#and this scene was very much influenced by the scene from there where he had to call the camp and sign up and doris was hyping him up

[ccbatman]

actually so evil how much of hal's internal world gets obliterated with the rewriting of his relationships with jessica and martin.

[melien]

I just had an embarrassing interaction with someone that I really want to get along with and then Doris's advice she gave Milo popped into my head. That person has moved on to other things and probably isn't even thinking of it! Thank you for writing an awesome character like her, who is honestly helping me deal with my social anxiety right now! 😊

Ahhhh this is so sweet, my heart is so full right now😭😭 Yeah I would say I agree with Doris here, this definitely can be helpful to remember, people have a short-term memory most of the time. But I also see Milo's perspective, some people could indeed get a certain impression of us from a small interaction. I guess it depends, but I do believe most of the time people are focused on themselves and their own actions (probably how not to embarrass themselves haha). The hard part is telling this to our brains. I was thinking how social anxiety doesn't just come out of nowhere, it usually comes from a string of prior bad experiences and all the silly societal norms imposed on us that center around playing some fake part and not fully being yourself, so it's definitely quite hard to put yourself out there repeatedly. So I'm proud of you and your little steps! Man I love rambling about human psychology, it's one of my special interests haha and I definitely try to put those things and different perspectives to reflect on into my stories too.

But yeah, I love Doris a lot, she's the best and so mature for her age! (I think she's like 17-18 in the story and Milo is about 4-5 years older?) It's really refreshing for me that the two siblings with completely opposite personalities are trying to support each other as well as they can. Doris usually speaks from her experience as an extroverted non-overthinker, and maybe it doesn't fully help Milo immediately to internalise it and apply it to themselves, but it does make it a bit easier to see that their sister is in their corner and is trying to be so understanding and helpful. It's really valuable to have someone who is validating our feelings and not acting annoyed at our anxious brain. Ahhh I love these two🥹

[severepink]

Observing Adam

Where I go way too deep into something that probably isn't that deep. It's long, it's long as hell.

Okay, so you'd think with how Adam talks he's just a typical misogynist, right?

This man worships pussy. So much so, he's named a whole ass angel, one of his best, Vagina. You'd say that he objectifies them and thinks of them as being lesser, but I don't think that's the whole story. In fact, I think he might be the original simp.

All of these exorcists so far have been women. All of them. He refers to them as ladies or bitches interchangeably, he sees them as being completely capable of absolutely decimating leagues of some of the most vile beings who have ever existed, and they have, to the point it was only after thousands of years that there's been a risk to this hierarchy.

He's a self-centered, egotistical, loud-mouthed, arrogant asshole, no doubt about it, but I'm beginning to suspect something now.

If Adam and Lilith were created from the same dust, if they were created as equals, I am more than willing to bet... Lilith is also a self-centered, egotistical, arrogant asshole. But, she's likely far more intelligent, composed, and duplicitous.

Lilith was allowed to refuse Adam and leave of her own free will and garnered her own independence. A new wife was created for Adam, she was replaced. My guess, is she thought Adam wouldn't be able to live without her, to come back and find herself replaced entirely, she was enraged.

I believe both Adam and Lilith were both incredibly dominant individuals who fought over ideas, thoughts, and ultimately in the bedroom as well, if we take into account the creationist stories.

I'm willing to bet she likely manipulated Lucifer into twisting humanity against its original concept. What if Lucifer's intention truly was to just spark something within Eve, like independence and thought and creation, but it was Lilith's poison within the fruit that tainted her, then subsequently Adam, with sin.

Lilith thrived in hell, while Lucifer's dreams of creation were dashed. She didn't suffer as he did, instead the power of her voice grew with hell. Her voice grew so powerful that heaven found it to be a threat, her actions instigated the beginning of exterminations.

Charlie said that when she was a little girl, she didn't know Lucifer at all. I don't think this was because of Lucifer, he's seen here, picking her up, inviting her to share in his thoughts and dreams, showing her something wonderful. Something she could see within herself.

Charlie says that it's this moment that sparked her will to fight for her dreams. Which is strange, because at the very beginning of the story, Charlie says it was her mother's dream that was passed down to her.

Lilith took Charlie away. In this scene, Lucifer wasn't done showing Charlie his thoughts and dreams, he's still yearning to show his daughter these things at this point.

Lucifer loves his daughter. He loves Charlie so, so, so much. So why wasn't he allowed to build a relationship with his daughter for the longest time? He was waiting for the opportunity to get to know her, but with how much he adores her why didn't he do it sooner? He didn't comment on 'It took you a while-' he just said he missed her smile. They don't want to be pulled apart, again.

Now, we know Vivziepop has said that Lucifer and Lilith love each other, but Lilith 'wears the pants' in the relationship. We see all of the pictures all over the walls of a supposedly happy family. I don't think the relationship was as loving as originally portrayed and Lilith is a woman who desires control above all else. She likely tried to mitigate what influence Lucifer had over their daughter when she thought his angelic thoughts and behaviors became more than what she approved of.

Lets take it back to Adam and Lute for a moment. Again, Adam is a loud mouthed idiot, he's a jerk. The moment he realizes there are demons in heaven, he's ready to go on the attack. It's only because of Lute that he didn't end up doing something absolutely idiotic.

I gotta say, Lute and Adam's relationship is an absolutely fascinating one. He's a disrespectful dick head in how he talks, but how he acts is a different story. He allows Lute to man-handle him. He does listen to her, even if he's a whiny bitch about it.

Look at him, this is the face of a man listening, a dumb one, but a dude listening all the same. He doesn't manhandle her back, he doesn't even pull away until she lets go of his collar. Of all the shit he complained about, between being grabbed and being told what to do, his biggest complaint is that she's telling him to shush.

We know that Adam is the one who suggested the exterminations to begin with, so Sera says, and this was because of the power that Lilith was amassing. To him, Lilith is a threat. Even when he was willing to move on, to go to another wife when Lilith didn't want him or want to submit to him (fair babe, he's a bit of an idiot), she came back with an angel and proceeded to manipulate his new wife Eve. This is the supposed progenitor of man-kind, the original dick (hilariously enough), the reason civilization even exists at all. He and Eve had to fight for their lives after being tempted with the fruit. They had immortality, they had no ideas of shame, they were supposedly 'innocent' creatures before Lilith and Lucifer came along. He and Eve had to fight tooth and nail to survive after being cast from Eden. I think it shows in how willing and ready he is to take lead and do what he believes needs to be done, now out of a need for entertainment rather than a need to defend or protect. But, he still stopped to listen to Lute's advice. In the mythological story of Adam and Eve, Adam is the one who has to tell Eve that god said don't eat the fruit. Eve never heard god speak to her, so she was vulnerable to the snake's manipulations. She will now die because she ate it, and because she did not want Adam to take another wife, convinced him to eat it unknowingly. Funnily enough, Adam tried to explain to god that 'she lied to me and gave me the fruit' and in this actual mythology, Adam was punished for listening to his wife. Even without mentioning Lilith in the original mythology, Eve didn't want Adam to take another wife, so when we consider it within the context of Hazbin Hotel, it may be likely that's how it went down. Eve knew of Lilith, knew that she could be replaced, and decided that she would take Adam with her.

I believe that Adam does and did rely on the women in his life to help him with direction. I think Adam knows he can be an idiot and is willing to listen, even if he doesn't agree with what he's hearing. He did listen to Charlie in the beginning, he just didn't believe in her, like everyone else and he, out of anyone there, probably had the most reason not to. Cain and Abel were his and Eve's sons, his own child became the first murderer. Out of jealousy, the same kind of jealousy that no doubt has caused Lilith to act how she did. Adam isn't going to have empathy for sinners. His family, his legacy, were filled with the original sinners. He probably had to kill his son Cain in hell during the first exterminations. What do you think he would have had to feel, if it came to be a fact that sinners could be redeemed? That maybe his son, could've been redeemed? Or any of his progeny for that matter? How did it feel when his sons, his progeny, weren't given the same mercy as the Hellborn that Lucifer managed to keep protected through some deal with the angels or god? Not to mention that Charlie could've been his daughter. Charlie is the product of the people who completely and totally destroyed the paradise he'd been born into. She's the daughter who is protected and immune from the slaughter while all of his sons and daughters are judged and killed. I believe, even though he was a dickish prankster to Charlie, he was surprisingly patient and even somewhat amicable, willing to even ask her how her weekend was like he was just trying to get to know her.

Adam could just see all of the angels under his employ as being disposable. He doesn't have to name them, or think about them in any individual fashion. But, he knows Vaggie, recognized her instantly. Thought she was badass. Lute's the one who saw her, tore her wings off, and walked away. I'm surprised they even let her live, because this just goes against everything they're doing. They're an army and they saw one of their own showing empathy to the enemy.

Look at this dumb ass. He's being a shit-head, a dick, a bastard. But, he admires Vaggie's ability to pull Charlie, congratulates her, this dude isn't even judging her for being a lesbian. I don't think it's because he objectifies women, this dude loves women, he just does. He respects fellow vagina lovers. I don't think he respects liars in the slightest though. He's being underhanded, he's trying to be manipulative (he's not very good at it). I think he's brutally open and honest about everything and that's probably one of the reasons he's such a bastard anyways, because sometimes you just need to shut-up and he's not good at that.

I don't think he respects Sera for that either, he's more than willing to let others know what the hell he's doing, but under Sera's lead, he can't be open about it. I don't think it's his jam to act this way, it's why he sucks so bad at it and I think that's why Lilith is so antithetical to him. I also think that's why he's possibly even being manipulated.

It's kind of crazy that Adam is the only one who tries to come up with what allows someone to get into heaven. So here's his list: 1. Act Selfless: Maybe at one point he was! He had to have been, to be one of the progenitors of mankind, he would have had to work, sacrifice, and give to his wife and children for them all to survive. Eve would have had to do the same, no doubt. He may not seem selfless, due to his raunchy behavior, but he's served heaven since he's been there. He's served humanity in some kind of facet. 2. Don't Steal: Considering the only other humans are his spawn, he likely had to try and get them to not steal from one another for them all to have an equal opportunity of survival. He and Eve likely both knew they would need to work together to survive.

3. Stick it to the man: This, however, is interesting. Who is 'The Man' he speaks of? God? The only other people over him or were equal to him were women. He speaks like a rocker, and I think in this case he's using the term 'The Man' in a gender neutral way. I think he allowed some amount of Authority to Lilith when they were supposed to be seen as equals, it comes so naturally to him as a character when it comes to the other women he's been interacting with. I think she is the 'man' that he's been sticking it to- Pun somewhat intended. ((This third one may also simply be a tongue in cheek reference to when Alex Brightman played Dewey in School of Rock on Broadway! Thank you to the user who brought this to my attention!))

Adam is a bit of a hypocrite, isn't he? He likes to fuck, he's made that abundantly clear. Full of lust you could say. It was his original purpose after all, and he is judging Angel Dust for something he probably would've done himself at one point or has considered doing (maybe not the having sex with men part). Angel Dust does all of these things, Adam doesn't even deny it. He even looks nervous. He's angry, but doesn't deny that Angel has done those things. He doesn't explain it away or try to lie or move the goal posts, he's just asking what is an actually very valid question.

Why isn't Angel Dust there if he can do things equal to what Adam himself hasn't done? Serenity continues that line of thought. It isn't until Charlie is realizing no one knows what it takes to get into heaven.

Adam is more than willing to let Lute take the lead here, he's willing to give her the stage to clap back, he's giving her back-up antics. By all means, they could be pushing and fighting one another, there could easily be body language expressing something other than their general comfort around one another. They aren't fighting for a spotlight like you'd expect Adam to try and do considering his egotistical attitude.

Adam fucking sucks at keeping his mouth shut and he sucks at lying. He nearly blew the secret out of the bag once, this time, Sera is the only one who tries to stop him and to be honest? Lute looks a bit too thrilled at it. He knows he fucked up, but he doesn't think it's a big deal that anyone would know. For fucks sake, they've already condemned souls, his progeny, to suffer. What's the big deal if he kills them?

I have to re-iterate what's happening here. Charlie is proud she caused this chaos, that she caused these angels to fight amongst themselves, even if in this case it's a good thing. But, this is like history repeating itself to Adam, the reflection of his ex-wife, entering his domain, causing strife among his people, being happy about it.

And the venom he expresses when it comes to the 'liar' portion, god Alex Brightman destroyed when he got to this portion specifically. There is some vehement disgust in his tone when he says liar.

Adam isn't a good person now. But, I think he used to be a good person. By all means, Adam himself could've been the first murderer when his wife made her mistake. He, at one point in time, had to have been good enough to foster civilization itself with Eve. Both good and bad. Adam's original purpose was to be fruitful and multiply. Ordained by god (or maybe just angels) himself, divine power directed and created him to fuck. He didn't chase his ex-wife down, he was given a new one, Lilith was allowed to leave. When he left things alone, when he tried to move on, his ex-wife and a scorned angel destroyed the paradise he was in with Eve. He had to struggle and toil, he had to feel shame in his own body. He had to find out his first born son was the first murderer. His second son killed. We don't know if this is going to be canon in the story, a lot has changed, and if Adam is the first soul who reached heaven, then what did happen to Abel? Was Abel considered a sinner? Or did Cain kill Abel after Adam had passed? Either way, he had to witness his children kill, he had to watch his descendants behave in a range from saints and monsters. He's seen genocides, he's seen famine, war. Adam is desensitized to the plights of his descendants. Maybe he even saw it as a duty to cleanse the universe of their existence at one point, because they were his responsibility.

At the end of this episode, he is properly scolded by Sera and does seem ashamed of himself. He isn't huffy, he is reminded that he should be ashamed of acting that way.

I love Lute's enthusiasm, she's absolutely brutal when talking about Vaggie and with how she handled Vaggie. I think it's funny that Lute is so brutal she's even made Adam uncomfortable. It's cute that he's made uncomfortable by the excitement and all he does is tell Lute, the premier hype woman over here, to chill. She's so proud of herself too, look at her.

He fully expects these exorcist bad bitches to go in there and fuck shit up. But, you know it's hilarious that he's throwing horns? This dude, this angel. First human soul in heaven, loving rock n' roll, the devil's music, and throwing motherfucking horns. It's poetic really. I think we can probably assume where things are going.

Now, this is the first point we've seen Adam being a real piece of shit to Lute. I don't think Adam likes it when people think he's too dumb to notice something, especially something so damn obvious. This is such a drastic moment of vitriolic, uncontrolled anger directed towards Lute. Adam knows he isn't the brightest tool in the shed. He likely knows he's obtuse and misses shit. It's why he sucks at lying, he knows he's not smart. That is why I think he's afforded women opportunities to direct him without fighting back against their advice and their choices. I'm sure Lilith made it obvious how dumb she thinks Adam is. I'm wondering if this might be where their ground breaking fight might've come from. Who's to say he didn't allow Lilith to take the lead, or listen to her like he's done with Lute here and now? Perhaps to an even greater point? He listened to Eve and ate from the fruit of knowledge and he was punished for it. Being seen as so dumb he can't formulate a simple fact is a sore spot for him.

Adam is incredibly powerful. It took a bit out of him to exercise that power, probably because he's out of practice just like Lucifer said. At one point, he probably wasn't so sloppy and weak willed. He's gotten lazy. Sloth like.

I think it got real personal here. How viscerally and personally he attacked Charlie. No one but Charlie truly thought sinners could be redeemed, or that they were even worth it. Not even one of the original sinners. Maybe he never considered the possibility, maybe what happened really did make him see the world as black and white to cope with that happened to him, his wife, his children. Charlie's desire to fight this idea would destroy the foundation for all of his coping through the years. He stopped seeing them as family, even though he's grandiose about his founding role in humanity. Does that itch the guilt that may lurk under the surface?

I don't think Adam thought much of Charlie at all. I don't think he had any intention of coming to kill her in the beginning, despite seeing her, despite who her parents were. But, I think with the constant push, with how eager she was to disrupt the pre-conceived idea of order, it reminded Adam and reflected her parents so much, he was eager to kill her for revenge against them. I think this electrical interference on the mask is a direct reflection of sin. Namely, wrath, in this moment.

Now, this. THIS. Is something that made me want to write this whole fucking essay. Is Lucifer implying that he not only gave Eve the Fruit from the tree of knowledge, but FUCKED HER TOO? Homies, I'm sorry but holy shit. That is some hydrating tea. I'd be pretty pissed too, fucked over twice by women who were supposed to be literal soul mates, who you were made for, who were made for you?

I knew he would have a goatee, I could almost hear it. I gotta say, I'm a sucker for how he looks. I think he's hot. He is a bastard, but so are a lot of the hot dudes in this show. It's just a theme.

This exact series of lines prompted so many of the thoughts that I had about Adam and why he thinks or acts the way he does. At one point, Adam did have to work himself to the bone and learn to survive from scratch alongside Eve. He isn't entirely without cause to not think that he deserves some respect or recognition from his descendants.

But, that doesn't give him the right to act like god himself. It's... well... Blasphemous. Isn't it? One of the worst sins is to think yourself to be worthy of worship, as if you're a god.

This is the moment that gave me empathy for them both. You could probably see the kind of loving person Adam could have been at one point with how he looks at Lute, even as he's laying there, dying. He's not crying like a bitch, just looking at Lute softly. Lute screaming for him, screaming his name. They cared for each other deeply.

And this... and this.... and this. WHAT DEAL DID YOU MAKE, LILITH? Did you make it with Sera? Did you make it with Adam? Did you make it with Lute? Did you really just want a little 'vacay' away from the hell you helped create? Left her husband, depressed and lonely. Left her daughter without any care or guidance. Maybe Alastor was sent in her place, perhaps? Seven years since he was seen after all, but why wouldn't he show up sooner if Lilith did care? Did she make a deal with Lute and Adam? Did she let Adam smash it so she could stay in heaven? Did Lute let her stay in exchange for getting Adam out of a position of power? Or was it maybe Sera who commissioned Lilith with a deal? Either way, I'm in full belief that it wasn't Adam's idea to move the extermination day up. I think he's a patsy, a scapegoat. I think Lute may have been manipulated, potentially, into manipulating Adam into this position. Was it even really Adam who came up with the idea to do the exterminations? Or was he the one who simply decided to fight originally because he was told heaven was at risk due to Lilith's rising power? The Road to Hell is Paved with Good Intentions. I think it could be any number of these. Either way, Lute certainly does think she had authority over Lilith. Is it Lute just having hubris? Or is Lilith truly bound, just like Alastor, Husk, and Angel Dust?

Of course, now that we know a soul can be redeemed... and we certainly know that angels can fall. I don't think this will be the last we see of Adam.

[aeyumicore]

misty invasion - lost oasis

━ .ᐟ✧ PAIRING: sylus x female reader (afab)

━ ✧.˖ GENRE: smut, porn with some/little plot, porn with feelings, angst

━ .ᐟ✧ WORD COUNT: 4.5k

━ ✧.˖ WARNINGS: mdni, explicit sexual content, spoilers AND alterations to ‘lost oasis’ (sylus’s misty invasion card), slight predator and prey, dom!sylus for the most part (though he shows vulnerability), use of Y/N, sub!reader but she teases doe, unprotected sex, cumming in coochie, against the wall sex, shower sex, hand play/kink, belly bulge, finger sucking, fingering, biting, slight angst, lots of hickeys (m! And f!receiving), allusions and predictions to sylus’s lore 

━ .ᐟ✧ LINKS: video | ao3 | twitter art | xav's version | raf's version | zayne's version

━ ✧.˖ A/N: hiii second part of the misty invasion series is here <3 this time our very own birb – sylus! Next will be Xavier but I don't have a timeline for it! Could be 3 days could be a week :’) will try and keep you guys updated

Small Sylus rant, feel free to skip this and read the fic!

I have huge problems with the hypersexualization of Sylus, from the devs not from fans. I feel like the devs sometimes use him as fan service. I felt that was especially true in this card, the shower scene felt out of place and didn’t feel intimate because they’ve done far too little mc/sylus building and sylus lore. I wished the ending scene in the hammock was the cut scene, even if there was no spice. For that reason, I’ve SLIGHTLY altered the dialogue and memory, especially at the end. I added in some of my own angst, heavily influenced by predictions to Sylus’s lore I’ve seen on Twitter, especially the twitter art i linked above.

Don’t get me wrong I love Sylus. I just wish we got to see MORE of his lore and backstory, because you just KNOW it's tragic. His myth cards were nothing like the other 3 boys, and I feel like they have a lot of opportunities to help Sylus “catch up” to the other 3 LIs (could’ve done a event similar to Rafayel’s bday event, waited until they could release more main story, etc), but they haven’t utilized it well. I’m sure there’s a reason why (rushed timeline, leak threats. End of the day I understand it’s a business), but as a reader/user/fan it kinda sucks. And again, I KNOW it’s coming and it will be great. But because we haven’t seen enough yet, it makes his spicy scenes seem less intimate and more fan service-y. So I wanted to add just a sprinkle of Sylus angst and story here <3 It made me cry, I hope you guys love it as much as I loved writing it. 

THIS IS MY ONLY ACCOUNT. I WILL NEVER POST MY FICS ON OTHER TUMBLR BLOGS. I WILL ONLY POST ON THIS ACCOUNT AND ON AO3.

✦ . ˖ ✧ .ᐟ ˖ nsfw | minors dni | 18+ only | minors dni | nsfw ✦ . ˖ ✧ .ᐟ ˖ .

There are moments in life where it really hits you.

That you’re in danger. 

Where your hair stands up on its ends and your legs itch with the need to bolt away. This felt like one of those moments. The way Sylus’s voice, throaty and deep, growled with evident hunger, his eyes watching you like a predator eyeing its prey. 

Only…this time, the goosebumps that painted your skin were from excitement, and the throbbing in your thighs was from desire and not fear. This time, the tight grip on your thighs, the imposing body against yours, holding you so possessively, only leaves you wanting more. 

Sylus’s arm is pushed against the wall behind your head, caging you in with his hard soapy body. His skin shines with water and the leftover suds of his shower, before the water had run out, leaving you with a wet and mischievous Sylus.

Your fingers languidly follow soapy suds that trail down his chest, not really actually wiping anything away. Sylus remains self-assured, smirking down at your shaking body as you touch him. You can feel goosebumps form where you touch him and it’s the only indication that the silver-haired man is close to losing it. 

His voice comes out deep and breathy, “Aren’t you going to do something about my hair?”

His smile is maddening, taunting you to touch him more. So you wrap your hands behind his shoulders, yanking him down to you. 

For a brief second, Sylus is taken aback, his lips parting with a surprised breath. But as quickly as it had come, Sylus composes himself. He lets himself be pulled to you, chuckling breathily. 

“Is that it, sweetheart?” 

Before you can respond, his arm releases the wall behind you. In an instant, his large hand is gripping the underside of your thighs, hoisting you up with one arm so that both your legs dangle off his strong arm, pressed against his hip. 

You yelp at the feeling of his large hands holding you against his wet and hard body, “What are you doing?! My clothes!” You can feel your deep red satin nightdress soaking up the sudsy water on his skin.

Sylus only laughs, sarcastic and deep, “Oh no. They’re wet. Now what?” 

You try to push him away, “Well you need to let me down first.” 

But Sylus doesn’t budge, shifting you so he can lean his free arm against the wall behind you, caging you in once more. Like a lost bird. 

“Doesn’t this mean you also need to learn how to humble yourself?” His cerise eyes are frustratingly playful, his eyebrows crinkled in amusement. 

You don’t respond, instead trailing your hand down his bare chest again. Your feather-like touch ghosts his collarbone, down to his thick pecs, that tremble deliciously under your fingers. From the strain of holding you up with one arm, or your touch alone, you’re unsure. 

You speak softly, trying to tease him into losing control, “I did, and this is what I see…” 

Your touch and suggestive words have Sylus breathing heavier. His pants come out raspily, sounding vaguely close to a moan. He nearly shivers at your touch, so absolutely enamored by the way your fingers claim him, barely able to withstand his primal urges to claim you.

His reaction fuels you with confidence, and you grin cheekily, “Oh? I guess I’ll have to be more gentle.” You let your hands explore more, stroking his down his marbled chest. 

Sylus grunts, his face turning away from you, contorted in tortured pleasure. His breath comes out in rapid desperate gasps. It’s so utterly rare for you to see Sylus in such a needy state, and you can’t help but tease him further. 

Your fingers touch his neck, enjoying the way Sylus is crumbling under your fingertips when normally it’s you coming undone for him, “How cute.” 

When your fingernail grazes his nipple, Sylus tenses up, a growl ripping from his throat.

He turns to you, squirming under your fleeting touch. “Hey,” he croaks. His voice is uncharacteristically hoarse, tense with desire.

“The soundproofing for this shower isn’t great. People might get the wrong idea if they hear us. At this rate, we could end up in a lose-lose situation.” 

But you continue, pinching his ear softly, grinning, “Tell me, who pinned you down and hit you?” 

Sylus’s smile falters. He knows you’re referring to the little boy from earlier, whom you’d been teaching how to fight against Wanderers, but he can’t help but think about the first time he’d been here at the desert oasis. Only that time, he was powerless. That time, he couldn’t protect you.

He quickly masks his brief moment of melancholy, smirking at you once more, “Oh, so class isn’t over yet.” You want to prod at his sudden shift in demeanor, but you can tell now's not the time. You made a mental note to ask him about it later.

Sylus holds your wrist gently, bringing your fist to his lips. His mouth pressing fleeting kisses to your knuckles, “Then can I trouble you some more…Miss?” He doesn’t wait for you to answer, hoisting you back up onto his forearm, forcing you to wrap your arms around the back of his neck for balance. He carries you in one arm to the bathroom door, before he falters, hearing the patter of footsteps outside.

“On second thought, I’ll take my lesson in here.” He walks you back to the shower, shifting your legs so that they wrap around his hips. Your back is pressed against the wet wall, Sylus’s strong arms holding you in place. 

“What should you do…if a wanderer has you pinned down like this?” His voice is sultry and suggestive, darkened eyes daring you to teach him. 

You lift your chin proudly at his taunting challenge. Your fingers trace inexplicable shapes into his chest, your nails gently and purposefully grazing his nipples. At his sharp inhale you make your next move.

“I would…go for the neck, since that’s where they’re most vulnerable.”

Sylus’s adam’s apple bobs with the anticipation of your double-edged words, “Is that so, little bird?”

You nod with confidence, “Let me show you…” You kiss up his collarbone until you read his pulsing neck, brushing chaste kisses along his jugular. Sylus’s chest heaves, and you smile against his neck in satisfaction. 

“I can’t imagine this would be…effective against wanderers,” Sylus masks the unsteadiness of his wavering voice with a layer of arrogant amusement. 

Sylus’s chest heaves, and you smile against his neck in satisfaction. Enjoying having the upperhand, “No…just you.” You softly sink your teeth into the thick muscles of his neck.

Sylus lets out a string of harsh expletives, slamming you further into the wall, his grip on the underside of your thighs digging in harshly. You shiver at the feeling of the cold wet wall tiles pressing into your satin nightdress.

Sylus lets you have your way a little while longer, enjoying the way your rapid heartbeat pounds against his wet chest, your tongue lapping circles where your teeth had sunken in. His hands shift to grope your rear under your crimson red nightdress, squeezing the plush skin there as if you were his personal stress ball. His demanding fingers find their way to your bare pussy, spreading them apart with his index finger and thumb.

“What a bold hunter you are…taunting the enemy with no…protection.” 

His words are vaguely threatening and it makes you squirm. As his fingers toy with you, you sink your teeth deeper into him to hide your pathetically lewd whimpers. Sylus hisses at your teeth nearly breaking skin, a mix of pain and pleasure he is all-too familiar with.

“You’d better watch yourself, my little hunter,” Sylus coos in your ear, fingers finding your clit and pressing down harshly, “You never know what a beast stranded in the desert might do to you.”

His words remind you of the reason he’d invited you out to this desert oasis to begin with, the woman who’d found him, and why he was returning now. Before you can ask him, Sylus is bullying his index finger into you, sliding in so embarrassingly  effortlessly.

“What now, little dove? What would you do now?” Sylus nips at the crook of your neck, where your shoulder and throat meet. His words are hot and dangerous at the shell of your ear, his finger curling inside you to reach the spongy corners of your g-spot.

You force your words out with all the strength you have, not wanting to give Sylus the satisfaction of rendering you speechless, “I w-would never – nnghh – be in this s-situation.” 

Sylus chuckles, inserting another finger, “And yet…here you are. About to be devoured.”

The imminent threat in his words makes you clench, hard. How it was possible for the tables to turn this quickly, you’d never understand. Sylus grins when he feels your gummy walls pressing down on just two of his fingers, the quivers typically indicative of how close you are. 

He pushes you harder into the wall, lips finding your earlobes as he huffs out his words, “Look at you, my dear little hunter. So beautiful when you’re helpless.”

You whine indignantly at his condescending words, wanting to retaliate. With his lips at your ear, his neck is exposed before you and you take full advantage of his vulnerability. You sink your teeth back into his pulsing neck, knowing just how much pressure is enough to have him writhing for you. 

Sylus jolts, his fingers slipping out of you and his knee buckling slightly. His grip on your thighs tightening as he hisses out in surprise. He composes himself just as quickly, straightening up and bouncing you up to readjust his possessive grip on you. 

He pushes you back against the wall, his hard abdomen pressing into your pussy. You groan when you feel your wet lips spreading against his chiseled muscles, his body pressing so forcefully into yours, your arousal smearing against him.

His thumb and index finger take your chin into his grip, still wet with your slick, pulling your face towards his. His arrogant grin is as alluring as it is infuriating, his ruby eyes swirling with a dark amusement. 

“No more mercy, little bird.”

Sylus presses his lips to yours, his fingers tightening around your chin. His kiss is demanding, nearly suffocating, in a way that makes you reel with excitement and anticipation. It’s so torrid and feverish that you almost don’t notice his Evol unraveling your arms from around his neck, bringing them to his chest. He holds you steady with his one arm, and with the other he releases your chin, taking the two of your wrists into his single free hand. His hands are so large that even just one of his hands can envelope both your wrists. 

As his tongue probes the parting of your lips, he holds your wrists, bringing them up above your head and pinning them against the wall. His fingers play with your trembling ones, tracing the lines in your palm and grazing all the way up to your fingertips. 

You feel a brief shuffle and hear the faint thud of Sylus’s towel dropping to the floor, the scorching head of his cock prodding at your entrance. You gasp into his mouth when you feel him taking the base of his erection, stroking it against your clit. You screw your eyes shut at the deliriously delicious friction, moaning into Sylus’s mouth, his tongue claiming every corner of yours. 

Sylus pulls away, his breath coming out in short rapid gasps. He leans his forehead against yours, his fingers still enclosing yours, binding your wrists together against the cold shower wall. His proximity makes it so his warm breath fans across your swollen lips, the taste of him still on your tongue. 

He looks down at you, his crimson eyes smoldering against the heat he’s so desperately trying to keep at bay for you. If it were up to him, he’d have you splayed across his lap, screaming until the whole small town in the oasis could hear you. Unfortunately, pressed up against the wall whimpering for more would have to do.

“Are you ready, sweetheart?”

You stare at him, arms restrained above your head, chest heaving in anticipation, lips swollen and parted. Sylus smiles at you. It’s that signature Sylus smirk, heart-stoppingly tender and predatory all at once. But when his glowing cerise eyes meet yours, that’s what has your breath catching in your throat. 

The tumultuous sea of red conveyed every ounce of emotion that his words couldn’t. What it meant to have you here in the desert with him, a place that once reminded him of hell. What it meant to have you here, wrapped up in his embrace, ready to do anything to make him happy, whole. With you here, it truly did feel like an oasis. 

So you murmur boldly, cheeks warming, “M’yours, Sy. Of course I’m ready.” 

Sylus’s smile falters for a second, before he growls, slamming you back into the wall, palm cupping the back of your head with one hand, and your lower back with the other, to protect you against the impact. 

“That’s my girl.” 

With those words, his swollen cock head at your entrance finally surges forward, nudging its way into your tight embrace. You cry out as Sylus curses, the both of you never getting used to how impossibly snug the fit was, almost to the point of not fitting at all. 

Sylus takes it surprisingly slow, watching your face carefully as he sinks into you inch by inch. His hand strokes your cheek, in an overwhelming show of tender affection. Something about this desert oasis had him unusually vulnerable and it was intoxicating. 

You squirm as he bottoms out, his cockhead nestled sinfully against your cervix, practically demanding entrance into your womb. His fist is pressed into the tiled wall behind your head, his knuckles white with desperation. His entire body twitches, his breath coming out in short desperate pants. You hold his face with your hands, forcing him to level with you, stroking his sharp jaw with your fingertips.

“Sylus?”

His carmine eyes dart to yours, the vast storm of his irises looking faraway and distant. But when he looks at you, his eyes soften, the sight of you grounding him to the moment, pulling him away from the agony he once endured here. 

You kiss his furrowed eyebrow, “I’m here, Sy.” 

Sylus groans, his facial features softening at your touch, your raw words making him heave with desire. 

“You are. And you’re mine,” he growls, finally moving inside you, pulling out until just his leaking tip is nestled in your warm waiting cunt. Giving you just a second to adjust, your pussy pulsing with the need to be filled once more, he slams back into you. The impact of his thrust knocks the air from your lungs, your body sliding up the wet walls of the shower.

“Sylus!” you squeal, trying to control  your voice. Sylus grunts, reveling in the sound of your pleasure, pulling out of you and rutting back into your poor quivering cunt at a rabid vigor. 

Your bodies are pressed so tightly together, that every minute movement Sylus makes causes your clit to brush against the trail of silver hair that paints his pelvis. His hot breath is in your ear, whispering the filthiest things to you.

“You like it rough, don’t you sweetheart?” he nips your neck, savoring the taste of your clean showered skin against his insistent tongue. Your bare shoulders are already littered in his claiming marks, beautiful red bruises forming where his lips raze like wildfire. Sylus’s eyes glimmer with satisfaction at the sight of it. 

“C-can’t take it,” you whine, fingernails digging into his shoulders. His passionate thrusts are demanding, almost mean, as they try to pull moan after moan out from your lips. Your pussy quivers, already shivering from the amount of pleasure Sylus is able to force on you, so much that it spills over. 

“Yes you can, hm?”

He hisses when your nails dig further into his skin, leaving beautiful little red crescents on his muscled shoulders. Sylus always thought it was utterly insane how you knew just how much pain to mix with his pleasure to have him unhinged, just enough to want to devour you. 

You find your wrists being bound above your head again, his hand pushing them against the wall. His forehead pushes against yours as his lips desperately seek yours, capturing you in a breathtaking and fiery kiss of unspoken feelings. A torrid storm of the way he’d missed you desperately on his trip away, so much so that he had to use the little boy wanting to learn to fight wanderers as an excuse to fly you out to him. 

He pulls away, leaving you both panting for air. As he continues his feverish ruts into you, he huffs into your ear, “You can take it. You’re my good little dove, right?”

The look of complete and utter desperation in his eyes makes you want to give into every wish and whim of the silver-haired man before you. So you nod obediently, closing your eyes in satisfaction when his fingers rub soothing circling into your palms. It’s a jarring contrast, the way his hand caresses you affectionately while his cock ravages you relentlessly. It makes you delirious with ecstasy, and your body is no different.

Your cunt throbs with the need to come undone, the coil tightening so tightly that your abdomen threatens to burst. From the pleasure of his touch or from his massive cock seemingly trying to find its way into your throat, you’re unsure. 

“S-so deep,” you cry, digging your nails into his hand as it holds yours in place. Your back slides up the wall at every one of his deliberate pointed thrusts, a mere ragdoll to his ravenous hunger against the cold dripping wall.

Sylus, groans. You feel a slight shift in energy, and Sylus moving beneath you. But your position against the wall doesn’t change. Sylus’s Evol gently grips your thighs, keeping you suspended as his arm that held you up is now free to press down on your tummy. 

“I know, doll. Can you feel me all the way here?” he draws his words out seductively, pressing down on where your walls bulge against your pulsing naval. 

You squeal at the overstimulation of him physically pressing your cunt down onto his cock that still spears in and out of you wildly. Sylus removes his hand to press it against your lips, his index and middle fingers slipping into your lips that are still parted mid-scream. 

His digits press down on your tongue, faintly tasting like his expensive body wash, “Shhh, Y/N. We wouldn’t want anyone to hear, hm?”

You whine. Truth be told, the imminent danger behind his words only gets you more and more excited, closer to the edge. His forceful fingers toying with your tongue only fueled your filthy desires more, and your body reacts just as eagerly. 

Sylus bits the inside of his cheek, swearing as your tight walls convulse tightly onto him. Your pussy unknowingly constricts the thick throbbing veins that press of his erection, pressed snugly into your sweetest spots. 

“Ah, my sweet girl is so filthy. Did you like that? Like the idea of someone watching me fuck you dumb?”

His condescending words have you shaking your head, still hanging on to your slim shred of dignity. Sylus chuckles, nuzzling into your neck.

“You can’t lie to me, little bird. I can feel the truth.”

“F-feels s-ooo good,” you admit, throwing all embarrassment to the wind. Sylus swears at how adorably muffled your words are against his fingers, how your eyes are hooded with pleasure as they watch him dreamily. The adoration in your stare was so palpable, hearts nearly reflected in your eyes. His knees buckle as he admires your beautiful face, so angelically fucked out that it ruined him. 

Sylus shifts you into his single arm once more. He could easily keep you secured in the air with his Evol for hours yet, but at this moment he wants nothing more than to be as close to you as possible. He wraps one of your arms around his neck, intertwining his fingers with your other hand.

“Hold on tight, my love,” he rasps against your collar, bringing your intertwined fingers above your hand and against the wall for leverage. His thrusts take on an unprecedented intensity, the globes of your ass slapping against the wall in loud, filthy, and wet paps. His vigor makes it easy for him to hammer into your g-spot at every thrust, having you reaching the summit of your orgasm all too quickly. 

“Sy-Sylus! I-I’m so close,” you wail, fingers desperately clutching his, other hand digging into the back of his neck.

Sylus is close too, weeks of pent up emotion and need brimming to the point of boiling over. The only thing keeping him sane is the grip he has on your hand.

“Need to cum in you,” he hisses, driving into you harder as he nears his peak, “Need to breed you so full of my cum, hm?” 

You nod eagerly at his filthy words, clutching onto him for dear life, “I’m c-cum—“ 

Sylus cuts you off, smashing his lips into yours. It must’ve been a sight to behold, the way Sylus had you locked in a passionate kiss, his hand holding yours above your head, his body pushing you up against the wall, pelvis wet from your arousal as his silver hair brushes repeatedly against your clit.

It was all enough to have you finally releasing all over his defined abdomen. You squirt against his stomach, eyes squeezing shut as his tongue claims your very breath. Your climax is powerful, mind-numbing, and utterly explosive. 

Sylus huffs in pleasure as he feels your dripping thighs slapping against him, his own orgasm imminent. Your cunt continues to throb in the afterglow of your climax, wringing tightly against his violent ruts.

Finally, he climaxes inside you, moaning wildly into your mouth as he continues to devour you,  thrusting through the intense waves of pleasure. His abdomen trembles, involuntary quivers wracking his body as rope after rope of his thick seed pours into you.  

His lips pull away and he leans his forehead against yours, his entire body still quivering with waves of the intense overstimulation. His chest heaves violently with the pounding of his rapid heartbeat, his fingers still tied to yours, tracing gentle shapes in your tingling skin. 

Sylus chuckles, the sound gentle and warm and the vibrations reverberating onto your own body as he clings to you still. 

His eyes glimmer with amusement, his fingers capturing your chin again and pulling it downward to where your bodies remain connected. His voice is tender and mischievous, “It’s just like you to make such a mess when you’ve already used up all the water.”

You blush furiously when met with the image of your bodies, fit against each other together like puzzle pieces, glimmering with a wet sheen that was definitely not water. Your red satin nightdress had ridden up, the lace embroidering of the hem soaked. The argent dusting of hair on Sylus’s pelvis was matted in both your arousals. It was an absolutely sinful sight. 

“P-put me down!” you hiss, tapping his chest, “We have to find a way to clean this up.” 

Sylus raises his eyebrow at you, “Sweetheart, the only thing keeping the mess inside is my co–” 

Your hands come together to cover his mouth, “Don’t say another word.”

Sylus chuckles into your hand, his breath warm and tickling You feel a sharp, but gentle, nip.

“Hey! Don’t bite m–OW!”

—--

The night air is brisk, sounds of ancient handbells ringing out softly as the dark sky twinkles with distant stars. A nearby bonfire rages, the sound of crackling of wood mixing with the distant chime of bells. And yet, it’s Sylus’s large body holding yours that keeps you warm against the gentle night breeze of the desert. 

The hammock the two of you cuddle in swings lazily, Sylus’s fingers languidly stroking your hair as he tells you myths of the Gods and humans that once resided in this very valley. 

“What about your world? What was your life like as a kid?”

Sylus is still as his body cradles your own, his fingers crushing the blossoms that had fallen into his palm. He hesitates for a second before saying, “Nothing special. I struggled to survive.”

Your heart clenches painfully at his words. His voice is nonchalant, yet something about his words is melancholic. Eerily wistful. 

“I never imagined that one day, we’d be sitting in a place like this. Having discussions about the world,” you whisper.

You look up to catch Sylus staring at you. For a brief second, you catch the emotions in his eyes. They’re desperate, pleading with yours. For what, you’re unsure. He quickly blinks, the cerise orbs returning to their natural state.

“Do you think we’re talking about the same world?” His voice is unbearably gentle, his words confusingly cryptic, as if edged with a double meaning that you can’t quite grasp.

“I’m not sure,” you confess softly.

There’s a brief moment of silence. You continue, “Today is when people give flowers to each other in Linkon, but…”  Your voice trails off. You gently dust off the fallen petals that’d landed on his shoulder, hand reaching to brush over his heart as you pick up a branch of the delicate flowers off his abdomen.. 

“Could those flowers bloom in this kind of soil?” You ponder aloud, holding the cluster of fallen and wilting blossoms, so different from the vibrant and thriving ones you’re familiar with in Linkon.

You glance up at Sylus again. The shadows of the palm trees above you obscure one side of his face, the other half haloed by the soft glow of the moonlight. He looks threateningly ethereal. The pools of carmine in his eyes glow as they search yours. Like earlier, they glimmer with inexplicable emotions that seem to plead with yours. Begging you for…something.

But he doesn’t speak, instead taking the cluster of wilted blossoms from your fingers. He twirls them in his fingertips, inspecting them carefully. He strokes the browning petals, a strange look of nostalgia flickering across his face. 

You don’t understand, but you reach out for his hand, squeezing his fingers in yours. He squeezes you back, still looking mournfully at the flowers in his fingertips, almost as if remembering a painful memory. 

Finally, Sylus turns to you. His smile is devastatingly beautiful and tragic all at once, his finger moving to tuck the loose strands of hair behind your ear.  His piercing red eyes bore straight into your soul, the faint luminosity of his Aether core beating behind them.

“I’ve seen far more beautiful flowers bloom in this desert.”

© aeyumicore 2024.

.ᐟ✧ THIS IS MY ONLY ACCOUNT. I WILL ONLY POST ON THIS ACCOUNT AND AO3. i am not @/aeyumicores or @/aeyumiicore or any variations of my blog name.

✧.˖ i do not permit translations or reposts of my work on tumblr, ao3, or others. please do not reuse my blogpost headers, dividers, or layouts. these are original designs of my own.

[aquickstart]

i need to talk to you guys about the colors of the Cattons (Felix specifically) and Oliver. the clothes they are wearing are telling the story of Oliver taking over and leaving his mark throughout the whole movie, with Oliver's failures and successes and a final triumph. holy shit. get in. this is long and ends in ancient greek culture trivia. let;s talk please.

disclaimer: am starting from Oliver's arrival at Saltburn. before that the outfits are also very intentional, but it's a lot more complicated and it has been discussed before. the world distorts once we are at Saltburn and the story gets truly gothic there, and every detail—including color!—is enhanced in meaning. also, special thanks to @kivlaro for doing this with me, the thoughts on this specifically and the Saltburn craze on the whole. pics and detailed analysis under the cut!

let's start from the beginning. here is Oliver at the door. simple, blue shirt.

the shirt is sort of its own character. logically it makes sense as Oliver's suitcase is small and he spends the whole summer there, of course he'll rewear stuff a bunch. but it is blue.

in contrast to Felix, in yellow. yellow is one of Felix's colors (he is the sun, which i've talked about here btw, so this makes sense).

same to Pamela, in blue. first time we see her, she is next to Elspeth, wearing the color that is Oliver's, taking the place that he takes right away, in this very scene. the only other time she is physically present on screen is at dinner, in black and white, and black and white are a blank slate. she is stripped of color and gone very fast.

a bit of crucial data for later: Oliver, in blue, and Felix in pink. pink is very important on Felix. this is their first morning together. they are separate and opposite, solid, contained.

where it starts to get good is the morning after the vampire strike.

Venetia is a Felix extension, just as everyone in the house is to Oliver. i will eventually rant about Saltburn as a whole entity and Cattons as aspects of one self, and Oliver as psychosis, but not here. so, yes, Venetia is a pink riot, a euphoria of self-containment because Oliver gave her a piece of something she felt she lacked to feel whole (validation, attention, care), not a piece of blue, of himself. Oliver is expectedly solid blue. Felix is incredibly interesting and something i didn't pay much attention to at first: predominantly blue, incredibly upset at Oliver for ditching him, with a tile of bright red (on the left! close to heart! over-reaching here but like still!), which still tracks. i mean, really, if i had so much foreign color bleed into me and then abandoned, i'd be pissed, too. nice little touch is sir James' beloved hydrangeas, behind Felix, also pink, very pink, always pink; i don't think i've seen them blue in the movie, although the sort exists.

Farleigh. sweet baby Farleigh i love you. I'm not dead-set on my interpretation of this specifically but i think multiple things are happening with Oliver and Farleigh here. like Rent, which is their song, blue is their color of outsiders and the triers to fit in. Farleigh points out the favoritism and preference of Oliver to him and his mother here, so it may also be appropriation of color to draw attention to Farleigh as almost (but never quite) Oliver. it may also be as simple as that Farleigh, as much as he denies and resists, still retains Oliver's influence, which bleeds into him very slowly.

a nice little moment of Felix wearing blue swim shorts with just tiny specks of a pink pattern. Oliver's shorts also have a bit of pink, but less than Felix's. Oliver is pretty good at remaining unaffected and uninfluenced overall.

and we're getting to where it all clicked and started for me. the Quick family house, the failed reconciliation, and the immediate aftermath. oh it's so good.

on the drive there, Oliver is blue, Felix has a pink polo shirt with a solid blue pullover over it. this is the most blue Felix has ever been (this is the most blue he will ever be!), this is trust. however shaky and toxic it is, Felix loves Oliver and accepts him into his world. as a side note, Oliver's parents are also very blue, mom more so than dad. nice!

and then it crashes. immediately after, it's the evening of the same day, but Felix is not wearing the blue pullover anymore. this is very, very important. this is rejection. it's the end for Oliver in Felix's world and with his trust. Felix, again, in solid pink, Oliver in solid blue. Felix successfully rips him out with the roots and everything. ouch.

daddy. sorry. is that highlighter? sweat? fuck. let me- daddy. SORRY

no i actually have a point about this.

the clothes are replaced by the lights, but we roll with it. Oliver basks in the blue-green light, while Felix is on the other side, in pink and purple and red. sure, blue shines through, and Oliver also walks through the slashes of pink, but it is mostly pretty separate, Oliver watching Felix's pink in his own blue from a distance.

the morning after palette is deep. the wine color that is so prominent in these scenes is fascinating to me. if i were to over-reach again i'd say it's the Oliver in Felix's attributes and in his place that requires the robe to be so dark, not usual definite pink, because deep blue has leaked into the color itself, mixed with it, made itself integral to the shade. but it's also just a nice color, and it is pink in its core. the flowers (with sir James in the background) i think are also this specific shade for the same reason. you look at what remains of Felix everywhere here, and it is his color.

and finally oh the lunch scene. the last supper. the judgement day. the who's afraid of virginia woolf madness.

i think we've established what's up with Oliver, but i also think it's important that he is his own color at lunch but in Felix's pink/wine right before and after. lunch is where he attacks, whereas before and after is where he grieves and enjoys. Farleigh is almost completely blue save for a strip of the same deep pink, and he is soon cast out, and Venetia is striped, blue and pink/salmon, affected deeply by Oliver yet still clinging on to the Catton pink with grief, probably, but also love for Felix.

and after all this, Oliver leaves himself.

no, like, actually, literally himself. sure, he'd got a taste of the Cattons and the pink, but he is a monolith, a solid blue when he leaves Saltburn. he has not been affected by the house, he has taken what he wanted but stayed true and whole. what a power move, honestly.

but it's an even bigger deal that 16 years later, Elspeth runs into Oliver wearing all white and a blue scarf. oh, she's not let this go, alright; it was a long time ago, "but not to me," she says. What Oliver has been up to in that time is a great question, without a doubt he's been keeping tabs on the remaining family as much as he could; but Elspeth has never moved on, either. She has held on to Oliver's blue and the pink is not important at all now. Oliver, of course, is invariably, unwaveringly blue. welcome back to his show.

and welcome back to his triumph.

the only color (except for, again, white and black) we see him wear in the flashback about Saltburn inheritance is the all-too familiar deep pink. wine. bright pink mixed with deep blue.

now i will take a liberty and step back, over-reach, over-interpret and go insane. here's a fun bit on ancient greek culture trivia for you.

this is an interesting and complicated historiographical and linguistic debate that i will not even attempt to relay here, but the essence of it is this: for us, the sea is conventionally deep blue. historically, one of the most prominent civilizations considered "deep wine" to be the descriptor for it (not necessarily the color but the property. highly rec to look this up it's so fascinating). what it gives me here is that Oliver has changed color, but not his self. he has integrated, mixed, but persisted, completely winning over, triumphing. long live the king!

in conclusion, i would just like to propose "colors" by halsey as the next cattonquick anthem. thank you for your attention, please let me know your thoughts. yours, yes, you. cheers. god. peace out

[she-posts-nerdy-stuff]

So there’s something about Pekka Rollins that has bothered me literally since I first read the books and I think about it every time I read them okay and it’s this line:

“Who is Pekka Rollins?” Matthias asked, turning the ridiculous syllables over in his mouth. Kerch names had no dignity to them.

And this catches me out every single time because Rollins is Kaelish. As far as the reader knows for definite, “Pekka Rollins” is a Kaelish name, not a Kerch name.

Now, don’t get me wrong, we’re of course aware that Matthias is very sheltered from understanding the global scene and may simply have assumed that Rollins is Kerch because he lives in Ketterdam and runs the Dime Lions (this is the only piece of information he knows about him at this time) but I think this is unlikely considering that it was on a mission to the Wandering Isle that he met Nina and we know that, although he doesn’t speak Kaelish, he knows how to recognise it well enough that he knew Nina was speaking Kaelish and not Kerch or Ravkan (at the time he was monolingual, as he would later only learn Kerch by necessity in Hellgate).

And thinking about the name “Pekka Rollins” it doesn’t sound all that Kaelish… does it? Our examples of Kaelish names include “Fianna” (Nina’s Kaelish pseudonym at the Ice Court), “Colm”, “Eamon” (Dime Lions member), and “Harshaw”, but not many others to my recollection. Kaelish names are inspired by Celtic languages and Celtic names, as far as I can tell usually with more Irish and Scottish Gaelic influences than Welsh, Cornish, or Breton (but please note I am by no means an expert and I sadly do not speak any of these languages), and we can see this trend in our examples. But can we see it in “Pekka Rollins”? Or does this name favour the structure of Kerch names? “Kaz”, “Per”, “Wylan”, “Alys”, “Hiram”, “Gert”, “Henrik”, “Jellen”, and so many many more examples, we are overflowing with examples of Kerch names (if you are wondering about more examples I’d recommend checking out the Grishaverse wiki there’s a full list on there of all the characters mentioned from each country, but note it doesn’t include any pseudonyms as far as I’m aware), that tend to favour more separated syllables and harsher consonant sounds than, say, “Fianna” where the name runs quickly together, pronounced to have two syllables when it would probably be said with three by someone Kerch who only saw it written down, with more emphasis on the “yah” sound of the “ia” than the double “n”?

So is it, in fact, possible that “Pekka Rollins” is a Kerch name? A chosen name, by a man who fled his home to restart his life in a new city, with a name that matched it? Is this supposed to imply yet another parallel between Pekka and Kaz?????

I have no idea, this is purely theoretical, but considering that they are narrative foils and we can draw many, many parallels between them and this line is always on my mind, it’s personally my favourite solution. If you agree/disagree or have a different theory, let me know! I love stuff like this so much, it’s so interesting to see what different people think or how we might have read certain details differently

[unexpectedbrickattack]

Hiding the rest of this HUGE comic behind a readmore for ur sanity

Hes got the keenest eye for these things!

Now that this is hiding behind a readmore i can justify writing an essay in here. Nothing big tho i am just very chatty :)!

Postgame where Peppino still gets visits every now and again from the bosses of the tower. I already drew one for the noise (lmao) but i wanted to draw each of the main four interacting with him in some way.

Pepperman is a refined and well renowned artist. His art is highly sought after and his advice is not taken lightly. He has many MANY fortunes to pull from to make his visions a reality and to influence anyone to do anything. Except for Peppino.

From the very first fight, Pepperman is immediately, overwhelmingly obsessed with this stout little brawler. He is much much more than what meets the eyes. He is initially extremely offput and annoyed that a human so boldly decided to waltz into his domain, and he expects to be able to steamroll and bully this…beast…out of his place of work. He is refined when he wants to be, but he is quick to use his brute strength to get what he wants if only bc he knows he can do it

And so when he decides to fully charge and thrash this little trembling human, expecting him to skitter away the second he gets struck, he is completely unprepared for when he gets launched to the other end of this room. The human looks so incredibly PISSED, like a bull seeing red, and suddenly this little altercation suddenly became a real actual ‘knock your teeth out’ brawl. This human is only like half his height, but his punches and bashes fucking knock the wind out of him.

And like ! To add insult to injury!!! After he wins the fight! He visibly deflates, the adrenaline seemingly wearing off. Hes just this trembling fuckin whelp again !!! Whimpering as he fucking runs back out through the portal to do god knows what. And Pepperman could not be any more fucking intrigued. Like this no name came in, whooped his fuckin ass, and went about his day. Its unreal

While Peppino is running around climbing the tower, Pepperman is in his room losing his mind. Hes obsessed. No one has challenged him in this way. No one has fought him and WON. He is ALWAYS able to bully people into submission either through brute force or with money, and he got his ass handed to him !! He needs to know more. Its quite literally consuming him.

Cut to the final fight, set up for a rematch; and he knows he is going to get steamrolled again but it is SO exhilarating to get another chance to see this humans form up close again. This time he can try to commit everything to memory. Its all such a blur though, and in a quarter of the time it took to end their first fight, its over. He gets to watch the human fight the gunslinger with his bare hands, no gun necessary, and he doesnt even bat an eye at what looks to be a clone of himself. He is a force of nature tearing through every single defense, and when Pepperman watches the actual final fight with the bizarre little pizza man, its like hes caught in a movie. The rain, the storm, the atmosphere. He wishes he could burn the entire scene into his mind.

So when everything returns to normal, he takes the time to travel for days to come and find this little human named Peppino. The memory is still strong and vivid but eventually, details will start to slip his mind. He needs to find this human, convince him to sit and do some still life sessions with him to help cement the humans appearance in his head. He hasnt had to resort to…asking for permission for anything in a loooong time…he bullies people into doing what he wants but Peppino is not your average person, and if he wants something from this man, he’ll have to meet him at his level.

He...can make an exception for Peppino...he supposes.

[sparrowlucero]

Instead of discourse about showrunners and lesbians and whatever, I'm gonna bring a different type of discourse...whats ur fav and least Dr Whomst monsters. Hard mode: only the practical ones.

ok so I do like all the obvious ones, I like the angels, I like the vashta nerada, I like the not-things, I like the eternals. Here's a few deeper cuts (focusing on the tv show specifically):

they peaked with these maggots. they rock. pretty sure they're made with taxidermy? really great puppetry. I really like this thing:

what a cool design for this kind of forgotten midseason episode.

this is such a fun design for a langolier-type monster. I love how their crest and tail gives them the silhouette of a grim reaper

The 60s cybermen rock. I feel like they're hesitant to use them often in the modern show because they do look very 1960s but I think there's something really uncomfortable and evocative about the cloth faces that's lost when they're cool metallic robots. The mix between looking like an old diving suit and the implication of there being a chopped up person inside is gnarly and I love it. Simple, creepy, iconic design.

My favorite design in the show is probably this:

The 456 from the spinoff series torchwood. They didn't need the puppet to emote or move a ton since it spends the entire season in a little tank obscured in mist, so they just went crazy with the design and made it really bizarre looking. Extremely top tier alien. Anyways, negative. I really don't like this satan. the satan kind of sucks. the impossible planet is great atmospheric sci fi horror; every image of build up in it is haunting and leagues ahead of the climactic scene where he meets the satan. It singlehandedly kind of kills the vibe.

Personally I would have just kept the actual appearance off screen, just have it be eyes in the dark or something. Apparently they also tossed around the idea that it would end up being a normal little girl who was chained up in the cave and I think that would have visually fit the rest of the episode better.

I'm really not big on the modern design for the sea devils (the green one on the right). I think the classic ones clearly took a lot of direct influence from real animals and generally is a pretty thoughtfully realized design, the modern ones seem like they were first and foremost using the classic ones for reference and didn't quite capture the nuance of the design. Sad, as I would really like to see design for these guys with modern puppetry.

I think this is actually a pretty contentious opinion but the work of the specific studio who headed this redesign generally wasn't my favorite. Apparently there was some sort of major, semi public falling out between the fx studio that had been working on the show since 2005 and the people who started running the show in 2018, and they were briefly replaced with a much less experienced studio. No hate to them of course (I think this was actually their first job like, ever, and a lot of the work was done in crunch time?) but the difference did stand out to me:

[thealogie]

picture this. you're michael sheen, beloved queer-friendly welsh actor and recent twilight saga vampire. you want your favorite book to become a tv show, and you want to be the lead. so what do you do? you befriend the author. he wines and dines you, you become a confidant in the scriptwriting phase. and in the process of the GO script you decide you don't want to be crowley, actually, you want to be aziraphale. you put in the work for months to influence the author to the same conclusion. so when neil gaiman comes to you one day saying, "i know you joined on to be crowley... but how would you feel about playing aziraphale?" you say, what a novel idea! i was feeling the same way, i just didn't want to say anything! let's do it.

you're michael sheen, the lead in the adaptation of your favorite book. you meet david tennant as your leading man, a rising star (and vocal fan of yours) you've had a few vague interactions with in the past. on set you immediately find the closest friend you have ever and will ever find in your life, and you know this. the romance you have in your (yes, your) show is ambiguous, but you're michael sheen. you think that romance needs to be explicit. so what do you do? you become a nightmare on set. you get really hands-on; you make costume choices, you make story decisions, you tell your author friend at the very end of filming: aziraphale is in love with crowley and realizes it in 1941. now go do it again.

so the author goes and does it again. you get a season 2. you get 1941 part 2. you're michael sheen, and you are the lead of the adaptation of your favorite book, and the romance you littered into the character you built from the ground up has become unambiguous. everything goes according to plan. but, you see, you have a problem: the author you have baby trapped is acting a FIEND on twitter and tumblr. he's saying everything he can to imply aziraphale and crowley aren't sexually attracted to each other. he's getting a bit too bold with his character assumptions, is all i'm saying. so here's what you're going to do: you play it up with your pal david tennant. you made a show with him during lockdown. you're going to depict your lives as even more intertwined and homoerotically codependent as previously possible. you grow even closer. your wives become best friends, too, because how could they not? this has been the plan since the beginning, too. your lockdown show ends. it wasn't enough.

so you, michael sheen, of course you put in the work. if david tennant's there, you're damn sure you're there physically, spiritually, biblically, in whatever capacity you can be. it's not hard. david tennant is a big fan of yours, after all, so he MAKES SURE you're always in the conversation. you have him wrapped around your little finger, this lovely little boy, and so you know what you do next? you become neighbors. you make your directorial debut casting your best friend's wife watching her husband and male neighbor initiate sex with each other. you play into the swinging rumors (that you, michael sheen, had started). you create a narrative that you and david tennant are two homoerotic besties, and is there more going on in the background there? any deeper conspiracy? who really knows, but what you do know is that the world is talking about it.

and you, michael sheen, your entire acting career has led to this moment, your gay quips, your oscar wilde sex scene (and the interviews following), all of your queer roles, EVERYTHING has brought us to this conclusion. you have created the lab perfect conditions where season 3 must have an explicit gay sex scene. i'm sorry neil, my hands are tied! the people are clamoring for me and david tennant to have sex-- i mean aziraphale and crowley to have sex, the public decided this all on their own! i really don't think you have much choice. but of course, i would never deign to tell an author how to practice his veritable craft. i concede to whatever version of series 3 you create, and i will happy to bring this beloved character to his deserved ending.

and why do you say this? because you're michael sheen. you're just an actor who incidentally stumbled his way into leading the queer romance adaptation of your favorite book that wasn't a romance, and you just read the script the way that it was given to you. and if series 3 means an explicit sex scene between you and your best friend david tennant, then what a lovely coincidence that you had absolutely no part in making happen. because what power do you really have?

This is my favorite book I’ve read so far this year. A rare occasion where the author pulls off use of the second person pov. I really felt like I was a beloved welsh actor crossed with Machiavelli when I read this

[deadghosy]

🌊⛰️🔥🌪️

MODERN! READER WITH GAANG

𖤓PROMPT: you fell inside your comfort show.

✧ ೃ༄*ੈ✩it was during book 2, you were happy to see toph show her father that she can take care of herself. You had wished to see it in person. And booom! You were suddenly in the show where you can see Aang get busted free from the metal cage.

✧ ೃ༄*ੈ✩after the whole fight scene, toph noticed you and pointed you out. You knew there was no chance in running, so you outed yourself out. By calmly saying you are from another world. As much as you sounded crazy, they laughed while Toph knew you weren’t lying by your heart rate. You showed them your phone and that’s when the main Trio stops laughing and got curious

✧ ೃ༄*ੈ✩Sokka most definitely will ask if the ladies back in your time era are attractive, you said yes and this boy was asking to see what they look like on your phone 😭

✧ ೃ༄*ੈ✩and that’s how you got into the gaang. You were the therapist of the group, always listening to their troubles and helping them with all the knowledge you knew about their characters.

✧ ೃ༄*ੈ✩katara always likes to rant about her day to you, and you don’t mind which makes her feels comfortable around her. Book 1 katara was very open on making friends. Book 2, I’ll say the same. If you had meet book 3 katara, YOU BETTER HAD PRAY FOR MERCY LMAO.

✧ ೃ༄*ੈ✩aang likes to play with you with his airbending, and you enjoy the hell out of it. Literally you would smile with the brightest smile, and Aang smiles with you along. Just two sunshines having fun.

✧ ೃ༄*ੈ✩toph likes how you taught her swear words. You and toph curse like sailors😈 lmao. Aang accidentally got influenced and that make katara step in and shut shit down 😭😭.

✧ ೃ༄*ੈ✩you love appa and momo! These furry cuties love you too as appa always licks your face when you show up. Momo sometimes leaps on your shoulders, maybe even trying to share a fruit with you.

✧ ೃ༄*ੈ✩Aang steals your big shirts, and you would try to match with him which makes him even like you more as a friend. You turn into his best friend right there and now.

✧ ೃ༄*ੈ✩with you being a non-bender..protectiveness is to the roof! Literally even if you can fight. There’s still bending that can take you down without a single thought. The people who at your body guards are Aang, toph, Katara, and Zuko. The four powerful benders. But the ones who stick the most are Zuko and toph. Toph because she likes how fierce your personality is. Zuko, Zuko is just himself. Plus he needs more friends.

✧ ೃ༄*ੈ✩Zuko awkwardly ask you a lot of questions from your generation. Like a lot to the point you grabbed his lips shut. That’s when Zuko knew, you weren’t playing games.

✧ ೃ༄*ੈ✩headcannon on zuko and you just being awkward teens not knowing how to start the conversation so all he starts off is, “so, is war a thing in your world?” The way you gave him a wild side glance.

✧ ೃ༄*ੈ✩I can see you making the gaang learn slangs LMAO. You made katara understand the wordings of “What you being messy for?” And she started to use on toph and Sokka 😭😭 you’d probably give Aang a short ass but wholesome slang.

✧ ೃ༄*ੈ✩if you had curly hair, and not some katara curly hair iykwim. I mean like 4c ass hair that I possibly have 😭. I can see katara just amazed and ask in g to comb it which you quickly say no to. Toph, just stands there but probably does touch it when bored. People who ask to touch it is suki, Zuko, and Aang. Those three are people who I can see ask before doing it. Sokka will ask, but will touch it as it ask after 🧍🏾

✧ ೃ༄*ੈ✩big headcannon Sokka training you on sword fighting, but then Zuko comes in because Sokka is apparently “showing” you the wrong way lol.

✧ ೃ༄*ੈ✩suki most definitely would love to teach you her ways of fighting. Plus chi blocking. Once you mastered it, she would take it up a notch and have you spar with her. In honor of her teaching, you agree. You had the upper hand until she practically cheated by distracting you. Making you lose your focus, she nailed you down. But in all warfare, it was full of laughter and friendship.

✧ ೃ༄*ੈ✩imainge you showing them that “car” comercial..(of course toph can’t see it lmao) 😭 ZUKO PROBABLY BURNT YOUR PHONE 😨 ALL BECAUSE HE GOT SCARED

[coefore]

I did it! This is an IDW AU born while watching The Green Knight (2021), specifically from one movie shot that I'd like to redraw. I was torn on whether or not to draw them all as robots or humans, so I started making designs for their human counterparts first - mostly because it is more fun to come up with clothes and accessories. I will eventually tackle a robot version. This is a long post, btw!

Indeed, this is a completely separate version from the Lion King AU I had come up with a couple of years ago, I just borrowed the crowns because I really liked those designs lol.

But let's set the stage under the cut. You can listen to the playlist on spotify dedicated to it: I've placed the songs in sequence so that they can create a certain vibe for the scenes I had in mind. You can read the plot part while listening.

Some character traits

This royalty au supposes a parliamentary monarchy (like the UK, Spain or Japan). This work is an in-between of later Roman/early Medieval aesthetics and some Futuristic Stuff. The Autobot brand is the royal family crest, while the Decepticon brand can be used to signal the Protector and their entourage, but only in formal settings outside the nation. Usually, the Protector can show elements of the Decepticon colours (red) in their attires.

Optimus Prime

Optimus is prideful and domineering: he knows he has the power to do real damage to people. After all, he was born into royalty and has known no other life. He has anger outbursts, but that's a side effect of his paranoia. At the start of the story, he is not the prime yet. He's around 23-24, already suffering from a mental affliction much like schizophrenia, but, just as in ye old days, the court and his father (Zeta) are not really concerned about his odd behaviours. "He is just volatile", you know. He is also dramatic, making big scenes when his emotions are too cooped up. Optimus, though, is not intentionally cruel - this isn't a Shattered Glass au where he wants some kind of bloodlust sated. He has a deep inner mind, feeling much more like a philosopher and a writer than a brute. This makes him a little naive, too, having people in court (like Prowl) taking advantage of him - and sometimes even Megatron uses his influence on Optimus to stir him where he wants to. He reads a lot, is curious, and is deeply in love with Megatron - sometimes becoming a little cringy about it. He can be a bit of a goofball, telling jokes and being rather affectionate with his family. Sadly, he's a Pisces.

Megatron

Megatron is a diligent engineer who just so happens to pick the Prime's son's interest at some point while assisting his father (Terminus, a strict, distant man) in a job at court. Optimus and Megatron are the same age. He is aloof, quiet and a very good listener. That means he often allows people to speak over him or for him - that doesn't mean, however, that he isn't going to correct them or speak his mind. He is just a careful man. Coming from a rather cold family environment, he has a hard time expressing his emotions, both verbally and physically: he kisses and hugs, sure, but that doesn't come naturally to him. After becoming protector, he has a hard time getting used to the court lifestyle since he is quite bothered by the intricacies of royal "rituals", may they be clothing, hairstyles or make-up choices. Or Starscream fussing over him about that all day. He also often stands up against abuse of power, especially from Optimus. They fight quite a lot. He enjoys drawing (buildings, like architecture) and reading novels, but he's not particularly cultured. He is also, sadly, an Aquarius. (And transgender, but this has no political or social bearing in the story besides being Rodimus' biological carrier).

Prowl

Prowl is about fifteen years older than Optimus, becoming his advisor once Zeta Prime passes in "a tragic accident". He is ambitious, cunning and... Deceptive. His ultimate goal is to push Optimus to insanity, convince the parliament he is unfit to rule and become reagent in his stead. This would allow him to create an oligarchy with other senators. His words always support Optimus' delusions, abusing the Prime's naivety for his scheming. Prowl thinks of Optimus as an idiot lucky enough to be born in a high position in the social pyramid. He has attempted various times to "warn" Megatron, one of the few people who is extremely suspicious of Prowl. And by warn, I mean having him pushed down the stairs, giving him a nice broken leg. He also acts suspiciously around Rodimus.

Zeta Prime

Zeta Prime was a balanced, careful ruler. He held concerns about his son's future, as he thought Optimus wasn't fit for a leading role. He was a stern man and often frustrated by Optimus' antics. However, their relationship was on good terms. He was "found" dead by Prowl during a political meeting abroad, as he was standing in for Alpha Trion (Zeta's advisor), prompting Optimus' coronation. Zeta wasn't sick, but all primes in this AU suffer from haemophilia (a hereditary illness that makes it harder for the body to stop bleeding).

Rodimus

Rodimus was born three years into Optimus' primacy. He was brought up in a restrictive environment, as Megatron grew more suspicious of Prowl, fearing for Rodimus' safety. That translated into Rodimus feeling anxious when Megatron's not around (for too long, at least) and becoming a little jealous of him, even if it's Optimus taking Megatron's attention. Rodimus uses "dad" for Megatron and "Father" for Optimus. He doesn't like Optimus too much, usually bearing his presence and ignoring him whenever he can, but deep down he worries about his father, too. He is a very knowledgeable child with a vast vocabulary, as he enjoys books of every kind and, just like his dad, he is a good listener, learning a lot from the "adult conversations" around him. Rodimus is often seen together with Starscream (his nanny, in a way lol), who he is fond of but has difficulties showing it. He becomes Prime-to-be at the age of 16, like all Primes.

Starscream

Starscream was the royal alchemist, an inspired researcher and a man of science. He is loyal and has strong opinions on many subjects, especially on morals and ethics. That is also why, during Zeta's late reign, he was demoted to servant with the accusation of insubordination. He is still a high-grade servant, usually dealing with bureaucracy... Until a new Protector shows up, that is. As soon as Megatron becomes a Protector-to-be, he is assigned the role of first maid in assisting him, a task he takes very seriously. Although Megatron's distance and lack of interactions with him drive him quite mad at first, he slowly realises they're quite compatible. Their relationship evolves into confidants and then friends, as Megatron often takes Starscream's side. Also, Starscream has been suspicious of Prowl since day one. He enjoys Rodimus until he starts being a little opinionated pest-- but he's fond of the child, even as he grows older and more anxious. His hobby is sneaking into the court laboratories and fixing whatever annotations made by other alchemists he deems wrong.

Skywarp & Thundercracker

They are part of the Protector's entourage (and Starscream's brothers). Skywarp is a little airheaded, a bit clumsy, and usually focuses on entertainment, mostly writing poems and songs. He is the only one who knows all the intricate inner passages of the court's buildings by heart, meaning he never gets lost. Thundercracker, on the other hand, is a bit more cocky. He is built like a brick, so he helps with manual tasks and is a decent leader, usually picking up the ranks when Starscream is busy. Both of them were not demoted like their brother, they just started working at the court as high-grade servants. They are very loyal to Megatron, although they treat him more like a royal than a friend.

The Plot (generally speaking)

Optimus is interested in this one engineer working at the court he has seen a couple of times in the last few months. He is gorgeous, and it sounds like a fun time to fill in his afternoons, maybe even getting some sex out of it. That's a thing he hasn't lacked in his life, like most royals he was used to having sex workers available at whim. However, Megatron doesn't seem too affected by the Prime-to-be's attention. He is very deadpan and interested in him as a person; he finds Optimus interesting and funny, so, in a matter of weeks, they kind of hit it off, Optimus falling madly in love with this man, spending most of the time daydreaming and absolutely useless at his duties, much to Zeta's dismay.

As this love story progresses over the next couple of years, Prowl's machination starts rolling out: being a young overachiever, he patiently waits for the chance to get rid of Zeta in a way that doesn't point directly to him. After all, Prowl is trusted and seen as loyal and caring for the Primes he serves; he is an incredibly talented actor, having the support of a few Autobot senators, too. On an out-of-country political trip, he lets Zeta bleed to death, coming back home in a hurry to announce the Prime's death and rushing Optimus' coronation. At this point, Optimus is not mentally ready to hold that position; he is quickly pushed to marry Megatron, making him his Protector. In a matter of a year and a half, Optimus' mental state quickly deteriorates, allowing Prowl to take hold of the neo-Prime's decisions.

Optimus' mental illness worsens, which stresses Megatron into stirring his husband away from Prowl. Rodimus is born in that worried, paranoid environment. Although mostly wanted by Optimus as one of his fixations (and also discouraged by Prowl himself), Rodimus brings more stability to the court. Megatron finally takes hold of Optimus' volatile behaviour as Rodimus grows older, making the Prime doubt his advisor's suggestions more than once. Prowl, thus, "warns" Megatron to lay low, having him pushed down the stairs. The goal wasn't to kill Megatron but to show him Prowl could. As Rodimus turns seven, Megatron becomes more anxious and paranoid, rubbing that over to his son. Optimus doesn't allow them to go around the court or outside without being accompanied.

Prowl's hold on Optimus slowly slips away. At the time of Rodimus' coronation as a Prime-to-be, during a medical examination for his haemophilia, the court physician (Ratchet) tells him he needs to be careful, as that illness was Zeta's cause of death. That was a known thing, of course, but it made Optimus think over the mechanics of his father's death in a way only an obsession-driven man can. He confides with Megatron over his suspicion of Prowl killing his father, and finally, they seem to be on the same page on this...

This is somehow the story up to now. I don't know if I'll update it further. I just enjoy the idea of whatever can happen in this setting. I hope you enjoyed reading this wall of text.

[witchygod]

Thinking about Kenji Sato Flanderization

I think certain scene with Kenji certainly stood out out about Kenji for fans, particularly the "do my own thing" and "I know it's been a long year but you got me now" scenes and I've noticed a trend where Kenji is characterized as well honestly a bit of an asshole, sometimes to an unlikable degree so let's talk about it.

I also think these scenes have paid into some instances of flanderization of Kenji's character. Yes he's a bit arrogant and witty but he's not as egotistical as everyone thinks- he's certainly not as RUDE as everyone seems to perceive him though he does have a temper. It should be noted his temper only seems to come through when he's extremely stressed or on the field- in conflict. He's very graceful in how he handles Ami's questions as wel. He only gets snarky with his coach because his coach approached him first with abundant hostility which I'm gonna be real- not the kind of behavior that is ideal, one could argue he was trying to weigh Kenji's value but with the context of Kenji being a world series player in America this is value as an athlete that should be proven already, if he's concerned about Kenji's arrogance that'd be another thing and while that's certainly AN issue but he admits it plainly what it is 'this is Japanese baseball not American' and Kenji responding to that with a bit of disrespect is extremely fair- and coming from his coach it very much paints the tone of how he's gonna be interacting with his teammates.

A large part of Kenji's rudeness is a direct result of hostility or an active defense from either invasive questions perceived attacks on how 'japanese he is'. This is not a subtle sub theme of his character mind you- he straight up admits to Ami that the reason he 'doesnt give a shit' is because he had to learn to because he was always being judged for being Japanese in America.

Let's not get it wrong though- Kenji is arrogant and egotistical because seriously who gives out their autograph without being prompted. These are some traits, but he's not entirely up his own ass, and he's not rude (Mama Sato raised a very good boy... Ultradad helped too) . Aside from when he was pissy with her for asking some extremely personal questions off the back at a press event- Kenji is extremely respectful of Ami, he makes sure to remember the reporters by their names not publicist and while he's not humble he's very sociable. Hell he's even polite talking to the Kaiju- actively taking a gentler tone of voice with Gigantron despite his frustrations (and increasing panic over the fact the KDF is going to kill her and he can't figure out how to stop it)- he's snarky with Mina but even then he isn't entirely dismissive of her, honestly he treats an AI more like family than a servant which is a big difference in attitude than most egotistical superheroes with ai companions.

Kenji is not the sort to be a womanizer hell he doesn't even seem the sort to attend parties unless he's forced to, it's pretty clear he's a bit of a loner- this is evident as much as there is never a mention to him missing his teammates in America and the fact the only person he has to talk to in Japan aside from his father is an acquaintance he's not even certain won't publish his personal conversations with. (She won't because she's a fucking professional with ethics which is also the reason that she's not a love interest God bless I love you Ami💕) He's overwhelmed by relearning how to fit in to Japan, dealing with the xenophobia,adjusting to the new culture of baseball become Ultraman deal with his daddy issues and mourning the disappearance of his mother- all things that heavily influence his attitude and a lot of times seem to be overlooked by people.

We take away one or two of those stressors Kenji goes from snarky and arrogant to a whole lot more sociable and pleasant. He's at his core a sensitive and confident individual who's just really passionate about baseball. He's kind enjoys teaching others about his special interest and is charismatic and bold despite being prone to holding people at arms length. Which is fair because he has a lot of dangerous secrets.

In short Kenji Sato is just a Mama's boy girl(jk)

In short Kenji Sato is a pretty complex character who suffers from a decent amount of emotional constipation and just straight up having no friends. He's respectful and kind and a bit sensitive which can make him seem pretty temperamental and he's prone to pushing people away at the first sign of hostility or when they overstep his boundaries. He's extremely stressed throughout the movie and adjusting to a lot of NEW, and the KDF/Kaiju trying to get chunks out of him and the pretty blatant xenophobia from the baseball scene (ill justified by him playing badly :/) doesn't help.

I also didn't mention much of his reluctance to being a hero and his irresponsibility to the role initially I realized and I think that should be its own subject because what's going on there is less a personality thing and more.... Directly correspondent to his relationship with his father, and the fact he was GROSSLY unprepared for the role. But I do want to note that his sense of responsibility is a lot stronger than people think because it doesn't really take a lot to convince him to do the right thing after Nobiranga's death. If he was still prone to inaction after this event I'd chalk it up to a personality defect but no he's pretty quick to make more of an effort as Ultraman after this, he saw the consequences of his actions and while he's gonna whine about it he does what he has to.

I may also go on a Rant Rant later about his coach and how the next movie really needs to try to save his character because he's shit at his job....

[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.

[kleine-joost]

Whine & Dine 18+ MDNI

Joost Klein x Fem!Reader

a/n: this too me way too long to write!! i tried to make it smutty but i just can't help writing cute fluff :)

WARNINGS: joost being a MUNCH, reader is AFAB, uuuhhh smoking?, there's a 'good girl' in there too

You’d always loved the process of getting ready for a first date. Choosing the perfect outfit, making sure your hair looked effortless, yet tamed, and the shot of liquid courage right before you stepped out the door, oftentimes it was more enjoyable than the actual dates you went on.

Either the guy couldn’t hold a conversation to save his life, or he forgot to mention one tiny detail like he was still living with his ex, or he’d make a comment about how you weren’t afraid to eat in front of a man. Your love life was a long string of red flags and ghostings. But you always persevered.

Tonight felt like a good night for you; you had a pep in your step and you were feeling confident. The guy seemed nice enough in the short conversations you’d had on the dating app where you matched. He was one of those sensitive, creative types, and he looked just gorgeous in his photos.

The restaurant you were meeting at was only a short walk from your apartment, so you made it there with plenty of time to spare.

You’d never been, but you must’ve walked past it a hundred times. The place always gave off vibes that were just a bit too cool for you, with its ornate lettered sign and rooftop bar open every weekend in the summer that blasted lo-fi beats that echoed through the streets.

Walking in, you were shocked at how cold it was inside. You felt goosebumps prick up all over and a shiver went down your spine. The room was quite loud, the sound of knives and forks clattering on plates and lively chatter disoriented you for a second–or maybe that was the tequila shot finally kicking in.

You saw the golden hair at the bar just by the entrance. A flash of excitement jumped through you as you approached. 

“Joost?” You asked tentatively, partly to not frighten him and partly to soften the blow if you’d picked out the wrong person at the bar.

He turned around and you got a good look at his face in the glinted orange light of the restaurant, highlighted with blue neon that shone over the bar. He looked…different in three dimensions. Seeing him properly had you smile, as he smiled back at and stood to give you a polite, short hug.

“You’re early!” He laughed. Oh, his laugh.

You chuckled. “You can’t talk!”

“I like to be prepared!” He feigned offence.

You let out a giggle, the kind of giggle normally only saved for when young girls talk to their schoolyard crush–you weren’t quite sure how you conjured it.

You were relieved when the conversation flowed so easily over dinner. You talked about friends and films and your teenage years. You’d learnt Joost was a musician–he was actually doing quite well for himself on that front–and though his songs didn’t really seem like your scene, you made a mental note to listen to a couple at least, he was so passionate when he was talking about his music influences growing up, it sparked inspiration for you to branch out.

You both finished your meals and they’d been taken away by a very sleep-deprived looking busboy…but you just didn’t want the night to end. And you felt like you’d gotten to know Joost well, but you didn’t know him that well. What would he think about you if you wanted to keep the night going?

You dwelled on the thought as you paid–well he paid, much to your protests– and both made your way onto the street outside. The sun had gone down now and streetlamps let off a soft aura every ten feet down the road.

Joost immediately took a cigarette packet out of the pocket of his jeans and placed one between his lips–lips that you had stared at far too much during the evening–before holding out the packet to you with raised eyebrows, silently asking if you wanted one. You grabbed the box and took one out, along with the bright green, plastic lighter in the packet as well. You tried to light it a couple times, but the spark on the lighter wouldn’t catch. Joost saw you struggling. 

“Sorry, it’s a bit old, you have to shake it a bit before you light it,” he said with the unlit cigarette still between his lips and his hands stuffed into his pockets.

You shook it a few times and tried it again…and nothing.

“Here…” He took a step towards you and grabbed the lighter, shaking it a few times and lighting it immediately. He held the flame to the end of your cigarette. “I’ve got the magic touch.”

You both stood on the pavement outside the still-bustling restaurant in a comfortable silence. Between drags on your cigarette, you snuck looks at him leaning against a small planter across from you, he always managed to catch you looking.

“So, uh, did you drive here?” He asked, breaking the silence.

“Walked, just live down the way…” You pointed to your right, to the direction of your apartment building. 

“Nice, nice…” He trailed off.

“Um,” you stuttered out, getting his attention again. “Would you mind…walking me home? If it’s not too much trouble, it’s just that it’s dark and…”

“Sure,” he said, cutting you off with a smile.

You breathed a sigh of relief. You were always very street smart, and you were pretty good at picking up on if someone was dodgy or not. There was just something about Joost that made you trust him, he seemed very honest, and you saw how his hands shook when you first met; you knew he was just as nervous as you.

As you walked, you continued to chat–just smalltalk mostly, he was telling a story about his friends from school. His face lit up when he spoke about the things he loved, you could tell he had so much passion about music and his friends and art. 

You didn’t notice that along the walk, you both slowly started to drift towards each other, not until your fingers lightly brushed against each other. Without hesitation, he grabbed your hand, fingers firmly intertwined with yours. And he never even faltered in conversation, but you saw his smile as you held onto him–a smile you returned.

Eventually you made it to the front of your building. As you slowed your heart hurt just a bit that the night was coming to an end.

You both stood in silence for a moment, you’d let go of his hand now and your palm was much too cold.

“Well…” You started. “I should…”

Joost nodded. If you weren’t so wrapped up in your melancholy you would’ve noticed the same look of sadness in his eyes.

“This was really fun though,” you continued. “We should do this again sometime.”

He smiled, you could for sure get used to that smile. “Yeah, I’ll text you when I’m free so we can get a drink somewhere or something.”

“Sounds good,” you grinned back at him, another moment of silence. “Get home safe.”

He nodded, then leant forward with his arms open. This hug was…stronger than the quick, polite one in the restaurant, you were truly engulfed in him this time, you could smell the cologne he was wearing; something warm and homely, but not like the kind that smelt like food, you couldn’t quite put your finger on it exactly though.

You didn’t want to let go, locking your hands around his waist. You couldn’t say how long you both stood in that embrace, it was like time stopped as you were taken up by him. You turned your head to look at him, he was looking at you.

Without too much thought to convince you against it, you closed the gap between your faces.

His lips were softer than you thought they would be, and his mustache didn’t tickle your face like you assumed it would have. Joost deepened the kiss, placing a gentle hand on the side of your neck. He was being so gentle, like you could’ve shattered under his touch. But you were hungry, you wished it would last forever, getting totally and utterly lost in him.

Once you had pulled away for a proper breath your bodies separated, you weren’t quite sure what to say.

“I should get going,” he said, breaking the silence.

You nodded. “Good night, Joost.”

“‘Night.”

You began to walk towards your building, a smile on your face that you couldn’t even try to hide. You entered the code to get in the front door and opened it, looking back to where Joost was standing. He wasn’t making any effort to walk away, he was just standing, watching you with a smile much like yours.

In a moment of unfound confidence you spoke, not even registering what you were saying as it left your lips. “Would you like to come up for a drink?”

It was a loaded question, you knew it and he knew it. But the aching between your legs wouldn’t let you get embarrassed by your forwardness.

He silently followed you into the building, grabbing your hand that held the heavy, tinted glass door for him as he stepped over the precipice. No words were shared as you waited for the elevator; his warm hand spoke enough, lightly tracing the end of his thumb over the back of your hand.

The elevator was empty apart from you two, and it seemed almost to halt to a stop as it slowly chugged up to the seventh floor where your quaint one bedroom apartment was. You leant against the cool metal wall opposite the doors, Joost was doing the same next to you.

There was an air of…anticipation surrounding you, mixed with excitement, and a little apprehensiveness. You looked at Joost, this was one of the first times you’d looked at him when he wasn’t looking at you, you could truly look at him now, really perceive him. You noticed the bags under his eyes, and how the colour of his eyebrows transitioned from a deep gold to almost pure white. He told you over dinner that he was bullied in school for the way he looked, and you could understand why–kids are cruel–but he looked perfect to you.

He caught you staring out the corner of his eye, he smirked at you. You let out a low chuckle as heat rose to your cheeks when he turned to look at you.

“You look nice,” you said in a low whisper.

“Nice?” He feigned confusion.

“Like you look kind, that sort of nice,” you continued. “Also you just…have a nice face.”

He showed off a proud smile.

Your apartment was warm, you’d left a window cracked open and the August air crept its way in over the course of the evening. Joost watched as you hung up your jacket by the door, pulled off your boots and dropped your keys on your small, cluttered dining table. He wasn’t sure what to do–or even how to stand–as you stepped into your tiny kitchen and opened the fridge.

“I have…some orange wine, but it’s not very good, or I have pear juice.” You looked up at him, fidgeting in his spot near the front door. “You can hang up your jacket, take off your shoes if you like.”

“Thanks,” he smiled, then slipped his sneakers off and took off his jacket. For the first time you saw all his tattoos, his arms were littered with little scrawled drawings. You wondered if each of them had a meaning, you would love to hear the stories behind them all. “Uh, I’ll have some pear juice.”

You sprung to action, grabbing two mis-matched glasses from your cabinet and pouring the juice into each of them. Joost followed you as you carefully stepped towards your sofa–so you didn’t spill any of the sticky juice onto your floor.

“Your place is nice,” he commented once you were both comfortably sitting on the sofa–at a distance.

“Thanks…” You looked around at the white walls that were decorated with framed posters of a couple of your favourite films. “It’s good for now.”

“It’s a home…” There was a look of melancholy in Joost’s eyes, it made you wonder. “I travel a lot, so I’m not really home a lot.”

You nodded, taking a sip.

“I can see you in here though, it’s-uh-it’s very you,” he continued, a small smile on his lips.

Something about Joost seeing you in your home–your haven–made you smile. He’d been so attentive over dinner, and it made you happy to think he was listening to you, understanding you.

“You’re very sweet,” you said after a short moment of silence. You’d noticed that silence was comfortable with Joost, you didn’t feel the painful urge to have to fill every second with a new question or an unrelated story. Conversation just felt so natural with him.

He turned away, pressing his face into his shoulder at that. You saw his cheeks redden. Part of you loved how the smallest compliment made his blush so much, you hoped you’d be able to give him more, deeper compliments just to see what he would do.

You were feeling brave. You placed your glass of the coffee table and slithered towards him on the sofa, placing a light hand on his knee. His skin was hot. He looked back towards you as you grabbed the glass from his hand and placed it next to yours.

“Is this okay?” You asked in a low voice.

Joost didn’t reply, just placing a gentle hand on the side of your neck and leaning forward to kiss you. This kiss wasn’t like your sweet, goodnight kiss outside, there was a subtext to it. You quickly opened your lips, letting your tongues meet. He pulled you closer so your chests were pressed together. You skin felt too hot, you were sweating even as a breeze blew in through the open window next to you.

You parted, quickly pulling your blouse over your head in hopes you’ll cool off. You saw Joost’s eyes widen, looking down at your body. His mouth was immediately back on yours, wet and messy as your hand returned to his knee before slowly inching further and further up his thigh. You pressed your fingertips into his flesh, getting a low moan from him.

He began to press kisses down your neck, settling just below your collarbone. You felt his teeth over the soft skin, and the pressure of him sucking. No doubt there’d be a bruise there later.

“Joost,” you slowly whispered.

“Hmm?” He replied, placing more wet kisses over your chest.

You had to think before you spoke, you could barely string a sentence together with how bothered his wandering hands were making you. “C-can you…”

“Tell me, baby.”

“I want you to eat me out.” You pulled his face off your chest to look you in the eyes. “Please.”

He smirked, pressing your shoulders back until you were laying on the sofa. He quickly peeled your jeans off your hips and down your legs, discarding them on the floor before leaning down to place a gentle kiss at your belly button, then a little lower, and a little lower again. 

Once he finally mouthed over your clothed pussy, you were so lightheaded you could barely think straight.

He slowly pulled your panties down your legs, seeing just how much you were dripping. He couldn’t hide the smile plastered across his face at the thought of you so hot and bothered by him.

“You’re so sexy,” he whispered, lowering his face to your pussy and placing a light kiss to your clit.

You were so sensitive, you instantly cowered away from his touch. But he grabbed your hips to hold you in place. It felt like the room went cold, with goosebumps raising all over your skin.

You noticed that Joost was watching you, just for a second, though he just looked back to your core once he realised you’d caught him staring. He dove in.

You would’ve thought he hadn’t had dinner with how…passionate he was. He wasn’t letting up, listening to every direction you gave him; ‘lower’ or ‘more fingers’, and a ‘don’t stop’.

Before you knew it, you felt weightless as he drew you into orgasm. It wasn’t like when you did it yourself, you finally understood all those cheesy romance novels talking about seeing stars, because you had a whole galaxy in your eyes.

It took you a few minutes to come down from the high. Joost helped you through it, bringing you back down to Earth with gentle rubs over your hips and a ‘good girl’ thrown in for good measure.

Once you finally caught your breath, you spoke. “I don’t do this all the time, by the way.”

“Do what?” His eyebrows furrowed.

“This.” You gestured to, well, your still-naked body on your couch. You would’ve been feeling self conscious if you didn’t just have one of the best orgasms of your life. “I don’t want you to think I’m a slut or anything.”

He laughed. “Leifje, if you’re a slut, I am too.”

His laugh brightened the room, it eased you. 

“Well, we haven’t gotten to you yet, have we?”

xxx

[vqlluna]

DRUNKEN TRUTHS ━━━ REMUS LUPIN

sober confessions p2

summary: both you and Remus hate each other, painfully eating away each other each time you're forced to see one another due to your shared friends. Now at a party, Remus can't keep his eyes from you. The truth comes out when you're drunk, right?

notes: f!rich!reader x poor!remus lupin, goody-two-shoes!reader x stoner!remus angst, jealousy, underage drinking, frenemies to lovers Remus is sassy

a/n: I'm forever obsessed with the rich jealous partying trope for no reason at all. Gossip Girl is influencing me too much.

YOU DIDN'T KNOW WHY YOU WERE AT THIS PARTY IN THE FIRST PLACE, you didn't need to come, this wasn't exactly your crowd. You were only friends with Lily, which soon turned into a tangled mess of being friends with her boyfriend and his friends. Because you'd never be at a party with low lives wasting their days away getting drunk and smoking weed.

That's the exact reason why'd you'd associated yourself with Lily Evans in the first place, up keeping her clean slate would keep yours clean as well. So when Lily refused to attend this party, despite the pleads from her friends and her boyfriends, why had you accepted the offer in her place?

You very well justified that you needed to socialize more, besides, being so uptight wouldn't get you any farther than it'd had now, it was time for a change. You weren't stupid of course, you made sure to bring someone along of who could get you home safely, someone of your status who had good morals and ideals, which all too entirely failed.

As James drove the three of you, you noticed his insistent pestering of your plus one. Now you sat pressed against this supposedly morally good guy, drunk, dizzy, and tired, so much so that you couldn't even feel the nips he'd been giving to your neck. You rambled on to James and Mary, who sat on the armchairs across you.

Both, relatively sober, found intense amusement in seeing you drunk with a guy all over you, which was amazingly out of character for yourself. Every now and then you'd look around the room in search of something frantically determined, the two teasing you on how your eyes were popping out of your head.

You looked across the room at Sirius and Peter miserably failing at beer pong, then to Dorcas and Marlene as they swayed to whatever tracks were booming throughout the room so loud you had a slight headache.

Taking in account everyone you knew was to be there, was when you realized why you were so confused. "Where's Lupin?" you mumbled, "Haven't seen him yet."

James, the closest to you than anyone else here, looked at you in surprise, "You want to know—Moony, huh?" he poked the inside of his cheek.

"I saw Remus earlier, dunno where he'd be," Mary answered, the both of you ignoring James' delight.

You hummed as the boy beside you pressed his lips to your cheek, "Don't need to worry about other guys now, baby," the boy whispered, and even though you cringed at the name you were too tipsy to care.

A burst of giggles and snickers erupted from behind you, James raised his eyebrows in even further interest than from what he expressed before after your comment, "There's the man of the hour!"

You whipped your head around, rolling your eyes at the lanky man who entered the scene, a girl attached to his hip, bottle in hand, and a cigarette in the other. He wriggled free from the girl's arms, still telling her to follow, as he did a smug dance of a spin, "Missed me too much, Prongs?"

James snorted and titled his head towards you, "No, but someone else did," he said, nuzzling his face teasingly at your scowl. Remus slowed his steps towards you all, and you could've sworn you saw a small disgruntled frown appear on his face for a moment as noticed you and your company.

He quickly smirked, "Now who let the selfish snobs in?" he yelled, no one else paying him no mind as he plotted himself, and the girl he was with on the other edge of the couch.

You scrunched your nose, his presence snapping you out of some of the daze you were in, "Does anyone smell that? There's just this intoxicating smell of lung cancer and ignorance, absolutely vomit-inducing if you ask me," you snapped.

"Poor thing, wouldn't want you puking all over your date, princess," he remarked, putting his arms around the shoulder of the gorgeous girl who giggled at his comment beside him.

You stomach twinged at the name, that all too easily rolled of his tongue, and his tongue only. And everytime, since the first time he'd said, started a roraing fire in your stomach.

━ "Lily, have you seen my mother's Chanel bag?" you whined barging into the room. You were hurriedly getting ready for a fancy dinner you were supposed to attend.

The red-haired girl shook her head sympathetically. You seethed at her answer, ignoring the weird stares from the others in the room, "My mother is going to murder me!" you yelped, "I need that bag!"

An annoying snicker echoed from across the room, "Is the poor princess finally going to get in trouble?" he crooned, "Told you that you needed to sharpen that memory," he tutted.

"Fuck you, Lupin." ━

You grunted, not able to find anything to bite back with. Remus smirked at your silence, directing his attention to your company, "So who's the wealthy, tasteless boggart you've dragged along?"

The boy beside you glared towards Remus, "Evan Rosier," he introduced, gritting through his teeth, "And we both have much finer tastes in both people and luxuries than you ever will."

"Maybe you do, in women at least," Remus started, and your cheeks grew slightly rosy at his insinuation, "But Princess here sure does have a knack for choosing the worst men to be with."

You scoffed, "And you're to be the best option? Someone so childishly obsessed with chocolate?"

He shrugged with a grin, "Well, yeah," he answered, taking the last swig of his beer before standing up and stretching his limbs. "You lot have fun, I'm off for another drink," he declared, stumbling his way to the kitchen as the girl hopelessly followed him.

You huffed, aimlessly sitting and now listening to Mary's rant, and you couldn't help but feel extremely suffocated. Your head continued to hurt and your mind swam. You took a sharp breath and jumped up from your seat, "Gonna get some air," you mumbled without another word.

You clutched your head as you pushed through the bodies of people. Slipping out into the backyard, you breathed while staring at your shoes as they danced around in your vision.

"Y'following me now are ya?" a voiced echoed out to your right.

Picking your head up, your eyes followed to source. You chuckled to yourself seeing Remus pressed against the wall, puffing smoke of a new cigarette into the air. "You wish," you said.

Taking in his disheveled hair, stained jumper, and sunken eyes, something in you paused. Your brows furrowed as your expression was somehow a mix of confusion and disgust. Remus tilted his head and cocked his eyebrow, rolling himself off the wall.

Suddenly your legs stomped toward him. "You're annoying, arrogant, and can't dress for the life of you," you spat.

Remus looked at you like he'd just watched a jester perform for him. "M'sorry, what was that?" he mirth, leaning down as he tilted his head towards you as to hear better.

You frowned and repeated yourself, "You're incredibly annoying, stupidly arrogant, terribly dressed, and I don't like you," you announced once again.

He removed his head only slightly away from you, still close enough as you felt his breath fan over your face from his wolfish smile. He brought the cigarette from his two fingers up to his lips as he inhaled and puffed out the smoke into your face.

Your face scrunched again in disgust as he stared at you intently, you awaiting his retaliation. "I find you incredibly gorgeous, stupidly charming, and terribly cute, and I surprisingly find a great liking to you."

Blush scattered across your face at his confession, a gulp climbing down your throat whilst you trailed off, "You...?" You were speechless, not expecting his words, the grass and scenery behind him blurring and swirling in the back.

Your eyes darted around the place, avoiding his own eyes before your chin was pinched between his thumb and index, forcing your eyes to bounce right to him, his cigarette still clenched in the same hand in the last of his fingers.

Not only had you not expected his confession, but you certainly didn't expect him to lean in, pressing his lips gently to yours. It quickly escalated as his hand moved to grip the back of your head, the other resting on your hip.

Your elbows brought up to at his shoulders, fingers tangled in his hair whilst you screamed to yourself to pull him away, you're body ultimately betraying you as they only pushed his lips farther into yours. That's when you found out that you were indeed, kissing him back.

Remus pulled away chuckling, letting your arms continue to sit on his shoulders. You breathed hard, staring at him with confusion with the newfound dizziness swimming around in your head. Your mouth was agape, ready to say something, but nothing came out.

"Merlin, if I knew just a compliment and a kiss could get you to shut up, I would've done that ages ago," he joked. Your face fell at the remark, your forearms brought down to his chest as you finally tried to push him away.

"Why'd you kiss me, you prick?" you sternly questioned, ignoring how rapidly your heart was beating. His hand still keeps you in place at your hip.

"Because I like you," he stated as if it were obvious.

You shook your head, letting a small laugh escape from your nose, "You're drunk, and you're high," you insisted.

"Truth comes out when you're drunk, right?"

You stood silent, begging to tell him no and denying the fact that you itched to kiss him once more. Though your lies weren't said, your truth was done as your lips soon gravitated back to his like a magnet.

Now instead of you being pressed against against the couch you were now found pressed against the concrete wall of the house, and your innocent need for one more kiss turned into necking.

A smirk from Remus continued to press on into the kiss as you two parted for air a quick second as you got in a whisper of "I hate you."

Purposely, on the next gasp for air, Remus cheekily echoed your words from earlier before, "You wish."

His cigarette was discarded to to floor as both his hands were now occupied at your hips, and both your own gripping at the sides of his face. While your back scrapped along the wall your hips were lifted away as his arms clawed them closer to his own.

His back bent over to reach down to you. Your mind flooded with the discovered thoughts and questions on how you were making out with Remus Lupin at a party, and how badly you'd wanted him for the past year.

Still, the two of you couldn't escape the quips murmured now and then.

"I knew I told you to sharpen your memory—but maybe instead you should sharpen your whole mind—if it took you this long to find out."

"Fuck you, Remus."

"I think you're in the process of doing that, yeah."

"Idiot."

"Brat."

You thought you might've drowned in his lips, if it wasn't for the parade of a voice. "Time to get going y/n!" James shouted, stepping outside.

Quickly, you pushed Remus off of you before James could catch you in the act. You felt as though you'd committed a crime.

Remus chuckled as he stumbled back, wiping your lip gloss off his lips. "Lily wants me home..." he slowed, seeing the mess of both of your guys' hair and your excessive blushing.

"Right, let's go," you readied, combing your fingers through your hair trying to fix it.

James nodded, disturbed and amused again, he slipped back inside. You panted heavily from your nose, staring at how Remus' eyes dashed across your face before they finally rested on yours.

"Best get going, Princess. You're carriage is ready and your palace awaits," he joked. You clamped your lips shut with your teeth, your stern lustful glare softened as you pursed your lips.

"Bye, Remus," you said with your arms crossed, turning on your heel you walked away, still feeling his eyes on the back of your head with his smug smirk.

As you crossed back inside you jumped at the sight of James waiting in anticipation by the glass door. "Bloody hell, James! Y'Scared the shit out of me!"

James snickered at you, "You and Moony?" he asked surprised and teasingly, though behind your backs him and Lily had counted the days when it'd finally happen.

You scowled and shook your head rigorously, "Absolutely not!" you opposed.

"Sure. And by the way, you reek of beer, smoke, and chocolate," he added cheekily, sparking the heat in your cheeks again.

"Piss off, Potter."

[genericpuff]

wait wait wait, regarding that Minthe post, you're telling me that Rachel literally wrote the character as having BPD.....and portrayed her as an abusive mean piece of shit??? WOW. fucking WOW. sorry for being so angry, but even if she "retconned" that - it's still so god damn disrespective. as someone who has BPD it hurts so much to see my mental illness villanised :(

ugh I'm so sorry pal. and I don't blame you for being angry about it, like I don't even have BPD and I'M fucking pissed LOL like I can understand why Rachel might have wanted to backtrack from that knowing fully well that Minthe's story wasn't gonna have a happy ending, but writing her with BPD in the first place and then BACKTRACKING from it as soon as she likely got heat for it (or just realized it wasn't a good look) isn't much better because it means now all she's done is written the stigmatized negative effects of BPD into her character without showing the more positive outlooks of healing and managing. Maybe that was doomed to happen considering Minthe is someone who doesn't get a happy ending in the myths, but it begs the question of why she'd write her with BPD to begin with because in hindsight it really does seem like she just wanted to use it as a way to make her "evil".

But like, when you read the actual episode, you can SEE the potential there for character growth, you can SEE that she's aware of her actions - but doesn't understand why she's "like that" which is a VERY common feeling among people with undiagnosed mental illnesses - but it was never meant to be.

Like jfc not only is it HEAVILY IMPLIED, but again, the episode is literally called "Splitting". And we see exactly that with Minthe, who can't seem to rationalize with herself that she messed up.

But... that leads me to another point that I failed to mention in that first ask response: she DIDN'T mess up. Like, yes, she messed up by escalating it to the point of slapping Hades, but it wasn't her fault that she didn't make it to her date with Hades. Whose fault was it?

Continuously throughout the first season we see Thetis being an awful influence who manipulates and gaslights Minthe. They're "friends", but it's clear Thetis does not have Minthe's best interests in mind. In this very scene we see Thetis manipulate Minthe and even attempt to get her so drunk that she won't be able to show up to her date. And then of course when that plan works and Minthe freaks out, Thetis spins it around on Minthe in a very passive-aggressive way.

But of course, the narrative has to find a way to turn this whole thing on Minthe being the bad guy. Hence we get the slap which shifts the focus entirely away from what led up to it back onto Hades who has, in a lot of ways, put her in a situation that she can't control. And of course, being in those kinds of situations does not help with mental health.

Like, sorry, I'm really going off here now, but... the slap happens in Episode 76.

When is it finally addressed again? Episode 103.

It took Rachel nearly THIRTY EPISODES to finally bring it back to Minthe, and in that time the reader has spent SEVERAL EPISODES reading about how sad and lonely Hades is, and about how cute and lovey he is with Persephone. The reader has not had ANY time to reflect on Minthe's circumstances, because it completely pivots away from her to focus on H x P as a sort of distraction from the fact that Minthe is a victim in her own right.

And when it DOES return to Minthe in 103, we get this harrowing reminder that her entire life is dependent on Hades-

And once again, here comes Thetis to the "rescue", reinforcing the negative feedback loop that Minthe is trapped in where she's put in unhealthy situations. She drags her to a bar and the whole time Minthe is not having fun because she's understandably still reeling from what happened.

Now we DO get some character development here, where Minthe realizes exactly what I've just finished explaining, that Thetis isn't her friend, that she'd rather not have Thetis as a friend than continue being talked down to and manipulated.

But then, as we know, because Rachel still needs Minthe to be the "bad guy", the breakup between Hades and Minthe winds up being all about Persephone from a POV that attempts to villainize Minthe for being "jealous" (rather than focusing on how shitty Hades actually is for having an emotional affair with Persephone to begin with) and then Minthe goes right back to hanging out with Thetis anyways for the sake of having the "evil other girl" who wants to "ruin" H x P's relationship.

It's not until Season 3 that we finally see Minthe tell Thetis to fuck off for good, but by then it's too little too late, and Minthe has lost an entire character arc. Rachel tries to go "see! Minthe's life is so much better now that she's taking care of children!" but that's an entirely different solution to a problem Minthe never had. She never got treatment for her BPD. She just got away from H x P which, while is a good thing, isn't actually analyzed as such. It's treated more as a "good thing" for H x P and the readers, because now they don't have to be subjected to Minthe's evil scheming anymore, something something "the evil is defeated". And don't even get me started on this comic's problem with constantly resolving female characters' story arcs through motherhood.

It bums me out so fucking much. Minthe deserved so much better. She's one of the many characters in LO who make it so painfully ironic when they're done dirty, because despite Rachel's attempts to write a "feminist retelling" that focuses on "moving on from trauma", she's inadvertently done more damage to feminism and the stigmas around mental health and trauma through her assassination of grounded and realistic and relatable characters like Minthe and Demeter who are shown ZERO empathy or understanding for their actions (unless it can be done so by making Persephone and Hades into the heroes). It happens so often throughout the comic it almost feels like how the comic markets itself as a "progressive feminist retelling" is some sick joke that I'm just not getting.