#but its my tumblr post i do what i want here

[mask131]

Normally I would have reblogged this to my Oz side-blog but I will reblog this here first because somehow there's more Oz fans here than on my Oz sideblog? Tumblr is weird...

Upon seeing this very popular post I have to add my two cents of a thoughts... Because while I agree with half of it, I disagree with another half, and it's mostly a question of nuance.

My main point is: It is not because people dump on Wicked that in return people should dump on Baum's Oz. I am saying that in regard of the "Oz originally doesn't have any continuity". I admit myself I am one of the first people to put forward the fact Baum was a bit of an anti-Tolkien when it came to Oz because at one point he didn't care about logical and coherent worldbuilding and just threw whatever he wanted at the wall... HOWEVER! I realize now how these words might mis-guide people because it doesn't mean Baum didn't care about continuity at all.

The early Oz books are actually trying to form a coherent whole. When Baum wrote "The Marvelous Land of Oz" he was not FORCED to do it because of "popular demand". He wanted to do it. Partially because he wanted to adapt it as a musical once it was over, but when he wrote the novel he still intended it to be a logical, continuing sequel to his Wonderful Wizard of Oz, and he worked to refit elements taken from his musical adaptations (like Pastoria) into the world of Oz as presented in his first novel. Same thing with the third novel, Ozma of Oz - when you read these first three books one after another they are cohesive. Just because later Baum decided to abandon a bit continuity and do massive retcons for the sake of telling new stories doesn't mean he never cared about continuity, and the start of the Oz series was an effort to make one complete world that made sense. Oz first became a series because Baum wanted it to be ; the whole thing of a "sense of duty towards the fandom" (which wasn't actually a sense of duty, his others works just didn't sell while everybody bought his Oz books) came later.

Yes, after the sixth book (which was meant to be the great finale but didn't work to end the series), Baum ended up making a LOT of books that openly contradicted the worldbuilding established in the first novels... But they still were coherent and cohesive in their own right. It is just that Baum chose to retcon and massively shift some worldbuilding rules in order to have a setting perfect for a kid-friendly long-running series where he could include everything and anything - but once he established these new rules, he stuck to it and explored them in various ways (such as the rule of "No living being can die in Oz", which of course contradicts the early books, but becomes a core principle of "later Oz" and is explored in various novels - such as the one introducing the Tin Soldier). Yes Baum contradicted, shifted and retconned, but to say he had no sense of continuity or canon is frankly way too harsh.

We were having a talk with @themousefromfantasyland about Baum's The Life and Adventures of Santa Claus novel, and he did make a point that this books contradicts the "anti-Tolkien" reputation of Baum as in there you have a strong, solid, complex worldbuilding working very well for its own little Christmas epic, self-contained in one sturdy novel. And that's the thing with Baum: outside of his Oz series, each of his individual works had a strong and solid worldbuilding, or nice continuity in the case of mini-eries. Oz was an exception just because it went on for way more than what he already planned, and Baum had to juggle between various media (the Oz franchise he run wasn't just novels, it was also stage musicals, movies, and even early comic books).

My second point is this: I do agree people shouldn't entirely reject Maguire's novel out of it being "non-canon" to Oz. Because it is part of a long series of revisionist works inventing, reinventing or twisting Oz in various ways. The MGM movie was first, but you have so many, from The Wiz to Emerald City, passing by Tin Man, or Lost in Oz, or to have something more akin to Maguire's 90s dark, edgy, sex-and-drugs counter-culture approach to Oz, the Oz Squad comics. HOWEVER! HOWEVER! I do think it is important to remind people Maguire wrote his own thing, on his own side, and that "Wicked" is its own thing.

What do I mean by that? Very simple... I have seen, looked at, chatted and interacted with a concerning number of people who are convinced Wicked (be it the musical or the novels) are "canon" in the sense that... somehow they believe when Maguire named his Wicked Witch of the West Elphaba, it retro-actively baptisez the Witch of the West in Baum's novel. Or that the Wicked musical was actually allowed or produced by the MGM as an "official" complement to their movie, meant to act as a real prequel to it. You should not underestmate how POPULAR Wicked was compared to other Oz revisionist works or adaptations, resulting in a lot of people ending up knowing only the MGM movie and the Wicked franchise, sometimes with Return to Oz, and not knowing anything about the novels. This results in fascinating though very puzzling misconceptions. I have seen people insist that Evillene in The Wiz should be called "Elphaba" because it is the "official" name of the Wicked Witch of the West. I have seen people claiming to adapt the Wizard of Oz by Baum but really just doing adaptations of Wicked the musical, and not realizing they were using tons of stuff that were copyrighted by the musical creators and not in Baum's original novel. I have seen a lot of people claim that Baum intended Glinda to be called "Galinda" and that it is more correct to refer to Glinda by this name...

Yes, Wicked is its own continuity and branch of the large Oz family tree. Just like the MGM movie and its various adaptations. Just like Disney's Oz the Great and Powerful, or Return to Oz. Just like the Wiz. Just like Volkov's Tales of Magic Land (well... cough cough there's a bit of more unclear legal things down there but you know). Just like Tin Man or Emerald City. People should be aware that Oz is a LARGE franchise of many, MANY media.

But there is also a frightening amount of people who take literaly what Maguire wrote: "it is the real story of the Wicked Witch of the West", they take it literaly. Mind you this was more prominent in the 2000s and early 2010s - I think things got better recently because people are getting much more aware of the original books and of other alternate Oz media... But you know, at one point there was a need to point out "Hey guys, you know Maguire invented stuff, right? That he is basically parodying and twisting stuff and creating his own thing not in the public domain? Please stop saying Elphaba is public domain, she is not. This little wrinkled one-eyed hag is."

I've seen a lot of people lately harping about how "Wicked isn't canon to the Oz universe", "it's just glorified fanfiction", etc., and I can't express how silly that is, and how annoyed it makes me every time I hear it, lol. Baum's original Oz books were never meant to be some canonical series — they contradict each other constantly; Baum called it a "fairy story" with loose cohesion at best; and it only became a series at all because the first one got popular enough that Baum felt a duty to the fandom to keep making more (even after he had wanted to end it). And the 1939 film is every bit as much "fanfiction" as Wicked — it changes the story in both major and minor ways, including a complete shift of framing (i.e., making Oz into a dream rather than a real place).

Maguire's great contribution to the overarching legacy and lore of Oz was to harmonize the very weak "canon" of the older works with a different shift in framing: recontextualizing all of the prior Oz material as a revisionist history (going off of Baum's own idea framing of himself as a "Royal Historian of Oz"), and attempting to tell "the true story" behind the other works (fictively of course — we're never meant to literally think Maguire's version preceded Baum's, irl). In literary studies, this is called an urtext. The Wicked Years and its adaptations are as much "fanfiction" as the 1939 film: it's just self-aware of that fact in a way that earlier works weren't, and uses that perspective to deconstruct the material and explore deeper (and darker) themes — not simply adapting or reimagining the original text (as the 1939 movie did), but actively challenging it; interrogating it. It's not meant to be "canon" as such: it asks you to ask whether (and why) there is such a thing, and what that might say about the stories that we are meant to literally believe in, in real life.

[kkuzushi]

Restraint Connected Collars. . .ᐟ

⠀✦ cw : thirst of needy men in this type of collars.

⠀✦ additional notes : i miss writing smut, so here’s a 287 worded thirst.

Restraining needy men might be the best thing in the world. Just having his wrists tied behind him connected to the collar wrapped around his neck, what could be a prettier sight than this? Especially just having him all bare naked in front of the mirror, unable to meet your hungry gaze.

Your hands roamed around his body, trailing goosebumps on its wake. One holding his waist firmly while the other travels south, nearing to the heat that’s been pooling in his groin.

He couldn’t even look at you in the mirror, his eyes glued to every movement your fingers make. The way it slowly wraps around his shaft, feeling how hard he’s already been. You can see his precum peeking from the tip—don’t point it out though, he’s known it from the start.

As you start to rub him languidly, his fingers balled into a fist behind him. Does he arch towards your palm or stay still? He doesn’t want to disappoint you after all. Still, he’s been squirming so much, it’s really not that hard to notice, especially with how his head tilts back on your shoulder, soft gasps escaping his lips.

“More..” He mutters, his eyes fluttering close as he gets lost to the sensation of your hand.

“More? Aren’t you being greedy?” You teased, his pre spreading across his cock, wet and obscene sounds emitting from your movements.

You can hear him whimper even as he bites his bottom lip to muffle the sound, spurring you on to tease him further. As he tilts back his head, you nuzzle on the column of his throat, “You know what to say.”

In an instant, you felt him twitch right under your palm. “Fuck.. mmplease..”

Wanderer, Xiao, Kinich, Dan Heng, Moze, Silco, Akutagawa, Giyuu, Mammon, Leviathan.. your favs.ᐟ

© kkuzushi | Please do not translate, repost, or plagiarize my work. This AU is posted in Tumblr only unless stated otherwise by yours truly.

[kingofthering-two]

Hi guys, Maïna / kingofthering here. You might have heard or noticed that I got my account terminated yesterday (and had the joy to discover you don’t just lose your sideblog but all the blogs associated with your account).

What happened? As I mentioned last week, I received my 2nd strike for copyright infringement on the 11th of December and I protested it (sent a DMCA counter notice) on the 12th. Tumblr forwarded the counter notice to the claimant on the 16th, leaving them 10 business days to answer before I could get the strike taken away and the content restored. Unfortunately, yesterday, on the 19th, I received my third strike and it came with the termination of my account. 

How is it fair that tumblr lets you receive a new strike so soon after the precedent one, when you couldn’t even have the time to finish fighting the first one? I legitimately don’t know. I’ve tried to contact them about this but they don’t treat the messages since it’s coming from a terminated account. I think I need to send the message with another email address, which I might do later.

Could my account come back? In theory, from what I’ve read online, yes, but that remains to be seen from my end for me to be completely sure of that. My only current hope is for the blog to reappear when I get my first and second strikes removed (the first is from January but I never thought of fighting it before because it was videos so I thought they didn’t stand a chance but now I genuinely believe the type of content doesn’t matter). 

In September, there were 14 days between the counter notice being sent and me getting my content back (10 business days + weekends) and I suppose we might have to take into account Christmas here. I think that in the best case scenario, I might hear from tumblr on the 30th of December, maybe the 31st.

What now? I briefly considered using this as a (forced) break from tumblr. I tried to have one earlier this year and failed miserably. I think that the older I get, the less patience and tolerance I have for things that annoy me (and get past the filtering system) (but also things outside of tumblr, seeing my gifs get reposted to twitter, something that happened again recently, really annoys the fuck out of me). But, at the end of the day, the good outweighs the bad (annoying) far much, when it comes to this website and this community. If I check my tumblr app screentime on my phone, I might cry at how bad it is. I do want to finish the projects I have ongoing (the RPF survey answers will be studied and treated and shared) and keep in touch with everything happening on here.

I’m going to use this current account to browse tumblr at least until the end of the year. I’ve already seen glimpses of stories that I need to catch up on and I’ve seen you guys being very supportive already (thank you) so I felt like making myself reachable here was better. Posting wise, I’ll probably post about things that I know are safe i.e. things of my own (stats, my progress on the 2025 journals) and gifs of things not coming from Dorna (e.g. reels/tiktoks, podcast videos).

What then? The only thing I can tell you for sure is that no matter what happens next, I’m going to create an archive blog on a separate account (with a dedicated email address). This blog will not have posts of its own but only reblogs of content I originally posted on kingofthering. If I can have my old account back, the job will be made much easier (and will obviously be more complete). If not, I’ll have to rely on a lot of research to get things back as best as I can. Don’t worry about this for now, I’m going to wait until I know for sure about my old account to start the process (since the method will be very different depending on the answer on that).

For 2025, we will see. The thing is, even if I get my account back, I know that I will keep getting strikes (even if I’m not posting anything because old posts of mine have been targeted as well) and honestly, even if fighting them works, it’s both stressful and exhausting. Also, people have been winning the battles against the strikes for now but who knows how long that will last.

And like I mentioned, it’s a sideblog connected to all my other blogs which also depend on kingofthering’s faith. That includes my main blog that I’ve had since 2011 (I don’t use it much but I use it to keep all the useful stuff like the photoshop tutorials, writing prompts, etc), my hockey sideblog (not been using it much either lately but it does have some history I’d like to keep) and a bunch of others.

A solution to keep those other accounts safe would probably be to move everything motorsports related to a new account (maybe this one if I can get my main back) and delete the original kingofthering. It would pain me because of the history of this blog and what I would lose in the process (mostly the asks I haven’t gotten to answer and obviously the following that I had grown but I suppose that I can grow back little by little). It would also mean I couldn’t see anymore the posts in my notes and the tags people add to their reblogs (which is like half the purpose of posting in the first place) and that’s annoying as well but I suppose I could grieve that too, in theory.

If I don’t even get the account back, well. I talk about creating a new dedicated account but if it also gets striked (which I suppose will happen), it will be equally exhausting to fight fo it so, I don’t even know if I want to do that.

At this point, I know which content is safe for sure (or what has been safe so far for me) and there are still a lot of stuff that I enjoy sharing with you and getting your opinion on but giffing race weekends was the major part of my blog and I don’t know how I feel about giving that up. Anyway, much thoughts to have still.

Can you do something to help? I don’t think so. Or, well, not with recuperating my account. In regards with the copyright issue as a whole, though? I don’t know what to say because I don’t know what’s the best course of action there. I’ve seen some discussions around about emails and a petition and involving other social media and bigger people but I genuinely don’t know what’s the best thing to do. I’ve personally always considered tumblr as this little (safe for everything) bubble and I don’t exactly feel comfortable “exposing” some of my content here to the rest of the world (some people on tumblr are already mean enough about RPF, I don’t need to see what people not on here have to say about it). That’s obviously just me and I’m not going to keep anyone from doing what they think is right. Part of me wants to believe that things will fix themselves once Liberty Media take over but that’s not a sure thing and the frequency of strikes lately has been quite worrying so I understand the need to do something. Some thinking over to do there too.

Where can you find me? For tumblr, on here for now. I’m going to post this on the motogp tag and I’ll try to follow my mutuals (from memory so, going to miss a lot of people for sure, sorry in advance). I might appreciate a reblog of this post to spread the word. I still have my twitter (mostly talking stats), the blog and my tiktok (barely being used but still in existence).

If I do the set ups correctly I’ll have my DMs open here and askbox open to anons. I am still bad at answering those, though, so apologies in advance there as well.

(Also, I just got home for the holidays and literally learned about the news when I was in the train yesterday afternoon, so, worst timing ever.)

[staroflife]

☆ stop trying, give up! - tough love post ☆

here's a scenario: you learn about the law, and now you decide to "try" to manifest something. you repeat your affirmations endlessly, do all these methods and challenges to help you "try" to manifest instantly, and then a day goes by. you don't see any changes or "movement." you read some posts to see what you're doing "wrong," and then you get motivated and try again. same thing happens: no movement or change in the 3d, so you get discouraged and decide that you don't see anything, so you don't have your manifestation. but you start to enter this endless cycle for days, then months, then years of reading a post on tumblr, getting motivated and excited and hype yourself up about how you are a master manifester, but the moment you tell yourself "oh I don't have my manifestation," you become discouraged and decide that maybe you are an exception to the law. that everyone else on here is getting what they want but you don't see anything in the 3d even though a certain amount of time has passed so you don't have your manifestation.

grow the f*ck up. literally. I'm going to be straightforward with you, as someone who is speaking from experience - yes you did all of this work to manifest what you want, but you decided that you don't have your manifestation, so guess what manifested? you NOT having your manifestation. you did manifest what you decided tho, so congrats!

YOU decide what is happening in your reality. YOU are the one who is deciding what you have and what you do not have. it doesn't matter if its been a week, a month, a year, or even 10+ years. time never matters when it comes to manifestation. if you decide that it takes a long time for you to manifest, it will take a long time for you to manifest. if you think your manifestation is really big and unrealistic and will take a while before you get it, then it will take a while before you get it.

a few months ago I was scrolling through twitter and I came across this account that said to get comfortable with NOT seeing something in the physical world. an assumption, by definition, is a belief that something is true without proof or question. you are working with the law of assumption. let's put 2 and 2 together. you are working with the law of assumption, therefore you do not need to see something in your world in order for it to be true.

you do not need to "try" to manifest something. you never needed to "try" in the first place. you do not need to do anything to get what you want. live your life and do what needs to get done while assuming and deciding that you already have what you want.

the law has no limits. people say the same thing all the f*cking time just in different words. there's literally no reason for me or any other blogger to continue making posts to be honest but here's a summary of the law:

the minute you decide something is true, it simply is. that is an assumption. nothing else matters. time, circumstances, whatever you are experiencing in your life does not matter when it comes to the law. yes you can manifest anything in the world, even if it seems unrealistic or even impossible. you can manifest what you want using whatever techniques or methods you want it does not matter. all you need to do is decide what you want, and assume/accept/know it is true. even if the world tells you no, tell yourself yes.

[factual-fantasy]

27 asks! Thanks everyone!! :}} 🍭

@p0wer-up21

Thank you so much! And actually, I can! :D While I was watching episode 4 I saw Gummigoo with his brothers and felt kind'a bad for my Gummigoo.. having to leave them behind like that.. And you know me and brothers. I cant separate them permanently like that XDD

So I changed up my AU! In episode 2 instead of just Pomni and Gummigoo clipping through the floor while Max, Chad and the Rig blast into the sky... I decided that the whole Rig and all 4 of them all clipped through the map together.

The 3 of them have their existential moments and find the strength to move on thanks to Pomni. She brings them back to he circus and convinces Caine to let them stay. Since then the 4 of them have been a tight knit friend group, and they basically follow each other everywhere. Although it sucks that Max and Chad have to bare the horrible weight of sentience and emotions... at least they all have each other :))

As I expected, after seeing more of her good side I like her a lot more XDD I knew she just needed some more screen time. I like her relationship with Gangle and how genuine she is about wanting her around. Zooble went from a D to a solid B :))

Thank you very much for this sweet message 💞💞 I thank and wish the same for you! :}}

Actually, I'll go further! I hope something makes you laugh so hard that any time you think about it over the next week you laugh about it all over again! :))

:DD Well thank you so much for complimenting me and it! :}}]

Oh absolutely! My Caine consults the suggestion box almost exclusively when planning his adventures :D

I don't think I would have the stupid sauce in my AU. Or at least it wouldn't actually have any effect on anyone. Since none of the cast are supposed to eat the food, there's no reason why the stupid sauce should have any taste or effect on anyone. <:/

I imagine Caine would make multiple copies of the same restaurant and split the circus into smaller teams. Maybe he could even have them compete with each other :00

Instead of being a rather empty feeling episode..? With hardly any customers, its a episode with a fast paced work environment and some rude customers sprinkled in there.

Caines intention was to help the cast with their teamwork, problem solving and facing/managing negative emotions.

In the end everyone felt like how you usually feel after a draining 8 hour shift at a crummy McDonalds. <XD But ultimately it was an exercise that had more benefits then consequences on their sanity.

I do not :( Sorry!

I DO have a fanfic blog here on tumblr, but I got so embarrassed by my armature writing that I private the few fics I made 💀

@misscherrypie

It looks delicious!.. Man, now I gotta go make a sandwich XDD

@artistiemi

Aww! Thank you! And that drawing is absolutely FANTASTIC! :DD So soft and adorable.. well done! :))

@holly-opal

NGL, I was rather underwhelmed. I was expecting this frantic episode where the cast tried to learn teamwork and maybe as they failed to server orders fast enough the horror would ramp up and what not..

But what I got was an episode that felt very very empty. And an arc for Gangle that I didn't understand..

I read the comments and everyone was gushing about how wonderful and meaningful this episode was. So I have no doubt that it was a good episode. It just wasn't what I expected and I didn't understand the actually message it was trying to convey with Gangle. Which isn't at all the episodes fault. :0

XDD Indeed he is! It was the only male Sylveon adjacent name I could think of 😔

@taco-hyeh (Creature is from this post)

:DD Thank you so much! And oh yeah! I remember that guy. :0 Some kind of monstrous swamp creature I thought up. His first doodle was a spooky one but I couldn't help myself and made him silly the next time around XDD

@caronaro-flipaclip (In response to this post)

Thank you so much!! :DD Also I hadn't realized it until now, but NGL Jax has been shown a lot of mercy in my AU 💀

Caine has properly disciplined him over the years and hasn't let him get away with any of the crap he's pulled. Over time this has had good effects on Jax's personality and behavior. Realizing that "hey things are better and people are nicer to me when I'm not such a jerk."

Also because Jax is more genuine and isn't a jerk all the time, he has formed a genuine friend group within the circus. With people who genuinely care about Jax and share his sense of humor. These people being Kaufmo, Maufko, Sneemo and Doug primarily.

Not only do these 4 genuinely enjoy hanging around with Jax, but they often side with him and come to his defense when they know he isn't in the wrong. Having people on his side and feeling he has real friendships with these people has done so much to improve his mental health and behavior.

So yeah. Ngl Jax has been shown a boatload of mercy 💀but in my defense its because he's a decently better person in my AU so he doesn't deserve all the hate. Also he's not exempt from any angst. He's still existential about being in the circus which still makes him act out sometimes. :// Hence him crabbing at Queenie for something stupid and getting rightfully pretzeled over it XDD

(Link in ask)

:DD I'm happy to hear that! :))

Oh don't worry, I still love the FNAF and Octonauts and will draw them in private if I ever want to. I just wont post Octonauts anymore and will be hesitant to post FNAF again <:)

Also thank you! I wish the same for you! :DD

Google translation of ask: "Can you translate the comics yourself? I know that fan-translations are stolen from you, I just want to enjoy the comics you make without them being stolen!"

My Google translated response: Lo siento, pero mi blog es sólo un blog de hobby. No tengo ningún deseo de traducir mis cómics a otros idiomas y no quiero que nadie lo haga por mí. Lo siento mucho.

My English response: I'm sorry, but my blog is just a hobby blog. I have no desire to translate my comics into other languages and I don't want anyone to do that for me. I'm very sorry. <:(

Canonically? I don't really care for their personalities much.. but design wise I've always kind'a liked Iggy. Not his slender stature though, I like the Koopas to be short and stout-- Its his lime green and purple shell with the crazy eyes and his association with chain chomps that has always appealed to me.

@beryl-shade

XD oh boy do I know about Pingu. His face is all over the internet! And one of my fav brain rot songs is CG5s song about him XDD

As for how my OCs would interact with him, I'm not sure <:0 there's just too many OCs to choose from!

@v0idish-t3ars

Yeah, all that stealing has been such a downer. I'm glad you like my artwork though <:) I plan to try to just keep on keeping on. 👍

Oh dear :(

To anyone who thinks this; if an artist states they do not want their art reposted? There is absolutely no loop hole or way around it. If you repost it, you are a thief. No matter what. period.

@wolfie-777

Ough... a warm, carbonated, sugary drink. That just sounds like a potion for a stomach ache 😭💀

@howeaboutsomeketchul

Hopefully that doesn't cause you any pain! <XDDD

@teemhaunts (In response to this post)

Great choices! :DD My favorite creature is probably Shararook. But this is only based on appearance. When it comes to playing I really enjoy fast creatures with great mobility. Shararook cant run, jump, swim, glide, fly or even climb! He's just a slow tank that lumbers around... he looks super cool but MAN he's a drag to play as.

So amongst my other favorites based on appearance, my absolute favorite to play as would be Momola. Its so fun to absolutely BLAST around the map collecting things and exploring XDDD All the while my wings don't fold so I can always see how pretty they are! :DD

(In response to this post)

Indeed I do! :DD I played it a whole bunch during my hiatus and still play it everyday. Speaking of which, the winter event started recently and I had a goal to try and buy one of everything in the event shop. After seeing the prices? W o o f. There's no way I can earn all that in time so settled with just buying out half the shop 😅

That was a very poor start to this ask 😅 I nearly blocked you on sight thinking you were yet another anon coming to disrespect my boundaries. Thank goodness I read through the whole thing-

And while I cant say I've had any luck drawing things in private, I can confidently say that I'll just be drawing whatever I want.

And I'm sorry to hear that you are also unwell :( I hope that the both of us find some relief soon.. and I hope that my art can continue to brighten your day in the meantime! <:)) Thank you!! :))

[local-dragon-haunt]

PSA to my fellow artists!!!

With the holidays fast approaching it appears this specific commission scam is making its rounds again.

Below is a conversation I will be posting to help you all know what to look out for:

So this account reached out to me under one of my recent posts. My first safeguard against scams like this (and just so I know the preferences of my ACTUAL clients) is to check the account that is messaging me:

FIRST RED FLAG: No posts. No description. Default background, generic, probably stolen pfp. Robot City (But you all know this by now)

Now, I was like, 99% sure this was a scam right here. (shout out to that one twitter thread I read a few months ago. It helped me clock this account immediately)

But I decided to humor them on the off chance that this person just doesn't understand Tumblr culture. (please, please do not do this. I am petty and insane)

RED FLAG #2: Notice the lack of references: asking me to draw something and then not sending any reference materials (something I explicitly state on my commissions spreadsheet).

This is a topic they will try to avoid (as you will see below), and ultimately what made them realize that I wasn't worth the effort. Always, always, always require references and style guides for any commission you get. Scammers' main goal is to spend as little energy as possible. they will not bother giving these to you.

Now onto Red Flag #3:

Notice how they immediately aim for the most expensive option (which, for my commissions, happens to be fully rendered furry content). This is a red flag because not ONCE did they mention this was going to be anything other than a portrait. This is when I knew 100% it was a scam.

RED FLAG #4: Asking for personal information. I am begging you. I am begging, never EVER, EVER give out your personal information online. ALWAYS use a pseudonym. Change the subject. Do literally anything else. just DON'T. GIVE. THAT. INFORMATION. AWAY.

AND RED FLAG #5: Offering WAY more than I am asking for my services. Remember, kids: if something is too good to be true, it probably is!

it is here that you are going to want to block and report this account. Do Not Be Me. I am begging you. I am doing this for educational purposes. However. I have one more red flag for you guys:

RED FLAG #6: Now, this very generous (/s) person is offering me $300 WHOLE DOLLARS just to draw a furry for them! That's so incredibly thoughtful!

...so why do they not care about the species, color, accessories, pose...ANYTHING about it? (It's because they don't care. They're not gonna pay you the money.)

Look, I can understand how flattering it is to be given full creative freedom on a commission, but you have to understand that this will almost never, EVER, happen to you. I'm sorry. It's the truth.

Anyways. That's all I got for you. Do me a favor, go ahead and block/report @mlaurel any any other cronies they're affiliated with. Also reblog this post if you feel so inclined. Keep your information safe. Get that bank! And Happy (safe) Holidays!

[muninnhuginn]

Mun!!! :0 I wanted to ask if you watched the new Link Click op and if so, what are your thoughts on it? And also for season 3 in general if you have any expectations for it

Hi! I've seen it, yes. Managed to watch before work, but not had the chance to properly sit down and digest it all before now. Going to put my thoughts on it all below.

Some things to keep in mind: I've watched the opening and I've skimmed the Tumblr tag a few times since then, but I've not gone deep dive or anything. So if I say something that's been said loads already that's probably because I've not seen everyone else saying it yet. The other thing is that I may comment on the lyrics of the song, but not in relation to potential foreshadowing, given bai sha jaws have been pretty clear they're not really privy to any more info than we are as the audience.

With that out of the way, let's go.

We start with the focus on the camera, which transitions to the basketball court. The use of the feather to carry the transition is one of those "which could mean nothing" details, because the use of feathers is pretty prominent in some of the official art pieces.

Next, Cheng Xiaoshi takes Lu Guang's hand and pulls his past self onto the court. The implications of this are pretty obvious (the 'current' Lu Guang is left unsaturated as his past and Cheng Xiaoshi are held in soft light; Lu Guang doesn't feel like he belongs in this treasured past), but I like the extra little aspect of the basketball pitch being the setting because it means the fencing acts as prison framing. And the prison framing is perfect for the line "trapped in a rewind".

Lonely road, long shadow, it's the heat of the summer and he's small against the backdrop of the street. Stick a pin in this one because we'll return to it later.

And over to fake London and its red doubledeckers. Xia Fei looking out when something (someone?) catches his attention. We're then shown Lu Guang in front of one of Xia Fei's posters, but my instinct is that what Xia Fei is looking at/for is unrelated. Anyway, Lu Guang still desaturated, still not fitting in.

Heh. No comment. (Although, tangent time! I've not been able to pause fast enough to catch the 'afternoon tea' sign but I feel the need to point out something after skimming past some posts that have mentioned it. 'Afternoon tea' isn't a drink. It's more a meal? An event? Say, sometime between lunchtime and dinnertime (I won't confuse things further by referring to the latter as teatime here) it'd be a get together where people would have scones and hot drinks and cake, etc. It's honestly low-key posh so it's far from a daily thing for most people, but it's the sort of thing you'd do for an extended family get together.)

Onto Liu Xiao reading some more Shakespeare. My Shakespeare knowledge is limited to Othello and Romeo and Juliet so... I'll leave this one to other people.

More Lu Guang being out of place.

Someone having tea (the drink) followed by a cipher I'm pretty sure people have already cracked:

Then onto this character:

Not gonna speculate too heavily at this point, but I know people are guessing she's either related to Xia Fei or *is* Xia Fei, given the shared eye and hair colour. I lean towards the former being more likely given the whole thing on the bus where Xia Fei's attention was seemingly caught by something/someone outside. Also, flower in the forefront, not 100% sure here but looks a bit like a yellow daffodil. Possibly a bit out of season for them if this is summer, but we don't care about that. We care about the meaning of a daffodil which is rebirth/new beginnings/all that jazz.

And back again to Lu Guang, who immediately reminds me of something I thought was cool earlier but forgot to mention. Lu Guang is entirely desaturated in this opening, yes, aside from the use of red. Is it original? No. Is it effective? Yes.

Puddle of blood and we meet again, dear white feather:

(The puddle of blood is actually completely still until the feather hits it, at which point *everything* in the scene lifts up).

And we're into full colour (light pouring in from the window) as we see photos (memories) fly around:

And these scenes focus on both Qiao Ling and Cheng Xiaoshi. First, them interacting with each other, then with the unseen narrator (presumably Lu Guang). They both brighten his world.

Lyrics of "there will be a fire when it all unfolds". Liking the 'unfolds' maybe callback there to op 1 Vortex and also the snow/ash/fire thing reminds me... so, like I said, not gonna use the lyrics themselves as foreshadowing, but the backdrop in the next section is fair game and there's a pretty clear fire there. I know it doesn't *have* to be a literal fire, but it was pretty striking so I think it's more likely than not there'll be some fire in Yingdu itself?

Flash through Lu Guang against different backgrounds. Won't spam them all, but we start with the photo studio transition through various Yingdu related backdrops then the clock backdrop (which ofc takes my mind straight back to Madoka) and back to the studio (this time ft. gun in gloved hand (possibly same gloved hand as the teacup earlier - possibly possibly vein, idc to speculate too hard on that point) and finally! We're back to the start of the opening and the basketball court. The whole scene is now washed out and Lu Guang matches it as he wipes his tears, before Cheng Xiaoshi grabs his arm and the colour floods back in.

(Also tangent again but "we fought the tides" as another lyrical callback to the season two ending, nice nice)

And speaking of returning to earlier in the opening, here's the road again:

All three of them running forwards as we pan up to the light in the sky.

And those are my thoughts. There's a lot I skimmed over either because it doesn't much interest me or because I'm pretty sure others'll have written essays already but yeah. Solid opening. Time to jettison my hopes before they get too high.

In terms of the second question, I've not been counting Yingdu as season three in my head, but I'm still genuinely unsure whether it "officially" counts or not. That said, my thoughts on a season three after Yingdu are so murky that I'm going to treat your question as though Yingdu is season three because then I can actually provide some kind of answer.

Basically, I've been thinking of Yingdu as something adjacent to Madoka episode eight - there to provide extra context but technically extraneous to the overall series. This is partly because of the different production layout behind the scenes, with a different studio and directing setup than the 'main' series. I'm basically expecting this arc to help raise the emotional stakes on Lu Guang's side of the situation without actually providing a resolution to the overarching plot.

[triscishistrionic]

HI SINCE U ARE THE HPD HAVER OF TUMBLR DO U HAVE ANY TRANSHPD TIPS????!!1????!1!??1!1?1!!!?

YES I FUCKING DO!!! /LH NBR POS

I meant to make a master post abt this but, HAVE SOME RN!!!!!!!1!1!1!

TIP 1: Make everything a bigger deal than it needs to be!

Even if something doesnt really interest you a lot, pretend like it does.

If someone says something kind of dry or vague, make it seem interesting!! Use all caps, or if you're irl, talk fast and loud! Say a lot about something that there isnt a lot to say about.

For example, someone says, "I'm hungry." You might sayy, "O MY GOSH, when's the last time you've ate?? We NEED to get you something to eat, what's your favorite food? OOOOO, you know what, mine is actually Graham crackers and I have some on me RNRN, do you want some?? You know you can ask for food from me ANYTIME, riiiight? You're my bestest friend, I'd do ANYTHING for you if you asked really."

If you're irl, MAKE SURE TO GIVE THEM TIME TO ANSWER U BACK IN BETWEEN!! They might be put off if they dont get to talk as well, which is bad!! The goal is to be entertaining enough to keep them around as long as possible, or as long as they're attention is worthy.

TIP 2: Fake your interests and morals to match everyone elses!

Sometimes, you'll find that your opinions or interests are different than everyone else's. This is generally not good, because it can cause conflict with other people, or they might find you angering or unrelatable. Not good for attention seeking!

What you want to do instead is fit in with everyone else's beliefs while still making a statement of your own.

For example, if you find yourself in a group of people who love the musical Hamilton, but you hate Hamilton, you should try to push that aside and fake your love for it! You not only want to be agreeable, but you also want to stand out. For example:

Person A: "Oh my god guys, I watched Hamilton again last night and it was SOOO good."

Person B: "OH MY GOSH yes, it's literally my favotieee musical"

Person C: "oh yeah, me too!"

You: "OH MY GOD GUYS, you have NOOOO idea, I would literally die to go see Hamilton again. I've seen the musical like, 20 times already and it's so GOOD it's LITERALLY like my baby."

Person A: "ITS MY FAVORITE TOO IVE LITERALLY SEEN IT PROBABLY 25 TIMES NOW"

You: "WELL, MY AUNT LITERALLY PLAYS AS ONE OF THE BACKGROUND CHARACTERS IN IT, LIKE IN THE OFFICIAL SHOW THEY DO. SHE HAD LIKE 50,000 PEOPLE WATCHING IT WAS CRAZY, SHE TOLD ME ONE OF THE MAIN CHARACTERS SHE WAS ACTING WITH LITERALLY TRIED TO HIT ON HER TOO DURING THE NIGHT OF THE SHOW."

You can see that person A is a formidable opponent here. Clearly they are a Hamilton lover and extroverted, and tried to one-up you there. But you need to be the BEST, the shining star! You are now the number one Hamilton fan and no one can prove themselves otherwise!

You might need to cut other people off before they start speaking if they're more boring, like person C. The convo will get much less exciting if they have more room to talk, and they're attention isnt as valuable as Person A's or Person B's.

Also, you dont need to know *anything* about the musical Hamilton to take the stage in this convo. Just say things that you could say about any musical ever!

I HOPE THESE HELPED, MWWWWAH!!! HAVE A LOVELY DAY ANON, AND HAPPY TRANSITIONING!!! ^w^

[juggalogojackerbox]

"I hate concrete it looks too bad, my feet are sore down to the pore, this stroll is such a bore!"

(Abbadon uses xe/xem pronouns only)

Original album art, also I don't normally include the song as well but all of this music was like, wiped off of the face of the planet and I have yet to find an archive of this one so its the least I could do

[inkskinned]

the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.

capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.

now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.

and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.

and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.

and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".

it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"

[beescake]

Sorry for the spam (^o^;) I just really like your blog

no need to apologize ayy!

in this corner we welcome all forms of enjoyment, regardless of whether you're a

happy to have yall here w me,

headin into homestuck 2024 :^)

[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.

[sugajimin]

‘on the street’ poster

03.03 | 2PM KST

[bubblebaath]

sheezy art!

i havent uploaded much since it started back up, but if you want to follow me for art irrelevant to this blog anime lawyers and rpgmaker sprite wips then ★ click here ★

[rainingincale]

[forbiddentaako]

more monochrome practice I suppose