#because that made sense for an ending

[agentlizardofowca]

Cant remember if ive asked yet. If i havent, id love ur take on: 'Well, someone's cranky today.'

-MoA

'Well, someone's cranky today.' + 42 A kiss out of pride @mammalsofaction

(OWCA files AU, post canon)

"This is high school all over again," Heinz pointed out awkwardly. He was right.

Agent P and Agent O sat in the first two- in a row of plastic chairs in the hallway. The door beside them did not lead to the principal's office but to HR's meeting room.

Perry shouldn't be surprised they ended up here. He'd known he would regret it the moment he started throwing trainees (And Heinz Doofenshmirtz) across the office. Nobody got hurt, the trainees learned a valuable lesson about using staplers and laminators for self-defence, and nobody seemed mad initially.

Then Rebecca from HR entered the room. She'd held a grudge against the two of them since that night they'd all played darts together. And she was a very sore loser.

So here they were, sitting side by side like two naughty teenagers.

"Dr Doofenshmirtz?" The door to the meeting room had opened, and a woman that Perry hadn't met before looked at them with a wide smile.

Heinz rose from his chair awkwardly and gave her a limp handshake before she herded him into the meeting room. He glanced at Perry one last time, but there was nothing he could do to help.

Perry spent the next ten minutes glaring at anyone who dared to glance his way.

When the door eventually opened again, Heinz was allowed to leave with another handshake. He was smiling, and for a moment Perry was optimistic.

"Thank you for your time, Heinz. Autism can create difficult situations in a work environment, but if we all take the time to sit down and discuss, I am sure we can craft a set of guidelines that can make things easier for everyone." The smiley woman turned to Perry. "Mr Fletcher, it's your turn."

Perry sighed and stepped up.

"I'll see you in the cafeteria," Heinz said to Perry, he placed one hand on his shoulder and then left. It would be useless for Heinz to wait by the door, but Perry was still a bit disappointed.

"My name is Kenzi," The smiling HR representative said politely as they sat down together. "Let's talk about you."

Kenzi did not know sign language, so Perry had to quickly resort to using his phone for assistance. As he was figuring that out, Kenzi explained that she and Heinz had a lovely conversation.

Perry frowned a little, they were on a first-name basis already?

"Your partner is a bit of a comedian, isn't he?" She asked. "He's very good at telling stories. What a charming guy."

Perry swallowed down the bitter taste of jealousy. So, Heinz charmed his way through the conversation with HR. That was smart. That was good.

His eyes must've betrayed his simmering anger as he announced that he was ready to begin.

That conversation fucking sucked. Perry thought to himself as he finally emerged from the meeting room. Not only was Kenzi impatient with him and barely gave him the time to answer. She also seemed to blame him for other people's behaviour. (If it had just been Heinz, he would've had to agree. But Perry barely even knew some of the agents that woman had mentioned.)

She had ordered him to be more gentle with the trainees. As if the enemy would be gentle with them when they come face to face with a real crisis situation. "Learning environment" is nice and all, but a loaded pistol is dangerous, and if someone messes around with one, Perry is not going to allow such behaviour. Stern and strict is good sometimes.

Kenzi apparently disagreed. She'd tried to manipulate Perry into changing his tune. Luckily for her, she managed to bite her tongue before she finished saying "Use your words" but she had come too close to elegantly catch her mistake.

By the time she allowed Perry to leave -almost thirty minutes later- he was so cross with her that he had to breathe carefully when they shook hands because his instinct was to crush her fingers.

"And Perry?" Kenzi said in lieu of a goodbye as she held the door open for him. "Try to smile once in a while, okay?" Her unnaturally wide grin was back as if to demonstrate.

Perry's fist was so tight his knuckles cracked.

Her eyes flashed to Perry's hands for a second, and he recognized the emotion in her eyes as fear.

In a desperate attempt to save face, Agent P smiled tightly, nodded and left as quickly as he could.

***

Perry stormed into the cafeteria, sat next to Heinz, and slumped into the table.

"That took a lot longer than I expected," Heinz noted and he awkwardly pushed the cup of coffee he had grabbed for Perry towards him. At this point it was lukewarm at best.

Perry groaned vaguely.

"So it didn't go well?" Doof asked, and he slouched lower in an attempt to catch Perry's gaze.

There wasn't much of a reply.

"Well I thought she was kinda nice. I explained that sometimes the kids get a bit rowdy, and then I talked about Vanessa. And Kenzi was such a good listener. She just kinda concluded that it wasn't my fault."

Perry struggled himself into a more proper sitting position and rubbed his face. Extra caffeine would only make his mood worse.

"She gave me her number in case I ever needed help handling a delicate situation."

Heinz hadn't even finished speaking when Perry's fist came down on the table with so much force that his coffee spilt over the rim of its paper cup. He turned to Heinz and glared.

"What? You don't think I need HR's help to behave, do you? I'm pretty sure I can figure it out on my own. I've gotten pretty good at reading other people's emotions. For example, you are annoyed right now."

As if to make a point, Heinz booped Perry's nose.

「I never want to see her again.」

"Pffft," Heinz snorted. "She's not that bad. Someone's just a bit cranky today. Have some coffee. You should try smiling some more, that'll lighten your mo-"

Perry rose from his chair and took Heinz up with him.

Mechanical long fingers scrambled at the cuff of Perry's sleeve. "You're choking me, Perry." Heinz managed to gasp despite the tight grip Perry had around his neck.

Perry dropped his partner back into his chair like a sack of bricks and stormed off.

It took Heinz approximately 25 minutes to find Perry on the bench behind the parking lot.

He cleared his throat and Perry glared at him, sighed deeply, and patted the seat next to him.

"Next time you get mad at me in there, try something else." Heinz huffed as he sat. "HR tried to get me to confess to you being a bastard."

Perry shrugged one shoulder.

"If they ever ask, grabbing each other by the neck is a thing we do."

Perry turned his head and looked at Heinz with a look of disbelief.

"What? You think I'm going to send you back in there after they managed to piss you off that badly? You may be a bastard, but I'm not that mean."

「You lied?」

"Of course I did! I learned from the best, you know." And Heinz elbowed Perry in a faux playful, but actually kinda painful way.

Finally, Perry cracked a smile, and he elbowed back just slightly harder.

"Ah, oof! Now apologise and tell me how well I did." Heinz said as he rubbed where he'd been elbowed in the ribs.

Perry wasn't in the mood for conversation, I hadn't gone well for him today. Instead, he wrapped his arm around his companion and after a moment he kissed him.

Heinz hummed as they kissed, and when they finally parted he smiled smugly. "Don't worry Perry, it won't take long before HR hates us both."

[eydilily]

promises

[turtleblogatlast]

Leo learns something about himself 🏳️‍⚧️

Based roughly on this old post.

Bonus:

[Leo is taking the fact that he was born biologically female simultaneously very well and also not so well but overall he’s mostly coping with the fact that it was Draxum that just essentially gave him the turtle equivalent of ‘The Talk’.]

[inkskinned]

at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"

like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.

"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."

... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.

and i'd still keep writing.

i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.

i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley

"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"

and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.

it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.

you create because you're greedy.

[ironinkpen]

The dynamic in Rise between the rest of the team and Leo is. so fucking funny. Because like you've got these three extremely talented individuals who all seem like perfectly reasonable people at first glance, right, but then if you squint hard enough you realize they're actually all batshit insane (affectionate) and the clown boy standing behind them is secretly their common sense.

Clown boy will occasionally put himself and the others in danger to Prove Himself or Prove Someone Wrong (see Minotaur Maze and the movie) but like otherwise... i think people forget Leo's overwhelmingly the voice of reason in most situations?

Raph, Mikey, and Donnie are all incredibly powerful boys with very specific skill sets. They are also, as a direct result of this, the WORST decision-makers on god's green earth lmao. When presented with a problem, Raph will smash, Donnie will blow shit up, and Mikey will razzmatazz. They will all run straight toward death with the same oblivious enthusiasm of a dog about to run straight into a screen door. None of them realize this and all of them think they are Extremely Good At Problem-Solving.

And the guy cursed with the common sense to realize this is literally the LAST person anyone would expect.

When you look closely, the entirety of Rise is actually a chronicle of Leo trying to find new and creative ways to keep this team of superpowered fools alive while simultaneously white-knuckling his Cool Fun Guy persona so the others don't realize he's secretly the Boring Responsible One. Haha, you know what would be Cool and Fun, guys? Not going after the Spine Breaking Bandit lol. Getting home before the sun goes up lol. Evacuating that civilian lol. Not telling the guy dangling me off a roof "you won't, no balls" lol.

The sacred struggle of every iteration of Leonardo is thanklessly wrangling the most trigger-happy siblings in the world, and Rise Leo has not escaped it. He just does an occasional shenanigan to avoid detection and his brothers fall for it every time.

[meamiki]

silly comic based on a time i struggled to read live on stream :thumbsup:

context clip compilation below ASDASDFASA

(cw for brief mention of hospitals/strokes)

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[violetsquare111]

perhaps overly rambly thoughts on the influencer arc

it is very hard to watch but i don't think it's contrary to what we know of green, and i'm enjoying it just fine.

we know green is a showoff and perfectionist. the color gang all like winning, but green likes making a big display of it too. he's quite a sore winner and loser, and hates having the spotlight taken from him when it is his.

he loves attention and praise. and like, that's okay, don't we all? he cares about his friends in the end.

but i get the feeling that, while they love him and appreciate his talents, his friends don't really give him that big attention that he might want. they're used to him winning and being good at art/performance of any kind. it's normal to them really. maybe even a little disheartening.

so i can easily see how getting that attention in the form of being an influencer is a huge thing for green. an addiction, even. he gets so drawn into it that he overlooks his friends' discomfort, so he can keep being the Perfect Celebrity, keep the hype going.

obviously this end outcome here isn't actually what he wanted, and i'm sure he feels guilt for all this on some level. but he's pushed that away in favor of the high of getting a number to go up, getting more of the spotlight. there's nothing else that matters right now but getting that new dopamine hit. again, it is an addiction.

surely his friends will come around. why don't they get it? this is a good thing for him. he's winning. he's harsh, yes, but he's just trying to be successful. his friends aren't actually hurt (they are), they're doing fine (they're not), what's the issue? (everything.)

i don't think current green is character assassination - right now he's doing horribly and hurting the people around him because he is at his lowest, the worst version of himself where his flaws overtake him. it can go up from here. i have no doubt that by the end of this green is going to get some sense shaken into him and make up with his friends. like, that's just the kind of series this is.

and despite all the character analysis i just did lol - i ALSO think it's important to remember that we are probably taking every little action of these characters infinitely more seriously than the creators are. while the series sometimes dips its toes (or entire face) into being a dramatic and beautiful story, it is ultimately a cartoon, and sometimes the character writing will be put on the back burner for a moment in favor of a gag or an overall episode arc. and that's fine! nothing they're doing is unprecedented for the characters they've set up, and i think they'll wrap this up alright.

[novakiart]

spinneret fun! 🕷️ written by me & nevi

the rest under cut:

[secriden]

You know what makes me soooo excited for the next phase of Fadel and Style's relationship? It's that they will finally slot into the CORRECT relationship dynamics because this whole time, it's been flipped.

From the beginning, something felt off, and I think it's because Style's true desire is to be pursued. We are shown this pretty much in Style's introduction when he blatantly puts his body on display with the Crop Top Stretch. Style wants to be approached, wants to be propositioned, wants to be desired. Also, remember how he initially flirts with Fadel when his only motivation was his own attraction? He pinned the Heart Burger badge onto his chest to create an opportunity for Fadel to put his hands on Style's body.

Of course Fadel wasn't pursuing Style; was in fact, actively trying to get away (for reasons OTHER than a lack of physical attraction to Style), so it is the plot that has to drive our lovebirds together using Kant's request and partly Style's own desire to get some revenge.

But throughout their interactions, we constantly see glimpses of Style's desire to be pursued: every single time Fadel even shows a HINT of wanting Style, he immediately falls pliant, like he can't wait to let Fadel take the reins. And nothing shows this more clearly than the absolutely blissed out look on Style's face in Ep 4 when he thinks Fadel has finally admitted that he wants Style.

(Fucking hell, just look at how dazed and almost euphoric Style looks here? It's like Style has been starving for the barest hint that Fadel truly wants him.)

Which is also why we've gotten so many fake outs. Because although Fadel IS attracted to Style (Ep 2 made that...abundantly clear), he isn’t remotely ready to pursue anyone. Not only is Fadel nursing a broken heart, barely beating, he also has very justified suspicions about Style’s connection to Kant and Style's unnatural persistence.

So it's Style that has to pursue - he dodges Fadel's footsteps, and bullies his way into Fadel's life; but in between the frustration and annoyance, Fadel's walls begin to crack. And I think it's SO COOL that the first significant evidence we have of Fadel's walls crumbling is because Style puts his body on display for Fadel. Because Fadel responded to something that was naturally part of the way Style operates before he even met Fadel. And there are other, more compelling reasons why I think Fadel begins to fall for Style, but that's not really the point I'm trying to make here.

When Fadel said "If I like you, I'll do the pursuing", it wasn't just to get Style to back off. Because now that Fadel has finally chosen to explore something real with Style, we are seeing Fadel's words in action. I know some people have said Fadel's switch to flirting so blatantly with Style in Ep 4's gym scene came out of left field, but I think it may well be confirmation that this was always the dynamic they were meant to be in. Fadel likes pursuing and Style likes being pursued. They fit, they match, they're perfectly compatible.

(Fadel looks almost faintly amused by how "flustered" Style is. Because he doesn't know that Style is actually afraid of him - why would he, when Style has evidenced zero fear so far? So this comes across like Style is getting shy in response to Fadel's unexpected and more overt approach. And possibly this is Fadel starting to remember how much he enjoys the chasing.)

Unfortunately, Kant's revelation is going to screw allll of this up. But, we are finally going to see glimpses of how they work when they're aligned correctly in their dynamics! And while it will take a journey (and oh, it will be gloriously painful, won't it?), our boys are finally on the road to something lasting and I am sooo glad we get to come along for the ride. <3

[paintpanic]

Res AU Joronia drawings. Character rambling and bonus doodles under cut.

This AU takes place a good while after the events of Triple Deluxe happened. Since then, Taranza's mostly recovered mentally from everything. He was able to move on from his grief and (somewhat) forgive himself. Now that Joronia's in his life again, seemingly back to her former self, some of those wounds he'd thought were fully healed have started to ache again. He still feels ultimately guilty for what happened to her.

He's thrilled that Joronia's been given a second chance at life, but is somewhat wary deep down. This feels to good to be true, that she's just back with seemingly no strings attached. The other shoe could drop any day now, and he could lose her all over again. Fearing this, he wants to make the most out of what could be a short time to be together again with his friend.

Joronia senses that there's a distance between the two of them now that wasn't there before. It shouldn't be surprising; he's probably still hurt from what she did. Other people definitely are. She's determined, though, to work hard to make it up to everyone she's hurt, and to prove to them (and herself) that she's not really like that, that she's capable of being better.

The Mirror's influence twisted her mind and her perception of reality. It made her feel like she was inadequate, and that everyone else were enemies to be subjugated. Now, she's supposed to be normal and better, but she still feels like there's something wrong with her head. She still doesn't feel good enough, and it still feels like everyone hates her. It's hard to trust herself. She's not sure if it's some lingering effect of the Mirror, or if there's just something inherently wrong with her now. She's scared.

She's afraid that something will happen, that she'll revert to how she was as Queen, and that she'll hurt Taranza again. Someone who'd always helped her, who'd stuck with her even when she was absolutely horrible to him, and who's kindness she's relying on again now, staying at his home as she worked on getting her life back together. She's a burden on him, and she always has been. She hates it.

Still, her deepest, most selfish wish is that they could be real friends again.

---

These two need to have a long, honest discussion about their feelings toward each other and themselves. Both of them are absolutely terrified about that prospect, though, because they each think that the other secretly resents them to some degree. If they actually talked through it, they'd quickly realize that they both want the same thing.

[cosmicredcadet]

I think there's a genuine conversation to be had about how aro spaces have begun pushing QPRs in a similar way that amatonormativity pushes romantic relationships onto people but a majority of aros just refuse to engage in the discussion because they see it as an attack on QPRs or people saying QPRs are romantic relationships lite instead of actually looking at the fact it's critiquing how some Aros have begun pushing it almost like an alternative to romance and something all Aro's want.

No one is saying QPRs are bad but rather that there is too much push that the idea of a QPR will fix people's problems. "oh you're lonely? just find a QPR!" "You dont have to be in a romantic relationship you can be in a QPR!" "QPR is MORE than friendship" etc etc.

There's a genuine critique here of QPRs being used to continue to push amatonormativity by again assuming that every aro wants a partner - even if not romantic - and I think we can have a genuine conversation about this rather than going at each other throats over a fake argument of "QPRs bad"

[ironunderstands]

Double Indemnity, Spellbound and how a retroactive plot twist kicked the communities ass (which also has some VERY interesting implications for Aventio)

I had a very enlightening conversation on TikTok about the nature of these two romance/thrillers, and while unfortunately, I have no idea how to watch them, the plot synopses I’ve seen and analysis other people have made have caused me to come to this conclusion/interpretation of these references:

On the first viewing of the Double Indemnity questline, the reference to the DI movie is meant to be played straight, with Aventurine and Ratio being just as doomed to fail as they are in the movie, and their relationship as equally as toxic and fake.

On second viewing, it’s the complete opposite, and the track (and other movie reference) you receive at the end, Spellbound, proves it.

Let’s start with Double Indemnity.

Also disclaimer I’m gonna be over simplifying the plot/themes of these movies because a) both are singular references, DI is only referenced in the name of the quest itself and Spellbound is only referenced in a track you receive once you complete DI, and references this small probably aren’t meant to be anything more than a fun Easter egg for those who notice it b) this is hoyoverse they aren’t clever enough for that anyways c) the nature of references isn’t going to be having everything be the exact same anyways, so I’m just going to go with the overall interpretation of DI + Spellbound/their impact, picking the stuff which aligns with the actual plot of the DI quest, I don’t care what happens in one frame at 30:01.56 minutes in and neither do the writers

Anyways, how does the Double Indemnity reference on the first viewing seem?

On our first play through of the Double Indemnity quest, we are made to believe that Dr. Ratio and Aventurine do not trust each other, but they are begrudgingly working together for the sake of stealing Penacony for the IPC. Then, Aventurine makes it seem as if he wishes to use the singer Robin’s- also the sister of Sunday, the head of the Oak Family and the one they are negotiating with- death as a means to pressure Sunday into forking over some of the Family’s secrets, which Aventurine will then use against him in future negotiations.

With this setup, the Double Indemnity reference is a solemn warning- Aventurine and Ratio will fail.

You see, in the movie, Phyllis Dietrechson intends to kill her husband in order to earn the money from the Double Indemnity clause (which is a real legal thing btw!), roping in one Walter Neff when he falls for her. However, their relationship isn’t stable and in the end, Walter betrays Phyllis, ratting her out to the investigator Keyes, ultimately meaning they don’t earn the DI clause, also killing Phyllis in the process.

Hopefully you can already see where I’m going with this, but it’s time to draw some fun parallels.

Sunday is Keyes, Ratio is Walter, Aventurine is Phyliss and Robin is Phyliss’s husband.

Although Aventurine a) isn’t married to Robin and b) he didn’t actually kill her, he is the one who witnessed her “death” and in the first viewing of the Double Indemnity quest, we are made to believe he intends to profit off of it, although this time the payout isn’t money: it’s Penacony.

To do this, he enlists the help of Ratio- albeit not seducing him, but still convincing him to help nonetheless- and together they go to meet Sunday for negotiations.

However, Ratio “betrayed” Aventurine, ratting him out to Sunday behind his back and informing him of his plan, which mirrors how Walter confesses to Keyes. This results in Aventurine being sentenced to death, much like how Phyllis dies by Walter’s hand, Aventurine seems like he will die by Ratio’s, calling him a wretch before slinking off.

And there you go, their partnership is as doomed as the one in the movie, failing because their trust + love didn’t hold up till the end, a devious foreshadowing.

At least, that’s how it seems on the first playthrough.

Because Aventurine and Ratio’s plan SUCCEEDS.

And on the second viewing, knowing that the betrayal is fake, you realize they succeed because they do the one thing the people in DI (and I’ll get to Spellbound) DONT do- they actually TRUST each other.

Ratio and Aventurine’s plot is a success. And it’s because they deliberately made it seem like they were doing a Double Indemnity plot. Like they were going to make the same mistakes as the characters in the movie. Sunday falls for the false appearance hook, line and sinker, and that’s his downfall.

They win because they TRUST each other, you can even say because they actually LOVE each other, unlike the characters in the movie, where it’s more list than anything else. Walter and Phyllis don’t make it together to the end but Ratio and Aventurine DO, and they get to continue on with their lives because of it. The reference to Double Indemnity in this quest is genius because it works both before and after you learn the retroactive twist of Penacony. It makes you believe Aventurine + Ratio are doomed to fail, and it makes you realize they were always going to succeed, expertly dawning the false appearances Sunday expects from them, becoming literal actors playing out the roles of two people who will fall short due to their selfishness. Sunday believes he’s seen this film before which is why he BUYS IT, and god it’s just beautiful looking back on it. He thinks he’s Keyes about to uncover a dastardly plot to profit off his sisters death, and in turn he paints Ratio and Aventurine with the identities of those he believes would do such a thing, which they do their best to play into. Ugh it’s amazing.

And now, for Spellbound.

You receive this track after completing Double Indemnity, containing the description above.

Now, this is a reference to Spellbound, another one of Hitchcock’s films.

The main characters in this one are Dr. Anthony Edwards, a man suffering from amnesia, and Dr. Constance Peterson, a psychoanalyst who he was meant to replace, who discovers a dark secret about Edward’s while they fall for one another; he’s an imposter. He believes he killed the real Dr. Edward’s, but she thinks he’s just suffering from a guilt complex. Fake Edward’s goes missing, and the real Edward’s assistant arrived and informs them that he’s missing. She finds Fake Edward again, living under the pseudonym John Brown, and although he tries to leave, she convinces him to stay, telling him that with the help of her mentor, psychoanalysis can help recover his lost memories.

Through an incredibly complicated psychoanalysis of dream, Constance begins to uncover the truth- learning the person who believes himself to be Dr. Edward’s (and is using the pseudonym John Brown) is actually a man named John Ballantyne. Ballantyne accidentally caused the death of his younger brother in the past, resulting in his deep guilt, as well as recalling the location where the real Edwards died- skiing off a cliff to his death. With his memories, they find the body, but it has a bullet wound, so Ballantyne is taken into custody.

However, her boss, Dr. Murchison lets it slip that he actually used to know (and didn’t like) Dr. Edwards, and through another complicated sequence gets him to confess his guilt and ultimately kill himself, which frees Ballantyne, ending the movie with the two going on a honeymoon.

So, what does this mean in the context of the quest line?

Well, let’s say Ballantyne and Constance are representative of Ratio and Aventurine respectively.

“Every psychoanalyst must first have someone else diagnose them.”

If we read Aventurine as the psychoanalyst (Constance) and Ratio as the diagnoser/doctor (Ballantyne), it reveals an interesting interpretation.

That being that they knew the truth from the start/ they had already succeeded.

Or in other words, unlike in Double Indemnity, in Spellbound, they actually succeed.

In the film, Constance is the one doing the diagnosing, the one trying to figure out the truth, and you can see that in Aventurine pretending he’s trying to find out the truth behind Robin’s death. However, in the DI quest, it’s the opposite. Ratio’s as Ballantyne is the one doing the diagnosing for the psychoanalysist, Constance, or rather, Aventurine.

To diagnose someone, you must be very familiar with them, or at the very least the ailment plaguing them, and Ratio he knows Aventurine through and through at the start, and what plagues him (his own sense of meaninglessness) unlike the protagonists in Spellbound who despite falling for one another quickly, don’t begin being intimately familiar with one another.

In this way, they have already succeeded. Aventurine and Ratio already know one another, and while they might not know the reason behind Robin’s death, that was never what they were searching for in the beginning, meaning they effectively can skip through all the drama (aka the ups and downs of Spellbound, finding out the truth behind Robin’s/Edwards’ death), and reach their happy ending- a honeymoon; or in DI’s case, Aventurine attaining his cornerstone, and fulfilling his end of the plan.

Interestingly, Aventurine slots into the role of Ballantyne and Ratio as Constance equally well, with the phone call Constance makes to save Ballantyne being reminiscent of the note Ratio makes to save Aventurine, as well as Aventurine being the replacement, or in the sense, the one to find the truth about Robin.

Personally, I think Aventurine and Ratio are reminiscent of both the main leads in Spellbound, which is why it’s complicated to discern the meaning of the reference. Oh how I wish I knew what the original Chinese description for this was (if you do please tell me 🙏).

Is it just meant to signify them being in love? Is it meant to signify that they will succeed, due to how well they know each other? Is it both, which is what the inclusion of Double Indemnity (the movie) suggests?

Either way, it adds onto the already present idea that the trust between Aventurine and Ratio is what allowed them to succeed in Penacony, and that’s not just something expressed by these movie references.

Think Aventurines Eidolons: Stag Hunt Game and Prisoner’s Dilemma, both of which are game theories about trust. Or how Aventurine says that Ratio knows him best, or how Ratio entrusts Aventurine with close secrets of his, like him being the “Genius” of the council of Mundanites.

“Do you trust me?” “That depends on you.”

These are 2 lines in their 2.0 conversation that really stick out to me. Ratio will always offer his trust so long as Aventurine can prove himself worthy of it, and as we have seen, Aventurine always delivers, proving himself long before Penacony in the Final Victor lightcone, albeit in his weird homoerotic way.

Therefore Ratio will always trust him.

And because of that, they win.

Now whether you take the deep trust between them to be romantic or platonic, or infer the literal honeymoon at the end of Spellbound to mean something for Aventio, either way the feeling absolutely there, and it’s crucial for an understanding of their relationship.

Also damn, the retroactive plot twist fucking slaps.

[turtleblogatlast]

Man “Battle Nexus: New York” was a great episode but I do have one major gripe with it.

Like. Raph being paired up with Ghostbear? Makes sense. Works great. Works amazing, even.

Mikey being paired up with Meatsweats? Yeah that checks out!!

Donnie getting…Hypno…? I mean. I guess Donnie doesn’t like magic so it kindaaa works but Kendra would have been a much better choice to me personally. Maybe Big Mama didn’t wanna include a human or something…

And Leo getting…uh…one of the Sando Brothers???? Of all villains? Nah let’s be real, his main villain is more Big Mama herself (or Leo could be considered his own worst enemy lmao-). Hell Hypno would have probably worked better here considering their shared love for magic tricks and stuff, but Carl Sando????

[chirpsythismorning]

Thinking about the what if El was never interested in Mike romantically, she just assumed she was discourse on the tag today and how it's very possible what could make El fully realize this, is when in s5 she see's Will's love for Mike in real time, for the first time, and she's just like damn! That is not me!

[genericpuff]

my unabridged thoughts on 278-279: