#but also the more I focused on it the more parallels I found

[atlantic-riona]

Batgirl #9 (2000) // the Iliad trans. Caroline Alexander // Táin Bó Cuailnge trans. Thomas Kinsella

[kerorowhump]

"H-Hi... we're back home..."

"But... sergeant, what's going on? Do you feel sick?"

"Don't worry. How are the guests?"

"I will be eternally grateful to her... if Lady Natsumi is leading the team that's in the kitchen I'm certain that our guests will appreciate it a lot..."

[rockrosethistle]

If there's one thing TGWDLM fans are gonna do, it's think about the implications. And the implications of the opening number are crazy.

So. We know that the show isn't completely chronological since the opening number takes place before the meteor hits. So that song is a sort of "flash forward" moment. But when you think about it, we don't really know how far in the future it takes place.

What we do know is that by the time it's happening, Emma is infected. She has a little solo in it singing about how Paul is pining over a barista

And we know that this is meant to be an infected Emma specifically. Lauren had other characters in the show, if they wanted to avoid the Emma implication they would've just dressed her as one of those.

So we know this is meant to be Emma.

And Emma isn't infected until the very end of the show. She's dragged off stage during the credits. So since she's infected in the opening number, we know the number takes place after the events of the show.

Another important detail is that Paul is infected before Emma. He's the one that passes it on to her.

So back to the opening number, Emma is infected. Which means by just following a simple timeline, Paul must also be infected. He should be singing and dancing, right?

But that's not what happens. Paul misses his entrance.

If Paul is infected, then there's no reason he should be missing his entrance. Furthermore, if he's a part of a hive mind, there's no reason other members of the same hive mind shouldn't know where he is. They are literally all connected by one brain, and yet both Mr. Davidson and Bill express they have no clue where he went.

What I'm saying is that Paul is not infected. He was infected (again, we know that because Emma is infected and he was infected before her) but now he's not anymore.

I'm saying there's a way out of the hive, and Paul found it. That's the only explanation that makes sense given the facts of the situation. Sometime after the events of tgwdlm, Paul is able not only to break out the hive mind, but to hide from it.

And if he broke out, others could do the same. Maybe even Emma.

Edit because a countertheory has emerged: Yes it's possible that everyone is infected the entire time and the show itself is just Pokey replaying the events for the fun of it. But it seems unlikely to me. First of all, each of the Lords in Black has a distinct personality. They all are evil, but within that they seems to fall somewhere on a spectrum of "silly billy" to "prick." For example, Tinky is more of a silly billy. He toys with humans without much of a motive and more for just shits and giggles. But in every instance, Pokey's more on the extreme side of prick.

He's one of the few with an actual motive behind what he does. In Yellowjacket, it's confirmed that Pokotho hates the sound of anyone's voice except for his own. The events of TGWDLM don't happen because Pokey is bored, they happen because he is executing a plan. So I don't think that he would just have them play out their little scenario just to entertain him, especially just one small island? I just feel like he'd be more focused on world domination.

If the theory is that all this is happening after Pokey's already taken over the whole world, no one was successful in stopping him, then yes it's plausible, but still weird. There are a strange amount of things in that show you just think an eldritch god wouldn't include.

Edit 2: New evidence has emerged???

The Guy Who Didn't Like Musicals is loosely based off of Invasion of The Body Snatchers. Paul's last name is even a nod to the main character, Matthew. At the end of the film, Matthew survives, and continues living among the infected, pretending to be one of them. And wouldn't that be just such a fun little parallel...

Obviously it doesn't prove anything but the source material doesn't lie folks.

[aceof-stars]

One thing I love about Miles Edgeworth is how realistic and practical he is, more than he is moralistic. As much as Miles cares about justice and doing what he thinks is right, he’s not fueled by belief the same way, for example, Phoenix is. And this is one of the things I feel like gets ignored or brushed aside when Miles's character is softened too much.

Both pre and post redemption, Miles puts a lot of emphasis on reality and the bottom line of what people can do in a situation.

In Turnabout Goodbyes, the first thing Edgeworth says in response to Phoenix asking him why he became a prosecutor instead of a defense attorney is: "… I couldn't let myself deny reality like you."

He also doesn't truly believe that every defendant he prosecutes is guilty, contrary to popular belief. In Turnabout Sisters, he says this: ""Innocent"…? How can we know that? The guilty will always lie, to avoid being found out. There's no way to tell who is guilty and who is innocent! All that I can hope to do is get every defendant declared "guilty"! So I make that my policy." Miles is disillusioned with finding the truth and trusting people that he settles for doing all he can hope to do.

And when you think about it, his motivation of finding the truth is an extension of his realism. After all, the truth is quite literally the most objective, realistic thing ever. In 1-3, after helping Phoenix convict Dee Vasquez, he says: "Will Powers was innocent. That he should be found so is only natural… not a miracle." The truth as a motivation is probably a grounding force for him.

When Miles comes back in Farewell My Turnabout, he calls out Phoenix's flawed motivations for becoming a defense attorney by offering realism: "We aren't some sort of heroes. We're only human, you and I. You want to "save someone"? That's something easier said than done, wouldn't you say? You are a defense lawyer. You can't run away from that. You can only fight. That's all you can do." Miles isn't saying Phoenix can't "save someone". Miles is saying that Phoenix shouldn't be so focused on saving someone that he forgets that his job as a defense attorney is only to fight for them.

Side note, I love the way Miles comforts people, he isn't exactly "nice" but he's incredibly kind. His blunt honesty digs at the heart of the matter, and he gives them an extra push because he respects them enough.

And then there's, possibly, my favorite Miles Edgeworth line: "It doesn't matter how many underhanded tricks a person uses… The truth will always find a way to make itself known. The only thing we can do is to fight with the knowledge we hold and everything we have. Erasing the paradoxes one by one… It's never easy… We claw and scratch for every inch. But we will always eventually reach that one single truth. This I promise you." This directly parallels the line he says in 1-2, and it makes me emotional every time I think about it.

The fact that Miles Edgeworth never lost his unwavering realism, in both quotes he acknowledges how untrustworthy people can be, but gained a new purpose.

[splatoonpolls]

a really long analysis about fanon Marina and the flanderization by fandom she has gotten

fanon marina (the version created by the fans) mainly focuses on two things, her being autistic coded and her being basically confirmed to be a lesbian. And I do think this has to do with her being VERY much like a typical splatoon fan in many people’s eyes. Her being a nerdy queer neurodivergent person. This is also why other parts, especially her relationship with her being an octoling gets often locked away. Subconsciously at least

if Marina was a book, several chapters would focus on her identity as a dome octoling. Her being autistic would probably pop up here and there, but it wouldn’t be a whole chapter. But her very much gay relationship with Pearl would definitely have a few chapters. But with people focusing on those few lines and chapters rather than the whole book. People would slowly ignore the other chapters, get shocked like Adam Sandler learning Pac-Man was the bad guy in the hit movie pixels.

the splatoon fandom’s western side is mainly white Americans and Europeans. Which is one reason why the fanon Marina doesn’t focus on her identity as an octoling, but also on how many details are not really told to the player. Marina barely shows her ears, which can both be read as her having sensory issues (which is a super valid headcanon(, but also her not feeling super comfortable with her body. With her ears being a reminder of her “you are with people who still think you are only going to steal stuff”. Her tentacles may be weird, she may lack the eyeliner an inkling has. But those things can simply be a stylistic choice. Her ears can’t be one. They are too different. I also know the DLCS focuses more on her identity as a dome octoling. However many can understand how her arc as a whole can be paralleled to the real life experiences of people belonging to marginalized ethnic communities. I also want to point, while writing this. I realized (which many people probably already did). Dome octolings you see outside of the domes (splatoon 2 octolings, Marina, Acht, Paul), are all refugees. They are all characters who grew up in a society that had been shunned for decades, even centuries. That society ended up being oppressive both due to external and internal issues. They know the society they’re living in is no longer a good place to live in. So they escape. Hoping to find a place that will take them on. For agent 8, Marina, and Paul. They found a safe place. Acht wasn’t super lucky however. They were told they could find a “promised land” only to be left in even more ruin before. So not only does Marina’s character arc focus on her being a part of an ethnic minority, but a refugee at that. so why does fanon marina usually avoid that part of her? Well as a mentioned before. Marina has three things that makes her very relatable. While the more backstory focused things are less relatable to a way smaller margin of the splatoon fandom. A way smaller part of the fandom are poc in a very white country. And a very small percentage are refugees.

if we removed Marina’s backstory. We would still be left with the fanon version. A nerdy autistic lesbian who deeply loves Pearl. I love how Nintendo got a game that also isn’t afraid to show a society that cares about queer people if not is queer centric itself. Which is probably why many people cling to that part of Marina. But if we removed that part. What would we be left with? Well, we would have an octoling refugee who is a trained soldier and can create weapons of destructions (and she would still be in love with Pearl, it is an important part of her backstory). im not saying the splatoon fandom’s openness to lgbtq and neurodivergent people is a bad thing just because they boil down one of the most plot heavy characters down to those things. It is actually a really great thing to have a fandom that is open to these marginalized groups.

i just want to say, due to this love for Marina being a character you can relate to. It feels like certain parts of Marina’s character (which can also be very relatable to some) is being drifted away to the more lore centric side of the fandom. Which will lead to a sort of fandom flandarization which is very unintentional and just done due to a love of Marina as a character.

If you’ve read this an disagreed, that is fine. Character writing is a very subjective thing

[rinky-dinky-dink]

Star Sanses But There's More Of Them

Figured I would make a sort of master post for my Star Sanses interpretation! This is just an idea I'm playing around with, I don't plan on making a proper storyline for them at the moment. Just me exploring characters!

Long post ahead-

General:

All five members have star badges, per Blue's insistence ("So they look more like a team!" Ink liked the idea of them all sharing a design element, and Sugarplum thought the idea was fun, so Dream and Red were outvoted). The badges are equippable items to give each member a bit of a boost in combat (exact stats have yet to be decided).

Combat:

The five of them end up a pretty efficient team in fights, especially against Nightmare's Gang (plus Error sometimes). Even when Dream is occupied fully with Nightmare, and Ink's attention is on Error - Blue, Red, and Sugarplum manage to hold their own even as incodes. Combat roles (per the rules of DnD, for no real reason) are as follows:

Dream is the leader, he maintains party focus and morale, and generally decides the strategy going into a fight. His ability to sense the feelings of others allows him to monitor his teammates even during combat, so he can call for a retreat if necessary. (Switches to/also serves controller role, when needed.)

Ink is the group's striker, he's fast and he hits hard with precision, but it can be difficult for him to focus on more than one enemy at a time. Stays up close to the opponents, falls back behind the others on occasion to refill his paints or regain his bearings. (When fully necessary, he can use his brush to take broader strokes and serve as controller with color coded AoE attacks. Can serve as leader in extremely rare situations, but that's not nearly as fun, so he's content to let Dream do it.)

Blue is the defender, he's the tankiest of the group despite his shorter stature. He has the highest base defense of the group's three incodes, since he's essentially a Papyrus. Not much aggression in combat, preferring to help cover the others as they attack. (Can switch to striker role, if necessary.)

Red is the controller of the group, his bones and blasters let him cover a wide area from a safer distance. His stats still aren't great, so he hangs back from up close combat, and relies on Blue to help maintain the distance, especially when he gets tired and needs a bit of time to recover.

Sugarplum is also a controller, technically speaking. He focuses less on direct combat and more on effects, usually ACTing to lower an opponent's AT, DF, or speed. He also hangs back from direct fighting most of the time, and heals the others (mostly Blue) when their HP gets too low.

General Team Dynamics:

Dream: The leader of the group, as agreed by everyone else. He's friendly and easy to get along with, so he serves as a good "face" for the team. (Ink also thinks Dream having his own "gang" is a fun parallel to Nightmare!) Keeps the group on track when on missions, when the others' antics (affectionate) threaten to veer them off course. He's nervous about the responsibility this sort of role comes with, and whether or not his aura is skewing his teammates' evaluation of him as a leader, but he's determined to do his best.

Ink: Local menace. Bastard. Usually the cause/intigator of the team's distractions. Here to have a good time, occasionally at the expense of others. Sends cursed memes to the team groupchat at 3am. Luckily the others don't mind his sense of humor (Red thinks he's funny as hell sometimes), and Blue's general enthusiasm usually just serves as fuel to his fire. Will randomly give his teammates a thoughtful gift (a trinket he found somewhere that reminded him of them), and then steal food off their plate before they can say "thank you." Overall he's having a good time, and the others have just accepted this weird eldritch paint skeleton on their team.

Blue: Underswap Sans! As peppy as ever, always there to cheer on his friends and tell them he believes in them. Tends to get caught up in his own excitement sometimes, but means well! His ability to befriend even the more hostile residents of the multiverse makes him the glue of the team, keeping everyone together and on the same page even when Dream and Ink argue, or Red is a bit too abraisive. Since being exposed to the multiverse and joining the team, he's changed his focus from being a royal guard back home, to being a hero alongside his friends. There are people to be helped, and he's found the recognition he's always wanted but couldn't quite achieve back home. He's still technically a sentry back in Snowdin, and still has to return relatively frequently to keep the whole multiverse thing under wraps, but his brother helps cover for his absence. (Papyrus isn't super fond of the whole concept, especially not Ink, but he supports his brother 100%.)

Red: Underfell Sans! The designated grump of the group, he still hasn't really shaken off the defensive habits he learned from back home. The "tough guy" of the Stars, he's generally not a bad guy once you get past that wall he keeps up. Is steadily improving, unlearning a lifetime of defensiveness and distrust is difficult. (His jacket is heavy, and he would drop it over a teammate's shoulders in lieu of a weighted blanket if they needed it though. Just don't go spreading those kinds of rumors about him.) Has not told his brother about his multiverse-hopping escapades with the other Stars, partially out of worry that his universe will start bleeding out into more peaceful ones. He's dodging that particular conversation with everything he has.

Sugarplum: Underlust Sans! Doesn't really live in his own universe anymore, spends 99% of his time in the Omega Timeline. Doesn't like to talk about his universe, dodges any questions in relation to it (luckily in multiversal etiquette it's considered rude to ask questions about someone's universe, unless invited to do so). Didn't start out as much of a fighter, and still doesn't quite match up to the other Stars, but he can hold his own in a pinch. All the fighting and training and running around burns energy, which helps keep his soul from acting up. Wine aunt energy, always up to date on drama in the OT. Generally pretty chill, with an easygoing attitude that lets him help Blue smooth things over when conflicts arise in the team. Drinking buddies with Red, can relate to having a messed up universe he'd rather not discuss.

~~~~~~~~~

Dream -> @/jokublog Ink -> @/comyet Blue -> @/popcornpr1nce Red -> @/underfell Sugarplum -> @/nsfwshamecave

[lycheeloving]

ANOTHER MULTIVERSE FIC because I can't stop myself, apparently. An injustice!Superman one, this time. I imagine you were a small-time hero/vigilante in this one, so Superman knew (and liked) you before he turned bad, but you weren't super close, before.

-You wake up in an unfamiliar room, tied to a chair, not knowing how you got there. Kal doesn't ever let you leave the fortress. But you don't know how anyone else could have gotten in to take you here, wherever here is. Maybe it was Kal? But why would he do that?

-You spot a woman tied up in another chair next to you, it seems like she also just woke up. She reminds you of someone, but you can't remember who exactly... You want to ask her if she knows more about what's going on, when you realize you're both gagged. Shit. You can't even communicate with her!

-A man comes in, rambling something about how he's glad you're finally awake and about his plan finally taking shape. You feel like you should know this guy, but can't quite put a finger on it...

-Being unsure if you know who he is, as you're "not from here", he introduces himself. He's Lex Luthor.

-Wait. Lex Luthor? The Lex Luthor? The dead one, who was killed by Superman? Is this a prank? Because if so, it isn't funny at all. And quite dangerous for everyone involved.

-Luthor (if that is his real name) then focuses on the woman next to you. He addresses her as "Mrs. Lane".

-Lane as in Lois Lane? Like, Lois Lane from the Daily Planet? Clark Kent's, Superman's wife? Now you know something is extremely wrong. She's dead, too, and everyone knows not to mention her name unless they want to face Superman's wrath... You make a few muffled sounds beneath your gag, itching to ask about just what is going on here.

-Luthor says he's going to explain everything, don't be so impatient! He has a machine that can open portals to parallel universes, which is how he got you here. His plan includes kidnapping the person that is most important to Superman in his own universe (Lois Lane), the person most important to Superman in a second universe (You!) and then making the Supermen fight each other by threatening your lives. The only way to save you is if one Superman dies. This room is Superman proof, he can't hear or see anything that's happening in here, so they can't just swoop in and save you. After the fight, he's going to let the winning Superman enter this room, promising him that he can rescue Lois or you. Except not really, because he's going to try to kill the winner too, because that should be easier after he just fought another Superman, right? He hasn't opened a portal to let the Superman from your universe know about how he can save you, yet. He closed the portal he got you through immediately after kidnapping you, so he had more time to prepare everything. How he found you? Something about being able to detect kryptonian dna residue on you. And you were in Superman's fortress. Easy to combine that you must be important to him.

-That's... actually not a terrible plan! Sure, it might not work out exactly the way that Luthor is planning, but beating Superman with Superman is a great idea! Actually it'd be great if Luthor got a third one here. Two Supermen should definitely be able to defeat one Superman, right? Unfortunately you can't communicate any of this through your gag. Damn, you'd love to help him improve his plan...

-You wonder if he chose your universe completely randomly, or if he chose an evil Superman on purpose. You don't think he did, he didn't mention the regime with one word, and if it existed in this universe he wouldn't be working on this stupid plan. And Lois wouldn't be alive, probably.

-Before you can let your thoughts spiral even more, Luthor falls over. Huh? Is he unconscious? You spot Batman coming towards you. Ah. That explains that, then. Man, you haven't seen Batman in such a long time...

-"Are you two alright?" He quickly cuts through the ropes tying you to the chairs, freeing you. "Good thing you used your bat emergency-signal, Lois. I was able to get to you before Superman could fall for Luthor's trap." Wait, why would Lois contact Batman? Oh, right, sometimes you forget that he and Superman used to be friends, so obviously his wife would trust him too.

-He takes off both of your gags and then turns to you. "We figured out you're from a parallel universe, but don't worry, Nightwing is currently working on a way to get in contact with the Superman from your dimension, so-"

-"NO!", you scream, making Batman look at you in confusion. You quickly tell him to contact Nightwing, to make him stop trying to open a portal or god forbid, contact Kal!! Noticing the urgency in your voice, Batman quickly complies and lets Nightwing know to stop what he's doing, before asking you to elaborate. Phew! The last thing you need is an angry Superman wreaking havoc in a second universe.

-You start explaining to Batman about how your Superman started changing for the worse after Lois died (sparing the details, as she's kind of sitting right next to you), started to get darker, kill villains, everyone who did something bad, people who disagreed with him. Other heroes, even. People he used to be friends with. How everyone who didn't agree with him and join his regime, including you and Batman, had to go into hiding, trying to find a way to stop him. Clark, no KAL-EL found you at some point, but instead of killing you, he unexpectedly took you, basically imprisoned you. Kept you like a pet who's not smart enough to make their own decisions. (You never even knew he liked you like that at all, before that. Sure, he was always nice to you, but he had Lois!)

-Lois seems visibly shocked, whereas Batman just listens to you stoically. "All this to say, it's good to see you alive, Lois!" You smile weakly. She tries to smile back, but before she can respond, Batman cuts her off. "We should leave this place. I doubt it's very safe here. We should return to the Batcave, think of a plan." You spare one last glance at Luthor, who's still lying on the floor (Are we just going to leave him here? Huh. Ok.), then follow Batman outside.

-As soon as you're out of the building, something rushes past you. "Lois! Are you ok? Did he hurt you?" Not something. Someone. You try not to flinch as he fusses over her, while she reassures him that she's fine multiple times.

-After he's convinced she's not hurt, he turns to you with a gentle smile. "Hello! So you're close to the Superman in another dimension, then?" As he takes a step towards you, you instinctively take a step back towards Batman. Clark frowns at him quizzically. It's funny, he almost looks like a confused puppy. You would smile if you didn't know that this is all a facade to distract from his god-like, destructive powers.

-"Turns out the other version of you is some kind of evil dictator." Well, leave it to Batman to get straight to the point. Clark opens and closes his mouth a few times, thinking about what to say. "Well, I can assure you that I'm not like the Superman you know. I promise you, I'm a good person! At least I try my best to be one. You don't have to be scared." His voice is getting increasingly gentle, trying to reassure you.

-"Oh yeah? That's exactly what the Superman from my dimension would have said, before..." You don't mention his wife's death, not wanting to anger him. "The same thing could happen to you. You might be nice now, but who knows what the future holds?" As you're saying this, you slowly move slightly behind Batman. Just in case. He should have some kryptonite on him, right?

-Superman just frowns harder, then turns to Lois. "We should go home." He picks her up and turns to Batman. "Contact me as soon as you have plans for... handling the other me." With that, he takes off.

-Batman ushers you into the Batmobile, where Nightwing (another ghost, to you) is already waiting. You keep turning to look at him during the drive to the Batcave, while Bruce explains the situation to him. If they notice your weird looks, they don't mention it.

-You allow yourself to feel some hope. Maybe you can contact your Bruce? Help him out! Send a few still good Supermen! Your head is spinning with ideas, and you're sure Batman can come up with even better ones. You can't help but smile, your nightmare might finally be over...

[anominous-user]

Double Indemnity, Veritas Ratio and Aventurine

This was originally a part of my compilation post as a short analysis on the Double Indemnity references, linking to this great thread by Manya on Twitter. However, I've recently watched the movie and found that the parallels run much deeper than just the mission name and the light cone itself, plus as the short synopsis I've read online. Since there isn't really an in-depth attempt at an analysis on the film in relation to the way Aventurine and Ratio present themselves throughout Penacony, I thought I'd take a stab at doing just that. I will also be bringing up things from Manya's thread as well as another thread that has some extra points.

Disclaimer that I... don't do analyses very often. Or write, in general — I'm someone who likes to illustrate their thoughts (in the artistic sense) more than write. There's just something about these two that makes me want to rip into them so badly, so here we are. If there's anything you'd like to add or correct me on, feel free to let me know in the replies or reblogs, or asks. This ended up being a rather extensive deep dive into the movie and its influences on the pairing, so please keep that in mind when pressing Read More.

There are two distinct layers on display in Ratio and Aventurine's relationship throughout Penacony, which are references to the two most important relationships in the movie — where they act like they hate/don’t know each other, and where they trust each other.

SPOILER WARNING for the entire movie, by the way. You can watch the film for free here on archive.org, as well as follow along with the screenplay here. I will also be taking dialogue and such from the screenplay, and cite quotes from the original novel in its own dedicated section. SPOILER WARNING for the Cat Among Pigeons Trailblaze mission, as well.

CONTENT WARNING FOR MENTIONS OF SUICIDE. YOU HAVE BEEN WARNED.

To start, Double Indemnity (1944) is a film noir by Billy Wilder (and co-written by Raymond Chandler) based on the novel of the same name by James M. Cain (1927). There are stark differences between the movie adaptation and the original novel which I will get into later on in this post, albeit in a smaller section, as this analysis is mainly focused on the movie adaptation. I will talk about the basics (summaries for the movie and the game, specifically the Penacony mission in tandem with Ratio and Aventurine) before diving into the character and scene parallels, among other things.

—

[THE NAME]

The term "double indemnity" is a clause in which if there’s a case of accidental death of a statistically rare variety, the insurance company has to pay out multiple of the original amount. This excludes deaths by murder, suicide, gross negligence, and natural causes.

The part of the mission in Cat Among Pigeons where Ratio and Aventurine meet with Sunday is named after the movie. And before we get further into things, let's get this part out of the way: The Chinese name used in the mission is the CN title of the movie, so there's no liberties taken with the localization — this makes it clear that it’s a nod to the movie and not localization doing its own thing like with the mission name for Heaven Is A Place On Earth (EN) / This Side of Paradise (人间天堂) (CN).

—

[SUMMARY OF THE 1944 MOVIE]

Here I summarised the important parts that will eventually be relevant in the analysis related to the game.

Insurance salesman Walter Neff, wounded from a gunshot, enters his office and confesses his crime on a dictaphone to his boss Barton Keyes, the claims manager. Much earlier, he had met Phyllis Dietrichson, the wife of Mr. Dietrichson and former nurse. Neff had initially wanted to meet Mr. Dietrichson because of car insurance. Phyllis claims her husband is mean to her and that his life insurance goes to his daughter Lola. With Neff seduced by Phyllis, they eventually brew up a scheme to murder Mr. Dietrichson in such a way that they activate the "double indemnity" clause, and the plan goes off almost perfectly. Initially, the death is labeled a suicide by the president of the company, Norton. 

Keyes finds the whole situation suspicious, and starts to suspect Phyllis may have had an accomplice. The label on the death goes from accidental, to suicide, to then murder. When it’s ruled that the husband had no idea of the accidental policy, the company refuses to pay. Neff befriends Phyllis’ stepdaughter Lola, and after finding out Phyllis may have played a part in the death of her father’s previous wife, Neff begins to fear for Lola and himself, as the life insurance would go all towards her, not Phyllis.

After the plan begins to unravel as a witness is found, it comes out that Lola’s boyfriend Nino Zachette has been visiting Phyllis every night after the murder. Neff goes to confront Phyllis, intending to kill her. Phyllis has her own plans, and ends up shooting him, but is unable to fire any more shots once she realises she did love him. Neff kills her in two shots. Soon after telling Zachette not to go inside the house, Neff drives to his office to record the confession. When Keyes arrives, Neff tells him he will go to Mexico, but he collapses before he could get out of the building.

—

[THE PENACONY MISSION TIMELINE]

I won’t be summarising the entirety of Aventurine and Ratio’s endeavours from the beginning of their relationship to their final conversation in Heaven Is A Place On Earth the same way as I summarised the plot of the movie, so I will instead present a timeline. Bolded parts means they are important and have clear parallels, and texts that are in [brackets] and italics stand for the names of either the light cone, or the mission names.

[Final Victor] Their first meeting. Ratio’s ideals are turned on its head as he finally meets his match.

Several missions happen in-between their first encounter and the Penacony project. They come to grow so close and trusting with each other that they can guess, understand each other’s thoughts, way of thinking and minds even in high stakes missions. Enough to pull off the Prisoner’s Dilemma (Aventurine’s E1) and Stag Hunt Game (Aventurine’s E6) and come out on top.

Aventurine turns towards Ratio for assisting him in the Penacony project. Ratio's involvement in the project is implied to be done without the knowledge of Jade, Topaz, and the IPC in general, as he was only sent to Penacony to represent the Intelligentsia Guild, and the two other Stonehearts never mention Ratio.

Aventurine and Ratio cook up the plan to deceive Sunday before ever setting foot on Penacony. Aventurine does not tell Ratio the entirety of his plan.

Aventurine convinces Topaz and Jade to trust him with their Cornerstones. Aventurine also breaks his own Cornerstone and hides it along with the jade within a bag of gift money.

[The Youth Who Chase Dreams] They enter Penacony in the Reverie Hotel. Aventurine is taken to the side by Sunday and has all his valuables taken, which includes the gift money that contains the broken aventurine stone, the jade, and the case containing the topaz.

Aventurine and Ratio speak in a “private” room about how Aventurine messed up the plan. After faking an argument to the all-seeing eyes of Sunday, Ratio leaves in a huff.

Ratio, wearing his alabaster head, is seen around Golden Hour in the (Dusk) Auction House by March 7th.

[Double Indemnity] Ratio meets up with Sunday and “exposes” Aventurine to him. Sunday buys his “betrayal”, and is now in possession of the topaz and jade. Note that this is in truth Ratio betraying Sunday all along.

Ratio meets up with Aventurine again at the bar. Ratio tells Aventurine Sunday wants to see him again.

They go to Dewlight Pavilion and solve a bunch of puzzles to prove their worth to Sunday.

They meet up with Sunday. Sunday forces Aventurine to tell the truth using his Harmony powers. Ratio cannot watch on. It ends with Aventurine taking the gift money with his Cornerstone.

[Heaven Is A Place On Earth] They are in Golden Hour. Ratio tries to pry Aventurine about his plan, but Aventurine reins him in to stop breaking character. Ratio gives him the Mundanite’s Insight before leaving. This is their final conversation before Aventurine’s grandest death.

Now how exactly does the word “double indemnity” relate to their mission in-game? What is their payout? For the IPC, this would be Penacony itself — Aventurine, as the IPC ambassador, handing in the Jade Cornerstone as well as orchestrating a huge show for everybody to witness his death, means the IPC have a reason to reclaim the former prison frontier. As for Ratio, his payout would be information on Penacony’s Stellaron, although whether or not this was actually something he sought out is debatable. And Aventurine? It’s highly implied that he seeks an audience with Diamond, and breaking the Aventurine Cornerstone is a one way trip to getting into hot water with Diamond. With Aventurine’s self-destructive behaviour, however, it would also make sense to say that death would be his potential payout, had he taken that path in the realm of IX.

Compared to the movie, the timeline happens in reverse and opposite in some aspects. I will get into it later. As for the intended parallels, these are pretty clear and cut:

Veritas Ratio - Walter Neff

Aventurine - Phyllis Dietrichson

Sunday - Mr. Dietrichson

There is one other character who I feel also is represented in Ratio, but I won’t bring them up until later down the line.

For the sake of this analysis, I won’t be exploring Sunday’s parallel to Mr. Dietrichson, as there isn’t much on Dietrichson’s character in the first place in both the movie and the novel. He just kind of exists to be a bastard that is killed off at the halfway point. Plus, the analysis is specifically hyper focused on the other two.

—

[SO, WHAT’S THE PLAN?]

To make things less confusing in the long run whenever I mention the words “scheme” and “plan”, I will be going through the details of Phyllis and Neff’s scheme, and Aventurine and Ratio’s plan respectively. Anything that happens after either pair separate from another isn’t going to be included. Written in a way for the plans to have gone perfectly with no outside problems.

Phyllis and Neff —> Mr. Dietrichson

Goal: Activate the double indemnity clause by killing Mr. Dietrichson and making it look like a freak train accident

Payout: Twice or more of the face value of the life insurance ($100,000)

Main Actor: Walter Neff    |    Accomplice: Phyllis Dietrichson

During the entire time until the payout, Phyllis and Neff have to make sure to any outsiders that they look like complete strangers instead of lovers in an affair.

Step-by-step:

Neff convinces Mr. Dietrichson to sign the policy with the clause without him suspecting foul play, preferably with a third party to act as an alibi. This is done discreetly, making Mr. Dietrichson not read the policy closely and being told to just sign.

Neff and Phyllis talk to each other about small details through the phone (specified to be never at Phyllis’ own house and never when Neff was in his office) and in the marketplace only, to make their meetings look accidental. They shouldn’t be seen nor tracked together, after all.

Phyllis asks Mr. Dietrichson to take the train. She will be the one driving him to the train station.

On the night of the murder, after making sure his alibi is airtight, Neff sneaks into their residence and hides in their car in the second row seating, behind the front row passenger seat. He wears the same colour of clothes as Mr. Dietrichson.

Phyllis and Mr. Dietrichson get inside the car — Phyllis in the driver’s seat and Mr. Dietrichson in the passenger seat. Phyllis drives. On the way to the train station, she makes a detour into an alley. She honks the horn three times.

After the third honk, Neff breaks Mr. Dietrichson’s neck. The body is then hidden in the second row seating under a rug.

They drive to the train station. Phyllis helps Neff, now posing as Mr. Dietrichson, onto the train. The train leaves the station.

Neff makes it to the observation platform of the parlour car and drops onto the train tracks when nobody else is there.

Phyllis is at the dump beside the tracks. She makes the car blink twice as a signal.

The two drag Mr. Dietrichson’s corpse onto the tracks.

They leave.

When Phyllis eventually gets questioned by the insurance company, she pretends she has no idea what they are talking about and eventually storms off.

Phyllis and Neff continue to lay low until the insurance company pays out.

Profit!

Actual Result: The actual murder plan goes almost smoothly, with a bonus of Mr. Dietrichson having broken a leg. But with him not filing a claim for the broken leg, a witness at the observation platform, and Zachette visiting Phyllis every night after the murder, Keyes works out the murder scheme on his own, but pins the blame on Phyllis and Zachette, not Neff.

Now for Aventurine and Ratio. You can skip this section if you understand how deep their act goes, but to those who need a refresher, here’s a thorough explanation:

Aventurine and Ratio —> Sunday

Goal: Collect the aventurine stone without Sunday knowing, ruin the dream (and create the grandest death)

Payout: Penacony for the IPC, information on the Stellaron for Ratio, a meeting with Diamond / death for Aventurine

Main Actor: Aventurine    |    Accomplice: Veritas Ratio

From the moment they step onto Penacony, they are under Sunday’s ever present and watchful eyes. “Privacy” is a foreign word to The Family. They have to act like they don’t like each other’s company the entire time and feed Sunday information through indirect means so that the eventual “betrayal” by Ratio seems truthful to Sunday. Despite what it looks like, they are closer than one would ever think, and Ratio would never sell out a person purely for information.

Step-by-step:

After Sunday takes away the bag of gift money and box, Aventurine and Ratio talk in a room in the Reverie Hotel.

Aventurine establishes the Cornerstones’ importance, and how he lost the gift money and the case containing the Cornerstones to Sunday. Ratio turns to leave, saying “some idiot ruined everything”, meaning the Cornerstones were vital to their plan. (Note that Ratio is not wearing his alabaster head while saying it to said “idiot”.)

Aventurine then proceeds to downplay the importance of the Cornerstones, stating they are “nothing more than a few rocks” and “who cares if they are gone”. This lets Sunday know that something suspicious may be going on for him to act like it’s nothing, and the mention of multiple stones, and leaves him to look up what a Cornerstone is to the Ten Stonehearts of the IPC.

Ratio points out his absurd choice of outfit, mentioning the Attini Peacock and their song.

Ratio implies that without the aventurine stone, he is useless to the IPC. He also establishes that Aventurine is from Sigonia(-IV), and points out the mark on his neck. To Sunday, this means that Aventurine is shackled to the IPC, and how Aventurine may possibly go through extreme lengths to get the stone back, because a death sentence always looms above him.

Aventurine claims Ratio had done his homework on his background, which can be taken that this is their very first time working together. (It isn’t, and it only takes one look to know that Aventurine is an Avgin because of his unique eyes, so this comment does not make sense even in a “sincere” way, a running theme for the interaction.)

Ratio mentions how the true goal is to reclaim Penacony for the IPC, establishing their ulterior motive for attending the banquet.

Ratio asks if Aventurine went to pre-school in Sigonia after saying trust was reliant on cooperation. Aventurine mentions how he didn’t go to school and how he doesn’t have any parents. He even brings up how friends are weapons of the Avgins. This tells Sunday that the Avgins supposedly are good at manipulation and potentially sees Ratio possibly betraying Aventurine due to his carelessness with his “friends”. Sunday would also then research about the Avgins in general (and research about Sigonia-IV comes straight from the Intelligentsia Guild.)

Ratio goes to Dewlight Pavilion in Sunday’s Mansion and exposes a part of Aventurine’s “plan”. When being handed the suitcase, Ratio opens it up due to his apparent high status in the IPC. He tells Sunday that the Cornerstone in the suitcase is a topaz, not an aventurine, and that the real aventurine stone is in the bag of gift money. This is a double betrayal — on Aventurine (who knows) and Sunday (who doesn’t). Note that while Ratio is not officially an IPC member in name — the Intelligentsia Guild (which is run by the IPC head of the Technology Department Yabuli) frequently collaborates with the IPC. Either Aventurine had given him access to the box, or Ratio’s status in general is ambiguous enough for Sunday not to question him further. He then explains parts of Aventurine’s gamble to Sunday in order to sell the betrayal. Note that Ratio does not ever mention Aventurine’s race to Sunday.

Ratio brings Aventurine to Sunday. Aventurine offers help in the investigation of Robin's death, requesting the gift money and the box in return.

Sunday objects to the trade offer. Aventurine then asks for just the bag. A classic car insurance sales tactic. Sunday then interrogates Aventurine, and uses everything Ratio and Aventurine brought up in the Reverie Hotel conversation and their interactions in the Mansion, as well as aspects that Ratio had brought up to Sunday himself.

Aventurine feigns defeat and ignorance enough so that Sunday willingly lets him go with the gift bag. After all is said and done, Aventurine leaves with the gift money, where the Aventurine Cornerstone is stored all along.

Ratio and Aventurine continue to pretend they dislike each other until they go their separate ways for their respective goals and plans. Aventurine would go on to orchestrate his own demise at the hands of Acheron, and Ratio… lurks in the shadows like the owl he is.

Profit!

Actual Result: The plan goes perfectly, even with minor hiccups like Ratio coming close to breaking character several times and Aventurine being sentenced to execution by Sunday.

This is how Sunday uses the information he gathered against Aventurine:

• Sunday going on a tirade about the way Aventurine dresses and how he’s not one to take risks — Ratio’s comment about Aventurine’s outfit being peacock-esque and how he’s “short of a feather or two”. • “Do you own a Cornerstone?” — Ratio talked about the aventurine stone. • “Did you hand over the Cornerstone to The Family when you entered Penacony?” — Aventurine mentioned the box containing the Cornerstones. • “Does the Cornerstone you handed over to The Family belong to you?” — Aventurine specifically pluralized the word Cornerstone and “a bunch of rocks” when talking to Ratio. • “Is your Cornerstone in this room right now?” — The box in the room supposedly contained Aventurine’s own cornerstone, when Aventurine mentioned multiple stones. • “Are you an Avgin from Sigonia?” —Aventurine mentioned that he’s an Avgin, and Ratio brought up Sigonia. • “Do the Avgins have any ability to read, control, and manipulate one’s own or another’s minds?” — Aventurine’s comment on how friends are weapons, as well as Sunday’s own research on the Avgins, leading him to find out about the negative stereotypes associated with them. • “Do you love your family more than yourself?” — His lost parents. “All the Avgins were killed in a massacre. Am I right?” — Based on Sunday’s research into his background. • “Are you your clan’s sole survivor?” — Same as the last point. “Do you hate and wish to destroy this world with your own hands?” — Ratio mentioned the IPC’s goal to regain Penacony, and Aventurine’s whole shtick is “all or nothing”. • “Can you swear that at this very moment, the aventurine stone is safe and sound in this box?” — Repeat.

As seen here, both duos have convoluted plans that involve the deception of one or more parties while also pretending that the relationship between each other isn’t as close as in reality. Unless you knew both of them personally and their histories, there was no way you could tell that they have something else going on. 

On to the next point: Comparing Aventurine and Ratio with Phyllis and Neff.

—

[NEFF & PHYLLIS — RATIO & AVENTURINE]

With the short summaries of the movie and the mission out of the way, let’s look at Phyllis and Neff as characters and how Aventurine and Ratio are similar or opposite to them.

Starting off with Aventurine and Phyllis. Here is where they are the most similar:

Phyllis is blonde and described as a provocative woman. Aventurine is also a blond and eyes Ratio provocatively in the Final Victor light cone.

Phyllis was put under surveillance after Keyes starts figuring out that the so-called accidental death/suicide may have been a murder after all. Similarly, Aventurine was watched by Sunday the entire time in Penacony.

Phyllis never tells Neff how she's seeing another man on the side to possibly kill him too (as well as how she was responsible for the death of her husband‘s previous wife). Aventurine also didn't tell Ratio the entirety of his plan of his own death.

Phyllis puts on a somewhat helpless act at first but is incredibly capable of making things go her way, having everything seemingly wrapped around her finger. Aventurine — even when putting on a facade that masks his true motives — always comes out at the top.

Now the differences between Aventurine and Phyllis:

Phyllis does not care about her family and has no issue with killing her husband, his previous wife, and possibly her daughter Lola. Opposite of that, Aventurine is a family man… with no family left, as well as feeling an insane level of survivor’s guilt.

Really, Phyllis just… does not care at all about anyone but herself and the money. Aventurine, while he uses every trick in the book to get out on top, does care about the way Jade and Topaz had entrusted him with their Cornerstones, in spite of the stones being worth their lives. 

Phyllis also uses other people to her advantage to get what she wants, often behind other people's backs, with the way she treats Neff and Zachette. Aventurine does as well (what with him making deals with the Trailblazer while also making a deal with Black Swan that involves the Trailblazer). The difference here is Phyllis uses her allure deliberately to seduce men while Aventurine simply uses others as pawns while also allowing others to do the same to himself.

Phyllis makes no attempt at compromising the policy when questioned by Norton. Aventurine ends up compromising by only taking the gift money (which is exactly what he needs).

The wig that Barbara Stanwyck (the actress of Phyllis) wore was chosen to make her look as “sleazy” as possible, make her look insincere and a fraud, a manipulator. A sort of cheapness. Aventurine’s flashy peacock-esque outfit can be sort of seen as something similar, except the outfit isn’t cheap.

Moving on to Ratio’s similarities to Neff… There isn’t much to extrapolate here as Ratio is more of a side character in the grand scheme of Penacony, however this is what I’ve figured out.

Neff has dark hair. Ratio has dark purple hair.

Neff almost never refers to Phyllis by her name when speaking with her, only as “baby”. The few times he refers to her as Phyllis or Mrs. Dietrichson is during their first conversations and when he has to act like he doesn’t know her. Ratio never calls Aventurine by his name when he’s around him — only as “gambler”, sometimes “damned” or “dear” (EN-only) gambler. Only in the Aventurine's Keeping Up With Star Rail episode does Ratio repeatedly say his name, and yet he still calls him by monikers like “gambler” or, bafflingly, a “system of chaos devoid of logic”.

Both Neff and Ratio committed two betrayals: Neff on Mr. Dietrichson and Keyes, and Ratio on Sunday and Aventurine. With the former cases it was to reach the end of the trolley line, and with the latter it was on a man who had put his trust in him.

As for the differences…

Neff is described as someone who’s not smart by his peers. Ratio is someone who is repeatedly idolised and put on a pedestal by other people.

Neff is excellent at pretending to not know nor care for Phyllis whenever he speaks about her with Keyes or when he and she are in a place that could land them in hot water (the office, the mansion when there are witnesses). His acting is on the same level as Phyllis. With Ratio it’s… complicated. While he does pull off the hater act well, he straight up isn’t great at pretending not to care about Aventurine’s wellbeing.

Instead of getting his gunshot wound treated in the hospital like a normal person, Neff makes the absolutely brilliant decision of driving to his office and talking to a dictaphone for hours. Needless to say, this is something a medical doctor like Ratio would never do.

Now here's the thing. Though it's very easy to just look at Phyllis and Neff in the movie and go "okay, Aventurine is Phyllis and Ratio is Neff — end of story" and leave it at that, I find that they both take from the two leads in different ways. Let me explain. Beginning with Aventurine and Neff…

Neff is the one who hatches the plan and encourages Phyllis to go through and claim the double indemnity clause in the first place. He is also the key player of his own risky plan, having to fake being the husband to enter the train as well as fake the death. Aventurine puts himself at great risk just by being in Sunday’s presence, and hoping that Sunday wouldn’t figure out that the green stone he had uncovered wasn’t the aventurine stone.

Adding onto the last point, Neff had fantasised about pulling off the perfect murder for a long time — the catalyst was simply him meeting Phyllis. Aventurine presumably sought out Ratio alone for his plan against Sunday.

Neff makes a roulette wheel analogy and talks about a pile of blue and yellow poker chips (the latter in the script only). I don‘t even have to explain why this is relevant here. (Aventurine’s Ultimate features a roulette wheel and the motif is on his belt, thigh strap, and back, too. And of course, Aventurine is all about his chips.)

Neff has certain ways to hide when he’s nervous, which include hiding his hands in his pockets when they were shaking, putting on glasses so people couldn’t see his eyes. Aventurine hides his left hand behind his back when he’s nervous: Future Aventurine says that "they don't know the other hand is below the table, clutching [his] chips for dear life", and in multiple occasions such as the Final Victor LC, his character trailer, and even in his boss form in the overworld you can see that Aventurine hides his left hand behind his back. And he is also seen with his glasses on sometimes.

Neff says a bunch of stuff to make sure that Phyllis acts her part and does not act out of character (i.e. during their interactions at the market), like how Aventurine repeatedly tries to get Ratio back on track from his subpar acting.

Neff is always one step ahead of the game, and the only reason the plan blows up in his face is due to outside forces that he could not have foreseen (a witness, Keyes figuring out the plan, the broken leg). Aventurine meanwhile plays 5D chess and even with the odds against him, he uses everything he can to come out on the top (i. e. getting Acheron to kill him in the dream).

Even after coming home on the night of the murder, Neff still felt that everything could have gone wrong. Aventurine, with his blessed luck, occasionally wavers and fears everything could go wrong whenever he takes a gamble.

Neff was not put under surveillance by Keyes due to him being extensive with his alibi. After witnessing Robin’s death with eyewitnesses at the scene, the Family had accepted Aventurine’s alibi, though he would be under watch from the Bloodhounds according to Ratio.

Neff talks about the entire murder scheme to the dictaphone. Aventurine during Cat Among Pigeons also retells his plan, albeit in a more convoluted manner, what with his future self and all.

Continuing with Ratio and Phyllis, even with their personalities and motivations being quite different, they do have a few commonalities.

Phyllis was a nurse. Ratio is a medical doctor.

Her name is Greek of origin. Veritas Ratio, though his name is Latin, has Greco-Roman influences throughout his entire character.

The very first scene Phyllis appears in has her wearing a bath towel around her torso. Ratio loves to take baths to clear his mind.

Phyllis was instructed by Neff to be at the market every morning at eleven buying things. Ratio is seen in an auction house with his alabaster head on so no one could recognize him.

Phyllis mostly acts as an accomplice to the scheme, being the one to convince her husband to take the train instead. She is also generally seen only when Neff is involved. Ratio plays the same role as well, only really appearing in the story in relation to Aventurine as well as being the accomplice in Aventurine’s own death. Even him standing in the auction house randomly can be explained by the theory that he and Aventurine had attempted to destabilise Penacony’s economy through a pump and dump scheme.

With these pointers out of the way, let’s take a closer look at select scenes from the film and their relation to the mission and the pair. 

—

[THE PHONE CALL — THE REVERIE HOTEL]

Before the murder, there is a scene with a phone call between Phyllis and Neff discussing the plan while Keyes is in the same room as Neff. Neff has to make sure that Keyes doesn’t think of anything of the phone call, so he acts like he’s calling a “Margie”, and says a bunch of stuff that sounds innocent out of context (“Can’t I call you back, ‘Margie’?” “What color did you pick out?” “Navy blue. I like that fine”), but are actually hinting at the real plan all along (the suit that Mr. Dietrichson wears.)

In a roundabout way, the conversation between Ratio and Aventurine in the Reverie Hotel can be seen as the opposite of that scene — with the two talking about their supposed plan out loud on Penacony ground, a place where the Family (and in turn, Sunday) has eyes everywhere. Despite being in a “private” room, they still act like they hate each other while airing out details that really do not make sense to air out if they really did meet the first time in Penacony (which they didn’t — they’ve been on several missions beforehand). It’s almost like they want a secret third person to know what they were doing, instead of trying to be hushed up about it. The TVs in the room that Sunday can look through based on Inherently Unjust Destiny — A Moment Among The Stars, the Bloodhound statue that disappears upon being inspected, the owl clock on the left which side eyes Ratio and Aventurine, all point to that Sunday is watching their every move, listening to every word.

Rewinding back to before the phone call, in one of the encounters at the marketplace where they “accidentally” run into each other, Phyllis talks about how the trip was off. How her husband wouldn’t get on the train, which was vital for their plan, because of a broken leg. All this, while pretending to be strangers by the passersby. You could say that the part where Ratio almost leaves because Aventurine had “ruined the plan” is the opposite of this, as the husband breaking his leg was something they couldn’t account for, while Aventurine “being short of a few feathers” was entirely part of the plan.

—

[QUESTIONING PHYLLIS — THE INTERROGATION]

This section is going to be a little longer as I will cover two scenes in the movie in a more detailed manner — Mr. Dietrichson signing the policy, and Phyllis being questioned — and how they are represented in the Sunday-Aventurine interrogation and the prior conversation between Ratio and Sunday in multitudes of ways.

Going about their plan, Neff has to make sure that Mr. Dietrichson signs the policy with the double indemnity clause without him knowing the details, all the while having Phyllis (and Lola) in the same room. He and Phyllis have to pretend that they don’t know each other, and that this is just the standard accidental insurance process, instead of signing what would be his downfall. To sell it, he gets Mr. Dietrichson to sign two “copies” of the form, except with Mr. Dietrichson’s second signature, he’s duped into signing the accident insurance policy with the respective clause.

You can tie this to how Ratio goes to Sunday in order to “expose” the lie that the suitcase didn’t actually contain the Aventurine Cornerstone, as well as there being more than one Cornerstone involved in the scheme. Ratio must make sure that Sunday truly believes that he dislikes Aventurine’s company, while also making sure that Sunday doesn’t figure out the actual aventurine stone is broken and hidden in the gift bag. The scheme turns out to be successful, as Sunday retrieves the two Cornerstones, but not the aventurine stone, and truly does think that the green stone he has in his possession is the aventurine.

This whole scene with Sunday is also reminiscent of the interrogation scene in the middle of the movie, where Phyllis was questioned by the boss (Norton) who was deducing that Mr. Dietrichson's death was a suicide, not accidental death. Neff, Phyllis, Keyes and Norton were all in the same room, and Neff and Phyllis had to act like they never knew the other. Phyllis acts like she knows nothing about what Norton insinuates about her husband and eventually, Phyllis explodes in anger and storms out the room, even slamming the door. Her act is very believable to any outsider.

Now back to the Ratio and Sunday conversation. One glaring difference between the movie and here is that his acting isn’t great compared to either Phyllis nor Neff. It never was throughout the Penacony mission. He even comes very close to breaking character several times, and is even defending Aventurine in a somewhat aggressive manner during his one-on-one conversation with Sunday, as in he literally tells Sunday to see a shrink. It’s very different from the way he was acting in Herta Space Station — like Ratio cares about Aventurine too much to keep his hands off.

It's also worth pointing out that Neff doesn't speak a word when Phyllis was being interrogated. Similarly, Ratio is silent throughout the entire scene with Sunday and Aventurine, with his only “line” being a “hm”. When Aventurine calls him a wretch to his face, all he does is look to the side. In fact, he can only look at Aventurine when the other isn’t staring back. Almost like him uttering a single word would give them away. Or his acting is terrible when it has to do with Aventurine, as he has no issue doing the same thing in Crown of the Mundane and Divine (Mundane Troubles).

So, Sunday finds out about the Cornerstones and reveals them to Aventurine, and reasons that he cannot give them back to him because Aventurine had lied. Note that in that same scene, Aventurine attempted to use the two murders that had occurred beforehand against Sunday to retrieve his own cornerstone. Similarly, when it was revealed that Mr. Dietrichson did not know about the accident policy and that the so-called “accidental death” was not, in fact, accidental, the insurance company refused to pay out the money.

Unlike the movie, this was all planned, however. The double-crossing by Ratio, the gift money being the only thing required for Aventurine’s real plan. All of it was an act of betrayal against Sunday, in the same manner as the meticulous planning as Mr. Dietrichson’s murder — To sign the policy, get him to take the train, kill him on the way, and to have Neff pose as the husband on the train until the time is right to get off and lay the body on the tracks. A key difference is that they could not have expected their scheme to be busted wide open due to forces outside of their control, while Ratio and Aventurine went straight down the line for the both of them no matter what.

From here on out, we can conclude that the way Ratio and Aventurine present themselves in Penacony to onlookers is in line with Neff and Phyllis.

—

[“GOODBYE, BABY” — FINAL VICTOR]

And now for the (in)famous light cone, Final Victor. The thing that truly kickstarted the Ratio and Aventurine ship in the fanbase, and the partnership between the two in general. It’s a direct reference to the final confrontation between Neff and Phyllis in the movie.

I’ll fire through all the similarities between the two scenes.

During the respective scenes, Aventurine and Phyllis both outsmart their partner one way or the other: Aventurine with his one-sided game of Russian Roulette, and Phyllis hiding her gun underneath the cushions until Neff turned away.

The guns are owned by Phyllis and Aventurine, not Neff and Ratio.

Phyllis couldn’t bring herself to fire any more shots after she realised she truly did love Neff. Ratio could do nothing but watch as Aventurine did what he did — he couldn’t even pull away if the LC animation is anything to go by him struggling as Aventurine firmly keeps the gun to his chest.

Neff says he doesn’t buy (believe) that Phyllis loved him. She then goes “I’m not asking you to buy […]”. The LC description has Aventurine ask Ratio “You don’t believe me?”, while in the LC animation Ratio straight up says “You expect me to believe you?” and Aventurine answering “Why not, doctor/professor?”

The visual composition of the LC and the scene are nearly identical, from the lighting to the posing to the way Aventurine looks at Ratio — Aventurine and Ratio are even wearing different outfits to fit the scene better. The background in the LC is also like the blinders in the movie, just horizontal.

In the shot where Phyllis’ face is more visible, the way she looks at Neff is strikingly like the way provocatively looks at Ratio. Even their eyes have a visible shine — Phyllis’ eyes brightly shining the moment she realised she really fell in love with Neff, and Aventurine having just a little light return to his eyes in that specific moment.

And now the differences!

Neff holds the gun in his right hand. Aventurine makes Ratio hold his gun in his left.

Neff is the one who takes the gun from Phyllis‘ hand. Aventurine is the one who places the gun in Ratio’s hand and fires it.

Three gunshots are fired. In the movie, Phyllis shoots the first shot and Neff the second and third. Aventurine unloads the gun and leaves only one bullet for this game of Russian Roulette. He pulls the trigger three times, but they all turn out to be blanks.

Phyllis does not break her façade of not smiling until the very last moment where she gets shot. Aventurine is smiling the entire time according to the light cone description, whilst in the animation, it’s only when he guides the gun to his chest that he puts it on.

So, you know how Neff meets Phyllis and it all goes off the rails from there. The way Neff goes from a decent guy to willingly involve himself in a murder scheme, having his morals corrupted by Phyllis. His world having been turned upside down the moment he lays eyes on Phyllis in that first meeting. Doesn’t that sound like something that happened with the Final Victor LC? Ratio, a man all about logic and rationality — a scholar with eight PhDs to his name — all of that is flipped on its head the moment Aventurine pulls out his gun in their first meeting and forces Ratio to play a game of Russian roulette with him. Aventurine casually gambles using his own life like it’s nothing and seemingly without fear (barring his hidden left hand). All or nothing — and yet Aventurine comes out alive after three blanks. Poetic, considering there’s a consumable in the game called “All or Nothing” which features a broken chess piece and a poker chip bound together by a tie. The poker chip obviously represents the gambler, but the chess piece specifically stands for Ratio because he plays chess in his character trailer, his Keeping Up With Star Rail episode and his introduction is centred around him playing chess with himself. Plus, the design of the chess piece has golden accents, similar to his own chess set. In the end, Aventurine will always be the final victor.

Furthermore, Neff had deduced that Phyllis wanted to kill her husband and initially wanted no part in it, but in a subsequent visit it was his own idea that they trigger the double indemnity clause for more money. As the movie progresses though, he starts to have his doubts (thanks in part to him befriending Lola) and makes the move to kill Phyllis when everything starts to come to light. It’s strikingly similar to how Ratio initially wanted no part in whatever Aventurine had in mind when they first met, but in the subsequent missions where they were paired up, he willingly goes along with Aventurine's risky plans, and they come to trust each other. Enough so that Aventurine and Ratio can go to Penacony all on their own and put on an act, knowing that nobody in the IPC other than them can enter the Dreamscape. The mutual respect grew over time, instead of burning passionately before quickly fizzling out like in the movie.

Basically, in one scene, three shots (blanks) start a relationship, and in the other, it ends a relationship. In the anan magazine interview with Aventurine, he says himself that “form[ing] an alliance with just one bullet” with Ratio was one of his personal achievements. The moment itself was so impactful for both parties that it was immortalised and turned into a light cone.

—

[THE ENDING — GOLDEN HOUR]

The ending of Double Indemnity that made it into the final cut has Neff continue his confession on the dictaphone until he realised that he wasn’t alone in the room. Keyes had come inside at some point, but none had said a thing, only listening to a dead man speak of his crime. When Neff sees Keyes, they talk for a moment, Neff says he plans on fleeing to Mexico. Keyes does not think he will make it. He tries to leave, only to collapse at the front of the elevator, Keyes following just behind him. Neff attempts to light a cigar but is too weak to do so, so Keyes does it for him.

Parts of the ending can still be attributed to the interrogation scene between Sunday and Aventurine, so I’ll make this quick before moving on to the conversation in Heaven Is A Place On Earth, Ratio and Aventurine’s final conversation together. Once Sunday mentions how quickly Aventurine gave up the suitcase, he inflicts the Harmony’s consecration on him, which forces Aventurine to confess everything that Sunday asks of. In a way, it’s the opposite of what happens in the movie — where Neff willingly tells the truth about the murder to his coworker. Aventurine does not like Sunday, and Neff is close to Keyes. Ratio also does not speak, similarly to how Keyes didn’t speak and stood silently off to the side.

Post-interrogation in Golden Hour, Ratio worriedly prods at Aventurine and asks him about his plan. He then gives him the Mundanite’s Insight with the Doctor’s Advice inside when Aventurine tells him to leave. Throughout Heaven Is A Place On Earth, Aventurine gets weaker and his head starts to buzz, until he falls to the ground before he can hand in the final gems. Similarly, Neff progressively grows weaker as he records his confession. Keyes says he’s going to call a doctor and Neff says he’s planning to go to Mexico. And when Neff collapses near the elevator, they talk one final time and Keyes lights Neff’s cigar as the other was too weak to do so himself.

—

[OPPOSITE TIMELINES AND DEVELOPMENTS]

Remember how I said the way certain events happen in the movie and the game are mostly opposite and reverse of one another? 

The Final Victor LC is the first meeting of Ratio and Aventurine, and Neff killing Phyllis is their final meeting.

Between that first and last meeting between Phyllis and Neff’s whirlwind romance, their relationship becomes strained which ultimately leads to Neff not trusting whatever Phyllis has to say at the end point of the movie. As for Ratio and Aventurine, the exact opposite had happened, to the point where Ratio trusts Aventurine enough to go along with his plans even if they went against his own ideals. The basis of the mission involved Veritas Ratio, whose full name includes the Latin word for “truth”, lying the entire time on Penacony.

Aventurine is sentenced to the gallows by Sunday after his unwilling interrogation. The movie starts and ends with Neff willingly confessing everything to Keyes.

It bears repeating, but I have to make it so clear that the trust between Ratio and Aventurine runs incredibly deep. Being able to predict what your partner says and thinks and plans in a mission as critical as the Penacony project is not something first-time co-workers can pull off flawlessly. All the while having to put on masks that prevent you from speaking sincerely towards one another lest you rat yourselves out. You have no way of contacting outside reinforcements from within Penacony, as the rest of the IPC are barred from entering. To be able to play everybody for fools while said fools believe you yourselves have handed your case on a silver platter requires a lot — trust, knowledge of the other, past experience, and so on. With Phyllis and Neff, the trust they had had been snuffed out when Neff grew closer to Lola and found out what kind of person Phyllis truly was on the inside. Phyllis did not trust nor love Neff enough and was going behind his back to meet with Zachette to possibly take Neff and Lola out. And the whole reason Neff wanted to perpetrate the murder was due to him being initially taken by Phyllis' appearance, which single handedly got the ball rolling on the crime.

Now then, how come trust is one of the defining aspects of Aventurine and Ratio’s relationship, when Phyllis and Neff’s trust eventually lead to both their deaths at the hands of the other? Sure, this can be explained away with the opposite theory, but there’s one other relationship involving Neff which I haven’t brought up in excruciating detail yet. The other side of Ratio and Aventurine’s relationship.

—

[NEFF & KEYES — AVENTURINE & RATIO]

Here is where it gets more interesting — while Phyllis and Neff are at the centre point of the movie, there is another character to whom Neff has a close relationship with — Keyes. It’s also the only relationship with no pretences, at least, until the whole murder thing happened and Neff had to hide his involvement from Keyes. Watching the movie, I couldn't help but feel there was something more to the two than meets the eye. I knew that queer readings of the film existed, but I didn't think too much of them until now. And though Aventurine and Ratio parallel Phyllis and Neff respectively, the fact that they also have traits of their opposite means that it wouldn’t be completely out of the question if parts of their relationship were also influenced by Keyes and Neff on a deeper and personal level. Let me explain.

Keyes and Neff were intimate friends for eleven years and have shown mutual respect and trust towards one another. They understood each other on a level not seen with Phyllis and Neff. Even after hearing Neff confess his crimes through the dictaphone (and eventually standing in the same room while Neff confessed), he still cared for the other man, and stayed with him when Neff collapsed at the front door. The only reason Keyes hadn’t deduced that it was Neff who was behind the murder was because he had his absolute trust in him. Keyes is also Neff’s boss, and they are always seen exchanging playful banter when they are on screen together. Neff even says the words “I love you, too” twice in the movie — first at the beginning and second at the end, as the final line. There’s also the persistent theme of Neff lighting Keyes’ cigarettes (which happens in every scene where they are face-to-face), except in the end where it’s Keyes who lights Neff’s.

Doesn’t that sound familiar? Mutual respect, caring too much about the other person, the immense amount of trust… Ratio says he’s even the manager of the Penacony project (which may or may not be a lie), and despite their banter being laced with them acting as “enemies”, you can tell that in Dewlight Pavilion pre-Sunday confrontation that Aventurine genuinely likes Ratio’s company and believes him to be a reliable person. From the way he acts carefree in his words to the thoughts in his head, as seen in the mission descriptions for Double Indemnity. Their interactions in that specific mission are possibly the closest thing to their normal way of speaking that we get to see on Penacony.

Not to mention, this is the way Neff describes Keyes. He even says (not in the script) “you never fooled me with your song and dance, not for a second.” Apart from the line about the cigar ashes, doesn’t this ring a bell to a certain doctor? “Jerk” with a heart of gold?

After solving the puzzle with the statues, Ratio jokingly offers Aventurine to join the Genius Society. Aventurine then goes "Really? I thought you’ve given up on that already", and then Ratio says it was, in fact, a joke. Solving the puzzle through brute force has Ratio telling Aventurine that the Council of Mundanites (which Ratio himself is a part of) should consider him a member. In the movie, where the scene with the phone call with Neff and Phyllis reiterating details of their plan happens, Keyes actually offered Neff a better job (specifically a desk job, as Keyes’ assistant). The two pairs saw the other as smart, equals, and were invested in each other’s careers one way or another.

Because of all this, the character parallels for this side of the relationship are as follows:

Aventurine - Walter Neff

Veritas Ratio - Barton Keyes

With the way I’ve talked about how Aventurine and Ratio take from both leads in terms, it does fit to say that Aventurine is Neff, and Ratio is Keyes in this layer of their relationship. Since we’re on the topic of Keyes, let me also go through some similarities with him and Ratio specifically.

Keyes says the words “dimwitted amateurs” in his first on-screen conversation with Neff. You can’t have Dr. Ratio without him talking about idiocy in some way.

Keyes almost only appears in the movie in relation to Neff, and barring a single interaction in Neff’s house, is also only seen in the office. Same with Phyllis, Ratio also only ever appears regarding Aventurine.

Keyes genuinely wanted the best for Neff, even offering to celebrate with him when he thought the case truly had been busted wide open by forces when Zachette entered the picture. You could say the same for Ratio, as he hoped that Aventurine wouldn’t dwell on the past according to his response on Aventurine’s Interview, as well as telling him to “stay alive/live on (CN)” and wishing him the best of luck in his Doctor’s Advice note.

Whether or not you believe that there was more going on with Neff and Keyes is up to you, but what matters is that the two were very close. Just like Ratio and Aventurine.

—

[THE ORIGINAL FILM ENDING]

Something that I hadn’t seen brought up is the original ending of Double Indemnity, where Neff is executed in a gas chamber while Keyes watches on, shocked, and afterwards leaves somberly. The ending was taken out because they were worried about the Hays Code, but I felt it was important to bring it up, because in a way, you can kind of see the Sunday interrogation scene as Sunday sending Aventurine to his death in seventeen system hours. And Ratio doesn’t speak at all in that scene, and Keyes doesn’t either according to the script.

Another thing that’s noteworthy is that Wilder himself said “the story was about the two guys” in Conversations with Wilder. The two guys in question are Keyes and Neff.

—

[THE NOVEL]

With the original film ending covered, now it is time to bring up the novel by James M. Cain. I bought the book just to read about the differences between the adaptation and the original source material, and to list a few more similarities and opposites I could gather. For this section alone, due to the changes in the (last) names of certain characters, I will be referring to Walter Huff (Neff in the movie) as Walter, and Mr. Dietrichson as Nirdlinger. The plot is pretty much the same as the movie’s apart from a couple of changes so there isn’t a need to recount everything.

From my two read-throughs of the novel, these are the following passages that stood out to me the most. Starting with Aventurine:

Walter, as a top businessman of the company, knows how to sway a deal and to get what he truly wants with what the other gives him. Aventurine is the same, reliant on his intuition, experience and whatever information he has on the table to claim the win. Him luring out Sparkle in Heaven Is A Place On Earth and his conversation with Acheron in the Nihility is indicative of that.

• "But you sell as many people as I do, you don't go by what they say. You feel it, how the deal is going. And after a while I knew this woman didn't care anything about the Automobile Club. Maybe the husband did, but she didn't. There was something else, and this was nothing but a stall. I figured it would be some kind of a proposition to split the commission, maybe so she could get a ten-spot out of it without the husband knowing. There's plenty of that going on. And I was just wondering what I would say to her." 

Phyllis, like in the movie, had been hiding her true intentions of talking to Walter in their first conversations, always saying things that she didn’t actually mean. In a similar vein, Aventurine consistently says stuff but almost never truly means any of it, which is all part of his façade.

• "And I could feel it again, that she wasn't saying what she meant. It was the same as it was the first afternoon I met her, that there was something else, besides what she was telling me. And I couldn't shake it off, that I had to call it on her."

When discussing the murder plan with Phyllis, Walter makes this comment, kind of like how Aventurine seems to operate in a way where he has a plan, but is ready to improvise and think fast when needed.

• "And then it's one of those things where you've got to watch for your chance, and you can't plan it in advance, and know where you're going to come out to the last decimal point."

Remember the roulette wheel line from the movie? In the novel, the gambling metaphor that Walter makes about the insurance business goes on for two paragraphs, mentioning a gambling wheel, stack of chips, a place with a big casino and the little ivory ball, even about a bet on the table. Walter also talks about how he thinks of tricks at night after being in the business for so long, and how he could game the system. Needless to say, insanely reminiscent of Aventurine.

• "You think I’m nuts? All right, maybe I am. But you spend fifteen years in the business I’m in, and maybe a little better than that, it’s the friend of the widow, the orphan, and the needy in time of trouble? It’s not. It’s the biggest gambling wheel in the world. It don’t look like it, but it is, from the way they figure the percentage on the oo to the look on their face when they cash your chips. You bet that your house will burn down, they bet it won’t, that’s all. What fools you is that you didn’t want your house to burn down when you made the bet, and so you forget it’s a bet. To them, a bet is a bet, and a hedge bet don’t look any different than any other bet. But there comes a time, maybe, when you do want your house to burn down, when the money is worth more than the house. And right there is where the trouble starts." • "Alright, I’m an agent. I’m a croupier in that game. I know all their tricks, I lie awake thinking up tricks, so I’ll be ready for them when they come at me. And then one night I think up a trick, and get to thinking I could crook the wheel myself if I could only put a plant out there to put down my bet." • "I had seen so many houses burned down, so many cars wrecked, so many corpses with blue holes in their temples, so many awful things that people had pulled to crook the wheel, that that stuff didn’t seem real to me anymore. If you don’t understand that, go to Monte Carlo or some other place where there’s a big casino, sit at a table, and watch the face of the man that spins the little ivory ball. After you’ve watched it a while, ask yourself how much he would care if you went out and plugged yourself in the head. His eyes might drop when he heard the shot, but it wouldn’t be from the worry whether you lived or died. It would be to make sure you didn’t leave a bet on the table, that he would have to cash for your estate. No, he wouldn’t care."

Returning home from the murder, Walter attempted to pray, but was unable to do it. Some time passed and after speaking to Phyllis, he prayed. Aventurine presumably hadn’t done the prayer ever since the day of the massacre, and the first time he does it again, he does it with his child self.

• "I went to the dining room and took a drink. I took another drink. I started mumbling to myself, trying to get so I could talk. I had to have something to mumble. I thought of the Lord's Prayer. I mumbled that, a couple of times. I tried to mumble it another time, and couldn't remember how it went." • "That night I did something I hadn’t done in years. I prayed."

Phyllis in the book is much more inclined towards death than her movie version, even thinking of herself as a personification of death. She’s killed ten other people (including infants) prior to the events of the novel. Something to keep in mind as Aventurine had mentioned several times that he attempted to kill himself in the dream, plus his leadup to his “grandest death”. Just like Phyllis, he’s even killed at least a few people before, though the circumstances of that were less on his own volition and more so for the sake of his survival (i.e. the death game in the maze involving the 34 other slaves where he was the winner and another time where he murdered his own master). Instead of Phyllis playing the active role of Death towards everybody else, Aventurine himself dances with Death with every gamble, every time his luck comes into play. Danse Macabre.

• "But there’s something in me, I don’t know what. Maybe I’m crazy. But there’s something in me that loves Death. I think of myself as Death, sometimes." • "Walter, The time has come. For me to meet my bridegroom [Death]. The only one I ever loved."

Moving on to Ratio:

Walter says several times that it’s hard to get along with Keyes, and how he says nice things after getting you all worked up. A hard-headed man to get along with, but damn good at his job. Sound like someone familiar?

• "That would be like Keyes, that even when he wanted to say something nice to you, he had to make you sore first."  • "It makes your head ache to be around him, but he’s the best claim man on the Coast, and he was the one I was afraid of."

Keyes sees Walter as smarter than half the fools in the company. Ratio can only stand the company of Aventurine in regards to the IPC.

• "Walter, I'm not beefing with you. I know you said he ought to be investigated. I've got your memo right here on my desk. That's what I wanted to tell you. If other departments of this company would show half the sense that you show—" • "Oh, he confessed. He's taking a plea tomorrow morning, and that ends it. But my point is, that if you, just by looking at that man, could have your suspicions, why couldn't they—! Oh well, what's the use? I just wanted you to know it."

After going on a rant about the H.S. Nirdlinger case (Phyllis’ husband) and how Norton is doing a horrible job, he ends it by saying that it’s sheer stupidity. “Supreme idiocy”, anybody?

• "You can’t take many body blows like this and last. Holy smoke. Fifty thousand bucks, and all from dumbness. Just sheer, willful, stupidity!"

Phyllis’ former occupation as a nurse is more elaborated on, including her specialization — pulmonary diseases. One of Ratio’s crowning achievements is curing lithogenesis, the “King of Diseases”.

• "She’s one of the best nurses in the city of Los Angeles. […] She’s a nurse, and she specialized in pulmonary diseases. She would know the time of crisis, almost to a minute, as well as any doctor would."

As for the murder scheme, they talk about it a lot more explicitly in the novel. Specifically, Walter mentions how a single person cannot get away with it and that it requires more people to be involved. How everything is known to the party committing the crime, but not the victim. And most importantly: Audacity.

"Say, this is a beauty, if I do say it myself. I didn't spend all this time in the business for nothing, did I? Listen, he knows all about this policy, and yet he don't know a thing about it. He applies for it, in writing, and yet he don't apply for it. He pays me for it with his own check, and yet he don't pay me. He has an accident happen to him and yet he don't have an accident happen to him. He gets on the train, and yet he don't get on it."

"The first is, help. One person can't get away with it, that is unless they're going to admit it and plead the unwritten law or something. It takes more than one. The second is, the time, the place, the way, all known in advance—to us, but not him. The third is, audacity. That's the one that all amateur murderers forget. They know the first two, sometimes, but that third, only a professional knows. There comes a time in any murder when the only thing that can see you through is audacity, and I can't tell you why."

"And if we want to get away with it, we've got to do it the way they do it, […]" "Be bold?" "Be bold. It's the only way."

"I still don't know—what we're going to do." "You'll know. You'll know in plenty of time."

"We were right up with it, the moment of audacity that has to be be part of any successful murder."

It fits the situation that Aventurine and Ratio find themselves in extremely well: For the first point— Aventurine would not be able to get away with simply airing out details by himself, as that would immediately cast suspicion on him. Having another person accompany him who not only isn’t really a part of the IPC in name (as the IPC and The Family have a strenuous relationship) but would probably be able to get closer to Sunday because of that means they can simply bounce off each other without risking as much suspicion with a one-man army. Which is exactly what Ratio and Aventurine do in the conversations they have on Penacony. Secondly — they knew how Sunday operates: as a control freak, he leaves no stone unturned, which is how he became Head of the Oak Family, so their acting required them to give off the impression that a. they hated each other, b. Ratio would go against Aventurine’s wishes and expose him in return for knowledge, c. there were only the two Cornerstones that were hidden. This would give Sunday the illusion of control, and lead to Sunday to lower his guard long enough for Aventurine to take the gift money in the end. The pair knew this in advance, but not Sunday. And thirdly — the plan hinged on a high-level of risk. From breaking the Aventurine Cornerstone, to hoping that Sunday wouldn’t find it in the gift bag, to not telling Ratio what the true plan is (meaning Ratio had to figure it out on his own later on), to Sunday even buying Ratio’s story, it was practically the only way they could go about it. “Charming audacity”, indeed.

An interesting aspect about the novel is that the ending of the novel is divergent from the movie’s final cut and the original ending: Phyllis and Walter commit suicide during a ferry ride to Mexico. The main reason this was changed for the movie was because of the Hays Code, and they wouldn’t allow a double suicide to be screened without reprecussions for criminals. There’s also a bunch of other aspects that differentiate the novel from the movie (no narration-confession as the confession happens in a hospital, less characterization for Keyes and instead a bigger focus on Lola and her boyfriend, the focus on the murderous aspect of Walter and Phyllis’ relationship instead of actual romance, Walter falling in love with Lola (with an unfortunately large age gap attached), etc.)

As for the ending, this wouldn’t even be the first romance media reference related to Aventurine and Ratio where both the leads die, with the other being The Happy Prince and San Junipero (in relation to the EN-only Heaven Is A Place On Earth reference), which I normally would chalk up as a coincidence, though with the opposite line-of-thought I have going on here (and the fact that it’s three out of four media references where the couple die at the end…), I think it’s reasonable to say that Ratio and Aventurine will get that happy ending. Subverting expectations, hopefully.

—

[THE HAYS CODE — LGBT CENSORSHIP IN CHINA]

I’ve brought up the Hays code twice now in the previous two sections, but I haven’t actually explained what exactly it entails.

The Hays Code (also known as the Motion Picture Production Code) is a set of rules and guidelines imposed on all American films from around 1934 to 1968, intended to make films less scandalous, morally acceptable and more “safe” for the general audiences. Some of the “Don’ts” and “Be Carefuls” include but are not limited to…

(Don’t) Pointed profanity

(Don’t) Inference of sex perversion (which includes homosexuality)

(Don’t) Nudity

(Be Careful) Sympathy for criminals

(Be Careful) Use of firearms

(Be Careful) Man and woman in bed together

What does this have to do with a Chinese gacha game released in 2023? If you know a little bit about miHoYo’s past, you would know that pre-censorship laws being upheld to a much stronger and stricter degree, they had no problem showcasing their gay couples in Guns Girl Z (Honkai Gakuen 2/GGZ) and Honkai Impact 3rd, with the main three being Bronya/Seele, Kiana/Mei (admittedly the latter one is a more recent example, from 2023), and Sakura/Kallen. Ever since the Bronya and Seele kiss, censorship in regards to LGBT content ramped up, causing the kiss to be removed on the CN side, and they had to lay low with the way they present two same-sex characters who are meant to be together. They can’t explicitly say that two female or male characters are romantically involved, but they can lace their dynamics with references for those “in the know” — Subtext. Just enough to imply something more but not too much that they get censored to hell and back.

So what I’m getting at is this: The trouble that Double Indemnity had to go through in order to be made while also keeping the dialogue of Phyllis and Neff as flirtatious as they could under the Hays Code among other things is quite similar to the way Ratio and Aventurine are presented as of now. We never see them interact outside of Penacony (at least up until 2.2, when this post was drafted), so we can only infer those interactions specifically until they actually talk without the fear of being found out by Sunday. But, there’s still some small moments scattered here and there, such as when Aventurine goes near Ratio in the Dewlight Pavilion Sandpit, he exclaims that “the view here is breathtaking” (he can only see Ratio’s chest from that distance) and that Ratio could “easily squash [him] with just a pinch”. Ratio then goes “If that is your wish, I will do so without a moment’s hesitation.” Not to mention the (in)famous “Doctor, you’re huge!” quote.

It’s not a coincidence that Ratio and Aventurine have three explicit references to romance media (Double Indemnity, Spellbound, Oscar Wilde’s The Happy Prince), possibly even four if you take the EN-only Heaven Is A Place On Earth as a reference to Black Mirror’s San Junipero. It’s not a coincidence that the storylines or characters of said references parallel the pairing, from surface-level to deep cuts. It’s not a coincidence that the CN voice actors were asked to “tone it down” by the voice director when it came to their chemistry. It’s not a coincidence that Aventurine has only flirted with (three) men throughout Penacony, even referring to a Bloodhound NPC as a “hunk of a man” inside his thoughts, all the while ignoring Himeko and Robin when it came to their looks — women who are known across the cosmos with a myriad of adoring fans. There are so many other so-called “coincidences” related to the two that you could make an iceberg just based on versions 2.0-2.2 as well as content miHoYo themselves have put out on social media. They absolutely knew what they were doing, and were trying to get their point across through subtle means — the extent they went to with the Double Indemnity reference while also keeping it under wraps from a “surface” level point of view is proof of this — the implications are there if you take the time to look for them, and are simply hard to ignore or deny once you do find them.

—

[CONCLUSION]

This was supposed to be short considering the other analyses I’ve seen were also pretty short in comparison, but I couldn’t get the movie out of my head and ended up getting carried away in the brainrot. I hope you could follow along with my line of thinking, even with the absurd length of this post, and the thirty-image limit. I tried to supplement context with some links to videos and wiki pages among other sources wherever I can to get around it.

I will end it with this though — the love in the movie turned out to be fake and a farce, going off track from what was a passionate romance in the beginning because of the murder scheme. Meanwhile, the whole reason why Ratio and Aventurine can pull off whatever they want is because of their immense trust in one another. What was initially shown to be distrust in the Final Victor LC grew into something more, for Ratio, someone who would have never put faith into mere chance and probability before this, put his trust in Aventurine, of all people.

TL;DR — (I get it, it’s over ten thousand words.)

Not only is the relationship between Neff and Phyllis represented in the deception and acting side of Ratio and Aventurine, but the real and trusting side is shown in Neff and Keyes. They have a fascinating, multi-layered dynamic that is extremely fun to pick apart once you realise what’s going on underneath the bickering and “hatred” they display.

Many thanks to Manya again for making the original thread on the movie. I wouldn’t be here comparing the game and movie myself if it weren’t for that.

By the way, I really do believe that Shaoji totally watched this movie at least once and really wanted that Double Indemnity AU for his OCs. I know exactly how it feels.

—

Other points I'd like to mention that didn't fit anywhere else in the main analysis and/or don’t hold much significance, have nothing to do with the Penacony mission, or may even be considered reaching (...if some of the other points weren’t). Just some potentially interesting side bits.

Phyllis honks three times to signal Neff to go for the kill. That, and the three gunshots in the confrontation. Aventurine is all about the number three.

The height difference Aventurine and Ratio have going on is close to Phyllis and Neff’s.

Phyllis had killed her husband’s previous wife and went on to marry Mr. Dietrichson, pretty much taking the wife’s place. Aventurine killed his previous master, and had taken certain attributes from him like his wristwatch and the rings on his hand and the “all or nothing” mantra.

When calling Ratio a wretch (bastard), Aventurine smiles for a moment. This is exclusive to the EN, KR and JP voiceovers, as in CN, he does not smile at all. (Most definitely a quirk from the AI they use for lip syncing, but the smile is something that’s been pointed out quite a few times so I thought I’d mention it here.)

Sunday specifically says in the CN version that he knew of Aventurine's plans the moment Aventurine left the mansion, meaning that he realized he had been played the fool the moment Ratio and Aventurine talked in Golden Hour

In the description for the "All or Nothing" consumable, teenage Aventurine says this specific line: "Temptation is a virtue for mortals, whereas hesitation proves to be a fatal flaw for gamblers." According to Ratio, this is Aventurine's motto - he says as such in Aventurine's Keeping Up With Star Rail episode. Note that in the anan interview he explicitly says he does not have a motto, and yet Ratio in the video says otherwise. They definitely have to know each other for a while for Ratio to even know this.

A big reason why Neff even pulled off the murder scheme in the first place was because he wanted to see if his good friend Keyes could figure it out, the Mundane Troubles Trailblaze Continuance showcases Ratio attempting to teach the Herta Space Station researches a lesson to not trust the Genius society as much as they did.

In Keyes’ first scene he’s exposing a worker for writing a policy on his truck that he claimed had burnt down on its own, when he was the one who burnt it down. Ratio gets into an Ace Attorney-style argument with the Trailblazer in Mundane Troubles.

Neff talks repeatedly about how it won’t be sloppy. Nothing weak. And how it’ll be perfect to Phyllis, and how she’s going to do it and he’s going to help her. Doing it right — “straight down the line”. Beautifully ironic, considering what happens in the movie, and even more ironic as Ratio and Aventurine’s scheme went exactly the way they wanted to in the end. Straight down the line.

[theriverbeyond]

how do we know in the books that john is indigenous? can you say more about how his indigeneity is important to his story?

hello! so there is a word of god post on race (doesn't mention John but mentions that Gideon is "mixed Maori"), BUT I frankly don't think word of god statements are worth any weight without actual in-text support (see: the "dumbledore is gay" situation). SO!

Specific evidence that John Gaius is Maori, as revealed in Nona the Ninth:

When he is listing his education, John mentions having gone to Dilworth School (John 20:8). Dilworth is an all boys boarding school in Auckland and accepts students based on financial need instead of academic or sporting achievements. Demographics appear to be about 70% low income Maori boys, indicating that it is highly likely that John is Maori

John reports that P- said he looked like a "Maori-TV pink panther" (John 15:23) when his eyes turned gold. Maori TV is a TV station that is focused primarily on Maori culture & language revitalization, with presumably all or mostly Maori hosts, and tbh I don't see why P- would say this unless John was himself Maori

John uses a te reo Māori phrase ("kia kaha, kia māia") (John 5:20) when he is saying goodbye to the corpses in the cryo lab before the power is shut off. Though it is possible he said this as a non-Maori kiwi, but in combination with the previous two points of evidence I think this all very strongly points to him being Maori

He also renames his daughter Kiriona Gaia, "Kiriona" being just literally the name "Gideon" in te reo Māori

TLT is not a series that hands you anything on a silver platter but to ME this is all pretty solid proof

Why is this relevant to The Locked Tomb?

In Nona the Ninth, we learn that before he completed apotheosis and ate the solar system, John was basically trying to save the earth from capitalism-caused climate change. Climate justice and the rights of indigenous people over their own land are deeply tied together, in the same way that climate catastrophe and capitalism/ imperialism/ colonialism are linked. disclaimer that this is NOT my area of study and others have definitely said it better; this is just the basic gist as I understand it, but on quick search I found some sources here and here if you want to do some reading.

TLT is not a series that hands you anything on a silver platter, but i don't think it is a stretch to see John as an indigenous man trying to save the earth and getting ignored and shut down at every turn by primarily western colonial powers (PanEuro, the USA) who declare him a terrorist and then as a reader thematically connecting that to the experience of indigenous climate activists IRL

there are absolutely TLT meta posts that have discussed this before me; tumblr search is nonfunctional and I have been looking for an hour and a half and cannot find anything specific even though i KNOW i reblogged multiple posts about this in the first few weeks following NTN's release. sad & I am sorry

I think that by the time the books take place, John is 10k years removed from the cultural context he grew up in, with the Nine Houses having become a genocidal colonial power in their own right (with more parallels to be made between John's forever war for the resources of literal life energy and like, oil wars), but I also think that John Gaius is a fictional character who can represent and symbolize multiple different things in service of telling a story. (not to mention the potential thematic parallels being made to how oppressed people sometimes are pressed into replicating the power dynamics of their oppressors and continuing the cycle--now that is a tumblr post i KNOW i read last year and definitely cannot find right now, once again sad & I am sorry)

How Radical Was John Gaius, Really is a forum thread that was locked by the moderators after 234534645674564 pages of heated debate

[howlsofbloodhounds]

I know Color has given Killer thousands of rubix cubes, puzzles, and picky pads.

It’s to keep him stimulated and fulfilling ST2’s needs for “something new.” ST2 wasn’t made to be idle, he needs to keep his mind and hands working—absorbing information like a sponge, even if his apathy and dissociation probably means a much harder time paying attention and retaining that information—and Color understands that so he tries to help him find safe ways to do that in a way that doesn’t involve the poor man coming home to his friend covered in blood and possibly missing limbs.

The two of them probably engage in parallel play a lot; while Killer’s picking the small toy duckies and various colorful alphabet beads out of various ridiculously shaped resin molds, Color’s sorting and organizing them into jars by shape and color.

And later the two of them will go out to buy more resin and molds to make more picky pads and redo the activity in various forms. The different beads and mold shapes is new enough each time for Killer, and the repeated routine activity and organizing works wonders for Color’s autistic ass. Sometimes they’ll switch the roles around when Killer gets bored and definitely after he tries to eat a few of the beads.

I think Killer would enjoy the act of creation. It fulfills the need for something new of course, but it appeases his more moral personality in the form of ST1 to know his hands are able to do more than destroy and murder.

Those hands know a thousand ways to coerce confessions—both false and true—out of many monsters, but now they’re also learning to wield wood into the shape of a red panda and how to create string necklaces.

While Color’s watching his favorite comfort shows for the thousandths time, Killer’s intensely focused on a solving a word puzzle while listening to Color infodump about his favorite character in the show.

Sometimes they try to sit in silence but that quickly gets boring to Killer and he runs the risk of literally trying to disassemble his body parts, and Color gets overstimulated by too much noise, so they compromise by letting Color set the pace of the yapping.

Killer is the professional yapper in this household, but he finds listening to Color’s voice soothing and he enjoys learning more about his person. He has never found another to be as fascinating.

[monrageo]

Saw a lot of Spider-Steve art so I had to jump in. Most art modernised him but I want my 80s, mallrat, neon lights Spider-Man + I wrote his origin story. *POSES FOUND ON PINTEREST*

Also Steve looks great in the classic red and blue but I wanted him to have his own costume so yellow he shall be. Now onto my headcanons.

In a world where Hawkins is a megapolis a teen boy gets bitten by a radioactive spider in 83’ while visiting Hawkins Lab (Think less abandoned more Oscorp/Alchemax) and so it begins. He starts doing small good things around the city, experimenting with his powers.

But he isn’t thinking about being a superhero or anything close to that (I imagine the drawing with the sweats and goggles is his first “costume”). Then he gets with this amazing girl-Nancy Wheeler.

Life is looking up for Steve he’s got these weird powers that get him to be the basketball and swim team captain. He’s popular, he’s got this amazing girl that inspires him to be better and better.

He looses his popular crowd friends, he wants to be better. He starts thinking about the superhero thing and actually goes through with it. He isn’t shouting it from the rooftops but news is getting around that a guy in spandex is busting criminals- Spider-man/King Spider.

Steve gets cocky, thinks he’s on top of the world, untouchable. Then Will Byers goes missing-that’s a whole separate story. Nancy and John start their investigation. Steve gets jealous etc.

In the end a battle breaks out and Steve is unable to save one person-Barbara Holland. His girlfriend’s best friend. That of course destroys Nancy. She doesn’t know Steve is Spider-man, she seeks comfort in him but things are not the same.

There’s this whole thing with Jonathan, the obvious attraction, the compatibility. But also Steve’s guilt, his self hatred. He realises he was too blindsided by his cockiness. Barb’s death is on his hands. He breaks up with Nancy and solely focuses on being the best Spider-man he can be.

That of course costs him friends etc. but when you’ve been through what he has high school drama just seems pointless… and so King Steve falls from the throne.

I imagine the Nancy story line parallels the Gwen Stacy one in the original comics (without the death and clones), maybe Nancy even blames and hates Spider-man the way Gwen did… that also contributes to the Stancy break-up.

Perhaps Nancy becomes hyper focused on catching this Spider-man so he can be held accountable for Barb’s death.

Anyways now Steddie, I think Eddie would love Spider-man / King Spider he’s some guy with spider powers and bright spandex that helps people, super camp, Eddie would love him.

I think Steve starts noticing Eddie in a new light when his lunch table tirades now also include how awesome spider-man is. This unapologetic support makes the now loser Steve feel like it is all worth it-the stress, the pain, the loneliness-

Tough he of course knows Eddie isn’t talking about him, he’s talking about Spider-man, the hero. Not the former popular guy Steve Harrington.

I have many ideas regarding a Stranger things!Spider-verse and which characters could be what. Maybe Barb’s death was something Lizard-like, but upside down version. Like something from the lap infected her? I like the idea of Steve’s father being involved in the labs, perhaps as a Norman Osborn parallel, without becoming the Goblin though.

The goblin/Norman/Harry Osborn storyline could be reimagined with Tommy perhaps??? Then Venom with Eddie (so perfect) or Billy (a tragic end)??

[raven-at-the-writing-desk]

YOUR L*ONISMS IN THE MALLEUS POST BYE 😭😭 I tend to try to avoid talking about him precisely bc I fear I'll sound like Leona too lmao. or bc I'm scared ppl will say "ah you only dislike him bc you like Leona"- when that's not the case at all (although I also share some of his views about the lizard) Similarly to you, I just don't get the hype- basically everything you say. my feelings for him fluctuate from "🙄 ok." to "you're okay? I guess?"

which is weird, bc I really like dragons and non-human characters learning about humans. but that's what makes it worse for me bc man all the talk about him made me want to rlly like him and then I saw him in canon and I was like uh... okay? kind of disappointed + a bit annoyed at some stuff. I do like how he talks about gargoyles or things he finds interesting tho— I'll praise you that much, Draconia.

[Referencing this post!]

***PLEASE NOTE: Everything I express in this post is my own opinion and is in no way meant to disparage Malleus enjoyers.***

Leona and Rollo is right about Malleus and he should speak his truth 😔

To reflect a little on my own character arc with Malleus, I felt very neutral about him from the prologue to about book 2ish. This was simply because I hadn't interacted with the guy yet so I held off on judging him prematurely. The brief encounter we actually had with Malleus in book 2 wasn't meaty enough for me to get a sense for his character, so I brushed him off.

I thought it was interesting that book 2's narrative invites comparisons between Leona and Malleus, with Leona being a parallel to Scar, Malleus being a parallel to Mufasa, and the world holding Malleus up as the "superior" king. Lilia states as much in 2-26: "Would that the lion king of the savanna could witness this absolute farce. No, if you ask me, the collar suits you far better than a crown ever could. You may bemoan the fact that you're not higher in line to be king. But with that sensitive ego of yours? That so quickly directs all your petty anger at your retainers... Well, the idea of you ever contending with a REAL king like our Malleus—is absolutely laughable. Even if you COULD defeat Malleus, so long as that's how you choose to conduct yourself? You would never be fit to rule!"

And at the time, yeah, Lilia's right because Leona is very much losing his grip on his emotions and acts irrationally in an attempt to triumph over Malleus. HOWEVER... The longer the main story went on, the more I found myself disagreeing with Lilia's judgment of Malleus and his character. Now, that doesn't mean that I think Leona was in the right for the actions he took in book 2 (they are still and always will be wrong). Rather, I think Lilia gave a somewhat biased take on Malleus and his preparedness for the throne. Many of the things Lilia accuses Leona of also ended up being very true of his own liege. Malleus has a sensitive ego (he has attempted to strike down peers and faceless, magicless NPCs on more than one occasion; ie Halloween events). Malleus has directed his anger at his retainers (as a child, he froze many servants; in book 7, he attacks Sebek and Silver for attempting to wake up their peers and tries to return Lilia to sleep against his wishes). Malleus has scarcely led anyone in anything. Leona and Malleus are far more similar to one another than either of them would like to admit, but Lilia is just assuming that Malleus will be a great leader anyway because of... what? Because of birthright and lineage? Yeah, no wonder why Leona is pissed and has a bone to pick with the lizard (attempt to harm Malleus aside).

Book 3 and onwards is what I started to develop my current dislike for Malleus. (And to be clear, he has good points too! I'm not saying that he has nothing going for him at all; however, this post is focusing on my own critiques of his character so that is what I will be speaking about.) I started to notice things that annoyed me on a personal level: how he lacks consideration of others' perspectives and actively violates their autonomy, how he never gets any repercussions for his actions, how he's aware of his power and status and yet fails to avoid lording it over others, how he has been given so many opportunities to learn and change as a person but refuses those opportunities, etc. And yes, I understand that he acts in these ways for particular reasons. I'm not saying that his behaviors don't make sense, I am only stating that these are behaviors that I personally don't find appealing. (For more extensive explanations of why I don't like Malleus, please see the FAQ section in my pinned post.) All of this in spite of how little of him we actually get to see and interact with, especially in the main story. It baffled me that he was undoubtably the most popular character in EN circles. There's so much chatter about Malleus Draconia, you can't really get away from it. People are legitimately shocked when you tell them you actively dislike Malleus or when they learn that he's not even a top contender for best boy in the JP fandom. The default is assuming that you do like Malleus, which ironically happens to be the same thing that Draconians (Malleus stans in-universe) do. It feels like there's sometimes an unspoken pressure to like the guy. I also started to notice peculiar behaviors (?) which, in a vacuum, aren't necessarily bad--I would just like to comment on them because I find it interesting. With Malleus being as popular of a character as he is, there's of course going to be a lot of online discussion about him, especially from his fans. Now, I don't know if it's only me noticing this, but I've frequently observed Malleus fans going out of their way to "wring as much content" out of the least Malleus-related content possible. For example, there may be a screenshot of some other character posted and then a fan would come in and make a comment like, "I wonder how Malleus would feel about this". A more concrete example would be from the more recent JP Lost in the Book with Nightmare Before Christmas event; in it, the event character takes the back of all the characters' hands and kisses them (including Yuu). Automatically posts that showed this kissing were inundated with comments about how "Malleus would be so angry about this", even though Malleus himself shows no such reaction. Similar comments dropped when Yuu is kidnapped in the event even though, again, Malleus shows no such anger about the incident. Halloween events such as this contain half the main NRC cast, yet I saw no fans of the other 10 characters claiming those characters reacting jealously. This occurs VERY often in regards to Malleus; even in events or scenes where he doesn't react or doesn't even appear, zealous fans will insert him into the situation or make the situation suddenly about him, whether it's in someone's own posts or on other people's posts.

I wonder if this is a result of Malleus being kept so mysterious for two full years...? Without much of his character to go off of, it left a huge negative space for fans to headcanon, project, and hyperfixate on what he is like or what he could be. And maybe now those behaviors persist in an effort to fill in that void because honestly Malleus isn't getting much screen time within book 7 either 💀

I believe this has contributed to the discrepancy (that this asker brought up) between how the English-speaking Twst fandom speaks about Malleus versus what Malleus is actually like and how he is portrayed in game. The fandom version of him is pretty much always hyped up or sensationalized (sometimes simply for his mere existence), similar to how his own fans in-universe might put him on a pedestal. But then you play the game for yourself and you're exposed to so little of him and what little you do see of him is much more... reserved, somber, and sometimes even petulant, depending on the situation.

Anyway, my point is that anyone that dislikes Malleus (or any other character) should be allowed to dislike him, regardless of what anyone else says or if you feel pressured into silence🤷‍♀️

[kerorowhump]

"H-Hi... we're back home..."0

"But... sergeant, what's going on? Do you feel sick?"

"Don't worry. How are the guests?"

"I will be eternally grateful to her... if Lady Natsumi is leading the team that's in the kitchen I'm certain that our guests will appreciate it a lot..."

[violetasteracademic]

What do you think about the passive language used in azriel’s bonus chapter? Azriel says he found himself entering the foyer right before elain comes and then he finds himself in the library at 7.

Oooooh my darling anon. You have me giddy and kicking my feet with excitement to talk about this! Once again, a simple anon ask has spiraled into a deep crack theory post. This is a long one!

I love this bonus chapter so much. The prose are some of her loveliest work and the treasure trove of details is simply masterful. And I'm so excited about where I think the story is headed.

I definitely understand what you mean regarding passive language: there's a sense of everything happening without intention. In fact- he is explicitly acting against his "every intention." but the devil is in the details. As you said, the bell chime for the seven pm service. The exact same bell chime from when Nesta attended a service and was lulled into non-con scrying session with ancient songs. Ones Clotho just happened upon below level seven of the library one day in a random stack of books. Azriel giving away Elain's necklace to G/wyn or any other priestess who would like it after meaning to return it to the store. There's so much to get into but for the sake of keeping this post a reasonable length (which I still failed at anyway), I am going to hone in on what is, in my opinion, the most important line in the entire G/wyn section of the bonus chapter:

For whatever reason.

One of the most difficult parts about writing is that it is so easy to get hung up on a catch phrase or a certain way of describing things. Whether it is through our subconscious minds, or more intentional developmental edits, there are phrases that invoke something very specific and it is hard not to re-use them. I struggle with this. SJM has definitely come under fire for this as well.

For whatever reason has been used 13 times in the entirety of ACOTAR including the bonus chapter (it takes .5 seconds to type it into the search bar on Kindle and it displays the number count up top, this is not as unhinged as it sounds 🫣) and two of those times were regarding G/wyn, three were regarding the Priestesses, and every single time it was used to express that there is hidden information at play- be in magic, motivations, or machinations- something out of character, or something we do not yet understand. It essentially means that there is a reason, but it is not being revealed.

All of Azriel's passive actions and the little parallels between Azriel's experience with G/wyn and Nesta's experiences in the book (hearing G/wyn's song calling to her, her power rumbling in response to G/wyn, the glow, so on and so forth) are also connected through this line:

Azriel:

Nesta:

If we trust that for whatever reason does in fact indicate that there is a reason, there is an oft overlooked detail that also connects Nesta and Azriel's experience on page: G/wyn's breath.

In Nesta's for whatever reason moment, G/wyn is guiding her through the Valkyrie breathing technique. Nesta continues to focus on G/wyn's breath, which leads her to feeling this rush of thinking about how amazing G/wyn is, how she is good at everything, and somehow nothing about it irks the easily irked Nesta. G/wyn's breath settles her and leaves her content to be there:

Contented. Calm. Distant. Stilled. Resting. These are all of the sensations listening to G/wyn's breath creates. Now let's look at Azriel:

Azriel's shadows hear the silent music in G/wyn's breath. Suddenly, Azriel and his shadows are calm. Content. Stilled. Resting.

Even more interesting? Both of these moments occur after deeply painful moments with Elain. For Nesta, this takes place after Elain calls her out for focusing on what Elain's trauma did to her. Azriel is obviously wrecked from being ordered away from Elain. Then they both find themselves with G/wyn, there is a pointed experience of them interacting with her breath, and they are suddenly distantly removed from the situation that was ailing them mentally. Settled, calmed and feeling abnormally giddy over thoughts of G/wyn and how amazing she is and how happy they are to make her happy- for whatever reason.

Now, if you are still with me, we are REALLY going to get into some crack theory.

I do not believe that it is a coincidence that in a book where Nesta and Cassian were the two POV's, only Nesta and Azriel experienced G/wyn's lulling effects. We are dipping into major HoFaS spoilers here, so stop now if you don't want to move ahead!

In HoFaS, we learned the Cauldron has been corrupted by the Asteri. They pooled their power into it so that it would work their will. I think there is likely a push and pull for power within the Cauldron itself between the dark corruption of the Asteri and the original power of fate and creation by the Mother. Both entities exist within the Cauldron, if you will. We also learn that Truth-Teller was made in the Cauldron as a weapon against the Asteri. But we also learn that Azriel himself was a weapon crafted by the Asteri:

I believe this is in reference to Shadowsingers, but either way, there is a suggestion that whoever- what ever- Azriel is, it was crafted by the Asteri.

I also believe that whatever Nesta stole from the Cauldron was not the power that the Mother had gifted to Elain when it recognized her, perhaps the Archeron bloodline (let's not forget the Bone Carver's words about salvation laying dormant in a human bloodline), but the dark corruption of the Asteri.

No longer just a tool of creation, but a deadly tool of destruction. Nesta's power of death. And Silene's parents turned the horrors it produced to their advantage. I assume this is in reference to Truth-Teller, the knife that can unmake things which was created the Starborn bloodline to defeat the Asteri:

A tool not of creation, but of destruction. Unmaking.

I absolutely love Azriel and Nesta's friendship, but I also think there is something deeper going on here. I think Nesta and Azriel both experience the weight of the darkness of the Asteri's powers. Yes, they both have trauma. But they also are deeply unsettled people who fight incredibly hard against the darkness that weighs on them.

I believe both Nesta and Azriel carry the literal corruption of the Asteri, and it is something only they, and not the rest of their family, has to fight. They are doing it. And they also lean on each other in a very deep and beautiful way.

UGH. I love them, Your Honor.

I also believe that Nesta gave back her corrupted powers at the end of ACOSF (hopefully). And the mother interrupted her giving back all of her power, leaving only what the Mother intended remaining. Nesta seems much calmer and more settled in HoFaS, and while we can attribute it to her emotional growth, I think again it is extremely important that Nesta and Azriel, the only two characters to have been affected by G/wyn's luring, were also the main characters in the crossover where the corruption of the Cauldron is revealed.

Okay- but what does this have to do with G/wyn? I know, I know, G/wyn's lightsinger theory is the most accepted theory. And it might be true. But I also don't think it is everything. There is more going on here, and something that specifically leaves Nesta and Azriel susceptible. Nesta was also welcomed to the library to work with the priestesses in ACOSF for whatever reason.

I have made a few posts now about the Priestesses as the likely next mini villains in the upcoming ACOTAR book in alliance with Vallahan. You can read those here and here if you are interested. But I believe the invoking stones of the priestesses might come into play. In this case, what is occurring isn't specific to G/wyn, and I don't believe that she is the only one that could have this affect on Azriel and Nesta. Or maybe it's both, her lightsinger abilities allow her to lure while the invoking stones allow her to lull. Either way, there is a wider picture of the Priestesses and the secret powers they hold involved.

G/wyn believes that the stones are filled with the power of the Mother, and can only be used to protect and not harm. However, Ianthe also used her invoking stone (that was my interpretation, anyways) to lull guards to sleep. Feyre also questions if the invoking stones contain power far deadlier. Lucien confirms that the power the priestesses hold can be utterly lethal if they choose it.

If the invoking stones are also Cauldron Made, then they too carry both life and death. Creation and destruction. Protection and harm. I truly believe that G/wyn is completely ignorant to her own power, what the stones are capable of, and what the intentions of some of the corrupt Priestesses are. To destroy the rule of the High Lord's and regain their power:

The feminist in me is like yes queens, get off your knees and take your power back. But in this context, I think we can safely assume this is not a good thing, as we know many of the High Priestesses are also corrupted and do not have good intentions.

I think there is a lot of evidence that the like calls to like occurring very specifically between Azriel, Nesta, and G/wyn, might have less to do with the (very fair and again possibly correct) theory that G/wyn is a light singer and much more to do with the warped power of the Asteri. I think it is most likely Gwyn is not a villain, nor has any impure intention in her heart. But she does believe in her religion, in the Priestesses, and that they solely enact the power of the Mother for good. That leaves her in a position to be easily manipulated by the "promise" of greater good. The sole fact that she doesn't even think the invoking stone or power of the priestesses is capable of harming when we know otherwise says a lot about her indoctrination.

I also don't even know if G/wyn will specifically play a role in what I assume will be the future luring and lulling of Azriel, or if she was just a deeper representation of the power the priestesses hold. Either is definitely possible.

So yes, Azriel was acting out of character, a bit dazed and passive and almost in a trance. Just as he and Nesta had both experienced around G/wyn before.

For whatever reason.

[nthspecialll]

Red Dead History: My problems with it

Red Dead History is a book that does a great job at casting light over the history and background to the scenes, places and troubles we meet in Red Dead Redemption 2. Talking about both the things done well and the things done not so well, what is true to the time and place and what is not.

It is clear that the author knows alot about history and studied it, however there are times where I find it clear he spent more time focused on the real history rather than the in game and thus forgetting facts and drawing wrong conclusions.

When talking about the real life criminals that Dutch and Arthur are based on (Butch Cassidy, Sundance Kid and their gang The Wild Bunch) this very lovely and wrong sentence comes up: "Like Dutch and company, the Wild Bunch undertook robberies primarily for personal gain, not as a moral crusade against capitalism. Butch and Harry, like the van der Linde crew, certianly had a disdain for the corporate titans of their day, but it was desire for their wealth far more than social justice that motivated their heists." (The Wild Bunch, page 86) I do not think the author understood Dutch Van Der Linde very well, I don't think he understood the gang very well.

Dutch is a man based on princips, who can be found on any time of the day reading a philosopher who challenges capitalism and questions what man has become. "Men are fixated on greed, on desire, and on the acquisition not of experiences or pleasures but the ability to acquire." This is Dutch's hero, and he has several interactions with different characters like Mary-Beth, Molly, John, Abigail, Lenny and Arthur reading up quotes and discussing them, praising Miller to the heavens!

If that is not enough, lets look at the very first bank robbery that they commited, they did not keep the money, they gave it to the poor! And they still have their morals, like not robbing the poor, only the rich. We also have the fact that Javier joined the gang because of these morals, because he agreed with them.

While in the end, yes it might have been more for themselves, to get them to Tahiti because they got too big a price on their head, the majority of their time has not been.

Another example, just a bit further down the page that is wrong: "Another parallel to Arthur and Dutch, Butch Cassidy had a pronounced distaste for the racist ideologies so dominant around the turn of the century." While I can agree with him on Arthur, I can't agree with him on Dutch, Dutch is fairly racist, slowing his speech with people of other origins, calling Bronte a slur and "Here we are in this strange land of Papists and rapists." Papists meaning catholics, and the fact that a lot of minorities were hated on due to being catholics. (Read more detailed here)

Now this sentence is followed by: "One Black gambling companion of the gang noted that if anyone treated him unfairly, Butch would "get after them" with furious vengeance." Now that is not at all like Arthur or Dutch who are both in on the "stand up for youself" idea which is why they condone Micah because they expect Javier, Lenny and Charles to stand up for themselves. They ain't going to do anything. Also when they return with Sadie and Micah complains about having to sleep around people of color, Butch would have acted, Dutch and Arthut did not.

Several many pages later while talking about blood feuds we have this line "Like the mysteriously stolen gold from Red Dead Redemption 2" (The Blood Feud, 235) where I would like to point out that it is neither mysterious nor stolen(at least not by who you think). While it is not told in the story, we as players have the ability to learn about what happened to the gold.

On an island not far outside Saint Denis, hidden under a tree in a chest we can find a letter. This letter comes from Lucille Braithewaite and was written in 1803 to a Douglas Gray, whoms story was esencially that of Penelope and Beau, except Lucille was exiled by her family and took her family money, hiding it for Douglas to find and give to an organisation that would abolish slavery.

While it is not common knowledge about the letter, the other two things are, and if you are writing and publishing a book I would expect you to know your things.

A minor problem I have with his writing is that he puts the player experience into unenssesary boxes. For example he talks about the KKK and how Arthur encountered them: "One evening soon after their arrival, Arthur is riding on the outskirts of the dusty plantation town of Rhodes when he notices a constelllation of bright lights in the nearby woods." (The white-hooded menace, 115) He continues to talk about how Arthur curiously dismounts and sees who it is and that the player then has the choice to kill the KKK or watch them die.

While I do understand setting a scene, I think it is such an unessesary thing to add with the timing and place and what Arthur does when reacting to them. Rdr2 is known for being so unique and it feels so wrong to remove that, also because this encounter can happen at any time pretty much anywhere. I have never met them in Rhodes but I have met them in Big Valley twice, one time in chap 6 and one time with John.

Similarly he talks about the racist guy in Saint Denis and how it leads to the "inevitable conclusion of violence, with Arthur beating ot shooting the pamphleteer" (The Paradox of race, 96) as if it isn't completely possible to just walk away. And it isn't like the author never talks about the many choices the player can make, for example he talks about how Rockstar was under critisism because some boys had a kick out of tying up and killing women NPCs in different ways.

Red dead is such a wide experience and I don't understand why he is trying to narrow it down and tie it up into a box when he could have gotten his point across without needing to.

Last point I want to talk about is his idea for red dead three, that being Arthur Morgan in 1871 (Epilogue, 242), where I feel that it is more because he liked the time period more than anything. Arthur would be eight at this point and living with his dad (the one pic we have of him is taken in 1874). From what the author presents of the time period it does sound interesting with a lot of possibilites but I do not think it should be with Arthur if so, maybe with Black Belle or someone.

While I do really like all the history facts that the author brings, I am surprised at his lack of understanding for the gang considering his 3 playthroughs and 300 hours in game.

I have also heard rumors of historical inacuracies, and I am trying to dig deeper into that to see if there is something, but if anyone uses his work for something I would fact check him just to be safe.

[formulaforza]

oh, simple thing— c.sainz

"the earth laughs in flowers" pairing: carlos sainz x female reader wc: 4.1k notes: guys remember when i used to write? back in january? crazy times. anyways.

You were five years old the first time you proclaimed that you were going to marry Carlos. It came, of course, after the implication that you would also be marrying Prince Charming (as long as he didn’t keep your glass slipper–shoes are a woman’s best friend, your mom had told you once and you never forgot it) and the gym teacher at your primary school, whose crush you’d never admit to anyone but your mom. Can you imagine the teasing? Thinking a grown-up is cute? It’s completely preposterous… or, when you were five, super-duper silly. 

All three of the loves of your life were completely coincidental, coming to your brain while your mom read you a bedtime story completely coincidentally. You’d had gym class that day, of course. Played with the rolling scooters and argued with the older kids about getting a turn on the tube slide. Scooter day was always your favorite, so it was no surprise your teacher was in your good graces that evening. A

After dinner, while flipping lazily through channels on the big square television in the family room, your dad had clicked on the Disney Channel by mistake. Cinderella was halfway through and you threw a fit every time he tried to change the channel. You just thought she looked so pretty, in her big princess dress dancing at the ball. 

Carlos, what had Carlos done to be in your good graces that day…? He wasn’t in your class, so you couldn’t enlist him in the war of the slides or crash into him on the scooters. He definitely wasn’t running around your house after dinner. If he was, your Mom would still be cleaning up after him somewhere in the house. Carlos, Carlos, Carlos… what had he–oh! That’s right! The flower on the way home from school. How could you ever forget the first flower? He’ll give you shit for it later. 

Your mom and Carlos’ mom had been best friends long before you and Carlos burst into the scene. They liked each other more than just about anyone, and you never did understand how Reyes never tired of your Mother’s antics. She was always bossing you around, forcing you to clean up your toys and read your books. Carlos got away with whatever he wanted, his parents would even lie for him on his reading logs. Anyways, stay focused. Because your parents were such good friends, you and Carlos grew up side by side. Parallel play or bust, since neither of you were particularly apt at sharing. Everyday on the walk home from school, your moms would catch up on the gossip from the night before while you and Carlos tried to kill each other with various objects found on the sidewalk. This day, there had been eleven pebbles, two rocks, a stick, and Carlos’ metal water bottle (the one with the HotWheels logo on the side). Now, Carlos was charging at you with… a flower? A bluebell, one he’d picked straight from the ground, root and all hanging from his fist. When he held it out to you, you scowled. There wasn’t anything wrong with it. In fact, it was about as perfect as a bluebell from the sidewalk can get, but, you’re a little shit. 

“It’s dead,” you said, took it from him and tossed it aside. “It’s not nice to pick flowers, Carlito. It kills them.” He burst into tears and your mother scolded you the rest of the way home, even though it was her who always told you to leave the wildflowers wild. After some time and consideration (a plate of dinosaur nuggets, half of Cinderella, and a bedtime story) you’d decided maybe Carlos was right to cry about the dead flower. 

Carlos, it seemed, had gotten over the dead flower incident pretty quickly because, the very next day, he was already making a joke of it. He’d held up the walk home for fifteen minutes while he searched through a field in the park. Both of your mothers and Blanca had already shown him what had to be a hundred or so healthy, perky flowers. Carlos shook his head at each one of them, typical. You sat on the curb of the garden and played with the ants that had built a sandy hill beside your foot. You resisted the urge to stomp it, only because you knew you’d be lectured about leaving the bugs alone in the same way you were about leaving the flowers alone. After a lifetime–or enough time to have an after school snack–Carlos finally settled on the ugliest, most wilted flower you’d ever laid your eyes on. He presented it to you with a laugh and, because you’re just as stubborn as he is, you accepted the gift graciously and let it sit vaseless on your dresser for three days before someone threw it away. 

Truthfully, though, the real reason you probably proclaimed your intent to marry him that night wasn’t some flower. It was that Blanca had defended you from his water bottle strike with a pebble to the back of his head, and you thought that would be a good kind of person to have as a sister. 

Carlos was seventeen when he figured he’d probably end up with you eventually for the first time. There wasn’t anything romantic about it. It was more of an ah, fuck. It’s gonna be her, isn’t it? 

Your families were in Mallorca, touring some vineyard–well, your parents were touring the vineyard. You, Carlos, and all of the siblings had snuck off from the group one by one and met up in the grove just outside the property. Carlos was bumming a cigarette from Blana when Ana finally turned up, stomping her way through the grass and wildflowers annoyedly. Carlos takes a puff of the cigarette and passes it over to you. 

“You’re going to start a wildfire, you know?” Ana says, crosses her arms over her chest and pops out a hip all bratty. 

“Ana,” Carlos groans, “shut the fuck up.” You exhale a puff of smoke through a laugh. 

“If you’re going to be mean, I’m going back to Mom and Dad.”

“Okay,” he says, “have fun.”

“I will,” she proclaims, visibly annoyed that she isn’t drawing a reaction from her big brother. She loves to piss him off, everyone does, because it’s just so easy. “I’ll have sooo much fun telling them about how you’re all in the woods smoking. I’m sure Dad will love that, don’t you think, Carlos?” Blanca rolls her eyes. Sometimes it’s fun to mess with Ana, and sometimes keeping her humble becomes more of a chore than anything else. 

Ana stomps away, her whole sneaky journey wasted, the group’s entire smoke session ruined by the pesky baby sister who can’t decide if she wants more to be included or to be a tattletale. “Don’t kill any more flowers on the way back!” Carlos calls after her, passes the cigarette to you again for one last puff before the lot of you have to make your way back to the winery, to the bathroom you’d all claimed to need to use over the past hour. Ana turns on her heels to make sure Carlos can see her eye roll. He just smiles, and you think if Carlos was your brother you probably would have killed him with your bare hands a long time ago. 

You squat down to put the cigarette out in the dirt and Carlos digs a hole with his heel for you to drop it into, kicks the dirt back over it and stomps on it a couple times. “Fuckin’ snitch,” he mutters under his breath. 

He snatches up one of the stomped on flowers, pulls it from the ground–root and all–and presents it to you. “You really are such an ass,” you say, take the flower and link your arm through his for the remainder of the walk back. “I love you,” you add, “but you’re an ass.”

You were twenty the first time your friendship with Carlos became a threat to one of your relationships. It wouldn’t be the last time. You’d been together for seven months, you and Mateo, Mateo and you. Met at a club in Barcelona and the rest was history. It was a simple conflict of interest, a scheduling woe. You were forced to make a decision. Your boyfriend’s grandma’s birthday party… or Carlos’ debut in Australia. To you, it seemed like the easiest decision in the world. His grandmother isn’t even that old–she’s got plenty of birthdays ahead of her, ones that you’d be happy to celebrate. But Carlos’ debut? Really? That’s once in a lifetime. It’s the shit you just don’t miss, even if you’re in the hospital or literally on your deathbed (which Mateo’s grandma is NOT, by the way. She lived seven more years according to recent Facebook posts). 

“You’re going to Australia?” He’d scoffed when you told him, mentioned it so nonchalantly over dinner. When I’m in Australia, don’t forget to water the plants, or something along those trivial lines. He was just as offended as you were utterly confused. There’s no way he thought– “What about my abuela’s birthday?”

You’d laughed. The wrong thing to do, you know, but it was an action done without thought, without intention. “What about it?”

“You’re supposed to come with me.”

“I never said that,” you shake your head and he pulls a face. You set your silverware down and prepare for the coming argument. Normally, you’d just back down, but this is Carlos we’re talking about. Carlos, and his dream. Carlos, and his reality. “I didn’t,” you reaffirm. 

He leans forward onto the table, elbows shaking the entire thing, rattling the wine glasses and ceramic against the wood. “I assumed you–”

“–I don’t know why you would assume I‘d be doing anything except supporting Carlos,” you say, more defensive than you intend to be. It’s just, you can already see where this is going, even if it’s never gone there before. You’ve watched the girls Carlos brings home look at him the same way Mateo is looking at you right now, or more importantly, how he doesn’t look at you. 

“You know, I don’t either.” He nods, but it’s more of a full body movement, like he’s rocking forward, lips pursed and jaw tight. His eyebrows raise like he’s going to shrug, like he’s surprised with himself. You doubt you read the emotion right. “It’s always about Carlos, isn’t it?”

You lean back in your seat, cross your arms over your chest, close your eyes just long enough to hide the eye roll, and then you’re piling the silverware and the napkin onto the plate and moving the party to the kitchen sink. “I’m not doing this right now,” you say when you grab the wine glass carelessly. 

“Oh, so you know what this is about, then?” He calls after you, gathers his things sloppily and follows you into the kitchen. 

“You just said it’s about Carlos,” you say, slamming the sink on and clattering the plates into the bowl. Carlos had told you about these fights, about the ones he’s had with his girlfriends. You’d laughed about them, always thought it was so funny–the idea of someone left fuming by your friendship. The crazy assumptions, they couldn’t be more wrong if they tried. You and Carlos are nothing but platonic, you’ve always been platonic, you’ll always be platonic. When you know someone as long as you’ve known Carlos, they just become a part of you, build this little home in your soul that blends in so perfectly you could never cut it out with clean margins. It’s not just Carlos, either. It’s Blanca and Ana, too. Hell, it’s even Carlos Sr. and Reyes, but nobody ever seems to understand that. 

“It’s my Abuela,” he says, like you’re supposed to be moved or something, and he sets his dishes in the sink on top of yours. “It’s her birthday, and you’re supposed to come with me. I told my family you were coming.”

“I don’t understand why you would do that,” you start scrubbing the first plate with far more aggression than required. You’re not a good fighter, you get mean, and you get mean quick. “I was never not going to Australia.”

He laughs, leans against the counter with his arms crossed, staring at the ground, at the crumbs waiting to be swept up. “Because you’re never going to choose me over Carlos, right?”

“Mateo.”

“Answer the question.”

You freeze, squeeze the soapy sponge in a fist until there’s nothing left to ring out of it. “I’m certainly not going to choose your Abuela over my friend. Over my brother.”

“He’s not your brother.”

You sigh, go back to cleaning. “He’s like my brother.”

“Yeah, if you wanted to fuck your brother,” he says, and meets your eyes with wide, proud eyes like he’d done something, caught you in some illicit love affair. You resist the urge to grab the wand from the sink and spray him with a jet of water. 

Instead, coldly, you’d replied, “get out,” and pointed to the door. 

His hands shot up in some great defense. Or maybe it was offense, you really never could read him that well. “I see how you look at him.”

In. Out. In, and then out. Deep breaths. “I said leave, Mateo.”

“Because you know I’m right.” In, then out. “You know how fucked up it is that there’s three people in our relationship,” in, out. “Four, if you count Carlos’ girlfriend! What do you think she thinks about all this? You looking at her boyfriend like your favorite candy?” In, then. In, then–in, and then you slap him with a wet hand, the contact reverberating into a splash, coating the walls and the ceiling and the entire fucking room in anger. Anger, and dirty dish water. 

The anger is deafening, the room so quiet that the sink makes the kitchen sound like it’s directly behind a waterfall. 

He storms off into the living room. You return to the dishes, hear the jingle of his keys, the door opening. “Fuck you!” You call after him, but what you really mean is Fuck Carlos. 

When you get the breakup text a few days later, you’re not surprised. You put on your best face and pretend you never read it because while your boyfriend did just break up with you in a seven word text, you’re sitting out the back of the Toro Rosso motorhome watching Carlos pace.

You’ll tell him later, you think, after the race. And then, you don’t dare ruin the celebration, ride the high out until it can’t be ridden any longer. By the time you do get around to telling him, you’re all but moved on, mentioning it nonchalantly amongst the chaos of his first season. It falls away to the backburner, into irrelevancy, and Carlos never does ask what happened to sour the relationship. He does, however, have a wilted arrangement of flowers delivered to your front door with a handwritten note–ugly and dead, just like your relationship. You’d laughed for maybe twenty straight minutes. 

Carlos was twenty-four when he realized he was in love with you, that maybe he always had been. He’d just broken up with a girlfriend, one whose name he hardly remembers now. Alessandra… Alena… Adrianna–oh, screw it. It was definitely an “A,” and if it wasn’t, he’s sure it was a vowel. Not the point. He was twenty-four and had just dumped whatever her name was because it just didn’t feel right. (What does right feel like at twenty-four? And how do you know it when you see it? The world may never know). 

It was three races into the 2019 season, and he’d been having a particularly unlucky start with his new team. He’d spent the offseason relatively alone in Woking, finding his footing in a new place, a new team, a new car. Everything is gray, you’d told him the night he announced his impending move, scrolling through your phone at Google search results for the town. “It’s not gray,” he said, and without needing to say anything or flash him a look, he backtracked. “Okay, it’s a little gray.”

Three races in–an engine fire and two first lap collisions–in, and everything is feeling pretty gray, not just his rainy apartment (flat, he’s been taught to call it) in Woking. The cards felt stacked against him, and reluctantly, he’d called in reinforcements to Baku, a couple of good luck charms in the form of the people he loved. You, Ana, and Blanca flew in together and made Carlos come pick you up from the airport himself. 

You climbed into the backseat and were anything but gray. You were glowing, completely and utterly sunkissed, and your hair was messy from travel but it reminded him of what you’re like after a good nap. Groggy and sleepy and desperate to stretch out like a cat. He hates that he knows how you like to stretch after a nap, the exact pattern of movements you do. Do you know how much time you have to spend with someone to memorize their post-nap stretch routine? Too much time, that’s how much. 

You got into his car, all bright and sunny, and sure, his sisters were there and he loves them so much. But, you’re here, and you’re bright and sunny and everything feels just a little less gray. He pulls out from the airport and while he doesn’t realize that he loves you just yet, he knows something in him has been chemically altered by your smile, irrevocably so.

It’s Sunday when he realizes, somewhere between the checkered flag and the team debrief when you and the girls appear, practically crash into him like you’d been dropped down into the garage right from the sky. He hugs you, and you smell like sunshine. He wants to bash his head into the wall of his driver's room, to lay in front of Lando’s car and ask him to run him over because he’s not supposed to take note of the way you smell (unless it’s to call you out for smelling like shit). 

You kiss his cheek and shove his shoulder because you’re so happy for him, because you’re always so happy for him. He doesn’t think it’s fair for someone like him to always have someone this happy for him. He loves that about you. He loves everything about you. He loves you. Fuck, he’s in love with you. 

Lando nearly pees his pants over a tweet the next day. Carlos has reached a new level of Carlos-ing, it read, with a picture of him visibility distracted while being fed to the media pen. He can’t tell his teammate that the reason he’s so distracted is because he’s internally debating the pros and cons of ruining your friendship forever. 

You’re twenty-four when you and Carlos start dating. The two of you drag it out for as long as humanly possible, stretch the patience of everyone around you so thin they won’t be surprised (or concerned) at the idea of you and him getting together. It’s scary. Really, really scary to admit your feelings for each other, to tell the rest of the world about it, but Carlos keeps bringing you these mis-shapen flowers, ones where the dye is soaked up poorly or they’re a couple days too wilted. It’s our thing, he would always say, and kiss you while you cut the stems to fit in your favorite vase. 

He was right, it was something that was just yours. There was nobody else actively searching out dying flowers in the shops or carefully picking the dirtiest wildflower from its root on an evening walk through the city. That was just the two of you, and nobody else understood it. 

“It’s gross,” a friend told you, twiddling one of the half-dead flower stems between her fingers while you shared gossip over glasses of wine. “You got these today and they’re ready to be thrown in the bin.”

“You don’t get it,” you’d swatted her words away. The dead flowers weren’t understood, and they didn’t need to be. They were special to you and Carlos, and when it came down to it, nothing else mattered to you. 

“Seriously, though,” she’d continued, “It’s… I don’t know. Dead flowers, it’s just weird.”

Carlos is twenty-six when you break up. It’s mutual, it is. Even when it doesn’t feel like it’s mutual, when either one of you desperately searches to blame the other for the pitfalls, it’s still mutual, still two people who love each other. Who just aren’t in love with each other anymore. 

There’s a lot of reasons if you want to get into it, but his new drive is the catalyst for pretty much all of them. Carlos is with Ferrari now, which is the dream, but it's also the nightmare. McLaren is iconic and historic but Ferrari… well. Everyone knows the Vettel quote, everyone knows the kid’s car is red. Ferrari’s Ferrari and you’re just… you. Time runs out, patience runs thin, and that’s the end of it. 

You’re twenty-seven when you see him for the first time post-breakup. It’s a setup by your parents. Mallorca and the vineyard, again. You don’t think anything of it, so much has happened in the last decade and Mallorca is half of Spain’s favorite vacation destination. 

He’s sitting with his family at the bar, the whole clan of them sipping from a wine-tasting tray. His eyes shoot up to meet yours with the loud creak of the old, heavy doors. He does a double take, and your stomach turns into a ball of knotted necklaces. 

During the same tour you’d been on all those years ago, you sneak off with the same excuse you’d used. Blanca and Ana don’t follow after you to debate the environmental damages of bumming a cigarette in the grove or to threaten to snitch on you to your parents. They stay behind and listen and you stomp through the wildflowers to get some air. You’re already outside, Carlos would say if he were there. You’re my dirty air, you’d tell him, and he would roll his eyes, shove his hands deep in his pockets and rock on his heels. 

He knows you’re not in the bathroom, there isn’t a single nerve in your mind that thinks he doesn’t know exactly where you are. He doesn’t sneak off behind you. You gather your thoughts in the grove by yourself, leant against a tree older than you’ll dream of being. You pick a wildflower, one that looks picture perfect, snap it carefully from the root and stick the stem behind your ear. 

When you return to your party, they don’t notice you’ve been gone for far too long to use the bathroom or that you’ve got a flower in your hair. Well, all of them except Carlos, who slows his walking pace to drop to the back of the group next to you. “Nice flower,” he comments quietly. 

You nod, watch your feet as they move in synchronized steps with him on the grassy path. “Thanks.”

“It’s dead,” he adds, and you smile dimly. “It’s not nice to kill the flowers.”

Carlos is twenty-eight when he’s perusing the birthday card section at the local gift shop. He’s trying to find one that perfectly sums up his birthday wishes for you. It has to be sunny and happy and so, so sorry for everything (even when it’s nobody’s fault). It has to say, I’ll always love you without saying I am still terribly in love with you. It has to be subtle and obvious and endearing and serious and funny. It has to be everything his words can’t be. 

He eventually settles on one, tucks it into the yellow envelope and licks it shut. He handwrites your name on it messily, like you could get confused about who it’s for and need a label, or like he has a stack of yellow envelopes for dozens of other people sitting sealed on his kitchen counter. He goes to the florist next, picks out a stock arrangement from the fridge and a package of flower seeds. The final stop on his city tour is your apartment. Three knocks on your door, and then you’re undoing the deadbolt. 

“Hi,” you say, confused by his presence on your welcome mat. 

“Happy Birthday,” he smiles. “This is the last time I get you dead flowers.”

You and Carlos are thirty at your wedding. He cries when you walk down the aisle and there isn’t a single real flower in your bouquet. It’s all fake, and one of your friends asks if you’re worried it might look tacky or cheap. Anyone who thinks that shouldn’t be at our wedding, you’d told them.