil it down the primary failure of liberal christians is the inability to recognize the systematic; privileges systemically denied to the oppressed become personal “blessings,” and so on, and so no material action is taken against these conditions bc they’re not recognized as conditions of human design. but the belief system held therein isn’t represented in this post either, so it truly seems like a post about no one…..

[frenzyarts]

Jane Crocker was made to be ooc and evil in HS2... or WAS SHE?!?!?!? 🧐🧐🧐

Here is my Homestuck Theory:

From a young age Jane was involved with Crockercorp. She even used the UNREAL HEIRESS THOUGHTWAVE TIARATOP, which was basically force-feeding her propaganda, literally straight into her brain. Even her vision becomes covered with propaganda and ads.

Much later, we see Jane reminiscing on her old room. She sees the tiaratop and admits that "it was doing funny things" to her head.

Despite that, she decides to put it on again, and it controls her brainwaves louder than ever, causing her to rip it off.

And it stays off until grimbark jade poofs it onto her head again, and the Condesce takes over.

ARQUIUSPRITE explains to Dirk how the tiaratop has made her a vessel for an evil AI, and even seems to enjoy that fact about her.

However, he's the one who removes it from her. I didn't capture it in my screenshots, but right as he removes it the screen flashes with DISOBEY.

But what if... What if he was still rooting for an AI Jane? What if he didn't fully de-program the tiaratop? The next time we see Jane wearing the tiaratop is in the HS snapchats. She has it as a necklace. But her crocker technology is hacked by the Felt and she's kidnapped. She remarks that "all our technology was scrubbed clean," but clearly it wasn't. Perhaps her tiaratop necklace wasn't either!

Then *evil music* the epilogues happen. In Candy, we see her follow the path to the evil CEO she is in HS2. In the beginning of Candy, we can see her character begin to change. She says she feels like "nothing I do matters." Which I believe is in reference to the fact that the epilogues are "semi-canon" and therefore don't matter, which is what drove Dirk to become Ult Dirk in an attempt to make things matter again.

But he becomes Ult Dirk in Meat. As we know, he's deceased in Candy, because "nothing matters" there. And immediately after the "nothing matters we're in Candy" revelation, this exchange happens:

Notice how right after this revelation, she starts hitting on Jake again, and suddenly wants a bunch of babies? Jake even remarks that she's never wanted this before. In fact, the only time she wanted this was when she was UNDER THE MIND CONTROL OF THE TIARATOP...

WHICH SHE IS CLEARLY WEARING ALL THROUGHOUT HS2!!!! She put that shit back on in the snapchats and never took it off and it turned her evil!! The tiaratop is imbued with the essence of the Condesce the same way lil cal is imbued with the essence of lord english which is a HUGE part of what caused the version of Dirk that was Dave's Bro to become evil.

That's why she seems ooc... because she IS! It's the ghost of the Condesce, still controlling her! Which makes me wonder, once she takes it off, will the Jane we know and love return? Or is she too far gone?

Anyways, that's my theory and defense of Jane. I would love love love to hear other's thoughts on this :D even if you disagree with my theory, I still want to know, because I love reading analysis ^u^

[hulloitsdani]

hi dani fire emblem :) do you happen to have any thoughts on book 6 "I'm going to kill you too" scene?

Please, Dani fire emblem was my father. Just call me HulloIts.

As for the scene in question, oh man. It’s the “I’m going to kill you too” scene, what more can I add! I got some tweaks and reads on Letizia, but I feel like that scene speaks for itself. You don’t need me to tell you why it’s good— It’s one of the moments where feh’s writing really works.

Instead, I think what I can offer to the conversation is an analysis on Alfonse’s three gambit scenes and how they relate to each other. Because taken as a package, I find it fascinating how these scenes are treated by the narrative over time. Alfonse’s ability to pull these off is such a massive boon, but it’s been steadily growing into a delightful character flaw over the years.

Now, let’s back up. What do I mean by Alfonse’s gambit scenes? This is in reference to three scenes that have occurred throughout heroes: Alfonse calling Hel’s bluff in book 3, threatening Letizia in book 6, and his plot to cover for Ratatoskr in book 8. Also known as “Because it means that it is your life that will end in nine days’ time,” “I’m going to kill you too,” and “My saviors have arrived.” These scenes are defined by Alfonse risking everything on a charisma roll. There might not actually be any dice rolling, but that is certainly what it feels like. If he’s wrong about Hel’s curse, he’s dead. If he can’t convince Letizia of his ruthlessness, then he’s super dead and everyone’s screwed. If he doesn’t perfectly sell Hraesvelgr’s assassination attempt, then him AND Ratatoskr are, you guessed it, dead.

These are gambits— major risks with massive rewards. And what’s unique about Alfonse’s brand of it is that they occur on a social level. He’s not, for example, tactically sacrificing a hero for the chance of inflicting enough damage/debuffs so another can to land the kill. He’s not a tactician at the end of the day and has not been shown to be able to crunch those numbers that fast. Instead, he’s weaponizing everything he has gleaned about his enemies as people and staking his life on it.

Now, he does not do that without motive. For all of these scenes, he’s attempting to protect people while backed up into a corner. Using his encounter with Letizia as an example, she’s rather successfully forcing the Order’s hand into surrendering by sending innocent people to the Shadow Realm— I mean Embla’s domain. She’s working under the assumption that the Order, you know, cares about that type of thing. If Alfonse can successfully menace her into believing the opposite, even if for just a short time, it can give them the wiggle room to better position themselves and lessen the use of human shields as it would not longer be a tactical option. He’s protecting his friends and his people in one swoop at the expense of himself. Pulling that stunt with the lady who specializes in weaponizing information is a recipe for his future disaster, but that’s a loss he’d take in a heartbeat in order to keep everyone safe.

The same can be said about his encounter with Hel. He openly invites her to curse him, because in that nine day timeframe, he can ensure he drags Hel down with him. This is an infinitely better option for him than Hel slowly picking everyone off with her curse. Now, out of the three scenes, this one is notedly the most heroically coded and the most corned our protagonists are. We just spent an entire opening act witnessing the lethality and unavoidability of this curse. Of death herself. Alfonse, having had to spend that time accepting his own mortality, successfully weaponizes that acceptance against a cruel and power hungry death. That’s signifying a growth and change of his character. The success of that gambit permanently puts his own life on the gambling table. Which, in accordance to book 3’s themes of death, is a positive thing. But, as time goes on, this idea gains more nuance.

Which brings us back to Letizia. We are not narratively in Alfonse’s head when he pulls off this gambit. We understand the boy smiling in the face of death, because we have seen everything leading up to that point. We, comparably, do not initially understand the boy smiling as he says “I’m going to kill you too.” He has to explain himself afterwards. It’s very jarring as a result. Against a cruel god blinded by hubris, this gambit feels like overcoming against all odds. Against a mortal woman who successfully outsmarted him? It’s concerning to see that he has the capacity for that malice, even if it was not real. We didn’t have the context of Líf when Alfonse initially had that confrontation with Hel, but we do now. It colors all these more morally complex actions whether we want it to or not.

This brings me to the scene in book 8, which is by far the most interesting in my opinion. For the entire first half of that book, we are seeing the social manipulation game Alfonse excels at. He’s not the most friendly or personable, but he’s smart and good at pattern recognition. He knows the information his enemies have and successfully predicts their actions based on that. And he, unfortunately, correctly recognizes that Ratatoskr is coming under greater risk of being found out and getting potentially murdered on their behalf. If there is a mole, it’s going to be her. So he comes up with a scheme to ensure her safety via the best tool in his arsenal. Ole reliable, gambling his own life.

But, interestingly, this time he’s not simply trying to convince his enemies of his deception. No, the charisma check he has to pass here is deceiving his own allies. Against Letizia, keeping his friends out of the loop made a bit more sense. The narrative he was selling was that HE was the farce within the Order. His sister looking surprised at his “true nature” helped. That is not the case here. He kept his friends out of the loop to partially help sell the illusion that this assassination attempt was not planned, but mostly because they would not have allowed him to do this. They would not have approved of this overly dangerous plan, if the serious convincing required for Anna to let him go meet Veronica by himself is anything to go by. But this was the only way to ensure Ratatoskr’s safety, so he did it anyway. That is a fascinating character choice and I wish it caused more character conflict, but I auppoae that’s what fanfiction and fanart are for.

Nonetheless, it’s fascinating how this behavior went from inciting a downright celebratory feeling to a more “what the hell is wrong with you?” reaction over time. The acceptance of his mortality in book three has straddled and then passed the line of overfamiliarity in book eight. This then pairs itself with his innate desire to protect those he cares about in ways that feel inevitable. If he doesn’t make that choice to put his life on the line, then it’s characters like Kiran experiencing the fallout. Or at least, that is how he perceives it after the events of seasons like book 5 and book 7. If their enemies are constantly trying to separate them, then maybe if he manually triggers it and puts the enemy focus on him instead, things will be better. The people he cares about won’t get hurt. It’s totally fine, he swears. He can take a hit.

[keyotos]

so it goes...

summary − what taylor swift album & song do the hsr men and their love resemble?

includes — dan heng, gepard, blade, sampo, & jing yuan!

tana’s words — self indulgent swiftie attempts to do song analysis and write romance! if u have any other ideas for hcs/fics/etc lmk in my ask box!!

dan heng

definitely belongs on the evermore album

i'm seeing long story short or tis the damn season

⎯ but most importantly: WILLOW

when she says “head on the pillow i can feel you sneaking in as if you were a mythical thing.” LIKE IS THAT NOT DAN HENG.

or i could be extremely self indulgent idk

⎯ i believe dan heng is a big YEARNER

the thing about the evermore album is that it just feels like a long and yearned reunion. it’s like coming full circle.

you and dan heng’s relationship would be similar to that. after all the long and exhausting days you two would always find yourselves circling back to each other. like, you two are both there when you two need each other.

your relationship is calm and based on pining (long story short). you would think it’s one-sided, but little did you know that it was mutual.

⎯ WHEN SHE SAYS “you know that my train can take you home. anywhere else is hollow.”

due to the both of you probably traveling on the astral express, so the both of you don’t actually have a “home.”

“you know that my train can take you home,” relates to your relationship w/ dan heng because simply your presence is his home. and it also relates to the astral express too BUT YOUR PRESENCE = HIS PEACE.

⎯ it’s literally such a small and simple thing, but it means a lot to dan heng. just having you around is like bliss to him, and it’s the little things that matter.

— the themes of coming back to a person in evermore is SO dan heng. if anything happens, you are the first person he’d check on. you are the first thought in his mind when he wakes up. wherever his mind (or body) goes, it’s always back to you. he’s completely bewitched with you. like YOU ARE THE FIRST THING ON HIS MIND.

gepard

omg he is most definitely fearless.

⎯ he’s either fearless or red but i’m definitely leaning towards fearless

⎯ if his love was to be defined in a song it would either be jump then fall or untouchable. those are the top 2.

⎯ maybe fearless…

⎯ gepard is def a fearless boy bc like THAT WHOLE ALBUM IS JUST SO SWEET. like your relationship with him would be the sweetest thing in the world.

TELL ME NONE OF THESE LYRICS RESONATE

“untouchable, burning brighter than the sun. and when you’re close i feel like coming undone.” OR “in the middle of the night waking from this dream, i wanna feel you by my side standing next to me.” - untouchable

“every time you smile, i smile. and every time you shine, i’ll shine for you. don’t be afraid to jump then fall into me.” - jump then fall

LIKE…

love w/ gepard is pure and untouchable (yes). there is nothing but love between your relationship.

he definitely admires you. he is 100% the type of person to take candid photos of you just to look at them if he’s at work. he wants to be his best for you, and he just enjoys everything about you.

the thrill of a new relationship is still alive in your relationship with gepard. it doesn’t matter if you guys have been dating for like 2 years. gepard will still get so red if you kiss him. the same exciting feeling he got every time he kissed you is still there

— every time he kisses you (which is surprisingly often; not in public tho) he gets so red. but the same warmth and giddy feeling from your first kiss is still there.

the thing abt fearless is that it’s such an innocent and cute album. it’s similar to your relationship w/ gepard in a way that your relationship captures that feeling of everlasting and innocent love.

blade

reputation. maybe midnights ngl.

⎯ reputation is one of taylor’s most romantic albums and honestly blade lowk gives me romantic energy.

⎯ i can see midnights but i think i’m leaning more towards rep here.

⎯ so many good songs on rep that could describe blade but i think i’m going to go with delicate or dress. so it goes is also a close third.

most ppl usually associate rep w feelings of revenge. but most people overlook the super sweet love songs on the album.

rep is similar to blade’s love in that way. most people overlook it, thinking that nothing more than a fling or it’s disingenuous.

however, they couldn’t be nothing but wrong. blade loves you. he cherishes you more than anyone (even you) knows.

also like REP’S LYRICS?? SO ROMANTIC LIKE

“my one and only my lifeline.” (dress).

“everyone thinks they know us.” (dress).

“even in my worst lies, you saw the truth in me.” (dress).

— does that not describe you and blade. like, he would literally do anything you say. he’d listen to you for hours and hours because nothing matters more to him then you.

— you two don’t pay attention to the rumors (that are terrible and cruel) or what anyone else says, because to blade, you being by his side is more important.

— and i think hurt and comfort would work well too. like, there could be terrible things happening rn and shit is going down. but throughout it all, you are the one constant that holds him down. through all the hazards, you still love him and he appreciates your love greatly.

sampo

— lover. i thought he’d be 1989 at first but he is definitely lover.

— i am seeing false god, i think he knows, or miss americana and the heartbreak prince.

your love would be fun and happy, much like the album lover (minus soon you’ll get better). it’s fulfilling and it always finds a way to surprise you.

— though some find parts of lover annoying (me!), they don’t really spend a lot of time to look into the lyrics of the album.

much like your love w/ sampo: people dislike him and wonder how he managed to get a girl like you to fall in love with him.

what they don’t know is that he’s (shockingly) kind?? and he cares about you?? and he remembers all the small things you like??? and he’ll always be right there when anything happens to you??

lover itself is such a cheerful and sweet album and i think it really describes his love: loud and sweet. he’ll do embarrassing things and he will probably get on your nerves, but throughout all of that he’s still caring and loving.

— “they say the road gets hard when you’re lead by blind faith. but we might just get away with it.”

— ITS SUCH A ROMANTIC AND UNDERRATED LINE THAT COMPLETELY DEFINES UR RELATIONSHIP

even though people think your relationship is set up to fail, you two are both determined to prove them wrong bc that’s how strong your love for each other is. he is never letting you go and you will do the same.

jing yuan

— midnights! no doubt abt it.

— sweet nothing, labyrinth, and MAYBE snow on the beach

— sweet nothing is HIS SONG. like THAT IS HIM.

his live is so packed and there’s so much going on. he’s juggling yanqing and generaling and it can be too much sometimes.

— “i find myself running into your sweet nothing.”

— “all that you ever wanted from me was sweet nothing.”

— “and the voices that implore, ‘you should be doing more.’ to you i can admit that i’m just too soft for all of it.”

LIKEEEE. HES JUST TO SOFT FOR ALL OF IT. that’s why you’re his safe space. you never required anything from him and you just love him AND THATS ENOUGH.

he doesn’t need to be a mighty general or a strict master; he can just BE HIMSELF around you. he lets all his walls down and he’s fully vulnerable and YOU LOVE HIM LIKE THAT.

— this isn’t just a one way street btw. he loves you just as much as you love him.

there are no expectations between the two of you. you guys are such a HEALTHY couple. with all the worries in the world your love still prevails and i just think that is very sweet.

[solaelia]

i’ve combined my current hyperfixation and my one true love psychology and created this uquiz. the qs are all p short and u get the reward of an honest attempt at personality analysis at the end (plus u get ur very own marauders era person to take home)

[bouquetface]

Stray Kids - Mars Placement/How the Members Act in Fights - pt. 1

PER REQUEST.

I used tropical this time instead of vedic since this isn't meant to be in-depth predictions. take it as fun!

HYUNJIN

Mars in Aries - This shows when he is upset he's very direct. He won't sulk or repress his anger. He addresses the situation head-on and quickly. Others may find it "impulsive" how quick he is to express his anger toward a person or situation. However, it is usually effective to come to resolution quickly. There is unlikely a build up of secret resentment. The other person would be well aware that he's upset with them.

His anger can feel sudden catching the other person off guard. He'd fight in a blunt/direct manner. The swift change in character can be surprising and hurtful. Generally, Aries Mars cool down just as quick as they got angry/frustrated. He'd be unlikely to get so angry that he remains cold and upset the entire day. This isn't a grudge holder placement so for most fights, he'd be willing to forgive (or apologize based on the situation) and move forward.

If he wants to hurt someone, he knows exactly what to say to deeply cut someone. When he's close with someone, he remembers even the smallest details about them. Due to his observant nature he notices their insecurities - even ones that they haven't directly told him about. At his worst, his anger takes control and he can harshly criticize the other - he can bring up their insecurities. He likely has a sharp memory too - if the person has previously trusted him enough to share private details about themselves, in anger he can impulsively use this against them.

Some of his placements indicate he can be immature/childish when angry too. He can resort to childish antics like name-calling, excessive swearing - basically anything to avoid giving a substantial response when he feels he's losing an argument. He may have a competitive nature too - he would hate to feel he's losing in a fight. This may have been more likely in his younger years.

this is only a brief analysis w/o birth time. take it as entertainment.

JEONGIN

His Aqua Sun + Scorpio Mars would make it near impossible to get in a heated fight. He avoids disrupting the peace at all costs. When he does feel slighted, he often attempts to keep it to himself. The problem with avoiding arguments is all those repressed feelings eventually have to come out.

He might express his frustrations to others - he'll tell other trusted people what he's feeling. Saying it out loud can help him decide what to say and what do. He can be more emotional than he shows to people. He needs that time and second-opinion to decide if he's being overdramatic or not. You could have upset him and not know it for days. It would work out best if the person he's fighting with is patient and direct. If someone else asked him "what's wrong" he wouldn't lie.

He'd likely struggle to put his feelings into words when on the spot. Most fights and resolutions likely occur through text. He needs the time to figure out how to say what he wants. I wouldn't be surprised if he randomly spends a paragraph text at like 11 pm when something has bothered him.

If the situation is really bad, he can be cruel. He can be insulting people behind their backs, he can have the most hateful thoughts about revenge, he might even ghost the person. His thinking would be more along the lines of if you cared, i shouldn't have to tell you what you did. you should just know and apologize. His behaviour when angry will seem uncalled for as the other person isn't aware of how much he's been repressing.

His placements also indicate he's the type of person after a breakup to be like fck this fuck u i'm going to go get cuter and richer.

this is only a brief analysis w/o birth time. take it as entertainment.

FELIX

Mars in Leo aspect Saturn indicates he maintains his dignity and pride in fights. This doesn’t mean he’s never been immature in a fight. Simply as he gets older, he realizes he doesn’t respect or have time for toxic or childish behaviours.

His Leo Mars + Aries Moon + Virgo Sun show he’s calculated and direct. However not in the fiery way Hyunjin is direct. Felix isn’t catching people off guard with his anger. He likely maintains his composure. He is cautious of the fights he engages in too. If it's something small, he'll decide its not worth it.

When someone really does upset him, most times his reaction would be quietly pull that person aside and have a conversation. His Libra placements make it likely that he can listen and understand both sides in a fight.

To get an extreme reaction out of him, he would need to feel he, his loved ones or something he truly cares for is being disrespected. Yet even in these situations he is unlikely to show how angry he has become - he's the least likely to verbally or physically lash out. He'd hate feeling he's given someone power over him - he doesn't want to be brought down to that level of anger.

this is only a brief analysis w/o birth time. take it as entertainment.

CHANGBIN

He shares a mix of similarities with Jeongin and Felix when angry. To get very angry, he would need to feel he or something/someone he loves is being disrespected. Now unlike Felix, he would not be able to hold back his anger. He'd let the other person know he's angry through potentially passive aggressive remarks and behaviour.

Similar to Jeongin, he gets very dark in his thinking - he'll want revenge when he's really been hurt bad. This is his reaction to very serious fights or betrayal. Out of all 4 members on this post, Changbin is the least likely to forgive someone after a serious dispute.

In smaller incidents, he's still a sensitive person. He can get defensive trying to make the other person understand his actions or words. He holds himself to a very high standard so to be accused of doing something immoral would hurt him. He would want to make it clear his intentions were not to hurt the other person.

While his initial reaction is to defend himself, he is understanding. He is able to listen and reflect on where he went wrong in situations. He can have perfectionist tendencies too making him want to do better.

PART TWO:

[emberunderscore]

oh ffs im thinking too many thoughts about this song now okay hey chat thoughts time

"Whose Eye Is It Anyway???" by Jhariah Very coded in many ways, the way i like to see it is for my midas villain au, and if you know that you know its split into three different routes and the one this song like . embodies . is the idea of midas losing themself to the decay, it overtaking their mind and drastically changing their personalitly . also i think midas deserves to be angry so i let them be angry.

ok analysis time

My head is overflowing, with these thoughts That if I return the favor you might understand

Their mind is racing with the idea that they want revenge on Reo for what they did, how they treated them when handing over Quixis. They want to return the favour of tearing them from their home and forcing them into that position without explanation

But I know, I know you could never carry the burden You've left with me and I can't give it back So why even try?

they can't give quixis back to Reo, so why bother wasting their energy on thinking about it

I'm reeling from all of the pain I feel it making me insane

the decay seeping in, overtaking them, it goes for their eyes first and in this au i like to view the taking of their eyes as taking their soul, and taking a part of them too. so they can feel the decay eating away at both their eyes and their very soul itself

If it's an eye for an eye then we all go blind If it came to it would you cross that line?

talking to themself . asking themself where the line they're willing to draw is . and are they willing to cross it

With the taste of the blood on your tongue like wine And the weight of your crimes weighing on your mind

the worlds falling, people dying . the rotting part of them feels amusement, a sort of satifaction at the power. like fine wine. but the part of them that still remains is weighed down by their guilt

It's an eye for an eye and we all go blind again

in a way they are blind. blind to their own actions. blind to the fact that staying as quixis is no longer their own choice . blind to the person they used to be . also . eyes . the bleeding eyes . an eye for an eye and no one can see . the idea of midas not being able to see like normal without their eyes. the idea that while they cannot see through their face, connecting to their brain . they can see. they are forced to see, through quixis. they have a sort of all seeing presence to them and they can only see everything all at once .

An arm and a leg, my friend, les yeux d'la tete

"to cost the eyes of the head" a phrase that means something is very expenisve but i really like the literal meaning. you know, eye motifs .

I never give as much as I get

an attempt to convince themself that they are gaining more than they're losing

This path of heart attacks is paved with folks Who only gave their enemies what they had coming

this lyrics is so mmmmm i dont know how to put waht im thinking into words but its so like midas wanting revenge and the other veriosns of them being just as bad and the "heart attacks" bit is just silly cause everyones fucking dying something seomthing

I don't know if it's worth it

D O U B T . i give this au of midas so much doubt, denial and self loathing . and they re so <33 anyways them doubting whether or not everything they're doing is worth whatever they're trying to convince themself theyre getting out of staying as quixis. power, vengeance, entertainment . whatever they can convince themself of at that moment.

[cutting out the repeated lyrics cause .]

Is it a knife or a lie is it in your back

to icarus , about the wack , the glitching about all the sillies . thinking unlocked thoughts in specifics

Is it all I need? Is it all I have? Will it bring me the peace that I need so desperately?

gods theyre struggling so much . they DESPERATELY want to stop being in pain . just for a moment gods all they want is one moment without pain but they dont get that . because they made this choice and they cant even remember why AHHAHHHH IM SO NORMALLLLL

Will I see?

they CAN notably see. notably they have to see everything except themself . except their own actions . except what they're doing . except how theyve LOST THEMSELF

It's an eye for an eye and we all go blind again

they want to make everyone go blind at this point . they dont care . theyve lost the ability to care .

When you seek vengeance you must dig two graves

AHHHHHHHHH THIS LYRIC AKLFNAJWBDFJKABWKJA . OK SO THEY WANT VENGEANCE AGAINST THE POSITION OF QUIXIS ITSELF . THEY THINK ITS UNFAIR AND BULLSHIT AND IN ORDER TO DO ANYTHING ABOUT THE POSITION THEY HAVE TO DIE. WHATERVER THEIR REASONING IS (OR WHAT THEYVE CONVINCED THEMSELF IT IS) THEY END UP FUCKING DEAD .

[last verse is repeated lyrics]