#because if there is One Thing I Will Do To Characters its fuck up their teeth apparently asgdgajafafjajsbdzvzj

[koobiie]

bestowing my highest honor as an artist to ffxv (drawing the characters in fun outfits)

thoughts under the cut

RREAAAGHHHH SO EXCITED TO BE DONE WITH THIS!!!!! it took me forevarrrr but i soldiered through as an act of love. now excuse me. yap time

OKAY SO the concept behind this was originally specific fashion subcultures for everyone!l ike noct emo ignis dark academia etc. but then decided i didnt want to pigeonhole it all and just freestyled outfits i thought would look nice on everyone

noct - i do think noct would still be emo-ish but also opt for comfy baggy stuff a lot. something you could just fall asleep in on the spot. note the details of bass pro shop shirt (of course) XV necklace, little moon + stars accents, carbuncle + fish keychains. i also wanted his metal band logo shirt to spell LUCIS but i forgor some letters but its not very readable anyways

ignis - ignit ooohghh ignos ignaurs. sorry i made him serve so much cunt it will happen again. i drew him first cause that kind of inspired this whole thing i love him so bad if i didnt draw it id explode. not much detail to note except his collar pins are like his double blade thingies

luna - lunaaa the concept was “clean girl aesthetic” idk if that happened but im actually really happy with how it came out! might be my favorite of the bunch just because she looks so pretty and happy. your honor she should have been able to just be a normal girl and just. chill

prompto - prompotoooo i had trouble picking his vibe!!! my first thought was techwear?? because weeheeeehee he loves tech and well... you know... but then i realized i didnt really like the look of anything i saw + it was so bulky and dark and serious for him! ending up going with some more youthful and baggy. i was considering something more loud and colorful but ended up not going with it. i feel like in canon he'd be too nervous to have such a flashy fit and would want to just look "cool" to fit in with the boys lol. itty bitty details here - chocobo keychain, pompompurin and bi miku buttons, and his lanyard is kings knight themed! i also thought it was funny to write LUCIS on his shirt like you know those shirts that just say BROOKLYN or TOKYO or SAN FRANCISCO and thats it. thats what its like

gladio - okay i know this is going to sound like a lie but im not horny for gladio like at all, hes my least favorite, i think he's just alright. but also i KNOW in my heart of hearts that he would LOVE being a leather daddy and so i had to make it happen. main detail to note here is that his tank top has the motifs of a cup noodle! i didnt know what else to add cause you know.. hes the cup noodle guy.. but also i didnt want it to be so in your face about it with a big as logo so kept it subtle!

(side note the leather daddy gave me an idea for a post where its like noct and prom go to a gay bar all nervous but then they run into gladio and its like "p: GLADIO YOURE GAY?" "n: nevermind that PLEASE dont tell ignis we snuck out" and then ignis walks up and theyre all like WHAT THE FUCK!!!! caption would be "the gang finds out theyre all bisexual." probably wont draw it but i think its very funny lol)

iris - iris my sweetheart.... definitely leaned into the scene vibes here and also that one image of the blonde emo anime girl. details here - of course the moogle big ass backpack and keychain (can you tell i love keychains), but also her buttons are an iris (the flower) and also a crown with hearts (haha symbolism)

anyways oh god i didnt mean to write an essay down here. usually i keep this in the tags but this time i just had Too Much To Say. can you tell i put a lot of thought and love into this . anwyays. *walks off into the sunset and fuckig dies*

[stoopidpigeonxx]

⋆˚｡⋆୨✧୧˚ 𝑶 𝑪𝒂𝒑𝒕𝒂𝒊𝒏, 𝒎𝒚 𝑪𝒂𝒑𝒕𝒂𝒊𝒏. ˚୨✧୧⋆｡˚⋆ (PT. 2)

OKOKOK I MADE THE PART TWO PLS STOP YELLING AT MEEEE

NSFW under the cut. MDNI.

Characters/fandoms: Captain Curly, Mouthwashing Content warnings: Smut, obvi, p in v whatt, curly being a SLOPPYYYYY eater, praise (from you and him), boobs, tits even, curly being 𝓯𝓻𝓮𝓪𝓴𝔂, alot of dirty talking, etc. Our boy curlys a bit of perv.

-Manners? What manners?

Curly is a, what do you kids call it... a munch? Yes. If he goes down on you, and he most likely will, he will be SLOPPY with it. I'm talking drooling all over your cunt, licking it from top to bottom, shaking his head side to side and pressing wet kisses to your clit. It's ironic, really, since he's so polite in and out of bed, but he doesn't really care about a mess if it means pleasuring you. What's a little mess? Sheets can be washed.

"Sorry *kiss* about the mess, sweetheart.. *kiss* can't *kiss* help myself."

-Beautiful tits. And rack. Love it.

When asked the question 'ass, tits or thighs,' he's gonna pick tits. He's a titty guy. Sure, your ass and thighs are nice too, and he gives them an equal amount of love, but nothing can beat the feeling of shoving his face into your boobs when he's thrusting in and out of you. It has something to do with hearing your heartbeat and how fast it is, but mostly he just likes suffocating between your twins. And if he's particularly stressed, he'll just set you on his desk and lift your shirt up and go to town. Sucking, squeezing, rubbing, all that. His favorite stress balls. And god forbid the day you get nipple piercings... He's mindlessly playing with the metal with his teeth, enjoying the feeling of the cold brass on his tongue. You'll have to wear bandaids. (which he'll apply, apologizing profusely.)

-Praise me for sin.

Call this man a good boy and he's whining and shaking. It goes both ways with him. He loves getting praised, and he loves praising. A few of his favorites.. "You're doing such a good job." "Look at you, taking everything like a champ." "God, you're gorgeous." "Good girl." "You're so pretty, baby.." "Atta-fuckin-girl." He knows you fold every time for that kind of talk, so he makes sure to say at least one while you're getting naughty. On the other hand, some of his favorites to hear.. "That's a good boy." "Thank you." (Manners.) "I love you so much." "You're too good." "Fuck, that's good." Hearing how good of a job he's doing is only fuel for him to keep going, and gets him hard as a rock. So, use that mouth. (Unless its occupied, wink wink.)

-He babbles when he comes.

When he's right on that edge, he goes a bit dumb. You feel so warm and good, and he's so fucking close, and his brain just loses all ability to form coherent thoughts. So he just mumbles whatever comes out of his mouth in that adorable whiny subby voice. (You know the one.) "Fuuuuck too good too good too good.. baby.. g'na make me come, coming, coming." Or just a chorus of 'yes' over and over. Its really cute because he tries to be quiet with it, but his brain is so broken that he can't control his volume too well. He has to shove his face into your shoulder or a pillow to muffle himself so the crew doesn't overhear.

-Can't stop, won't stop.

Will not give up until you come, no matter how sore his cock is or how cramped his legs are. He wants you to come as many times as possible before the night is over, and he's willing to overwork himself to achieve that. You've told him its okay, but he doesn't really care. Feeling you clench around him and ride out your orgasm is the best thing he's ever felt, so he's gonna have you coming at least 3 times each session. Unless, of course, you're begging him to stop since its too much. He'd never want to hurt you. He'd pull out and lay with you for a while and let your body calm down before starting up again. "Take it easy, angel. I'm right here. It's okay, you're doing so well." (Why does his dirty talk sound like him coaching you through birth?? 😭)

[capitalisticveins]

Seeing as how you're doing headcanons again i'd like to request hcs of Gavin,Milo,Sam,Vincent,and Guy( btw here's a thought for ya Guy as Hermes dangerous has stuck in my head for the past couple hours send help) also your previous hc were also great!(you could say they were ruthless ha ha ha im sorry that was bad lol)

~ Deviant anon （⊃◕ω◕(´ω｀*⊂)

idk if you can tell but I really like Guy

also I wrote headcanons for some character recently so characters like Gavin, Sam, and Milo have them a lil short than Vincent and Guy since it takes a while to think about possible in-character hcs for them. Sorry :(

Lots of Headcanons #3

Gavin

Believe it or not, Gavin’s social media accounts are usually blank. Save for Instagram. He just has them to comment under the group’s posts.

Despite never reading a book, Freelancer has told him he’d do best in the writing industry.

He does not know how to hold a baby. If you give him a baby for any reason he’d hold it with both of his hands under its shoulders.

The worst he’s been scared was when he played a horror VR game, but he didn’t scream or anything he really just jolted and went “shit” and moved on. Freelancer was not amused.

He likes being the big spoon when he and FL cuddle because he gets to breathe in their scent, hold them, and remind himself that this is real, and not just a dream he’ll wake up from.

Milo

You can’t beat him in cup pong. Digitally or physically. You just can’t.

The only reason David is considered a better cook than Milo is because Milo uses a lot of seasoning and the pack is full of babies who can’t handle oregano or sazón.

Whenever the pack goes somewhere tropical he has to wear a shirt or Sweetheart will constantly attempt to latch onto his torso.

Milo and cats have always gone together like peanut butter and jelly. He had a cat toy when he was a toddler, his first cell phone had a stray cat as his wallpaper, he’d feed the stray cats around his home, etc. So when he learned that he and the people around him could turn into “dogs” (wolves but still) he was DEVASTATED. Got over it after a day tho.

He likes juice boxes.

Avid Apple Juice “tastes like piss” hater, although he also says mint ice cream tastes like toothpaste so take that as you will.

Sam

Sam fucking hates cowboys.

Sam had braces from the ages of 19-21 and the only upside he had to being a vampire when he first turned was that he didn’t need his retainer anymore.

Sam always reads manga wrong and no matter how many times anyone explains it he’ll read it from left to right and never understands what’s going on.

The closest Sam has gotten to riding a horse is when he flopped on top of Darlin’s back while they were shifted and they walked around his house like that…he’s never been on a horse.

Sam has a lot of existential crisises, compared to like Vincent or Porter.

If something's flying and he can't figure out if it's a plane, helicopter, animal, or any identifiable flying object, he just believes it's an Alien UFO and moves on.

Darlin' gave him a wheat head for Christmas once. He was not amused.

Vincent

Wanted to be a youtuber for a brief period in time in 2010.

Had a weird obsession with those traced anime characters dancing tiktoks in 2020, a little after meeting Lovely.

He canonically has multiple cars he likes showing off to Lovely, but he also nearly never uses them and it’s Lovely who showboats them and takes them on joyrides.

He didn’t believe William at first when he was first told he’s a vampire now and was the only one who survived The Surge incident, until they both saw his funeral take place and see his grave, which took place a long time after the accident because his parents refused to believe he was dead.

He had 3 tomodachis at once and they all constantly died because he forgot feeding them was a thing.

He commonly "regrets" asking William to make him unable to lie to Lovely because they like to ask him embarrassing questions on purpose and he can’t help but answer them, even though he could just stay quiet.

His favorite memory as a kid was roller skating with his parents on his 7th birthday. Even though he fell on his face, sprained his ankle, and had a loose tooth fall out. Still his favorite day.

Guy

GUY IS SO HERMES CODED UR RIGHT

Turned a fanfic he wrote as his college essay and got in just because of it.

Was very afraid of Honey when they first met, they kept staring at him like he was the scum of the Earth. They just wanted to talk to him about the Animal Crossing pin on his backpack.

Whenever his friends order from Max’s, and he turns out to be their delivery guy, they make fun of him so much (playfully) and give him a 10 dollar tip

He borrowed his friend’s motorcycle to impress Honey

Cried over Gnomeo and Juliet

Dressed up as the Thomas Jefferson Miku Binder drawing in 2023.

He almost gave himself a buzzcut once when he was drunk, he had to be held down because everyone knew he’d regret it so hard later, not matter how funny it’d be.

[mylifetherant]

Literally 90% of the issues with the moclan episodes stem from the fact that they never bothered to actually figure out how any of it worked in the begining.

Due to the shows starting roots of being a parody, they didnt super put in a lot of work into the actual worldbuilding until waaaay later. Moclans were just "haha what if there were klingons but they were all gay?". And then they never bothered to actually do any work on asking how that would actually develop and function.

Like why do moclans even have females? They obviously dont need them to reproduce, why wouldnt their evolution have completely bred them out by now? And moreover since they do exist, how does that tie in to moclan reproduction since females arent a nessecary part of it? How did the male biology evolve to accomodate birth, and for that matter the production and laying of eggs (another thing they did for a giggle without bothering to consider the implications biologically).

This offers even more questions when you remember the one fact OP didnt mention in this (which i dont blame them for because its barely focused on in the show either) But Klyden was also born female, much like their child topa. The whole reason Klyden freaks out about Topa being born female isnt just because hes a regressive conservative dicklord, but because he doesnt want topa to experience the shame he did of being born female. Which not only makes this messaging even more convoluted, but also begs the question of "how did he impregnate Bortus then?" And yea sure the answer could easily be that the whole species is actually intersex but thats literally never mentioned or even insinuated (likely because the writers know jack shit about it)

The whole problem is that the entire thing started as a poorly thought out joke that they then tried to turn into hamfisted serious reflection on current issues. Which they cant actually accurately do because they slapped it on the "what if being cis was illegal!" Joke Characters who fuck up the whole message because no one bothered to actually ask how any of this would actually work. And by the time it became actually relevant we were 3 seasons in.

At any point in the 3 seasons of run time they couldve taken the time to hash this out in a way that made more sense. Or they couldve just made up an entirely new race instead of constantly slapping all their "gender issues episodes" around moclan society. Literally any episode that has to do with sexuality or gender always revolves around moclus, despite every other socio-political issue they talk about having a whole new planet made around it.

For fucks sake they gave the "what if facebook ruled the world" planet TWO episodes!! They had a whole episode dedicated to Astrology Planet!

Just make another transphobic planet to clean up instead of stumbling over your season one joke characters!

Let's talk about The Orville.

Alright. My STEMbo ass needs to have a certified Media Analysis Moment, and I hope this doesn’t all come across as too dumb or missing something obvious.

Let’s talk about the TV show, The Orville.

Genuinely. And I do mean genuinely.

What the actual fuck is Topa’s storyline saying about transgender issues?

I watched seasons 1 and 2 of The Orville a long time ago, and I’m now working my way through season 3. I just finished s3e5, “A Tale of Two Topas”. I know there’s more to come about it, but I’m just kinda venting up to that point.

I need some kind of “cis eye for the queer guy” to analyze clumsily written “ally” media- I’m far less concerned about what the showrunners tried to write, than I am about how it comes across on the screen to the "typical" cis audience. The storyline is treated with bewildering confidence in a way that doesn’t seem to realize how fucking weird its messaging is, and I feel like the fact that its so contradictory is something the show itself is trying to hide.

Gimme a moment to collect my thoughts, I’m typing out a lot of shit. I'll post a ramble as a reblog to this.

[leresq]

Finally watched Deadpool and Wolverine. First of all I was not coming into this with high hopes because even though everyone was talking about how good this movie is I've never found the Deadpool movies funny. To me they're just different variations of "You haven't seen this in an Iron Man movie" stretched into two now three feature length films. But honestly I liked it at the end.

- Why are Logan's ears and one of his eyes not decayed when no other part of his body is intact? Why does he have a beard on his jawbone?

- I'll bite, the Bye Bye Bye is a fun idea. The wintery forest setting is cool.

- I can't enjoy that opening fight scene because it's not how anything works. You don't get bludgeoned with a dull object, have your body armour completely give way, and have a pint of blood splash out. I understand the whole point of Deadpool is that it's over the top, but this is just so overly gratuitous it's insane. I feel like Marvel Studios felt like they had to make it so unrealistically violent to try and separate it from the mainline MCU to get the people who have Deadpool funko pops to guffaw in the theatre. It's "You haven't seen this in an Iron Man movie" with zero words spoken. Honestly incredible.

- The CGI is better than it's been recently but it's still noticeably bad

- Peter Parker's Iron Man mask is on the desk in the background! How did that even get there.

- Why is Tony's ARC reactor on the table, I thought that was pushed into the river at the funeral

- The timeline is just so incredibly fucked. I still don't understand how the X Men timeline reboot works, or how Logan fits into it; if Logan dying means Deadpool's universe collapses, that implies the Logan movie is in the X Men reboot franchise, but Patrick Stewart is in that and James McAvoy plays him in the reboot making me think it's a one off... Augh my head...

- Something looks up with John Favraeu. I don't know if his wearing a wig is supposed to be obvious, I don't know if he's just under a lot of makeup or it's CGI, it's just weird.

- Deadpool is never going to be an Avenger because Marvel Studios would rather execute everyone working for them than give up the licencing deals from making PG13 movies, and Deadpool wouldn't feel the same in a PG13 movie.

- I think any brand would let Ryan Reynolds walk all over them in muddy boots, for some reason he gets the pass to slander anyone he wants to and he gets paid by the companies to do it.

- 'I don't have a lot of v*ginal sex' 🤨 that has numerous connotations. Also can we not do sex jokes in front of 12 year olds

- I was not expecting a Deadpool movie to contain any hints of character development because the previous two instalments seemed to be hellbent on making sure I understood nothing of emotional value would ever be allowed to appear without being undercut by a sex joke.

- "I've never been a natural bottom" 🤨🤨 I thought Poolverine was just the average two male leads naturally gets shipped together thing but no they're sowing the fields

- If that Thor crying over Deadpool never comes back I will say something about it

- If they didn't want me to know Paradox was going to be a villain why would they make him British

- The 'Suck it Fox' cut to nothing being there is the only time I will accept something raising more questions than answering them at this level as funny

- "Your tailor is a predator" caught me so off guard I started coughing

- Wow I wasn't expecting them to pull the Paradox is actually evil card not even a third into the movie. Honestly a good subversion of expectations.

- How is Deadpool's universe going to evaporate in 74 hours, I thought time doesn't exist at the TVA?

- Are they going to explain why Deadpool's suit can just fix itself now. It used to keep its holes.

- Finally, I think the first time we ever hear Deadpool is from Canada in the movies! I wonder if Ryan Reynolds only wanted to play him in the first place because they're both Canadian...

- "You two gonna fuck or fight?" 🤨🤨🤨

- I actually understood the Honey Badger reference

- the FF floating platform thingy is another reference I'm surprised I got

- The Human Torch CGI is actually really cool

- "Not all of you was asleep" after waking up on his shoulder 🤨🤨🤨🤨

- Too many cameos in Cassandra's little alcove so I'm not even going to bother looking for them all

- I'm not sure if Johnny Storm's death was supposed to be played for laughs or just shock value, either way I'm not laughing I loved those movies ;(

- How does Cassandra know she's Xavier's sister if she was sent to the Void before she could walk?

- Wolvie being nice to Johnny post mortem is cool

- Nicepool having a stronger Canadian accent is a good joke, and Deadpool looking on in disgust as Nicepool talks about his dog's 'G-spot' is good. At least that's not played off as just a normal thing to say even if it is a joke

- "I identify as a feminist" could easily be misconstrued as an 'anti-woke' joke but all of the jokes of a similar calibre in this movie seem to be made ironically. Example: Nicepool is a creep

- "Where's your mask" and Nicepool points to his face actually implying his nice guy attitude is a facade for being a shitty person is actually really good

- Why is Nicepool's car surrounded by untrampled corn, how did it get there? Who grew the corn?

- Deadpool includes Colossus in his world 🥺

- Wolverine is nothing if not an excellent shit talker, and it's actually very out of character for Deadpool to actually get affected by insults

- I wish The Greatest Showman soundtrack was incorporated for more than just a third of a second

- 'Close up magic' ant man reference?

- 'There's only ever gonna be one Blade' about that...

- I think that's Apocalypse's throne in Cassandra's room? Or Thanos's

- I never thought about how both Cassandra and Xavier's powers radiate from their heads until the Juggernaut helmet scene

- Finally some real actual genuine character development that's not thrown away for a joke!!! The best part of the movie to me was Cassandra's redemptio-. Oh. Nevermind. Anyway I like it better than if it were just shoved away for a joke then she died

- Deadpool waiting for the 'extras' to clear was, to me, a good indication that he's a hero now. Caring about civilians is #1 on my makes you a good guy requirements

- "You smell something?" "Yeah you" 🤨🤨🤨🤨🤨

- And there it is. Nicepool's death is probably the most predictable death I've ever seen on film.

- Eastside Pharmacy?! Agatha All Along reference???

- Wolverine's helmet looks like a rubber playground ball

- Will Marvel Jesus come back in three days however?

- Staring at Hugh's abs? Same, but 🤨🤨🤨🤨🤨🤨

- That hand holding ending was actually impressive, I wasn't sure what was going to happen and it actually kicked ass

- Is the guy with the mug who stared at Deadpool in the beginning Marvel's first gay character

- The introducing Logan to Blind Al is so unbelievably 'the parents meeting the boyfriend' I could die there's no fucking way that wasn't on purpose

[klunkcat]

Life is short, and I've shortened mine

rise of the tmnt gift fic for the T3 server november exchange, for the very lovely @remedyturtles

Sensei is a character that can actually be so life changing and brain consuming. Very grateful to have the opportunity to play in your sandbox, exploring their headspaces is actually incredible and also devastating.

Note: This is an offshoot from Rem’s “little kid with a big death wish” fic and will not make sense on its own I fear.

title from good bones by Maggie Smith

read on ao3

___

He didn’t ask for this, is the crucial thing. He’d been— not relieved to be dead, because he hadn’t managed to make it yet to where his brothers were, because his kid was still out there fighting for tomorrow. Relieved was too gentle a word, but he’d been something. 

Maybe less tired. 

It was nice to think about, selfishly. He’s been carrying lead weights and anchors at the edges of himself since the moment the world fell, but there’d never been any other volunteers for the job. Somewhere quietly inside himself he’d thought the ending would mean a moment of reprieve. He should have known, though. They’d all been the universe's favorite chew toys for long enough, dying was too nice a bow to wrap around it. 

He really hadn’t asked for this, no matter what the subconscious thoughts he’d hit to death with sticks in the back of his mind said about escaping. Stumbling across the kid— another him, a version of him he’d never gotten to be, that he thinks maybe distantly he shouldn’t have needed to be— he’d hoped he could silently wrap himself in that thick blanket of nothing and fade out at least. Not fuck things up for him worse, but, well. 

Maybe the throughline to being Hamato Leonardo was fate-led curiosity; he’d never learned how to leave well enough alone in either direction. Of course Leo had scouted him out, of course he’d been compelled to try to help the kid float when he should have stayed put, of course. Of course. 

And so, as the classics say, here they were. 

“Can you give me a number, Leo?” Raph’s voice creeps in, all-over earnest and thoughtful in the way he intrinsically is—was. It’s a shard of glass to hear it at all, it’s everything he’s ever wanted. The kid fuzzes out a little and slips sideways a step; oops , Leo thinks. There’s a hard line around not transmitting too loud, he’s still trying to figure it out. 

Could do without whatever that was ever again , the kid thinks, sharp and rattled under the surface.

Leo winces. Sorry, I’m all thumbs over here. Trying to keep quiet. 

Psh, younger Leo rolls his eyes. You’re all one thumb .

The kid turns back to his brother, thrumming still between a one and zero now. He’s scrambling to ground still, to focus. He gives Raph a quick OK sign that there’s no way Raph doesn’t see through. It’s kind of funny to watch his force-fire white-knuckling deflection in technicolor from the outside like this, he’s not sure why he ever thought this worked. 

“That’s okay, that’s fine. Can you give me a number, bud?” The pleading edge hurts to hear. 

They hold up a shaky one, maybe overconfidently. Mikey and Don are in the room somewhere, he can hear them shuffling even with Leo’s eyes closed. The sudden memory of a thousand days where the only rest his littlest brother got was when he was locked in meditation, the way he walked like his bones and joints hurt right up until the end, nearly knocks them both back to a firm zero. 

The kid glares at him, Leo holds his hand up apologetically and imagines zipping his non-existent lips shut. 

They’d been doing better for the last few days. He’d started talking out loud, had been at a solid two a handful of times. He knows the kid’s frustrated and exhausted, he can feel it, especially seeing them slip all the way back. Leo feels a hot well of shame creep up his ethereal throat. 

He knows it’s a push and pull game they’re playing. Wounded leading the wounded, and all. 

It’s still a lot, to think of seeing his family that isn’t his family. Of them knowing he existed and talking to him. Points towards the ‘he should fuck off forever’ category, as soon as they figured out how to get rid of him.

(The kid talked about it like they’d miss him if he left, like there’d be some great love lost— they didn’t know him, though. He’d lived through twenty years of a war they’d never have to see. Leo was not the teen they were missing, the one they were trying to call home, because he’d given that up a long time ago.

Of course he had to leave, this kid had a life of his own to live now. Leo didn’t have anything.)

“ — he was for a moment, just give him time,” Raph’s saying. He forces the kid to take a purposeful long breath in, squeeze his fingers, twitch his toes. Keep him from tipping all the way over into the dark where he’d accidently shoved them. 

“See, he’s back with us,” Raph continues, brightly. The kid groggily radiated all sorts of furious signals like a firecracker popping in several unplanned directions, all different fonts screaming exhaustion and hurt the only way he knew how. Leo’s heart aches for him. Beating himself down for daring to survive at all. 

“Is he?” Don’s voice cuts in haughtily. Leo makes them blink their eyes open, caught out despite the kid’s anger. 

They’re looking for you, bud. Rise and shine.

I don’t care, the kid hisses. Fuck off. 

Okay. Well. Less than ideal. 

“Which one are we dealing with,” Don’s voice hovers closer, half lodged in icy suspicion. He wouldn’t be this closed off for his Leo, obviously. Leo— Sensei smothers a sigh. 

“He’s trying not to  answer the phone right now. So, just me. Sorry.” 

“Is he okay?” Raph asks, concern evident in the dark shadow of his brow. Sensei can’t look at it directly, it’s not for him to feel all the reminiscent grief of a brother that isn’t even his. How he feels about any of this never helps anything. 

“He’s….” He prods the kid and gets an indistinguishable slew of curses and general hypothetical middle fingers back. “He’s taking a break, he’s okay.” 

Don arches a brow back. “I don’t care that we’re forced to take your word for this, just to be clear.” 

“Fair enough. He says, and I quote, bite me, so I think that’s where we’re at.” 

“Ah,” Raph hums. “Well, if you can tell him I’ll be back in ten minutes with tea, I’d love to check in on him then.” 

Sensei nods, relays the message with a garbled hiss as a response. Expected. 

Don stares at him, impassive. Arms crossed and eyes narrowed. Feral cat radiating protective instincts three counties wide, like always.

It’s… an ache under the skin, to be left alone with Don. He hasn’t forgotten the way Dee’s face would shift in a scowl, he never could, but seeing it played out on a younger face scratches something in him regardless. 

“I want to speak with my brother, if it’s all the same,” Don says, blunt. 

“I’ve been trying to ring him, I promise. Bad morning.” 

Don arches a brow with a twitch to his jaw Sensei knows means he’s attempting to fight off a full on annoyed pout and failing. It hits him sideways to see, funny in the chest. A thousand sense memories, a different Donnie and a different place, coalescing all into one. His Don had gotten really good at not emoting at all near the end, he’d almost forgotten.

Hey, the kid grouses. Who’s flying this plane?

Right, thumbs again, Not-his-Don hovers closer when he blinks back to the front. A frown touches the middle of his maskless forehead. 

He makes himself walk through a few quick grounding steps and breathe in as deep as he can before speaking. “Back, sorry. Uh, Sensei, that is. Leo’s listening though.” 

Don’s still frowning, but he leans back a touch. “He’s making it harder for you to stay here too, isn’t he?” 

He doesn’t think the phrasing of that is fair, but. “Was all me that time, if I’m honest. We’re at a one now though, I’m good.” 

“Is he ?” Don tilts his head. 

Sensei considers. The kid’s not sinking back there just… Curled up, pill-bugging. Radiating furious hurt energy like a solar system all on his own. He’s present enough to tell Sensei to fuck off and focus on Don at least. 

“Think so, yeah. He’s just…” He mimes a snapping maw with his good hand.

Don sighs and rolls his eyes, there’s an edge of anxiety there Sensei can still read as bright as anything. Isn’t that a thought. Twenty years without and this younger Donnie is still under his skin like a part of himself. 

He needs you bud, Sensei tries again, nudging his younger self. 

I’m tired of this , the kid growls back, not-voice cracking all the way through in a way that makes Sensei ache for him. 

Sensei sighs, patting his shell. I know.

Don shifts his weight in front of them, frown deepening as he moves to tap on his wrist guard. Probably texting the family about the general Bad Leo Day, he imagines. He knows how this would go with his Don— the way it would itch at him being unable to instantly resolve whatever problems his brother had. He never dealt well with any mystic issues affecting Mike for the same reasons either. 

There’d always been a thrumming line between them, some unspoken thing; Sensei carried it with him even now, even with the end gone dark. He knows Don’s having a hard time reconciling all the ways ‘Sensei’ is his Leo and is someone entirely different. Managing the fear that his Leo will go somewhere far away inside himself and he’ll only be left with someone he doesn’t know. That he’ll be left alone. 

The worst part about being a twin is when you aren’t one anymore, after all. 

Bad thought. Shit. The pull in the back of his mind grows louder. He holds up a shakier zero. Don’s sharp eyes narrow, tapping something harder on his guard before shifting closer. “Leo?” 

Can you stop being horribly sad for five minutes while looking at my brother? It’s so not helping. 

He shakes his head. “Still me,” the words come out soupy. The kid jabs him angrily somewhere in the back of his brain, uncurled with annoyed concern, which is maybe an unintentional win. 

“Is it— can you ground him?” 

He’s trying; his brain fires unhelpful flashes of the days after. Of the months of searching desperately, of the moment he woke up in the middle of the night with sudden certainty that wherever the other half of himself went, he couldn’t get back on his own. Shit. 

Shit , the kid echoes, less angry with the barely concealed concern. Sensei can feel the dark pit creeping at his arms even as he blinks furiously to stay present. 

“Not him, it’s— sorry, all me again. Don’t think I can stick around.” He squeezes his fist, forces himself to breathe deeper, but it catches somewhere around the middle. The kid slides forward with a flurry of aggrieved panic that sparks through him and sends him back down several flights. There goes that plan. 

Sensei cracks an eye back open and catches a familiar flash in Donnie’s eyes, and yeah— sorry, kid. Lights out. 

The last conversation he remembers having with Don had been about Casey. He was getting to the age where he was asking to follow them out on missions more and more, curious about everything Uncle Tello was up to. He wanted to help, desperately. Itching with the need to be useful in a way they all understood. 

It was different with Casey, though. He knew why it was different.

“We let Mike do this stuff when he was his age,” Leo had said with a sigh. “It’s hard to find good reasons to say no that aren’t just three rounds of my own loud clamoring panic. He should go, he’s trained plenty.” 

Don clicked his goggles, focusing on a project in front of him with a hum. “Mike wasn’t dealing with an apocalypse. He was, at worst, trying to find a new place to tag at Casey Jr’s age, so.” 

“Exactly,” Leo smooths his hand across his head. “But also…” 

Don looks at him, eyes gone big with the layers of lenses so he gets hyper close up patented ‘Tello Eye Roll in high definition. “But also, you’re a mother hen, and he’s talented, and he’ll just sneak out anyways if we keep making him hang back.” 

“Points for you,” Leo sighs again. “Want to make that a daily double?” 

“You remember how Micheal was about being babied,” Don sighs. “So, I don’t know. Let him go on a supply run, something small. A practice version,” Don shrugs, turns back to his work. “There’s that lower activity quadrant we got a ping on last week. I can take him and go get that part we need to fix up the generator.” 

Leo lets out a long breath. “Yeah, that— huh. That could work. He’s always saying he wants to learn more about how to keep things running around here, he’ll be over the moon. Kid asked me last week if I could show him how to do stitches.” 

Don snorts. “Great, soon there’ll be two of you.” 

Leo steps forward, leaning his elbow on Don’s chair to peer over at his desk. There’s a mess of wires in front of him, a plate he’s meticulously soldering ends together on. “Eh, there’s already two of me.” 

“Excuse you,” Don nudges him back with a shoulder. “As the funnier twin, I resent that remark.”

He laughs, lets out a breath. The thrum of Don’s room sometimes settles him, like it’s echoing the place in him where his ninpo sat before. Constant hums of his family flitting through open rooms. 

“You don’t think I’m being paranoid, do you?” Leo has to ask. The variables tripped around each other in hyperspeed in his mind at all times, racing down to the ends of his fingers. Casey’s only thirteen, they’re down too many runners, there’s never any right choices and only Leo to make them.

Don pauses for a second. He flips up his goggles before Leo can wrench the question back into himself, not that it had ever worked before. 

“I’ll keep him safe,” Don says, slowly. “It’s a good call, he’s earned it.” 

“You’re just saying that because it was half your idea.” Leo glances away, embarrassed on some fundamental level that Don had even needed to give him the reassurance. He sighs, squeezes Don’s shoulder quickly as a thank you. Don hums with a smirk. 

“Well? Are you going to teach him? Don’t think we have any oranges to practice on.” The implication rings loudly enough, Casey stitching up real wounds is a foray they haven’t dared make.

Leo waves his hand. “Might be a good idea for the kid to have some medical information in between all the supercomputer nerd things.” 

“Avoiding the question is a bold move.”

Leo deflates, winces. “Yeah. Thought it might make him worry less.” If he could help without leaving the base at all, maybe they’d both relax. A quieter thought, under that: maybe Leo would, if he knew Casey could take care of himself without him. 

Don squints. “It might. Here’s a better thought, his Sensei letting someone else take on the riskier missions for once, hm?” 

Ah, well. 

Leo feigns a wide grin anyways, shrugging. “What can I say, the Krang love me.” 

The arched eyebrow he receives is scathing. He is scathed. He waves his good hand Don’s direction with a huff. “Don’t look at me like that, this is about the kid. Table the psychoanalysis for Mike to take over.” 

“You want Michael to get in on this?”

Good point. He sighs again, shuffling over to a side table and crossing his arms. This is an old argument, the circles of it are worn through and practically scripted. If dear Tello insists, he purses his lips. Round and round they go. 

“I’m faster.”

“Other people are fast enough.” 

“Enough isn’t safe.”

“Letting the Krang learn all your moves is?” 

“Come on, I’ve been fine.” 

The scathing meter ramps up as Don’s eyes pointedly flick to Leo’s robotic arm. “They blast you with enough of their power? How long is that going to be true.” 

“I know how they work.” 

“For fucks sake Leo, the rest of us grew up in the apocalypse too.” 

The rest of you aren’t responsible for it, though , he thinks with all forty old years of packed self directed venom. There’s no point to this conversation, he finds the way out Don wants. 

“Fine. I’ll stay back for the next few, okay? You and Case can do the supply run. April’s been saying she wants to get back out, I can send her with Angel.” 

Don’s steely gaze doesn’t shift, his jaw tense. Usually, this is where the conversation stalls and dies out. World like theirs is lacking in many things, including fuel to burn with. 

“I’m sick of watching you do this,” he spits out, sharp and barbed. It stops Leo up short. 

He nearly says ‘do what’, but he knows his twin. They haven’t gone into any of this since— well, since Raph. Since the mantle of the Resistance became something heavier and lodged in him with anchor weights. Since everyone started looking at him like his plans were god. Since his fuck up ruined everything.

No time for heart to hearts, really.

“Come on, Dee,” he swallows roughly, carefully. “I’m careful. This isn’t about that.” 

“Isn’t it? Isn’t everything you do about that?” 

Leo works his jaw. “It isn’t.”

“When will you stop acting like you have to make up for it, then?” 

Ouch. Leo redirects. “We’re going to win this. It’ll work out, you know it will. I’m not going anywhere without you.” 

Winning the war hasn’t been a tangible thought in his mind in years either; he’s not sure he knows how to do anything but follow the script anymore, though. He hopes he’s putting up a strong enough act.

Don’s hand clenches around his soldering gun, relaxes. “There’s only one you,” he practically growls out, and Leo’s chest squeezes. “If he goes somewhere he takes me with him. Do you get that?” 

He swallows again. “Course I do. I’m not— this isn’t about me, Don. Strategically, until they start catching up to me we have to make them believe I’m their only concern. Promise, that’s all this is.” 

You swear? He almost hears a younger Donnie ask, crouched up in their hideout over Donnie’s gameboy. 

“I’m not going anywhere,” he says, with as much sincerity as he carries with him. He wouldn’t, there’s nowhere else in the world for him to go when everything that matters is right here. 

“You aren’t allowed to pull anything. I’d know if you were,” Don glares. “We need you.” He says it funny, emphasis on both the need and the you all at once, like one of those endless staircase paintings that look different the longer you try to make sense of it. Leo holds up his hands helplessly. 

His twin’s stare pins Leo through for a long moment. He takes the whole half a second of pause to step closer. “Hey, that whole thing— back at you. Obviously.” 

Don lets out a long breath, expression flat and assessing. For a moment, Leo thinks he might say more, but he turns his chair around to continue soldering. 

“Obviously.” 

They’d let the conversation fall lighter, moving to charitable waters. And Leo had let Don take Case out for an easy supply run. 

The last thing his twin ever said to him was lost somewhere behind the distress beacon and the noise of the Krang leveling an entire building on him. He thinks there was a sorry in there, or a be right back to the scared kid he was giving up the world for. 

The part that’s always stung, a burr against his core, is that they never find any sign of where Donnie went. There’s his ninpo, and his bo staff with his fucking mask tied around a bleeding wound on Casey’s arm, the hum of electricity somewhere down the corridors of his mind, and Casey safely bundled and shaking in a propped up section of rubble. His kid is so terrified, asks for Uncle Tello in a quiet whine like he knows.  

He doesn’t remember the mad scramble to get there, the fact that he’d reached so far down into his struggling well of ninpo he’d felt something entirely shatter apart in his hands. The way Mikey had put his own hands over Leo’s, and brought the two of them together all at once. He only remembers the wake of whatever devastation cracks through him once it’s clear they were too late. 

The recording he’d left that Leo couldn’t bring himself to listen to for weeks. 

Leo would know if he died. He would. The light never goes out, but Don never comes home. It’s a loss he can’t name all the same. 

It’s impossible to regather whatever off the cuff words he’d said last, before Don left. Had he said be safe? Had he said he’d loved him? They’d never needed to say it before, but the lack still haunts him. He hadn’t gotten to say goodbye.

‘Be right back’ is a shitty thing to lie about, he thinks wryly.

It’s the first promise he’s ever broken. 

The ache never leaves but there’s no time for grief. He steps outside of himself and into whatever he needs to be, and he chases the corridors in his mind to that safe space Donnie’s ninpo has always rested. The door is closed, but it’s still humming. He doesn’t know what that means. 

“God, stop ,” the kid groans at him. Leo– Sensei blinks back into himself, or— to the place between what constitutes as himself these days. The spot by the tree with just the two of them. “It sucks when it’s you somehow even more than when it’s me.” 

The sludge is still there, distantly. Tugging at him in ebbs and flows. Sensei makes himself breathe out, take a look at the kid. Take stock, soldier. Focus on the problem at hand, deal with your shit somewhere else. 

“Or, here’s a thought: you could deal with your shit at all. Call me crazy, but this ‘shoving all my old man pain in a box and burying it deep down’ thing seems like it’s fucking us both over.” The kid whines, leaning his head back. The irony does not escape either of them, he knows. The Uno reverse is unspoken.

Magnanimously, Sensei lets it slide. 

The kid’s problem is more complicated and knotted somewhere inside himself than he likes to acknowledge, at least Sensei’s is all obvious lines of too-long-losing-wars and grief. It’s all outside. The problem has always been that it’s outside.

Sensei settles beside him, hand on his knees and head tilted up to the still sky. They don’t speak for a long moment, instinctively mimicking the long drawn out grounding breaths in sync. He wonders if it’ll ever stop feeling so strange. Seeing himself from the outside like this, entirely encased in different baggage. It’s hard to think about anything other than ‘he’s so small’, loudly. On repeat. It’s not a helpful thought. 

“Sorry,” Sensei breathes as the sludge lessens minutely along his back. “Should be used to that by now.” 

The kid shrugs. “Is there a way to be used to it?” 

He knows he’s asking for them both. The truest answer feels the most bleak, so he opts for something gentler. 

“I think there has to be a way to think around it at least? Make the brain box bigger. Less likely for the shit in it to hit things.” 

There’s a long sigh beside him. “Sounds exhausting.” 

A long pause. “Would it… help? To talk about it?” 

Man, this little blue. Sensei can’t help the smile that tilts across his heart; he’s so tentative and determined all in one. Still stretching a hand out even though he knows whatever Sensei’s going to say might bowl him right over again. 

He shakes his head. “Nah. I tried once, with my Mike. It’s an old scar anyways.” 

The conversation hadn’t gone anywhere helpful, even with Mikey’s ability to see right inside his brain. They’d both been too tired to argue. 

“I don’t think I could do it,” the kid says, sullenly. Tiredly. He rolls his head to the side to make eye contact with Sensei. “Live without any of them.” 

Yeah , he thinks. He doesn’t say that there hadn’t been much living at all. “You know it's the same for them about you, right?” 

The kid scowls, turns away. “Saying things you don’t mean about yourself seems kinda useless, old man.” 

I mean it about you, though , he thinks. Something twitches in the kid's face. “I had twenty years as the last resort,” Sensei offers. “Changes your perspectives on things.” Or your priorities, really. Whether or not they needed him didn’t change that he was responsible for keeping them alive. 

Or that he’d failed. 

It’s obvious math with the kid anyways. He can see the way the kids brother’s hover, checking in and creeping forward and patiently holding his hand, working constantly to make him feel safe. Twenty years and mires of grief isn’t enough to drown out all the big and small ways he can see how his family loves. 

“What was he like,” the kid turns with a sharper look in his eyes. “Your Don.”

He sighs, lets it roll through him. “Tired.”

He closes his eyes. 

“He was really tired.” 

He’d barely slept, all the way up until the end. Too many defense algorithms to scrub through footage of, supposedly— he wonders now if he should have checked in more. If he should have asked. 

“Yeah,” the kid says, quietly like he doesn’t expect Sensei to hear. “You feel tired a lot, too.” 

Oh . He supposes that’s fair. 

Sensei swallows and imagines the fractured pieces of his heart settling back into their ruins. “It’s funny, he made all the systems in our base use his voice. Had to hear him anytime someone tried to use the microwave. Technically his last words to me were ‘front door compromised’.”

“Yeah. Funny. You ever thought about therapy?”

He doesn’t want to talk about this, it never helps. The rioting part of his core that is four parts missing and agony and one part instinctive need to move forward writhes anytime he lets himself remember any of it at all. As if he does anything other than remember it. 

“Kid—” He exhales. 

The kid turns to face him, frowning with that divot above his brow and his dead set determined set to his beak that screams stubbornness in neon colors. “Listen. I know how— I do the same thing, with my Ang, right? You know, where he doesn’t need all of my… me-ness on top of everything. So tell me the real version, get it out of that slow cooker of a brain so you can stop freaking out every time Don breathes our direction.”

He’s having a weird brain schism, he realizes. The divides between where this kid went and where he himself had walked are so different, sometimes past him feels like a different turtle entirely. A younger one, boiling entirely over with how little he sees himself at all. 

I see you , he thinks, tragically. Pointlessly.  

Sensei breathes out. “There’s not much—” his voice breaks, he clenches his hand around the inexorable pull of that dark space at his edges. The kid sees all of it anyways, doesn’t he? Dancing around it only makes it more his problem, less Sensei’s alone. His throat burns with some memory of tears, it feels silly but the words crawl out of him anyways. “I just. I never got to say goodbye. We never found out if he—” 

But he had to have. It’s so much worse to imagine he had been alive and trapped, that Leo had left him there in that awful world. He had to have been dead because his twin would have broken apart the planet itself to get back to them if he could have. 

His shoulders round forward and he squeezes his eyes shut for a moment. “I just, I should have gotten to say goodbye.” 

The kid is silent. A long moment passes. 

Sensei feels a small hand carefully land on his knee. “Sorry.” 

He puts his larger one over the kids, squeezes it. “Nothing for you to be sorry for, kid.” Nothing in this whole wide world. “Whatever my Don was doing, I have to believe he’s with everyone else now.” It makes it manageable, at least. Widens the box in his brain so he can think around it. 

The kid hums thoughtfully. “Can we… I mean, dad talks to our ancestors and things, in the mystic plane, right? He could maybe—” 

Panic wrings through him, ice cold and visceral. Sensei feels the shudder crack through both of them and their tree side hang out waver into darkness. “--right, okay.” The kid gasps. “Bad plan, got it. Noted.” 

“Sorry,” Sensei manages. “I just…” He doesn’t want to know what they think of him. What any of them would say about the world he broke. He knows them, he knows, but he’d been tired for so long before that, and he doesn’t want to know that Don went slowly or painfully. That he’d been waiting for Leo to find him.

Maybe he deserves to know how much he let him down. 

The kid's hand twists, squeezing his back as hard as he can. “Forget it, shit. Grounding, let’s um. Let’s do that and not whatever this is. I hate this, fuck. ” 

They walk through a few start and stop steps, the kids hand tight in his the whole time as they both dig their heels in to stay. It hurts, and Sensei wants to give in. The hand in his keeps him pushing through, cracks through him enough to speak. 

“He, uh,” he clears his non-corporeal throat. “He kept a section of his database specifically for chess games for me. To run on my wrist guard when I couldn’t sleep.” Which was most of the time. Sensei shakes his head. “Kept a file for Mario Party cheat codes, too.” 

The kid stares at the side of his face. Breathing steadier. He can feel it like a brand. “I knew he cheated. Asshole! I knew it.” 

Sensei shrugs, a laugh surprising him as choked off and wobbly as it is. “He rigged up a giant screen once. Told me he was going to come for my crown once and for all, right in front of the entire base. Raph ended up winning.” 

The stare gets more intense. “No.” 

“Swear on my life,” he says. Pauses. “Or, well. My ghost possession afterlife? Don was furious.” 

“Raph never wins at Mario,” he can hear the cogs in the kids' heads freezing in place. Hell has rained ice, pigs have started flying. Raphael, chronically confused at Mario Party mini game rules to a truly fascinating degree, won a video game.

“It’s true,” Sensei laughs. 

“Was it the pity stars?”

“It was the pity stars.” 

“Ah.”

He remembers how hard Mike had laughed at that, just absolute shrieking peels of delight as the rest of his family stared in complete silence. April had needed to drag a completely feral Donnie back to his quarters because Leo ended up crying laughing with him. 

There weren't a lot of those good days after they lost dad. It’s important he holds onto them. It’s important he doesn’t let himself forget even when it’s hard to think about. 

“That’s a relief,” the kid says, leaning back again. “Was starting to think everything about the future was completely and morbidly depressing. Least you had Mario Party.” 

At least they had Mario Party. 

The kid wakes up on his own, Sensei tucked carefully somewhere in the background. There’s a flurry of commotion somewhere out in the hall that sounds a lot like Mikey and Raph, but it’s still and quiet in the med bay. 

Shit, the kid thinks, looking at the clock. It’s definitely been more than a few hours since they fell under. Sensei can see the medical clip on the kid's finger is back in place before he wiggles it off. 

“Number?” Don’s voice cuts in, stern. Flat. Standing with his arms crossed in the corner of the room by his desk. 

They hold up a two after a long moment. “I’m fine,” the kid says. Don’s expression doesn’t change.

“Who am I talking to?” 

The kid groans. “Don’t be like that, Tello. He didn’t mean to. Half of it was me, anyways.” 

Don looks squarely unimpressed, but something eases in the line of his shoulders. Relieved not to be talking with the body snatcher, probably, he gets it. 

“He said he dragged you under, it’s been twelve hours. Am I not supposed to think your parasite is making it worse?” 

He’s not wrong either.

The kid radiates frustration at both of them. “He’s not— Dee. He’s been through a lot. Leave off him, alright? I was pissed off, he got his flip switched. I wasn’t making it easier. I’m doing good, I don’t want to be mad, okay?”

Don’s expression flickers, faltering as it always does around their particular brand of pleading honesty. “Fine, I’m not done talking about this but. Tabled, for now. What do you need.” 

The kid thinks for a minute. Water would be good, Sensei nudges him. 

“Would you talk to him?” The kid says instead, startling both Don and Leo. 

Don recovers first, eyes narrowing. “Why.” 

The kid’s brain is a mess of picture show slides, a strange warped retelling of Sensei’s own memories. It makes him wince, guilt rising thick in his chest. He’s gotta get better at locking that down. 

“Look he— he misses his own Don. It’s not the same thing, but he had a rough night. Just shut up and talk to him.” 

“Oxymoron,” Don and Sensei say in sync. The kid glares. 

Kid, Sensei tries. 

No. Not up for debate. You won’t let me tell Casey? Fine, this is my compromise. I’m tired of playing referee. 

Sensei hates the pang of panic that still lights up in his mind at the thought. The kid lets out a frustrated growl. 

Stop trying to leave! I’m sick of it. What if I— what if I don’t want them to pry you out of here. What then? You gonna sit here in this pissing contest stand off with my Don until we die? 

There’s. A lot to unpack there, and not enough of the kid standing firm enough to do it— the conversations knocked them both back swiftly to a one that’s tenuous at best. Sensei didn’t make it so long as a general without knowing how to pick his battles, anyways. 

If this is what you need from me, okay, he relents. 

The kid’s glare is still hot, assessing. He turns back to himself, to the med room. 

Don’s fussing with his tablet, brows twitching and his hand firmly in Leo’s good one. “‘M here, sorry.” The kid squeezes his twin's hand for them. “Just having a conversation, hard to be both places at once.” 

Don’s jaw shifts. “I will refrain from the comments I desperately want to make.” 

“Noted, file that under an IOU.”

Don rolls his eyes. “Scoff. As if I don’t have a mountain of those already.”  

The affection in the kid is warm and strong as anything. He clears his throat. “What if I… what if I asked him to stay. Sensei. Would you be mad?” 

Sensei shoves his own festering pile of guilt and doubt aside as hard as he can. Don’s expression flattens. “Why would you want to do that.” 

It’s your life, Sensei whispers. 

The kid shakes his head. “Casey needs him.” 

There’s another need underneath it, neither him or the kid acknowledge it directly. 

Don sighs, eyes squinting in the vague pained way of his. “I’m supposed to be okay with someone that is not you, taking you away from us when—” He cuts himself off, breathes out sharply. 

The kid stays silent. 

“Fine. Tabled. Get him out here.” 

Sensei slides forwards, patting the kid on the arm distantly and ignoring his grumble about it. He’s bracing himself— he knows how Dee is, in any version of them. Getting his head chewed off would be the easiest way out. 

“For the record,” Sensei starts, with a faint curve to his mouth. “I agree with you.” 

The kid glares. 

Don arches a brow, crossing his arms. “I don’t…. Like you, being here. I’m not convinced you aren’t impacting him in ways that are halting his progress.” 

Sensei manages a shrug. “You’re probably right. I try really hard to stay out of his way where I can, but. You saw yesterday.” 

Don’s jaw works, terse in every line of his body. Sensei remembers how his Don was before Raph. The way he’d gone along with all of Leo’s plans just inherently trusting that his goal was always to get everyone back out above anything else. The way he’d shifted. Their last conversation had been a lot of sharp lines like this; something adjacent to doubt. It still burns, funnily enough, even from a sixteen year old version of his twin who doesn’t know subtlety at all. 

“If I told you I had figured out how to rip you out of him without injuring Leo at all, would you fight me?” 

Sensei nearly laughs, I’d thank you, he tries not to think. “No,” he says with a stronger lilting smile. “I’d just ask that you do it before Case realizes I’m here. He doesn’t need that.” 

Something in Don’s face shifts. “When Leo says you’ve been through a lot, what does that mean.” 

“Ah,” Sensei huffs. “Maybe not a conversation for right now—” He can feel the daggers of the kid’s ire, nonetheless. Sighs. “Krang won where I’m from, Case probably mentioned.”

“And that means?”

He winces. “A lot of things that are hard to remember, mostly.” 

Don’s gaze is assessing. He types something onto his wrist guard. “Any triggers I should know about?” 

You. Raph. Dad. He breathes out. Shakes his head. 

“Fine. Bring him back, please.” 

The kid’s eye roll is something fierce internally, externally it’s too much effort to muster. “Dee. That was barely anything.” 

Don shrugs. “I talked to him, didn’t I?” 

It’s fine , Sensei reassures him. He means that it wouldn’t help, not with the hole that’s been carved in him for years. 

There’s nothing at all in the world for what he’s missing. He should just be better at it. The missing. 

Something stubborn lights up in the kid, a spark he doesn’t think he’s seen in the younger turtle since they crash landed together. Fuck this. 

“Can I ask you something and have you promise you won’t get mad?” 

Don’s brow twitches. “I’m not promising shit.” 

A pause. “Say it anyways.” 

“If you went somewhere,” the kid starts, and his voice shakes like a nervous glance over his shoulder. Sensei tenses immediately. “If you went somewhere, and you didn’t know how to come back. What would you do?” 

Don’t , Sensei thinks, helplessly.

“Wouldn’t happen,” Don says. Not a moment of hesitation. “I wouldn’t let it happen.” 

“What if you didn’t have a choice?” The kid asks. 

He has to imagine his Don didn’t have a choice either, clings to it with everything in him. He didn’t know the kid had seen that, the wilful refusal to believe in any world where the other half of himself would walk away on purpose.

He doesn’t know the expression on Don’s face. He’s seen it before, at the planning table. After missions. He’s never known what it meant. “I’d come back,” Don says, like it’s obvious. 

This younger version of his brother, some spun off worried and sideways Donnie, leans forward and pokes the kid as carefully as he can in the center of his chest. 

“If I still exist, in any universe, I’d be coming back.” 

Sensei swallows. He remembers this; that simple constant of trust, of knowing half himself sat between his ribs and the other behind a desk with a computer screen. He remembers believing it, too.

There’s a hallway in his mind that he goes to, where his ninpo once lived and breathed. A living room where he kept all the lights on. There’d been a time where all the rooms and all the doors had been flung wide open. They’ve been shut for years now. 

“If you didn’t?” The kid asks, voice small. 

Sensei walks through the empty room, hand trailing against the wall of his mind. He hasn’t visited this door, hasn’t been able to think about it around the hurt in him. He presses his forehead to the wood of it, now. 

“If I’m gone, it would never be forever. You’d just have to wait longer.” 

In his dreams, or at least where he goes when the kid is sleeping, the door is warm. 

He sits himself against it, and pretends it's the same as the door being open. To feel his brother existing here at all. 

Sometimes he thinks he can almost hear someone knocking back. 

[jojotichakorn]

i started penning a post about how i always find it narratively unsatisfying when an arc ends with a conclusion the following arc breaks, regardless of how realistic the repetition of the same mistake might be, which is still true, but i actually want to talk about something else right now.

i feel like, at least at this stage, jack is in a position that is both generally unrealistic and untrue to the specific events of the series. 'jack and joker' has a clear focus on poverty and money and class issues, but it seems to treat jack in a very special way. he somehow manages to stand on the moral high ground above other characters. specifically, other poor characters. which is, first of all, a little ridiculous, since he was indeed a debt collector and, in fact, almost became the boss's son. and, second of all, is generally Not Great, because it does idolise the idea that if you "just try hard enough", you won't "allow" yourself to be backed into a corner and therefore won't have to do bad things.

now, don't get me wrong, i am not saying that our characters who have made mistakes are completely blameless. tattoo did shitty things (and hoy followed suit), safe did shitty things, hope frankly admitted to enjoying doing shitty things. however, if we zoom out a little, we will see that all these characters are in a situation that is inherently unfair to them. we have all of these poor people in immense amounts of debt and then we have this disgusting rich motherfucker whose entire wealth is literally based on making their lives as miserable and unfair as they are. and i think that, in this particular case, the series would have actually benefited from a dichotomy. don't get me wrong, i'm usually absolutely brimming with nuance and also asking "what lies outside of it?" but this shall be my exception. (though you could say that joke already brings some nuance to it - he is initially from a well-off family and he actively makes choices to the benefit of poor people, despite it resulting in him being ostracised from said family and its riches).

jack walks the line of being poor and managing not to do anything "too bad" like he is a fucking circus performer on a wire. and, don't get me wrong, he is genuinely a selfless character. he makes choices that a lot of other characters in the same circumstances wouldn't make. he remains in debt and continues working for the boss because he keeps trying to help people and pay off their debts first - that is admirable. however, he himself was already set up for more success than others. sure, being forced to become a debt collector isn't a walk in the park, but most other debtors didn't even have that choice. jack has to work for the boss in order to stay afloat - that is an undeniably hard task. the other people the boss collects debts from, however, have to come up with a lot of money out of thin air - that is not simply a hard task, that is an impossible one that is designed to trap them in the cycle of doing this impossible task forever. that being said, ultimately, jack is still poor. his own hamster wheel should be somewhere around the corner, that's always the case. this idea is where i wish they would have taken jack's arc.

from the moment when he refused to marry rose, there was no escape for him. finally, much like our other poor characters, he found himself stuck between a rock and a hard place. (and i think that it's very thematically appropriate for jack's particular "i can't do this anymore, i deserve to live a full life" sentiment to be connected to love, since he is, after all, a lead of a romance drama). he made the decision to say "no" and from that point on, he was completely and utterly fucked. because, realistically, that conversation that he had with the boss after refusing rose was insane. i don't know what he would have done to jack exactly, if that was a genuine conversation and there was no exchange of jack's freedom for the ring, but it would not have been anything good.

so i wish jack had to make the actual tough call there, instead of having joke save him all on his own (and later take the fall for it). and if it was, at least in some capacity, jack's decision to steal that ring, he would finally be placed in a situation where every other poor character already inevitably found themselves in. because the entire system is rigged against all of them and they are eventually always forced to do things that they should have never even had to consider in the first place. but they deserve better than living a life set up for them by evil rich people who literally live off of their suffering and they are allowed - no, at some point they simply have no choice but to - fight for a better life.

this, in my opinion, would have been a much more powerful message and - not to circle back to my personal preferences - would have also not left us with joke making the very same mistake that we decided we should never make again at the end of the previous arc.

[valenshawke]

In Defense of Caitlyn Kiramman

No, this is not a defense of any of her actions or decisions she made after she donned the beret. This is a defense of the writing of her character and what (I believe) the writers are trying to do. With only one act down, there’s many ways the writers can take this. They could very well fumble it. However, I will give the writers the benefit of the doubt. With that out of the way…

The descent into darkness and the corruption arcs are classic storytelling. Where the protagonist, hit with so many traumas and setbacks, gives into her darker feelings, sometimes aided by a more devious figure in the background.

Given all the traumas that Caitlyn has experienced as explained by @bramblebeau, something was going to happen. Without Ambessa Medarda being that devious figure, would Caitlyn have gone full authoritarian at the end of episode 3? Maybe. I still think she would have, but perhaps not as far. But to argue that this is bad storytelling because Caitlyn did not keep her idealism and morality is… horrible missing the point. 

What are the points? When faced with trauma and the desire to retaliate and seek revenge, it is very easy to manipulate those who want those two things. And, in the world we actually live in, we have seen this time and again. Need I bring up the US War on Terror? Whether directly or indirectly, the cultural impact of the 9/11 Attacks, second Iraq War, and the US War on Terror has been and will continue to do so (and if you want a less subtle commentary on that, check out Naoki Urasawa’s Pluto also on Netflix). 

Ambessa Medarda not only manipulating Caitlyn, but the Piltover Elite, was masterful because it showed how easy it is when you can control the flow of information, control the rhetoric, and eventually dehumanize your “enemy” as something less than human. It’ll be fascinating to hear how Caitlyn’s speech changes and what type of language she uses when talking about Zaun.

At this point, we don’t know exactly what the writers are going to do. But it does raise some intriguing and exciting questions from a storytelling perspective. Caitlyn, right now, is at the edge of (the heart) of darkness. Is her blood-lust for revenge going to cause her to fall in? Will someone be able to talk sense into her? Can anyone in Piltover talk any sense into her? How, if at all, can Vi be the one to help/save her? Or will they save each other? How can Vi be that tiny light in the darkness when she has her own trauma to deal with? (There’s another point to examine how both dealt with the trauma by the end of Act 1. Vi went inward and, based on the trailers, went full self-destructive mode. Caitllyn went outward and became the public face of a fascist regime). 

Caitlyn already started taking steps to that darkness after she got the Kiramman key and decided that GASSING ZAUN (and all the implications THAT brings)  was the best option for her strike team to open its mission to capture Jinx, dismantle shimmer, neutralize any agents loyal to Silco. Whatever justification given, especially by Vi, is naive at best and delusional at worst. Vi might have gone along simply because she feels some blame and wants to support Caitlyn. But what Caitlyn did was unjustifiable. The moment you simply accept “collateral damage” as simply being a Tuesday, your moral dipstick is bone dry (credits to Fox Mulder for that one). But that isn’t bad storytelling. I’m supposed to feel that way.

Caitlyn’s descent, as it stands, allows the writer to either give her something of a redemption arc where she realizes the horrors of what she has done and what has to be done to fix it. 

This is classic storytelling 101.

And I am fucking here for it.

Thanks to @caitlyn-kirammans for listening to me ramble this out first.

[penguinkyun]

chapter 166 review

continued cw for discussion of canon suicide

ITS THE FINAL CHAPTER......!!!

honestly. i really really wish i could give praise and a positive review about this chapter because its the end of a manga i really truly loved and enjoyed and it makes me really sad that i can't do that

because this ending is shit. thanks akasaka!

with two chapters remaining, i knew that any fallout would be rushed and underexplored without the time it would deserve but it really does amaze me how this chapter managed to feel both rushed and excessive in its exploration of grief

just like kana last chapter, focusing so much on rubys grief here feels oddly exploitative (but everything about these last three chapters have felt exploitative and excessive so) and yet we did need to see rubys reaction so its just this contradictory mess of too much and too little at the same time

i guess it feels that way because like @aihoshiino mentioned, of this trend in the latter half of the manga of showing horrible things happening to the characters, but theres either very little or no healing and rebuilding to provide catharsis. aquas death is horrific and theres no resolution or refutation to the self hatred he has of himself and he died believing his only role while living was to be in service of others and everyone else is shown grieving in detail for a few pages before moving on because theres not enough time to give their emotions the space to breathe and not enough time to give them the space to heal and rebuild so it just feels like an endless cycle of suffering and suffering with tiny hints of healing and then its back to suffering and it is so draining to read through

its kind of sad that ruby, who is supposed to be the second main character of this series, doesn't even get to narrate the last chapter, like she narrated the beginning of the first chapter after ai's death. all her thoughts and feelings are told to us by akane instead of her- her story can't even be told by ruby herself

burning.mp3 sure is playing loud during the beginning of this chapter

ough mem's notice that shes taking a break contrasting her one million subscriber video...that sure hurts

and what hurts even more is why the fuck is taiki not at the hoshinos family grave where aqua would be buried. why is he giving a bouquet to parents he absolutely hates instead of being allowed to grieve the brother he actually loved and cared for???

WHY IS HE AT THE HIMEKAWAS GRAVE. WHY. WHY TAIKI WHY. THIS MAKES NO SENSE HE HATES THEM??? WHY WOULD HE GIVE THEM FLOWERS??? WHAT THE FUCK. WHY IS THIS THE LAST TIME WE SEE HIM???

coughs. anyway

the ending really is just "aqua died and we were all sad about it. then we moved on."

and its honestly terrible that everything is going exactly as aqua predicted. his death only boosted ruby and 15YL, and everyone else was able to get back on their feet in what feels like almost immediately. i don't want the characters to suffer more or any of them to commit suicide like half the predictions were in the weeks after 164, but the way its presented here- due to the lack of pacing and rushed ending- the narrative is retroactively justifying aqua's suicide and thats. well bad! its bad message to send! rubs forehead. seriously the messaging is all sorts of fucked up this chapter

i dont actually have all that much to say about the rest since its pretty much what i figured-- akane and kana going all in on acting and everyone getting their footing back

we really just brought in two random bkomachi members out the wazoo!

the two stars in the sky did get me a little though i wont lie

what i didn't expect though was akasaka taking the themes of the series and burying them even deeper than six feet under in the final chapter

because ruby's essentially become Ai 2.0 here, even more than she was in c.159. she's become a liar that lies constantly as being an idol, hiding her pain so she can continue to shine- the very ending that neither ai nor aqua wanted for her, the very thing she never wanted to become– how is this a happy ending? or even a bittersweet one?

hoshino ai was a greedy girl for wanting happiness as an idol and happiness for herself, so what does this chapter tell us? what's the moral of this story? that you shouldn't want happiness for yourself? hoshino aqua died without ever receiving the fulfillment and happiness he wanted, ai died because the toxic culture and misogyny around idols and idol culture prevented her from living her life in happiness, and hoshino ruby survives without any fulfilling happiness in her life? is the lesson here you shouldn't be greedy for too much happiness? that you simply need to grin and bear it? thats an absolutely terrible message to send!

this ending feels like holding dry ice because of how devoid of any warmth it feels

the last panels are so cold— ruby saying goodbye to a wall filled with the commodified versions of her mother and brother (especially their signatures what the FUCK) and one single true picture of them both and its from her childhood and going to a job she lost any sort of joy and fulfillment in and has to hide her pain everyday with lies

it'd be one thing if ruby had to lie if she still found any sort of enjoyment in being an idol but none of that is there! It's just empty.

sidenote: ruby do you not have a single picture of aqua as a teen?? even gotanda has one wtf?? what about miyako??? this is not the time for product placement!

ALSO WHY A PLUSHIE. OF ALL THINGS. WHY AN AI PLUSHIE?!

the fact she says ``towards the future [you] illuminated for me`` is so insulting to those deaths because. neither of them wanted this for her! and ai didn't die for her and as far as she knows, aqua was murdered so this line is as confusing as it is wrong

its such a bad ending for ruby because being an idol was something she wanted to do for two lifetimes and now she has everything except her family and the happiness that she used to have doing it

sighs. in the end the saitous were the only ones with their dreams fulfilled huh? they got an idol to the dome.

kana never got her dream fulfilled, akane couldn't save aqua, ruby lost all her family and lost the love and enjoyment she found in being an idol, aqua died horribly without ever seeing any of his dreams come to fruition. ai's wish has been desecrated completely. towards stars and dreams? hah. what a terrible name for this arc. what a bitter ending.

despite all this, i really do love this manga and thats why seeing this ending destroy all the themes it had of breaking the cycle, of moving forward, its sad. and heartbreaking.

its a fun ride though! and i enjoyed being here and reading this manga. honestly a little emotional now thats its officially oshi no over! i'm not done with this series though and probably will still be posting and discussing it for a long time to come! in the end, i love all these characters way too much to let go now and they have all been a pretty important part of my life, so...happy end of series everyone. i hope you all enjoyed this ride as much as i did!

see you all!

[qoldenskies]

Think the biggest thing about the family meeting for me is that it's literally just mean. They sit there berating Donnie until he cries. There's a supposed reason for the meeting, but Raph literally says that they're moving on to "serious talk" when they start discussing his "behavior." That entire segment of them tearing him down is literally just for their enjoyment. It's not vindictive in the way their physical abuse of him is, not as calculated as the closet situation. It's literally them just being flat out fucking mean because they're having fun doing it.

The fact that they especially poke at his autism is devastating. It's painful by itself (one of the biggest things people tend to praise about Rise when it comes to ND rep is that the brothers have literally never treated him as a burden because of who he is), but you've mentioned before that Donnie is really the one who suffers from the ND "my identity belongs to the people" experience. He uses his technology to make up for what he sees as deficits. But he's been told that not only does his "useless junk" not make up for his existence, but they absolutely hate those traits as much as he'd feared. I've always kind of thought that this was an underlying fear he never mentioned in Witch Town, mostly because it feels like a very ND struggle: it wasn't just the thought of being replaced by mystic that scared him, but the thought that all his tech, all his effort, had become not enough to make up for his living. Except in CC he can think back to what April said and think "You were wrong. You were wrong and I'm sorry for everything."

the fact that their words prey on a pre-existing insecurity is what makes it so HARD to undo.... like YES they can convince donnie that they DO love him, and that he didn't deserve to be lied to and hit and gaslit and abused, but the problem is that donnie heard all of these attacks on his character, and his behavior, and his sense of self was so fragile that even with the knowledge of the curse in mind, he continues to BELIEVE what they said is true. there are some moments where he intentionally holds himself back later down the line in CL, but after the final attack especially its so noticeable. he's so much less verbose. he speaks like he's embarrassed to be speaking. they've noted that so much of his cute little verbal quirks are gone and that he doesn't sound like himself.

it's because he's completely embarrassed with himself and what he used to be. he doesn't miss how things were, his grief is long gone; he feels ashamed for living in that illusion that he was in any way accepted, thinking he'd always just been embarrassing himself and his family without knowing it. his confidence was so fragile that it really only took something like the family meeting to DESTROY it; but to be fair, they wouldn't have gotten away with it day one because he is on the default defensive, but the anger had already been squashed completely and he was on to bargaining at that point.

and they knewwww godddd they knew. they all knew!

they watched themselves around him!! they always made sure not to go too far when they made fun of him!!! they understood how quick he was to disappear back into himself when he felt rejected and they worked around it because they loved him!!! they KNEW!!!!!

and the curse makes them take advantage of the fact that they knew!! what's so horrifying about the family meeting is that they KNEW how donnie was going to respond, they KNEW it would break him, and they KNEW they were going to get away with it, and they did it anyway because they thought it was funny.

and i dont even think they planned it out, especially apparent by the way raph ended up shutting it down. leo jumped on the opportunity and they just joined in the moment they got the chance to like sharks smelling blood in the water. it meant nothing to them, it wasn't an intentional, planned choice to get revenge or question his sense of reality. honestly, it was probably just them voicing all the shit they said behind his back (some to april.... yikes), and that's one of the things leo was scared about donnie SEEING because it was probably way more vicious. they had zero filter when they talked ABOUT him, because even through the curse there would still be the natural instinct to protect his feelings.

[scaryanneee]

VEILPUNK 9:52 ⚡️

Narrative parallels between [and MAJOR SPOILERS for] Dragon Age: The Veilguard and Cyberpunk 2077

Wake up, Samurai, we have a Thedas to burn. Let’s play a game:

Meet [V]/[Rook]. She is living her life as a [nomad/streetkid/corpo]/[Dragon/Crow/Lord/Watcher/Warden] when circumstances (aka, some kind of fuck-up) lead her to begin a new adventure with her friend [Jackie Welles]/[Varric Tethras]. 

The pair embark on a mission that involves a history lesson about a mercurial and rebellious [rockerboy]/[ancient elven mage] who made a questionable choice [50]/[8000] years ago when he [detonated a nuclear bomb]/[created the Veil]. That decision had dire consequences, but was done with good intentions: to take down a corrupt and powerful group – the [Arasakas]/[Evanuris]. 

Anyway, the job that [V]/[Rook] is on goes really, really bad: needless to say, we won't be working with [Jackie]/[Varric] anymore. [V]/[Rook] finds herself injured but alive… and the previously mentioned grumpy old [rockerboy]/[elven god] is now living in her head, somehow?! 

[Jackie]/[Varric]’s fate is not the only consequence of [V]/[Rook]’s actions. In fact, the clock is ticking: if [V]/[Rook] does not find a way to fix her mistake soon, she faces certain death. Not to mention, she promised [Jackie]/[Varric] that she would take care of the [biochip]/[team] for him. 

As she works to undo what she has done, [V]/[Rook] either bonds with the [Johnny Silverhand]/[Solas] living in her head, or hates him, or something in between. There’s lots of snarky jabs traded between mind-resident and host, but also moments of genuine understanding that build over time. 

It is kind of weird walking around the world, though, because you see symbols of [Johnny]/[Solas]’s legacy in the form of [Samurai memorabilia]/[Fen’Harel statues] pretty much everywhere... anyway.

In an optional questline, [V]/[Rook] can watch some of [Johnny]/[Solas]’s memories. She learns that his [nuclear bomb]/[creating the Veil] was about more than just fighting [corpo]/[godly] corruption. It was also about avenging the death of a woman he cared for deeply: [Alt]/[Mythal], who was killed by the [Arasakas]/[Evanuris]. [Alt]/[Mythal] and [Johnny]/[Solas] may have had a complicated and at times turbulent relationship, but there was no doubt he loved her. There’s also no doubt that [Johnny]/[Solas] feels, in part, personally responsible for her death.

[V]/[Rook] also gets to meet some of [Johnny]/[Solas]’s old friends: [Kerry]/[Dorian] and [Nancy]/[Morrigan], who both worked alongside him in [Samurai]/[the Inquisition], and [Rogue]/[Inquisitor Lavellan], a highly competent woman who [Johnny]/[Solas] had a romantic relationship with at one point (and who [Johnny]/[Solas] regrets not having treated better). [V]/[Rook] also meets some of [Johnny]/[Solas]’s greatest enemies from his past – like [Adam Smasher]/[Elgar’nan] – and gets to make [Johnny]/[Solas] proud by kicking their asses on his behalf. 

Finally, at the very end of the game, [V]/[Rook] can choose to either redeem [Johnny]/[Solas] or condemn him. They can even get help from a version of [Alt]/[Mythal] to do so!

Roll credits.

This is all to say: I love both of these franchises very much and, so it is very delightful to find all of these parallels between them. To be very clear, this is not an accusation of stealing or anything – stories echo, history rhymes, etc. – just an affectionate observation.

BUT.

It also highlights, for me at least, a few things Cyberpunk did well that Veilguard would have benefitted from incorporating. Namely:

A prologue based on character origin, where Rook meets/bonds with Varric, like V does with Jackie

More interaction between Protagonist and Guy Living in the Protagonist’s Head

Deeper engagement with the universe’s lore, particularly the setting and its impact on our protagonist. Night City feels like another character in Cyberpunk in a way that Veilguard's Thedas really does not.

The protagonist having a smaller scale, more personal investment in the outcome of events – V’s race against the biochip is instantly understandable, and her tenacity and strong will to survive make her very easy to relate to and like. I never quite felt the same level of investment in Rook, and I think that’s in part because her fight against the gods is so enormous in scale that it feels quite impersonal at times. 

Story parallels aside, these two games are also both examples of games that were rushed through development and suffered for it. For Cyberpunk, that meant infamous technical failures; for Veilguard, that apparently means writing that is inconsistent at best and baffling at worst.

Fortunately, CD Projekt Red was able to add tons of post-release updates (and the excellent Phantom Liberty DLC) to Cyberpunk, that really helped it ultimately evolve into the game it was intended to be. 

Unfortunately, I think it is extremely unlikely that EA/Bioware will ever give Veilguard the same treatment.

But if I’m looking for something to hope for about this franchise (despite the long odds)... I think that would be it. 

Anyway, if you read this far: thanks, [chooms]/[lethallen]! 🖤

[molqr]

YIPPEE YAY!! hi guy. beauty that is The Tagging Games <3

favourite colour: green!! used to be mainly that super eye-strainy yellow-green radioactive colour but all shades of green are sooo gorgeous to me i cant pick favourites. well theres one i like the most which is 'green leafs on trees when the sun shines through them' its very specific but its my favourite colour of all time forever...

last song: i had to go through ten pages of tf2 fight songs on last.fm for this. its such a funny bit but by god. anyway it was kuso breaking nou breaking lily by maximum the hormone. listened to that album for the first time a while back and this song is like my all time favourite from it, used to loop it constantly a few weeks/months ago pff

currently reading: cuckoo by gretchen felker-martin! ive yet to finish it but its really good i like it a lot... ive gotta hurry the fuck up i have to take it back to the library in like 3 days lmfao. really want to take a shot at drawning the main cast and the body horror.

currently watching: metalocalypse babyyyyyyyy. honestly wanted to just rewatch aotd again but wanted to finish rewatching the show first. supposed to be rewatching all of jjba but i hate part 2 i dont want to look at it.. also need to finish the golden girls lmao.

currently craving: b&j's cookie dough... i dont even like the cookie dough that much the vanilla ice cream is just so fucking delicious... havent had it in forever though because the price is absolutely fucking ridiculous lmao

coffee or tea: i love iced coffee and i love tea... fuck... i have to go with coffee simply because i like my iced coffees too much. tea is delicious though where would i be without it during winter.

hobby to try: all of them must be done i need to start my projects... drawing, writing, reading more, and uh, squints, making character edits that counts right. i need to learn how to use shotcut lol. been meaning to get into clay stuff or to learn to knit but i always forget to get on it lmao.

current au: cant think of any for the life of me tbh. OH SHIT YEAH my psychonauts metalocalypse au i forgot completely about that. i think dethklok being psychics would be so fucking funny they'd be so terrible. i can imagine revealing their horrors using their mental worlds so easy. i grin sinisterly. psychonauts aus are just so good always. also theyre so fun to design!! besides that all the current others are co-owned so if i was gonna mention them i'd want to make a big thing about it. like a really shitty gender reveal. (they're all really shitty, but you get what i mean right) congratulations, it's a freak!

tagging: friends and mutuals yippee yay! im shy tagging my mutuals so if you dont want to do this per some random internet fellow giving the say-so, then no pressure LOL @brookiesandcream @its-me-im-bumblebee @the-archivists-plus-one @classic-heavy @ruthytwoshakes @maplemaplemaplemaplemaple + anybody else who feels up to it, get silly w/ it!!

Get to Know Me (tagged by @slingbees)

-------------------------------------------------

rules: tag 9 people you want to get to know better and catch up with

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Favorite Color(s): ORANGE!!!!! but also yellow!

Last Song:

Currently Reading: them Guardians of Ga'hoole books because when I was in the hospital I read one of them.

Currently Watching: I'm going through Red Vs Blue with some friends.

Currently Craving: this peach monster right beside me. don't tempt me.

Coffee or Tea: I haven't been drinking much of either recently, but coffee.

Hobby to Try: Start animating at home.

Current AU: I guess I've been thinking about that Simpsons comic where Smithers gets cloned, fucking hilarious they just start killing each other. Other than that, I don't know.

TAGGING:@sleepypuddding @funkyjunkyfangz @beeframennoodles100 @danklemckspankle @potatoqueensays @notevenhodgepodge @butchbarneygumble @lorogy662 @calpalsworld anyone else too!

[spitblaze]

I guess Chilchuck has brought us right back to 'adults who are short are child-coded and if you like them you're a pedophile' discourse huh

[ender1821]

im a child of divorce

[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 (���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.

[weaponsdrawn]

HI i just remembered to respond to this FUCK ok so

I MASSIVELY AGREE with the binjpipe takes. i think ETS was good/iconic if only because it was so like. JARRING in a good way. but it was so lighting in a bottle tbh, and like u said it isnt rlly good horror. only rlly shocking if ur actually attached to cookie, which ppl are. cookie gets replaced by an AI tried to be ETS all over again, and it wasnt, and it kinda rlly showed, like you said, how they shine best with comedy. also I FULLY AGREE. fuck, im pretty sure its one of the reasons ive just grown tired of jackbox by now, both me and my gf (we met thru shared jackbox love), its bc every time binjpipe happened we were just like "THIS SHIT AGAIN?????" like it just made any sort of investment in it or hopes of cookie getting better just. feel so fucking moot. why bother getting invested if its just constantly going to get dragged back up. the "evil streaming service" joke is dead. its BEYOND dead. we havent even heard of the binjlady anymore. its lost any sort of omnious buildup. to me binjpipe's appeal was that it clearly wasnt going to last long. it was a nightmare that was just going to keep on ramping up until it crashed and burned horrendously, and fuck thats SO cool to consider and write about. but they keep dragging it out, and now its just sad. its boring. fucking. selling adult films?? give me a break.

ok about the party packs, HONESTLY SAME. like idk the writing is what really gets me about it tbh. i guess theyre good party games (tho i can get bored really fast, save for roomerang, and even so thats mostly bc of the goofyness of the responses), but YEAH youre so right. like idk if its because theyre ALSO doing the international translations but ithink it goes with the fact that the hosts severely lack character. when its like for some games, its ok if they dont have character (quixort), but its like that means theres A BALANCE. pack 8, ok? games like job job and weapons drawn, that CALLS for the hosts having character because its putting you in a situation WHERE the host is an active part of that situation. its like "wow im really in funny office" or "wow im really doing a murder!!!" right now, yknow? Push the Button, DODE was her own character and had noteworthy quips and she was a vital part of the games story/framing device! todd is iconic bc hes such a chill internet guy and then he sends you to hell! felicia is all morbidly romantic bc youre on a MONSTER DATING SHOW. a lot of the games stand out BECAUSE of the unique situations ur in that envoke unique prompts/unique gameplay, meanwhile something like fixytext? i dont know SHIT about the host. and its kind of a shame that the cannon jackbox lesbian host we have is SO FUCKING BORING GOD. most i can get is that shes introverted, but i gen cant tell if its genuine, if its some kind of "akward bacon unicorn moment! #millenial" type shit, what the fuck even really IS Fixytext at the end of the day. what makes it more than google docs shitposting simulator. its such a fucking shame, esp for the TENTH PACK. like god maybe they rlly do need to take a hiatus bc the change in. writing quality is. idk it just didnt help my dropping fixtation i'll say that.

also wait FR????? JESUS CHRIST thats actually a shame, i wanted to try and play that game!!! (namely bc funny objectum) and like. the ONE naughty pack exclusive host and we get NOTHING about her. i dont even like the fucking conch shell design im sorry. jackbox crew yall are great but how in this green unholy earth do you expect ppl to draw and remember your designs when your hosts are so. flat. fuck, mayonnaise, fucking M BUBZ, is more memorable than nickolas kranrker whatever and dr nanners and jerri, i cant tell you a SINGLE thing about jerri tbh. its such a shame. i want to love these guys i really do but theres nothing that endears them to me.

tbh if they end up not doing anything for ydkj it'll be funny in a kinda sad way tbh. on the one hand it'd BE nice on the other hand yeah its been nothing since full stream, eh. could they even do a YDKJ anymore? i remember once upon a time there was all this hype/discussion of a "ride 2" where the only real roadblock was that buzz's VA has well moved on from voice acting i think, but ppl had ideas for giving him a new voice, maybe even making it a transgender reason, all this stuff. this was like a couple of years back. but its like god i'd be shocked if they even remember guy exists at this point. or nate. hes sorta got a chance given his VA is literally a core part of the crew.

also i getcha. glad i could offer a space to let ya vent like that lawl

roomerang completely fucking fumbled with giving rue any sort of character we could've had a fun host we could've had that snark we could've had ANYTHING to match the sheer amount of swag in her design but we got BASICALLY NOTHING/very vague hints of character ("I'm beside myself... and I look good!" And "dramaaaa!!! :3") which is CRUMBS compared to even the most one note hosts like glargan o'toe or civic doodle's hosts and as petty as it sounds it's kinda the reason I fell out of love with current jackbox </3

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