#and I put this one in drafts because it was so long

[paigesfuturewifey]

authors note! IM SORRY FOR BEING MIA college was kicking my ass (still is) and i’m trying my hardest not to crash out but here is an angsty fic :D

this is also heavily inspired by she wouldn’t be gone by blake shelton IK IK country music sue me it is unfortunately part of my roots so yes here she is

“i’m sick of this caitlin!”

you two had been going back and forth for a while about this, both too stubborn to admit who was in the right and who was in the wrong.

it’d been two months since caitlin went first pick in the wnba draft. two months of caitlin continuously forgetting about your date nights, two months of caitlin lagging hours on end and then eventually responding to your messages with one word replies, two months of wondering if caitlin would be home from practice at a decent hour or if you’d go to sleep in a cold, empty bed.

two. fucking. months.

of course, you understood the fact that caitlin’s job required almost all of her undivided attention and you were extremely proud of her and all her accomplishments.

but being second priority to her job was taking a toll on your mental health.

you were tired of being alone all the time. the sacrifices you made, picking up everything and moving to indiana with caitlin to be with her, felt pretty fruitless when you had barely seen her in your own apartment.

caitlin’s response came low at first as she rubbed her temples, “what do you want me to do?” and then she repeated it louder, throwing her arms up in frustration, “what do you want me to do?!”

“i want you to be here! you’re never here anymore, caitlin! i’m alone ALL THE TIME now!”

“that’s not fair. i’m doing this for us! for— for you!”

you shook your head, pointing an accusatory finger at her. “no. no. not for me. this is what you wanted! you wanted this! i didn’t—“

“i didn’t ask you to move to indiana with me!”

the statement felt like a slap to the face. caitlin, of all people, knew how hard of a decision it was to move to indiana. to be away from your family. your sister, your parents.

caitlin never pressured you into it, of course. she was insistent that if you had decided to stay in iowa, you’d make long distance work. but when you ultimately decided to stay with, whom you thought was the love of your life, caitlin couldn’t of been more happier.

the two of your popped a bottle of champagne in celebration and spent the night talking, laughing, planning your futures together.

a bittersweet memory that seemed so distant at the moment.

as you narrowed your eyes, you felt a tear roll down your cheek, followed by three or two more. “you know what, caitlin? you’re right. you didn’t ask. but it was a sacrifice i was willing to make for you!”

“you’re not the only one making sacrifices—“

the mere start of the sentence had you letting out a laugh, putting your hands behind your head as you paced back and forth. “you’re not listening.”

“i am listening—“

“no! you’re hearing me but you’re not listening to me!”

silence fell upon the two of you, both contemplating your next words because you both knew you guys were pretty close to crossing lines that couldn’t be uncrossed.

you placed your hands on the counter, leaning on it while hanging your head low, letting the tears drop onto the floor. “i can’t do this anymore,” you finally let out in a small whisper, but it hit caitlin in the gut. “i don’t want a life where i spend more time waiting for you than being with you.”

“you don’t mean that. please baby, stop.” caitlin’s warm hands were suddenly around your waist, leaning her head on your shoulder and kissing softly. “let’s just go to bed, yeah? i promise, i promise things will be different, okay? i’ll make more of an effort. i’ll try and get home on time for dinner. i know things aren’t easy right now, but i can’t lose you. we’ll figure it out, i’ll— i’ll try harder. okay?”

but even when those words eased your mind a little, you both knew the promise wouldn’t be kept.

so it wasn’t really a shock to you when you sat at the dinner table, candles lit and your meal sitting in front of you with the empty chair across from you.

you cooked caitlin’s favorite meal, wore her favorite set underneath your clothes that was her favorite color. you looked at the clock, and when it read 10:30, you scoffed.

you were fed up. you were well over your boiling point.

and, so, when caitlin entered your guys’ apartment at midnight, her heart ached a little at the sight of your untouched meals at the table, and candle she assumed was lit at one point.

she rubbed a hand over her face, quickly walking to your shared room. then she froze in her spot.

your side of the room was empty. from your nightstand being stripped of its decorations, to your side of the closet being completely empty.

the suitcases you used for when you guys planned vacations were gone. along her your toothbrush, makeup, hair products, basically everything that made your shared apartment shared was gone.

caitlin wasted no time picking up her phone and clicking your contact, holding the phone to her ear. she anxiously waited, suddenly feeling as if her whole life was falling apart.

voicemail. she tried seven more times. all went straight to voicemail.

her mind immediately went straight to denial, there was no way you picked up and left, right? you always said you would, but caitlin never believed you. never truly believed you.

or maybe she just didn’t listen to you.

she snatched her keys from the table, leaving the apartment and shutting the door loudly behind her. she bet all her money that her neighbors hated her.

that’s how she ended up in her car, speeding down the highway on a rainy night, frantically calling all of your shared friends.

she started with your mom, driving down the road at 90 miles an hour and switching lanes like an absolute maniac. she’d gotten honked at at least four times already.

“caitlin.” your mom greeted, though judging by her cold and and distant tone, and her use of caitlin’s full name instead of cait, caitlin could tell the news had no doubt got back to her.

“do you know where she is, mrs. l/n?” her question came right off the bat, figuring she had no time to waste in finding you.

your mom’s answer was quiet. and caitlin learned your families habits quickly enough to know that when she went quiet, she was lying. “please—“

“i’m afraid i can’t speak with you now, goodbye caitlin.”

then the line went dead.

with her left hand on the steering wheel, she punched the middle with her right and threw her head back.

her next call was kate because you three all had been very close throughout your iowa college years. kate always understood you in a way that made caitlin jealous.

and for a while, she she was a topic of argument in your relationship because caitlin constantly needed reassurance that she was the one you wanted.

there was clearly a rift in caitlin and kate’s friendship after, but after the move to indiana, they seemed to be mending their friendship. until now.

kate answered on the first ring with a hard question. “what’d you do, clark?”

“kate, i— i fucked up. she’s gone. i don’t know where she went. her stuff’s gone, her clothes are gone, she’s gone.”

“damn it, caitlin. you always do this shit— you drove her away, again.“

“do you know where she is?” caitlin demanded, arriving to her first destination.

“no.”

“you’re lying.”

“no i’m not—“

“i should’ve figured you wouldn’t help me find her. you’ve always been pathetically in love with her, ever since college.” caitlin scoffed out bitterly.

“caitlin—“

“know what? no. you’ve always been on her side, since day one. i can’t even do this right now—“

“you’re frustrated with yourself, about driving y/n away, so your picking a fight with me.” kate spoke calmly, fueling caitlin’s anger.

“don’t fucking psycho analyze me, right now martin.” with that she abruptly ended the call, getting out of the car and walking into the ice cream shop the both of you loved dearly.

after that, she went to your favorite coffee shop, after that, nalyssa’s apartment, then aliyah’s, then the hotel near your apartment.

she held her face in her hands, finally letting the sobs ripple through her. she suddenly realized how under appreciated your voice was. she was forgetting how sweet it was, how beautiful it was when you hummed her to sleep.

she was forgetting your voice already.

and she realized that she should’ve fought harder. should’ve told you how much she loved you, cherished you, needed you.

maybe, just maybe, if she had done that, you wouldn’t be gone.

safe to say caitlin didn’t find you that night, and no one told her where you might’ve went.

[violettwrites]

trailer park trash 🏹 young!daryl dixon

a/n: had this sitting in my drafts for a while 🫠 but i finally got around to finishing it ! i’m lowkey obsessed w the idea of young!daryl atm as well he’s just so fine 😭 but i hope y’all enjoy this ! please give me a like, reblog, and/or comment if you did 🫶🏻

this is my masterlist !

and my ask box is currently open for requests !

( also shout out to @madelyncilne for being my beta reader i love u gf 🫶🏻😙 )

summary: 1988. reader has been best friends with daryl since they were little. as they celebrate his 19th birthday, drunken conversations happen where feelings that had been pushed down are told. ( pre apoc )

pairing: young!daryl dixon x reader

warnings: mentions of alcohol, smoking, mentions of weed— just a grunge-y trailer park party scene, making out 🫶🏻

word count: 1,856

— — —

it was july, 1988, a sweltering summer evening in the small, beat up trailer park you and daryl had called home for as long as you could remember. the worn out trailers sat in uneven rows, nestled between overgrown patches of grass and dusty gravel.

your fathers were friends— and though they were both horrible people, you were definitely blessed to have found daryl dixon amidst the chaos of your personal life. he had turned into your best friend— your confidant. he was the one you told everything to. no detail was ever too small. and even though daryl wasn’t much of a talker himself, he always listened.

it was daryl’s 19th birthday. merle, daryl’s older brother, had thrown together a party without much care. however, you both knew it was just an excuse for him to get drunk. not that he needed one anyway. he had mostly invited friends of his own. the kind you weren’t really a fan of; loud, aggressive, always looking for a fight— and way too drunk to care about the aftermath. you didn’t mind though, because you were there for daryl.

the air was thick with the smell of cheap beer and smoke, whether it was from weed or nicotine. merle’s sound system drowns out the hum of cicadas with its scream of pantera lyrics. but it was familiar to you, because this was how majority of your weekends were. you and daryl laying in his bed, ignoring merle and his friends as you smoked cigarettes. sometimes one, others five.

“hey! c’mon, you’re fallin’ behind!” merle shouted, staggering over to you with a half empty bottle of whiskey in his hand. he was already wasted, his wild laughter echoing through the park. you rolled your eyes at him but took a sip of the beer you had in your hand. sure, you were definitely tipsy, and even though you had no desire to keep up with merle and his crowd, it was just easier to go with it.

daryl, leaning against the side of the trailer, had been watching you most of the night. between getting dragged into games of beer pong and the several shots that he had done, he had kept his eyes on you. ready to intervene incase any of merle’s drunken friends put their hands on you.

despite the alcohol in his system, you had noticed he had been quieter than usual. no echoing cheers as he won a tournament, or no whooping after he downed three shots in a row. his shoulders were tense, eyes dark in the moonlight. you really couldn’t tell what was going on through his head tonight, but you knew he wasn’t himself.

“hey, you good?” you asked when you had made your way over to him, the party roaring on behind you. someone had lit a fire out in the field behind the dixon’s trailer, and merle and his friends were starting to get really rowdy, howling at the flames like a pack of wolves.

daryl looked at you, eyes flickering in the dim light. he shrugged, taking a long swig from the bottle in his hand. “yeah, ‘m fine. just… it’s loud, y’know?”

you nodded, leaning against the trailer next to him. you could feel the heat of his arm just barely brushing against yours. it had always been like that with daryl. the way you were always near each other, like magnets that couldn’t quite pull apart.

merle’s laugh rang out again, and you could see him egging on some of the guys, probably looking for trouble. “looks like merle’s having a good time.” you rolled your eyes, sipping at your beer again.

“yeah, well, tha’s merle,” daryl muttered, his voice low and gravelly, like he had something caught in his throat. “he don’ know when to stop.”

the two of you stood in silence for a moment, listening to the noise of the party behind you. motörhead was now playing through the speakers, and the hollers of the group down by the fire in the field was still going.

“hey, it’s your birthday. we should do something. just you and me.” you weren’t sure if it was the alcohol making you bolder, but you decided to say what had been sitting on your chest all night.

daryl looked at you, his eyes narrowing slightly as if he was trying to read between the lines of what you said. “like what?”

“i don’t know,” you shrugged your shoulders, trying to play it off causally, “get outta here, away from this mess. go down by the creek like we used to.”

he stared at you for a moment, and you swore you saw something shift in his expression. he was already drunk, you knew that, but there was something else there too. maybe it was the same thing you had been pushing down since you were thirteen and realised what crushes were.

“yeah,” he said quietly, nodding, “let’s go.”

the two of you slipped away from the party, walking through the field and down towards the creek. although you could still hear the faint bass of the music, it was quieter down there. you could hear the water trickling over the rocks, and the occasional rustle of the wind in the trees. you sat down on the bank, the cool grass under your legs, and looked out at the stars scattered across the sky.

daryl sat down next to you, arms resting on his knees. he was closer to you than he normally was, his bicep brushing against yours. you could smell the whiskey on his breath, but you didn’t mind. you were used to the smell of cheap booze and cigarettes— it was part of life around here.

after a few minutes of comfortable silence, daryl spoke. his voice was rougher than usual, thick with whatever emotions he had been drowning all night. “y’ever think ‘bout gettin’ outta here?”

the question caught you off guard, but you answered honestly. “yeah,” you nodded, “all the time.”

he looked at you, his eyes glassy but intense. “where would ya go?”

“i don’t know,” you said with a soft laugh, “somewhere far away. maybe the mountains, or a big city. somewhere where things aren’t so messed up.”

daryl nodded his head, looking down at the bottle in his hand before taking another swig. “yeah, i think ‘bout it too.”

the silence stretched again, and you felt the weight of all the things left unsaid between the two of you. daryl shifted closer, his knee pressing against yours. his voice was barely above a whisper when he spoke again.

“i ain’t ever told you this, but… you’re the only person i give a damn about in this place.”

your breath hitched, and you felt your heart pounding in your chest. you’d always felt something more for daryl, but you had never brought it up to him. you didn’t want to ruin the friendship you had, and if you could only have him as a friend, then so be it. because it was better than being alone.

“me too,” you admitted, your voice barely steady. “i care about you too.”

he turned to look at you, his face inches from yours now, and you could feel the heat radiating off him. “i ain’t no good, though. you know that.”

you shook your head, your hand reaching for his, giving him a gentle squeeze. “don’t say that. you’re better than anyone else here.”

his eyes stared at you for a long moment, his eyes flicking down to your lips and back up again. the air was thick with tension, and then, without thinking, he leaned in. his lips crashed into yours, rough and urgent, tasting like whiskey and everything you’d ever wanted.

the kiss was messy, desperate, both of you giving into all of the feelings you’d buried for years. your hands cupped his cheeks, moving to crawl onto his lap, finding a new angle as you continued to make out with the boy underneath you.

when his hands moved to your waist, pulling your body closer, you swore it felt like fire when he touched you. you let his hands roam, both your tongues swirling with each other. it felt like bliss, like you were both lost in a world where only the two of you existed, the years of unspoken tension finally erupting in this one heated moment.

every breath was shared, every touch electric. you both had been waiting for this for far too long. his grip on your waist tightened, his fingers digging in just enough to send shivers down your spine.

you felt the warmth of his skin beneath your fingertips, your nails lightly grazing the back of his neck as you deepened the kiss. the taste of whiskey still lingered on his lips, but now there was something more— something raw and unfiltered. the taste of desire.

his hands began to explore more boldly, pulling you even closer until there was no space left. your heart raced, and you weren’t sure if you were feeling your own heart thump against your chest, or his.

“daryl!” you heard a drunken voice holler from the trees, causing the two of you to break apart, breathless and cheeks red. you looked down at him for a moment, a small laugh coming from your lips as you heard the drunken voice holler once again for daryl.

merle.

“you have no idea how long i’ve wanted to do that,” he mutters softly, hands gently rubbing at where he had dug his fingertips into you. he held your gaze, eyes dark.

“me too,” you breathed out, your voice barely above a whisper. you could feel the weight of everything you both had left unsaid, all the words that had been replaced by the kiss, by the touch of his hands on your skin.

“daaaaryl!” you heard merle holler once again, and you chuckled softly, rolling your eyes as you moved to get up, holding out your hand to the boy beneath you, pulling him up off the creek bed.

“c’mon,” you huffed, shaking your head as you pulled him back towards the trailer. “merle’s either gonna have a fit, or he’s gonna end up drowning in the creek if we don’t get to him soon.”

daryl just chuckled, enjoying the feeling of your hand in his as you both walked towards the trailer, finding a stumbling merle with a now almost empty bottle of whiskey in his hand not too far from where the two of you had been hiding.

“there he is! there’s my baby brother!” merle shouted, throwing his arms open wide, bottle of whiskey smashing into the trees.

he watched as you let go of his hand to turn merle around, your palms on his older brother’s shoulders as you walked him back towards the trailer, a small smile on his lips.

daryl may have been trailer park trash, but at least he had someone that cared about him.

[pennjammin]

poll time…. Again…

No one was moved.

the toji is a car guy fic is fighting for its life to get published , the issue is I very recently saw an extremely similar concept by another creator and i was so close to being finished and my motivation died because theirs was so much better than mine :’)) so then I tried to cook up different ideas and well.. here we are.

I have a fear of accidental plagiarism, shoutout the American school system 🤞🏼

[indigos-stardust]

Violet, Blue, And Bruised All Over: Long Talks

Part 1/ Part 2/ Part 3/ Part 4/ Part 5/ Part 6

Note: this has been in my draft for at least 2 weeks, hit a slump and then a hyperfixation couldn't write lol. so this is alot shorter and the drawings wont make as much sense without part like?? 6.5???... but I just wanted to post it cuz I felt bad

Reblogs and comments appreciated <3 I wanna hear y'all's thoughts >:3c

Red and Blue: a deep conversation filled with compassion and vulnerability:

Meanwhile Vio and Green:

(sorry I haven't updated this in a while, real life calls :')

The following days were hell. Red knew how much fights shredded his heart into a bajillion tiny pieces, but really the forced normalcy was so much worse!

The two had gotten an even bigger longer (and honestly ranty) lecture from Green the next day. Red didn't think it really helped much. Like sure they were cowed into NOT biting each other or whatever, but c'mon!

It felt like everyone was mad at everyone else! And even though technically no one was really mad at him, they were all mad at each other which- considering they were all sorta kinda not really the same person? It still felt that way!

Green had gotten really bossy and super serious, and Blue and Vio were just avoiding each other like the plague! Whenever they did come into "an unfortunate proximity" as Vio put it, there wasn't anything but a ton of silent hate! Red really just wanted to curl up into a little hole and die. Well not really! But like, emotionally! Just a bit!

Green kept pushing them to talk about the details, but neither one would talk. Red decided to try asking them one on one, you know, use his charm a bit and soften the edges- But even when he cried it didn't work! Him crying always worked! Especially when he said just the right words in just the right way to softly push them into making a realization.

Red wouldn't really call himself a manipulator in that sense, because hey! He was using his powers for good, right? At least most of the time, anyways. It was a useful way to get out of trouble and get things he wanted...

By why couldn't it work now when he needed it most!!

Vio just treated him like how a parent would to their kid when the kid just, well, asked about death or some hard grownup topic. Like Red just simply wouldn't understand and not to worry about it- But he was worrying! He knew Vio just didn't want him to be sad but still...

Then Blue- Well, Blue was just sad. And a little p*ssed. But it was clear he was just mostly sad. At least when he talked to Red anyways. At first he had been all huffy and insisted that it was all so stupid, so why even bring it up anyways? Because it was "over already!" Which, no that was super stupid of Blue to think, because obviously all their relationships were like super mega sad???

When Red expressed that sentiment though, it seemed to change something in Blue. Blue just closed up and got all quiet. He hated when Blue did that. But it also meant his plan was working. Blue may be a little, uhm, explosive to people and things when he got upset- But really if he was like actually really seriously upset? Then he got all quiet and intense all by himself. But Red knew how to pry all those layers off, even if it was just melting his way though each one of Blue's icy walls, one at a time.

Not even a day later of the guilt obviously devouring Blue inside out, and clearly losing against his ego. (Red knew that's what happened, he probably didn't want to be the "first one to show weakness" and just talk about how his feelings were hurt and acted like he was just all angry and didn't care, but Blue was a big softie and no amount of pouting was gonna change that in Red's eyes.)

They'd been walking to the training yards extremely early in the morning, the sun had barely peeked over the horizon really. In Red's opinion, going all the way to the castle to train in the big professional courtyard before the birds even woke up was probably some sort of crime against humanity. And him. But Red was so close to getting Blue to spill! SO he had to stick with Blue the whole time to make sure his plan would work. He just had to be consistent! Even if... it was at like... Red blearily squinted against the horizon. Five AM? Uegh.

Green was right about those too being similar. But it wasn't just cuz they were so stubborn. More like they were both weirdos that had a vendetta against sleep. Seriously, would it kill Blue to sleep in for five more minutes...

[topazadine]

Writing Research Notes: Horses

I have complained before about fantasy writers (and others) using horses without really knowing anything about them, so I'd like to share some basic Horse Facts. These aren't things about horse physiology, because you probably don't need that for your specific story, but things that you can add into your story for verisimilitude.

I'm not a horse trainer or Horse Expert, just someone who loves horses and rides on a regular basis. This is a casual guide to help give you some inspiration (and know what to look up for more information.)

So, what will we discuss in this embarrassingly long post? This.

General horse knowledge

Approaching and sanitizing Horse

Tack, the Horse Accessory Kit

Putting the tack on Horse

Getting on Horse (second best part!)

Riding Horse (best part!)

Being nice to Horse (most important!!)

General Horse Knowledge

Horses are generally classified as hotblood, warmblood or coldblood.

Of course, being mammals, they are all actually warm-blooded. This is more about temperament and size.

Hotblooded horses are lighter, bred for speed and maneuverability. Thoroughbreds and Arabian horses are hotbloods. They're known for being a bit more temperamental, but they are also very fast and responsive.

Coldblood horses are larger, stockier, and more even-tempered. This includes draft horses like Percherons, Gypsy Vanners, and Clydesdales.

Note that a big horse doesn't necessarily mean they're a good war horse, because war horses need to be fast and light. Draft horses are meant to pull, not carry. In a military series, you can use them as cannon horses or cart horses.

Warmblood are crossbreeds of hotblood and coldblood, giving them a good temperament but also relatively good speed. They're often used for hunting, dressage, and showjumping: disciplines that require both maneuverability and a strong working relationship between horse and rider. Quarter Horses, Tennessee Walking Horses, and Irish Sport Horses are warmbloods.

Horses are herd animals and need friends.

Having a singular horse all by themselves is going to cause them distress and lead to mental problems. This is why people who only own one horse often stable them so that they can get social stimulation and professional care.

Like humans, horses have buddies, acquaintances, and enemies.

There is often a pecking order in a herd, with a leader and followers. Horses may make friends, break up with them, reconcile, etc, just like people do.

And horses, of course, have people they like more than others. To get a horse to like you, be gentle and mindful of their boundaries, pay attention to their feelings, groom them, and speak in a soft friendly voice.

Horses aren't mindless animals: they think, feel, and strategize.

They're actually very sensitive and empathetic animals who can get jealous, have their feelings hurt, or need a little bit of TLC on a hard day. And yes, they can scheme.

Similar to dogs, horses are a bit like toddlers: they need firm but compassionate guidance.

This is why you need to think both for yourself and the horse when riding, keeping your mind clear and focused on your goals. Horses can notice when you're not paying attention and they will do their own thing.

Therapy horses are chosen for both their good nature and their sensitivity to human emotions. They will notice when the rider is getting upset or losing focus, and they will stop what they are doing until the rider is back in the right mindset.

They should get as much outside time as possible.

Horses will come to accept and even like their stalls because it's a safe, quiet space for them, but they should be allowed free time outside as much as possible.

It's important to make sure that their pasture is clean, free of dangerous plants or pesticides, and safe from tripping hazards (horse legs are very delicate).

Make sure they are not gorging themselves on grass, though, as this can cause colic. Horses cannot throw up: they've got a one-way digestive system. Intestinal blockages are a medical emergency.

Horses do like working with nice humans.

This isn't cope, I promise. Just like dogs, they have been bred over thousands of years to look to humans for guidance and to see us as caretakers.

Horses who are treated well like having a job, just like dogs who are treated well will like training sessions. Jobs offer them mental stimulation, offer them praise and rewards, and keep them busy so they're not bored.

You can see this in happy horses. The therapy horse I use, Truly, used to be a jumper and hunter before she came to the therapeutic stable, and she gets really excited if she sees vaults because she loves doing that! She gears up for the trot; you can feel it in her stride. She's ready and wants to go.

But, this implies that you're treating your horses well, praising them regularly, and bonding with them outside of sessions.

Horses that are being mistreated will balk at work because they associate it with pain and fear. Horses that are treated well will happily come out of their stall, ears forward and eyes bright, because they associate work with fun and stimulation.

Approaching and Sanitizing Horse

Horses have a blind spot in front of them and directly behind them.

Unlike humans, their eyes are on the sides of their head because they are prey animals. This means approaching a horse directly from the front or directly behind them may make them spook - and, if you are by their butt, kick you.

Generally, younger riders are taught never to pass behind a horse for safety reasons, so you go around them in a wide circle or duck under their neck. You can also walk behind them if you are out of kicking distance (about 3-4 feet) or right up against them so they can't get their leg up to kick you.

When tacking up or grooming, you should keep a hand on the horse as you move.

This lets the horse know where you are if you are in their blind spot and is especially important if you are around their butt so they don't spook and wonder where you went.

With grooming, you go with the curry comb and hold the bristle brush where you intend to go next so they know what to expect.

Grooming improves circulation and is a good bonding activity.

You use a curry comb, which is a rubber comb with little nubs, and then a brush. The curry comb is moved around in a circular motion to lift dirt and shedding hair, then the brush is angled with the grain of the hair to sweep it away.

Don't use a curry comb on a horse's face, legs, or stomach, which are sensitive areas. If you do want to use a curry comb in these areas because they are super dirty, be VERY gentle and light.

Horses generally like to be groomed because they do this to each other in the wild. It's a good way to make a horse like you.

Picking a horse's hooves, and having regular farrier checks, are crucial for their health.

Like human fingernails, horse hooves grow continuously; they're made from the same material as our hair and nails, keratin. They have a V-shaped "frog" in the middle of the underside of their hoof that is sensitive, but the rest of it isn't very sensitive unless you, like, stab it.

Farriers will file down a horse's feet so they are even, and they will also apply horseshoes if necessary (not all horses wear shoes). You can't just put any old horseshoe on a horse: it has to be fitted to their particular foot. This is a specialized job that not everyone can do, so if your character is not a farrier, they're not going to apply horseshoes themselves.

Cleaning a horse's hoof involves a hoof pick.

When picking a horse's hooves, you take an angled piece of metal called a hoof pick and dig out any dirt or manure or whatever has gotten stuck around the frog, then brush it out with a small brush. If they wear horseshoes, you also need to make sure you get the crevices underneath the shoe.

Generally, we pick feet both before and after riding.

Horses need to be trained to give you their leg. This usually means leaning your body weight into their shoulder, sliding your hand down their leg, and squeezing at the soft indent right above the hoof. You might also need to say "pick it up" or whatever command they've been taught to use.

It's a little scary for a horse to be off-balance like that; how would you feel if someone made you stand on one leg while they clipped your toenails? Be mindful that they may get nervous or put their foot down before you're ready. If this happens, just try again until their feet are clean.

Keep your feet and hands out of the way of the horse's hoof!

Pay attention to where your feet are in conjunction with the horse's hoof so they don't slam their hoof down on your toes. Horses may not even realize they stepped on you because they don't have a lot of sensitivity down there.

Never curl your fingers around the horse's hoof; that's a surefire way to break your hand. Hold it like you're cradling a baby's head.

Do not wear steel-toed shoes in a stable.

It's a common misconception that you should wear work boots or steel-toed shoes; after all, big horse very strong very heavy smash on foot!

Yeah, but a furry hydraulic press will crunch that steel right into your damn foot, and then you have guillotined all your toes.

Wear special riding boots instead. These don't have the ridges that hiking shoes or tennis shoes have, so they won't get caught on the stirrup. Cheap short ones cost like $40 and will last you a few good years. No need to go whole-hog on the long dressage boots if you're a casual rider.

Horses are usually taught to be groomed, tacked up, and mounted from one side.

This may not apply to therapy horses, who are trained to accept whatever way is easiest for the rider.

For dressage horses, they are taught to be groomed, tacked up, and mounted from the left. You should stand on the horse's left side when leading them. You'll dismount from the right.

Tack: The Stuff That Goes on Horse

No matter your discipline, you'll have these general things:

Halter. This is for leading the horse around before you tack them up. Generally, you will tie up the horse to cross-ties while you're grooming and tacking them. It is removed right before you put on the bridle.

Saddle blanket/pad. Western uses saddle blankets, but with English, you'll use a pad. Sometimes, with older horses or those that need a bit more comfort, you will have a blanket and a pad. This goes on before the saddle.

Saddle. Western saddles are very big, made for riding long distances. They are made mostly of leather, including the stirrups, which are attached directly to the saddle. English saddles are much smaller and lighter, and they have more removable parts. I won't get into all the specifics of them because it's probably irrelevant to your story.

There are also more specialized saddles, like jockey saddles.

Girth. Old-school Western saddles have cinches that you tie with the same knot you use for a necktie, but modern ones that detachable girths just like English saddles. They have buckles on both sides. One side will have leather straps; this is the one you put on first, from the left. The other side has elastic so it's a bit stretchier. This goes on the right side.

Bridle. How you control horse. Goes over the face and you hold onto the reins. This is put on last, right after you remove the halter. Put the reins over the horse's neck so you have something to hold onto after you remove the halter!

Bit. This is a metal bar that goes in the horse's mouth, over the tongue. Snaffle bits are the most common; they are made of two parts that meet in the middle. They aren't as uncomfortable for horses as other types. Some people are moving away from bits entirely and using bitless bridles.

Putting Tack on Horse

English stirrups are "run up" when tacking up and leading a horse.

The metal stirrups can bang against things and hurt the horse if they are not pulled up against the saddle by running them up the leather strap they hung from. You'll then tuck the excess strap into the stirrup to hold them in place.

Stirrups can be adjusted with a buckle hidden under the saddle seat. You'll run them up, pull the buckle down to a comfortable height, and then adjust as necessary. Then pull the stirrup down to the bottom, put your hand against the seat, and lift the stirrup up to run along your arm. It should brush against your armpit for most people.

Most dressage stirrups have numbered holes so you can remember what your height is.

Western saddles have leather stirrups that may or may not be detachable or adjustable.

Never tie a horse's reins to anything.

Don't listen to old Western movies that show this. If the horse spooks and they are tied up, they could rip the bit out of their mouth and really hurt themselves.

Horses have bars in their mouth - a blank space with no teeth. This is where the bit sits.

To get a horse to accept a bit, you can stick your thumb into this blank spot to make them open their mouth, just as you can do with dogs.

You then pull the bit up over their front teeth and settle it in there so it's comfortable.

There should be a small bit of pull you can see from the wrinkles around their mouth, but it shouldn't be squeezing them to death. Gentle pressure, happy horse.

Tighten the girth (the strap around their tummy) right before you get on.

Horses like to "bloat," meaning they suck in a bunch of air when you're putting the girth on, then relax so that the girth is loose. You don't want this, because then you can slide off. So put it on loosely at first, then put it up a few slots once you're about to get on.

Don't rachet it up to the highest possible setting you can reach, and don't yank on it, because this hurts the horse. Gently pull it up until it's tight enough to hold on, but not so much that it becomes a corset. You should be able to slide three fingers between the girth and the horse's stomach.

Getting On Horse

Lead the horse to where you want to go by bringing the reins over their head and holding them under the chin.

Do not use a death grip! You don't need to. Loose and happy. Keep the excess in your other hand so it's not a tripping hazard.

Then, of course, put the reins back over their head when you're ready to get on.

Mounting blocks are convenient and safer for the horse.

These are kind of like step stools, and they get you closer to the horse's back. Mounting from the ground puts a lot of pressure on the horse's back and should only be used sparingly.

The procedure is like so for English:

Gather the reins in your left hand, which should be placed near the front of the saddle.

Put your right hand near the back of the saddle for balance.

Put your left foot in the stirrup.

Swing your right leg over.

Settle your right foot in the stirrup.

Don't jump up; you might fall the hell over, lmao. Gentle easy swing.

The stirrup sits on the ball of your feet, with the heel pointing down.

This is true for both Western and dressage. You want it on the balls of your feet so you have leverage and can pivot your ankle to lightly tap the horse on the side, and you want your heel down to help maintain your balance.

A lot of riding boots, including cowboy boots, will have stitching that runs across the top of the foot. You can align this with the stirrup so you know that you don't have your foot too far back in the stirrup.

Your leg is slightly bent when in the saddle.

You do not have your legs straight out, because then you don't have leverage and can't maintain balance.

My instructor says it should feel like you're kneeling, and then when you post (rise out of the saddle during the trot or canter), you should feel like you're coming out of a squat. You're not springing all the way out of the saddle and standing up, because then you will fall over.

Your leg should stay as still as possible, with your heels pointing down to the ground. You shouldn't move them up or forward when you're trotting, a common beginner mistake.

When training in a ring, you don't have a right leg and left leg: you have an "outside" leg and "inside" leg.

Outside leg is the one closest to the wall (or fence), and inside leg is the leg closest to the middle of the ring. This keeps you from getting confused when you change directions.

Horses also have an outside leg and inside leg that you use to determine when to post or perform other maneuvers.

Horses need to be trained to go both clockwise and counterclockwise.

This helps them maintain balanced muscle tone on both sides of the body; otherwise, it's like doing leg exercises with only one leg. When getting a lesson, your instructor will ask you to change directions once you've done a certain exercise so that you can try it the other way, too.

Actually Riding Horse

You shouldn't yank on the reins like you're in a tug-of-war.

This can really hurt the horse and, paradoxically, make them more disobedient. It's like someone put their fingers in your mouth and then stretched your lips as far back as possible.

Keep your body loose.

Your horse is listening to your body language and will feel when you're tense. Every little movement means something to the horse. If you're tight, they think they should be nervous too.

Stay calm, upright, and loose. Legs slightly bent, elbows flexible, hands in line with the sides of the horse's neck and a bit above the front of the saddle.

Squeezing or tapping the horse is called impulsion.

It should be used lightly and with just enough pressure to get their attention. Don't kick the horse with all your might. The more movement you need from the horse, the more intense your impulsion will be.

Don't squeeze with your knees.

Pressure on the horse comes from the thighs and calves, not the knees. Your knees are there to bend.

Yes, your inner thighs will be super duper sore when you're done. It gets better though, prommie.

In dressage, you post at the trot in rhythm with the horse.

This reduces pressure on their back so you're not banging on their spine with each hootbeat. You post when their outside shoulder comes forward and lightly land back in the saddle when their inside shoulder rises: not sitting all the way down, just crouching a bit lower.

When you want the horse to walk again, you will sit down and pull (gently!!) back on the reins. The added pressure makes them not want to trot anymore because it would hurt them when you bump around on their back.

Being Nice to Horse (so Horse Is Nice to You)

Respect a horse's personal space and power.

They are big strong animals that can break your spine if they buck you, or crush your foot, or give you brain damage if they kick you in the head. Healthy respect (not fear) is crucial.

If a horse is pissed off, leave them alone. If they're scared, treat them kindly and speak soothingly. If they're not doing what you want, find a way to redirect them instead of screaming at them and making them more anxious.

And remember that they are prey animals despite their size and power! They may get nervous about things that you wouldn't even consider. Truly, the horse I ride on the regular, gets freaked out by jackets hanging over fence posts and barking dogs.

That's okay and natural; I just have to reassure her that she's going to be alright. You are the leader and caretaker of the horse, making them feel confident.

Training tools like whips, crops, or spurs should be used sparingly.

Any trainer who tells a beginner to use spurs as soon as possible is an asshole who doesn't actually know how to train horses. They don't know how to teach riders to control their body pressure, so they go right to the aversives.

I left a stable because the trainer demanded I buy spurs after like two lessons; my current stable doesn't use these at all, ever.

You should be able to control the horse with your hands and feet without these tools before adding them, and they should always be used as gently as possible: a slight tap with the spurs or crop, not beating the horse with a crop or digging your spurs into their sides. Horses are very sensitive animals and will respond well to a light kick with your heels if they are properly trained.

I've developed such a good rapport with the therapy horse I use (and she's such a good girl) that she can tell when I want to her trot. I start working her up to her "party walk" as my instructor calls it, and then click my tongue, and she's off. No kicking necessary.

Reward, Don't Punish

Same as when training dogs. Don't yell at them and say "no!! bad horse!!" Instead, offer a small correction, like checking the reins, or redirect them.

Do not hit or kick horses when they don't do what you want. They are trained that tap means go; you're going to make them gallop instead of stop.

Give them a pat on the neck and say "good horse!" when they do a good job. You can also talk to the horse while you're grooming and riding, offering them compliments and assurance.

Again, horses look to riders as leaders. They want to know the're performing correctly; if you've built up a good relationship, they want to make you happy and perform well.

Most of the time, horses are not trying to make you mad. You're just miscommunicating with them and need to figure out how to make your commands clearer.

Abusive training tactics are counterintuitive in the long run.

This makes for a nervous, flighty, disobedient, and anxious horse who may become dangerous. They're 1,200 pound animals, and if they don't like what you're doing, they will kick, buck, or bite.

Kicking, hitting, excessive use of spurs or crops, and screaming at horses doesn't make your horse respect you: it makes them fear you. You want your horse to be excited to work with you, to look forward to your training sessions, and to have fun.

I've created a masterlist of writing resources that you can peruse at your leisure, all for free.

The posts I write can sometimes take me hours - they're always intricate, always thoughtful. This one took me about three hours to complete.

I do this as a labor of love for the writing community, sharing what I have learned from almost 15 years of creative writing.

However, if you'd like to support me, maybe you'll consider buying my book for $1.99?

9 Years Yearning is a gay coming-of-age romance set in a fantasy world. It follows Uileac Korviridi, a young soldier training at the War Academy. His primary motivations are honoring the memory of his late parents, protecting his little sister Cerie, and becoming a top-notch soldier.

However, there's a problem: Orrinir Relickim, a rough and tough fellow pupil who just can't seem to leave Uileac alone.

The book features poetry, descriptions of a beautiful country inspired by Mongolia, and a whole lot of tsundere vibes.

Oh, and horse!!! Horse love!! SO MUCH HORSE LOVE.

You can also check it out on Goodreads for a list of expanded distribution.

If you do purchase my book, don't forget to leave a review!

Reviews are vital for visibility on Amazon and help to support indie authors like me. Whenever you love a book, be sure to let the author know! It's much appreciated.

[a-cat-in-toffee]

POST WHERE I TALK ABOUT MY HERO OUTFIT DESIGNS FOR END OF SEASON 2 SLASH SEASON 3 PRIME DEFNDERS :33 LONG ASS POST FOR THE RECORD

also I have pictures of their og design in this so. warning for white skinny pd jumpscare /joking

for sake of navigation I'm going in the order I drew them, and the order theyre in on the above image heart emoji.

"Virion" Vyncent Sol up first!! also can we talk about how his hero name is straight up just his name. lol. lmao even.

I HAD THE MOST PLAN FOR VYNCENT GOING IN TBH I wanted something similiar to the origami outfit while still staying reminiscent of his old outfit

I knew I wanted the jacket and I went with the turtleneck so it was the same as Jason's outfit. also Jason has really cool glove sleeve things I thought that was so fucking cool guys. and vyncent is generally from an actual outfit standpoint like... really simplistic? so just ourple pants and boots seemed most logical. I liked the mask and it was in both of his old designs so I decided to stick with it.

and then of course. the belts. there are ten total belts on his outfit jot including the two that would come with the sheath LMAO. plus the two pd colored belts on his boots!! I decided while drawing I wanted them all to have something in eachothers colors cause thats really cute.

i MUCHHH prefer the shorter jacket because of how it shows off the outfit and is reminiscent of his s2 post fauna design . . .

generally had the most idea going into his so there was very little in ways of additional sketching

also the Japanese where Jason's jacket had said Origami straight up just says Knife. I thought that was so funny. ENTIRELY ACCIDENTAL THING his outfit is basically just cantrips but colors flipped LMAO

BUT THATS ALL FOR VYNCENT. next up is (drum roll please)

"Wisperer" William Wisp!!! El wiwi himself. OKAY SO AS YOU MAY NOTICE. THIS IS DIFFERENT THAN THE DESIGN I ORIGINALLY POSTED. I had Not been happy with that one because it felt too cluttered and a little out of character so I ended up redesigning his jacket and redrawing the refs.

WILLIAMS OUTFIT WAS REALLY FUN THO I ended up going with a gas mask like he had in the greyscale arc, hoodie (which will get its own paragraph), cargo pants!! for his cargo and gadgets and gizmos, and then. because it's me and he's william. platformish boots laced with the orlther pds colors.

the hoodie was the thing I had changed in the new design because the old design wasn't william wisp enough for me yknow

i wnjoyed the outfit and it looked really need but it was much more complicated than his original hero suit and didn't really seem like smthn he'd design and wear.

i really liked the wisp belt and wanted to keep that wisp motif, which is why I ended up putting the flames on his sleeves! it looks cool as hell and keeps w the flame designs. IM ALSO SUPER ATTACHED TO THE WISPERER W THAT WAS ON HIS ORIGINAL HERO DESIGN.... so the hoodie has a stylized w.

also dakota and vyncent beads :)

I HAD A.... PROCESS MAKING THIS ONE LMAO. SO THERES A HANDFUL OF DRAFTS

i cinsidered adding stuff to make his outfit like Silhouettes then remebered i haye Silhouettes outfit. the images are out of order but I'm on mobile and can't be fucked to fix it. NEXT UP!!!!!!

"DC" Dakota Cole! only SLIGHTLY better than vyncent just using his name, bro is using his initials......

I CHANGED THE LEAST ABOUT HIS DESIGN HONESTLY. it was very nice to just get to draw Dakota though :)

the most I changed was I made it a bit simpler, and changed the jacket to be more like the Hexpert armor

also made the zipper look like her weird chest thingy....

I REALLY DISLIKE THE SHOES AND THE LITTLE BITS ON HIS ANKLES THOUGH. SO I CHANGED EM. they're now his thing in the others color heart emoji. I'd like to think they all sat down together and brainstormed ways to encorperate eachother into their costumes.....

i also made a little note of the back of hia jacket and I tried to make it look like a jersey

because he played soccer :)

ALSO.... DAKOTA COLE HONEY YOU SHOULD NOT ME WEARING A BELT EITH A BUCKLE. but it looks cool </3 if a little impractical

BUT THATS ALL OF EM FOR NOW..... love these guys.

next I. tackle redesigning this thing.

sighs. I so got this

[nkjemisin]

Hey there. I'm writing a story set in New York City and am not American. I have few characters, but most of them are arab or white. I can't help but feel a bit wrong about it, given that America is much more diverse than that, and NYC being an emblem of that. Do you think I should force myself to include more representation or should I just tell my story, and leave that more diverse cast to some other story I could write? I know this is a neverending debate and there are many opinions about it, but I've always agreed with everything you've said in matters of representation in fiction, and so I'd be curious to know your personal answer on it.

I'm a little confused by how you're using "representation," here. It sounds like you think representation = "randomly sticking BIPOC everywhere." I think when most people use that word, it means something more like "create an accurate or at least plausible depiction of a group or place." In actual New York, there are plenty of Middle Easterners and white people who live in relatively homogeneous small communities where they might only see someone of a different ethnicity on the subway. If your story is set in one of those communities -- and you do stick some random BIPOC in that subway scene, because that's plausible -- then it sounds like your characters might be an example of good representation.

(Note: if you're not writing something set in the real world, but it features human beings, it needs to represent humanity as a whole, unless there's a good in-world reason not to. But if it's our world? You can get specific.)

Here's the catch, tho: plausibility is relative. If you've absorbed some biases and haven't done enough research, then you might end up writing something that feels plausible to you, but which isn't actually representative or plausible to anyone else. The way to avoid this is to do the research and check (to the best of your ability) your biases. For example, you aren't American, I assume you've at least visited NYC? If not, you should. You can visit some of the communities I mentioned! You can eat in restaurants, visit mosques, have conversations with actual real people who are living the life you're writing about! If you don't have the time, money, or spoons to do that, there are other ways to do good research -- films and YT/Tiktok videos made by people from the communities in question, for example. But you'd need to watch a lot of them to get a good representative sample.

I recommend this book to all the writing students I've taught at Clarion, and other writer workshops: Writing the Other, by Nisi Shawl and Cynthia Ward. There's a particular part of it that seems relevant here, which is a kind of hierarchy of "appropriate" appropriation, I think first mentioned by Diantha Day Sprouse but included in Writing the Other. Basically it says that if you want to write about a culture that isn't your own, you can learn about that culture in one of several ways: a) You can be an Invader, and just go take whatever intellectual and artistic tidbits from that culture that you want, regardless of how damaging this might be to members of that group. Example: non-Indigenous people who write about actual secret practices, or who encourage the desecration of sacred places. b) You can be a Tourist, in which you're still mooching from that culture, but at least you're figuratively paying someone for it and accepting tidbits that the culture has chosen to sell. Example: getting a sensitivity reader. Or c) you can be an Invited Guest, who brings in as much as they take out, and who has formed relationships that are beneficial to all involved. Example: being part of an exchange program, both as a student and later as a host, and maintaining those friendships outside of the program.

The goal is to be an IG, but that isn't always possible. Tourist is still better than being an Invader. (...I feel like I'm leaving out a category. It's been a while since I read the book; any more recent readers want to check me here?) But the closer you can get to actually participating in that culture, the more your work will be informed by reality instead of biases or misinformation, and the more likely your work will read as plausible not just to you, but to your widest possible audience -- people familiar with the culture and people who aren't.

(I'm a little concerned about your phrasing of "force myself to include more representation," note. Why would that need to be a forced thing? A writer's goal should be to write something that feels lived-in and authentic to [if it's a real place] most people's experience -- not to meet some arbitrary standard, but because that's how you master immersion and characterization. If good immersion and characterization feel forced to you right now, that suggests you need more practice. I recommend writing short stories!)

[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.

[mammomlette]

People don’t talk about MC needing to wear a magical ring to not accidentally yk cause NATURAL DISASTERS with their powers??? Not only accidentally but without realising???

Diavolo or smthn is asking too much of MC or being a bit too annoying and their other hand slowly drifts towards the ring and they hold onto it while maintaining dead eye contact. Like continue to piss me off hoe I’ll blink and blow a hole in your castle idk

Obv they never do it (or do they?) but the threat is there and it’s a risk dia (or whoever but I’m using dia) can’t take

[sevensinswithin]

Okay so to everyone who was here for the original post, here’s basically how Alicent and Laenor get married in my lavender marriage au:

The entire thing starts because Alicent catches Laenor and Joffrey fucking in a secluded part of the castle a few weeks before Aemma dies. The boys only realize they’ve been caught because Alicent runs away from them like her ass is on fire. That girl had no idea gay male sex was an option in life and now needs to reevaluate everything in her life after catching them.

Laenor then spends the next few weeks trying to find a way to get her alone because guess what. Fucking in a secluded but also public area is not a good strategy if you want to keep your gay love affair a secret. So now Laenor is hoping to convince Alicent to stay quiet about what she saw because his dad seems to think he'll grow out of it (do not attack me, this literally happens in canon) and he doesn’t want anyone to know yet since it might impact who he’ll get married to eventually. Meanwhile Alicent is desperately trying to forget that she ever saw anything and doesn’t tell Otto about seeing Laenor and Joffrey because let's be real. This man said “childhood companions” like it was a slur in that one scene, so she knows that her father would do something with this information. Alicent does not want to be the reason Joffrey and Laenor are in trouble for their relationship. Nevermind that she’s suddenly having the realization that women liking women isn’t that far of a stretch after all.

Unfortunately, to everyone else in the world, it looks like Laenor is trying to court her and that Alicent is just trying to be very polite about his interest in her since she never wants to be alone in a room with him unless they’re around other people. Which is something that is totally normal and not weird at all. Why would you say otherwise?

Then Aemma dies and Otto sends her to see Viserys in his room and Alicent is now very stressed about something else in her life because she wants to do what her father says, but she also doesn’t want to betray Rhaenyra.

So during those six months after Aemma dies - which is apparently how much times passes between Aemma’s death and when Viserys decides to marry Alicent according to a HOTD article I read - Alicent, like in canon, is sent by her father to Viserys’ chambers and desperately hopes that her father’s ambitions won’t happen and that Viserys will simply see her as person that is supporting him in his grief.

(Life Hack: If you ever want to read an article and it says you have to make an account to read the rest of it, just go back to the google page you found it on, right click the link, and save the link as an HTML document. That lets you read the article without having to make an account. I found this out from someone on the internet and damn did it help when I wanted to access any account restricted article. Anyways, back to the plot.)

So to counteract that and make it so she’s less appealing to Viserys, Alicent always mentions Laenor and how fond of him she is during their talks. She also mentions how worried she is about Rhaenyra and her position as heir because there seems to be so many people that seem to be under the impression that they can replace her by having Viserys marry one of their daughters and convince him change his heir to one of the possible children he might have with those daughters.

Meanwhile, Laenor is absolutely losing his mind because all of a sudden Alicent is always around him and receptive to interacting with him, even though literally weeks before she avoided being around him like the plague. During this she also manages to wring out of him the fact that his parents (mainly Corlys, let's be real) are talking about potentially marrying Laena to Viserys and that he hates that idea as she’s way too young in his eyes for that. Eventually Alicent manages to find a way to be alone with Laenor and make him swear to secrecy about what she'll tell him because telling anyone might mean that his sister will actually have to marry Viserys. He does and she fills him in on what her father wants and what she’s attempting to do, and that she needs his cooperation to get him to at least appear like they’re courting.

So Alicent and Laenor put up the appearance that they’re at least attracted to each other to get people talking, which totally doesn’t ignite jealousy in Rhaenyra at the idea of Alicent being in love with her cousin. Cue Rhaenyra absolutely doing everything in her power to make Laenor appear like a loser to Alicent and the rest of the court. Alicent makes sure to get her to stop that shit real quick and tells Rhaenyra that she and Laenor are only pretending to be in love in order to avoid having to marry someone that would disrespect Laenor’s preference for men and disregard Alicent’s autonomy. Alicent also mentions that possibly marrying Laenor means that Alicent and Rhaenyra will be allowed to see each other very frequently as she will be Laenor’s wife and the Velaryons are often at court since they are related to the royal family. So now they have Rhaenyra on board.

Eventually the night before that one small council meeting where in canon Viserys announces that he’ll marry Alicent, Alicent “confesses” to Viserys that she’s in love with Laenor and that she wants to marry him, but that her father would never allow Alicent to marry Laenor because he and Lord Corlys dislike each other. She also lets it “slip” that Otto is very adamant that Viserys must have a male heir despite the fact that Rhaenyra has already been made heir, and that he sees Alicent as a potential bride for Viserys despite her unwillingness to marry her best friend’s father. She also sprinkles in the fact that Rhaenyra would be devastated at the idea of her father remarrying, especially if the bride in question were her best friend or even her little cousin (Yeah fuck you Corlys, you’re on thin ice for that and the grow out of it comment), and the fact that surely his wife would want him to defend his daughter’s claim to the Iron Throne from potential usurpers, which is something that would definitely happen if he had a son.

This causes Viserys to absolutely lose his shit, but Alicent calms him down and he sends her away from his chambers. However, not before Viserys hints that he would not dissolve a marriage between a highborn lady and lord if they eloped and consummated the marriage. So instead of heading straight to her rooms, Alicent instead books it to Laenor’s chambers. The two of them run off to a sept and convince a septon to marry them with a few commoners as their witnesses because they can’t take any nobles in fear of being stopped (and to also have the commoners spread the fact that Alicent and Laenor eloped). Then she and Laenor head off to Laenor’s chambers to consummate the marriage with the help of Joffrey, who they had stay in Laenor’s chambers so that no one would get him in trouble or notice that he was in the room with them during the consummation, and to have Alicent stay over so that people could catch them together in the morning and spread the news of her “ruined reputation”.

The next morning Laena bursts into Laenor’s chambers like she always does and “catches” them before running off to tell Rhaenys the way all little siblings do. So then Rhaenys and Corlys show up, as does Otto; he caught wind of the situation through a servant he paid off to spy on the Velaryons. Once there Otto starts shaming Alicent about her ruined reputation and Laenor retorts that she didn’t ruin anything as he married her before he bedded her. Otto then explodes at the pair when Laenor says that and Corlys rushes to defend his son against all the stuff Otto is saying and threatening him with.

Eventually their argument gets so loud that a servant rushes to get Viserys and a few guards since they’re afraid that the two lords will resort to violence. Trailing after them is Rhaenyra and the Small Council, as the meeting was supposed to start half an hour ago but certain people were missing and needed to be found. So now the entire Small Council, Rhaneyra, and Viserys are at the doorway of Laenor’s room while a furious Otto and Corlys trade insults. Meanwhile Rhaenys sees how afraid Alicent and Laenor are and rushes to the pair’s defense (because they need someone in their corner that isn’t shaming the other party), saying that perhaps the two wouldn’t have resorted to eloping if Otto and Corlys weren't always at odds. Seeing the King, Otto rushes to demand that he have the septon reverse the marriage, but Viserys reveals that he knows about Otto’s plan to make Alicent marry him and how he knows that she wished to marry Laenor instead. He then fires Otto from being Hand and sends him packing to Oldtown, approving of Laenor and Alicent’s marriage as a final insult to Otto. He also firmly informs the small council that he will not be getting remarried, that Rhaenyra will remain his heir, and that anyone who objects otherwise is speaking of treason.

So there you go, the outline for a story that I’m most likely going to write in non-linear bits. In this world Alicent is Lady of Driftmark, Laenor and Joffrey get to be happy, and Viserys prioritizes making sure that Rhaenyra’s claim to the throne is secure. Also somewhere down the line in this universe Rhaenyra and Alicent get their shit together and realize they’re in love with each other, and Rhaenyra gets to marry Harwin because Daemon never takes her to the brothel and so she gets to pick her husband and be the polyamorous bi queen we all love.

[zylphiacrowley]

Adventures in the Northern Wilds pt. 5

<previous - next>

[lovesickeros]

lord its so dark in here the sahara desert of tsaritsa content you are like a shining oasis. your characterisation of her compels me & mihoyo would be hard pressed to top it imo.!! caaaaan i humbly request yr thoughts on her first meeting w a reader of any kind, or maybe even multiple kinds (sagau, sagau god au, isekai, etc) if you so desire...

it really is like a desert here. being the fan of a character we aren't getting until the last damn nation is driving me up a wall but i will persevere bc if nothing else i support morally bankrupt women in media. we r in a severe drought over here but i do my best. unfortunately nothing i say is ever coherent so pull out your translation notes its abt 2 be messy

also this got out of hand but thats bc first meetings w the tsaritsa are tricky to write + a LOT of her characterization lies in deeper exploration then just surface level yknow...NOT A DIG AT YOU this is just my excuse for rambling. gently pats the tsaritsa she can hold so much complexity i do not have the word count to delve into it completely :]

gonna talk cult au for a bit here though because that's 99% of my content. and honestly? she thrives in sub au's of the cult au like villain au + imposter au. it's basically made for her. i mean, early days, the imposter au had been going around for a little while but one of the first few ideas was the Fatui taking reader in so like. it kinda technically actually was. pretty sure cult au Tsaritsa popped up because of the imposter au. a lot of it's writers kinda left though which. man am i getting old or.

anyway.

there isn't much of a chance her first impression is all that positive. at best it's usually neutral, imo, but rarely if ever positive. specifically because i view the Tsaritsa as someone who isn't as fanatical as most of the acolytes typically are towards the creator. she's not exactly going to worship the ground you walk on unlike a certain geo lizard. which is partially why i think she thrives in the sub au's i mentioned.

imposter au, for example. she meets you at your lowest. there's no gaudy extravagance or pampering from the acolytes waiting for you because your own acolytes have turned on you. for all intents and purposes you aren't a "god" at all. which is why i don't think she meshes well with normal cult au reader. the Fatui are made up of outcasts, basically, and imposter au slots right in just perfectly. you're weak, at your lowest, when you meet the Fatui in the imposter au. and the Fatui can help you, too.

a mutual exchange, really. the Tsaritsa sees a tool she can use to one up the rest of the nations and especially Archons, and she has no qualms about you using her and the Fatui in turn. you both want something out of it, after all. whether you just want to be safe from the rest of the acolytes, or you want revenge, or whatever else..she'll give you the power to fulfill it, and she gains the strongest piece on the chessboard when all is said and done.

the best way i can describe the first meeting is "practical", i suppose. she sees an opportunity in you. the ultimate gamble. because if she "saves" you, and you dont trust anyone else because they tried to kill you, well..she holds all the cards, doesn't she?

but the Tsaritsa, imo, is just as capable of being just as fanatical towards you as anyone else. she just won't worship you as the creator. but as yourself? clawing your way back to your divine power and taking back what belongs to you? the Tsaritsa is, to me, a character who's character flourishes in long-term fics more because she changes a LOT between "just met reader" and after having been with reader for some time. she's practically apathetic at the beginning but a lot of her character, in my characterization, shines through LONG after the first meeting.

[bonefall]

As a big sibling with a lil sib with epilepsy, when they read TBC they Honestly thought if they got struck with lightning reciting the lord's prayer they'd be cured like Shadowsight is from their epilepsy. I had a discussion with them on how that's not how it works, but ge was so upset they took it away from Shadowsight that he hasn't picked the books back up and has stated that 'he hopes Ashfur wins and starts a new religion.,'

I do not even know how to respond to this besides saying that your little sibling is 100% right to be pissed and I now also hope Ashfur wins and starts a new religion.

[hallwyeoo]

Ellie’s memory of the golfing scene and what it tells us about her.

🚨spoilers for tlou2🚨

I think Ellie’s flashback to Joel’s death is very telling of how she internalized the event and the meaning she applied to his death. It’s also a good demonstration of her relationship to autonomy. Let’s break down the elements that were inconsistent with the actual event:

The stairs/hallway are much longer than they were. This suggests a sense of helplessness, an inability to get there fast enough. Joel is constantly out of reach.

There is blood on the floor outside of the door. Not entirely certain on this one but my hunch is that she blames herself for not seeing more obvious signs of violence/not knowing something was wrong sooner.

The door is locked, another roadblock in her path to Joel. She can’t access him, she can’t help, he needs her and she isn’t there.

Most importantly. Joel yells “Ellie, help me” (which he didn’t in the actual scene, he just screams. He doesn’t say a word in the actual scene)

Ellie hearing Joel scream for her help, calling for her while being horribly beaten, and her being repeatedly impeded on her way to him suggests that what she took away from his death is that she wasn’t enough. They always helped each other, always had each others backs, always got up. Ellie views his death as a failure. She was too slow, too weak, not smart enough to save him. She failed him when he needed her most. She is absolutely helpless to save him, just like she was helpless to save Riley, Tess, Sam, and Jessie (and Marlene, and humanity, and and and-).

Once again, Ellie makes a decision (staying with Riley, going to the fireflies, staying with Joel, being the cure, trying to forgive Joel) and once again her autonomy and ability to find closure is ripped from her.

This is the inciting incident of tlou pt2, this is the moment where Ellie’s whole world shatters the same way Joel’s did at the start of pt1. Ellie enters into the same cycle (which I like to call the “Joel cycle” because… yeah.) that he did, and throughout pt2 she stays in the “20 years later” phase of the cycle. She is changed, she has lost her light, lost what she fought for. She lost her chance to genuinely forgive Joel and rebuild their relationship. She is stuck in a gruelling and violent world that she has no anchor in, at least not anymore. His death is so sudden and so incredibly violent that it practically gave her (and me as well, tbh) whiplash. She’s in a state of total shock.

On another devastating note, this is one of the three times in tlou that we see Ellie beg (that I remember). The first is begging Joel to get up at the university of Eastern Colorado, the second is begging him to get up and for Abby to stop, and the third is begging Abby to not kill Dina because she’s pregnant. (Two times she begs Joel to get up, one time he doesn’t. Two times she begs Abby to spare her family and one time she does. What a beautifully haunting contrast)

To wrap up, every person creates an internal narrative, a story of their life that is crafted from their context and lived experiences. The meaning we derive from those experiences doesn’t always reflect the truth, and that can sometimes bite us in the ass majorly when we experience a traumatic event. We tend to want to find someone or something to assign blame to, some reason or rationale to why it happened. We tell stories. We write them in our minds about ourselves and what happens to us and what that says about us.

But Ellie is wrong. Joel’s death happened in response to a conscious and willing choice he made. It is in no way her fault, and there was absolutely no way for her to know or to stop what was happening. I think Ellie knows that much on an intellectual level, It just doesn’t change how devastated she is over the whole event. It can’t change the fact that she FEELS as though this was all her fault, that Joel did what he did to save her, that she could have saved him. That she should have.

[bookshelf-in-progress]

There's always a danger of caring too much about a story, and then getting paralyzed by the need to do it justice, so it never gets written.

I've solved this problem in the past by writing stories so fast that I don't have time to get too invested, or writing stories that I'm not that attached to.

But maybe the trick is to love the story so much that I want to share it any way I can, even if it's imperfect. To feel that any version of this story is better than the story never getting written at all. To get out of my own way and stop worrying about what other people will think of my writing, or even what I think of my writing, and love the story for its own sake, love the readers enough to want to have the joy of sharing the story with them.

Maybe it'll work. Maybe it won't. But so far it feels like a much better approach.

[moregraceful]

I name all of my snake plants after Baltimore Orioles players because...I don't know why I do that.....anyway Adley (she/her pronouns according to my parents) and Adam Jones are making the trip with me but Chris Davis is TOO BIG FOR THE CAR and I'm so sad now. That was my emotional support snake plant through my FMLA leave. He has seen the worst of me (mental illness, forgot to water him for a month) and survived. Now he's like four feet tall and I have to leave him behind because he is so big that he takes up more than a third of my luggage space in the car 🥲 I took such good care of him that now he has to live independent of me. Goodbye Chris Davis I will think of you fondly as I encourage Adley to grow big and strong.