#doc thread

[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.

[anthrophobixx]

Whimsical

(click the image for higher quality yay)

[pastafossa]

Haunted (Matt Murdock x TRT!Reader, Fic, SFW)🌧️

Right, so close to 3 years ago, I had an ask in my box: 'what would happen if TRT!Reader/Jane Hind lost her memory just before returning to Matt after her three months away', aka: just before point where they both confessed their love and got together in mainline TRT. So I wrote up a fairly angsty, no happy ending sort of fic about it, which you can find here. But there just felt like there was more to the story, and the idea of a sequel wouldn't leave me alone, so I've worked on it in little bits and pieces over the past few years and I'm finally ready to unleash that into the world now that it's been edited to my satisfaction.

This will have a happy ending and hurt/comfort, once we swim through a lot of Matt Suffering. <3 Ship: Matt Murdock x F!Reader

Chapter Summary:

Leaving him like that shouldn’t have bothered you as much as it did. You didn’t know him. This man should have been nothing more than a stranger on the street, one you wouldn’t glance twice at, much less feel some ridiculous sense of attachment or obligation to. Yet the memory of walking out of his apartment still left you shaken whenever you allowed yourself to think too long on it.  He… shouldn’t have been alone. That was wrong, somehow.  There was no memory attached to the thought, no blinking sign you could point to that would justify your growing unease. You just knew it. You knew it in the way you knew how to breathe, how to blink, knowledge etched into your very bones over and over by an unfamiliar hand. And no matter what you did, no matter where you went, you were unable to escape the feeling that… that you’d made a terrible mistake, broken something good, tilted the world on its axis until the whole of the city, the earth, the very sky hung just a little crooked like an off-center painting.  Matt was alone.  You’d left him alone.  It was the right choice, one you’d made dozens if not hundreds of times before. Hell, it should have been even easier this time since there were no memories to hold you back. So… why did you feel so very sick?

Wordcount: 11, 805 words so, hilariously, about 3 times the length of Part 1

Warnings for this chapter: angst, alcohol, matt spiraling fairly badly, he throws some things, LOTS of TRT references and spoilers so I wouldn't do this one unless you've finished the Miami arc in TRT.

Sad Matt gif as a reminder that the angst is pretty heavy here because I'm really going to emotionally beat on this poor man for a bit.

At Ciro’s insistence, you gave yourself one month in Hell’s Kitchen. 

A month wasn’t much time, granted, but it would hopefully be enough to see if there was a chance of bringing back the memories you’d lost: memories of friends, of your life here, and of… of whatever it was that you’d had with Matt Murdock. Based on his grief over the loss of Jane Hind—not you, but her surely, the role, the mask you’d worn while here—his attachment to her had been deep and fervent, and those feelings appeared to have been at least partly reciprocated. The dangerously intimate photo you’d found in your memory box was all the proof you needed of that. 

Your past self had already been accustomed to his touch when the photo was taken, based on the way she’d allowed him to press his head tenderly to her temple, his dark eyes warm and fond as he'd smiled in her direction even if he couldn't see her, his arm draped over her shoulders. She should have been put off by the proximity, by such a blatant show of physical intimacy, but instead of looking distressed, she’d been relaxed and comfortable where she’d confidently tucked herself up against his side. Try as you might, you hadn’t been able to find any hint of discomfort, any clue that signaled the obvious affection she’d felt was an act, her shoulder angled in a way that made you think she’d wrapped her arm comfortably around his waist, her grin bright and so very real.

This couldn’t be you.

When was the last time you'd looked that happy?

When was the last time you’d let someone hold you close? 

And when was the last time someone had looked at you like… like they might… 

“Did I… love him, Ciro?”

“I believe that… you might have, yes. Him, and this city. That is why I encourage you to stay, for a time at least. See if the memories return to you. Even should you leave, it would be wise to know of the life you led here.”

Ciro had sent a check to your office, booking you for the month and clearing your schedule. Just like that, you were free to focus on looking for something that might trigger the return of your memories. Though what that something might be, you weren’t really sure. A more thorough examination of the apartment had been your first step. Unfortunately, there’d been nothing there that seemed familiar beyond the same cheap decor and calculated set pieces you’d always used. You’d quickly ruled those out. They were meaningless distractions meant to reinforce the lie of whatever pre-planned identity you’d taken on. In this case, that identity was Jane Hind—practical, professional, detached, likes sailboat paintings and the color grey. Based on the fine layer of dust you'd found coating everything but the kitchen counter and a neat stack of mail, no one else had spent much time here during your months away. That, at least, fit your pattern. You weren’t in the habit of making friends or putting down roots. There was no point in doing so when you’d just wind up cutting them loose and running again. 

What had unsettled you far more were the hints of connection you’d found quietly tucked away:

A fleecy stuffed bear holding a plush crystal ball, the threads connecting the two uneven as if hand-stitched. That kind of time and effort wouldn’t have been spent on anyone but a friend, and the bear’s prominent position on the counter lent it far more importance than any of the other decorations.

A tacky ‘Handsome Devil’ coffee mug, the curling red script and clichéd devil horns design bizarrely out of place amongst the rest of the plain white mugs in the cupboard. An identity like Jane Hind wouldn’t have been caught dead drinking from it, which meant someone else was here with enough regularity to have a mug of their own. Further digging revealed a second decorated mug, this one adorned with the name of the law firm co-run by Matt. You could have written off one mug, but two? Two was a pattern.

An entire drawer in the dresser devoted solely to a pile of dangerously soft shirts that clearly didn’t belong to Jane Hind, the fabric threadbare and worn. They looked about the right size to be Matt’s, though, the faint traces of scent a match for him. The fact that they took up an entire drawer indicated he’d visited often enough to need a space for his clothes. 

You’d… made space for him in your false life. That wasn’t something you did.

Or had you been the one wearing them? 

Maybe…?

You’d spent a long moment holding one of the shirts in your hand, rubbing at the fabric in hopes of stirring something. When that hadn’t worked, you’d even brought it up to your nose to inhale slowly, just in case the traces of scent brought some memory back. 

Clean soap. Salt. Copper. Faint cinnamon. 

All it had done was remind you of holding a grieving Matt in his kitchen after he’d realized your memories weren’t coming back. It was a gloomy enough memory, but ultimately unhelpful.

You'd tossed the old shirt on top of the dresser and moved on. 

While you didn’t know who exactly you’d been here in New York, the longer you searched, the more it became clear what had happened. You’d started to slip, your years of isolation forming a crack in your layers of armor. That fracture had allowed an attachment to form, an insidious connection worming its way in through the open gap like poisonous roots through crumbling pavement. You’d grown weak, and careless. There was no other explanation for why you’d broken so many of your rules, dominoes tipping one by one until it cascaded into a waterfall of mistakes. You’d slipped before, of course—loneliness was natural and expected, which was why you had so many contingencies—but you’d never let yourself get in this deep. Not until now. 

What you didn’t know was… 

Why?

Why here? 

Why these people? 

And why the fuck hadn’t you followed your rules and run? 

If there was an answer to be found in Jane Hind’s apartment, you couldn’t seem to find it, no matter how hard you look, no matter how many of her belongings you dug through. Even your memory box had failed you, the photo of you and Matt at the back of your stack of pictures an outlier you couldn’t explain, this fruit of an as-yet unidentified poisonous tree. You had no real leads, no faint ringing of memory to guide you beyond a vague sense that, somehow, this started with Matt. You didn’t even know where to begin. 

At least, not until some shaggy-haired guy named Foggy—what the fuck kind of nickname was that?—showed up entirely and rudely unannounced at your front door, dressed in a cheap suit and wearing a bizarrely determined look. Despite your doubts, you reluctantly allowed him in. He made it pretty clear he knew you, and if you were lucky he could tell you more about your life here.

“So I know you usually skedaddle when things get uncomfortable, which I imagine they are at the moment. How long are you trying to stay?” 

“One month.” You shrugged casually, a cover for just how warily you were watching him as he paced in your—in Jane Hind’s living area. He knew far more about you than you knew about him, a reversal you were uncomfortably aware of. That vulnerability was almost enough to trigger a retreat beneath that cold, brittle shell you’d used long ago, though you quickly caught hold of that instinct and buried it back down deep where it belonged. Still, you couldn’t quite hide the cool clip to your voice, your walls firmly in place. “Leaving after that. Don’t see the point in staying if the memories are gone. Truthfully I’m not sure why I stayed in the first place, especially once it was clear I was getting attached. No offense.” 

“None taken, my hopefully-still-friend-when-your-memories-come-back.” He abruptly swiveled on his feet to face you, squinting at you thoughtfully. “How badly do you want your memories back?” 

You thought of out-of-place mugs and hand-stitched psychic teddy bears; of faint cinnamon and a worn photo frame; of the way you’d held a broken Matt in his kitchen until he’d carefully pushed you away and asked you to leave, his face closed off and distant despite the tears on his cheeks and yours. 

You’d… been someone here. Someone cared for. Someone whose loss was mourned.  

Even if you left, you needed to know just who that someone had been, if only so you could make sure this never happened again. Not until you reached your island in the sun. 

“Badly enough to stay for the month,” you said quietly. 

“Then put some shoes on. We’re going on a memory hunt.”

Over the next few weeks, Foggy took you all over Hell’s Kitchen. 

You visited Jane Hind’s office, abandoned warehouses, and empty rooftops covered in thick blankets of snow. He reintroduced you to Karen, to your upstairs neighbors, and to a bartender who didn’t seem all that inclined to be introduced to anyone. You drank crappy beer and slightly less crappy vodka, played pool, and went to the zoo to stare for far too long at penguins, which Foggy refused to explain no matter how much you pressed. He had you focus on sights, on smells, on sounds that might trigger a memory. He joked with you in between, and he was just funny enough, friendly and clever enough, that for the first week or so, you were consistently cracking a smile. Hell, you even laughed now and then, much to your surprise. He really did know you, enough so that you gradually began to relax around him, just a little. He was likely hoping the addition of a friend’s voice would bring back what you’d lost, especially when paired with all the other sensations. 

But no matter how much you both tried, your memories remained lost. 

God, you hadn’t thought this would… would hurt as much as it did. Yet with every day that you failed to find your way back to who you’d been, the more that fierce ache, that old longing inside you grew. Your smiles became brittle, your laughter fading, until both finally dried up like withered, crumbling leaves beneath a bitter frost. You couldn't help pulling away really, not when your soul curling up in the dark might protect you from the agony of knowing that maybe, just maybe, you’d finally found what you'd always wanted. How fitting that it had been ripped away from your bloodied, desperate hands like so many times before, one more square for the filthy patchwork quilt of shredded lives and possibilities you’d been forced to leave behind. What was worse: even your memories of that seeming joy had been stolen, too, leaving you with nothing left to carry but the tattered scraps of a ghost and the photograph of a stranger wearing your skin.

It shouldn’t have been possible to miss what you couldn’t remember. Yet here you were missing it all the same. 

It didn’t help that Matt was avoiding you in every way that mattered. You’d thought about calling him if only to ask him questions about your life here, but you could never quite work up the courage to do it. He must have felt the same since he hadn’t reached out to you, either. And why would he? He knew as well as you did that your memories likely weren’t coming back. It made sense to cut that connection, tear it away like a weed before the roots could do more damage—something you should have done sooner, for both your sakes. What you hadn’t expected was just how good he was at dodging you, somehow absent no matter how many places Foggy took you to, places he swore Matt frequented with you when you’d lived here, as if Matt’s mere presence might be enough to trigger some memory in you. Had he been that important? Either way, it didn’t matter. You hadn’t seen Matt once since you’d walked out, doing your best to ignore his hitched breath as you’d opened the door. You’d forced yourself to ignore, too, the broken, agonized sound of grief that he’d let out as you quietly shut the door behind you, leaving him alone. 

Leaving him like that shouldn’t have bothered you as much as it did. You didn’t know him. This man should have been nothing more than a stranger on the street, one you wouldn’t glance twice at, much less feel some ridiculous sense of attachment or obligation to. Yet the memory of walking out of his apartment still left you shaken whenever you allowed yourself to think too long on it. 

He… shouldn’t have been alone. That was wrong, somehow. 

There was no memory attached to the thought, no blinking sign you could point to that would justify your growing unease. You just knew it. You knew it in the way you knew how to breathe, how to blink, knowledge etched into your very bones over and over by an unfamiliar hand. And no matter what you did, no matter where you went, you were unable to escape the feeling that… that you’d made a terrible mistake, broken something good, tilted the world on its axis until the whole of the city, the earth, the very sky hung just a little crooked like an off-center painting. 

Matt was alone. 

You’d left him alone. 

It was the right choice, one you’d made dozens if not hundreds of times before. Hell, it should have been even easier this time since there were no memories to hold you back.

So… why did you feel so very sick? 

Sympathy. 

That was all you were feeling. Matt was grieving a woman he’d cared about, one who’d died and left a cold stranger in her place. It was normal to feel for someone in that much pain, and no one should be alone while grieving. Maybe this was for the best. The sooner you were fully out of his life, the sooner all his friends and family could step in, and the sooner he could move on. He wouldn’t be alone, then. And even if he was, his loneliness wasn’t your goddamn problem. You had more than enough troubles of your own.

Protect yourself. 

Protect what you might one day have. 

All else was irrelevant.

You just… hoped he was doing alright. 

He did his best to avoid you, but that only grew more difficult once your ghost began to haunt his every step.

Even Josie’s quickly became off-limits—something he discovered one night when he stepped through the front door where he was promptly met with the familiar, comforting scent of you floating like a haze beneath the smell of cheap beer and sour sweat. His body went rigid the moment he recognized it, your presence across the room a sharpened knife that only widened the wound carved into him by your death. And if the scent of you was a knife, then your bark of laughter was a cruel twist of the blade, one that left him gutted and shaking there in the doorway. He drank in his apartment after that, waiting for that blessed moment when he would feel nothing, waiting for the very second the glorious shroud of night fell. Only then could he finally escape to the streets and drown himself in a far better kind of pain, taking his rage and his grief out on whatever piece of shit had the misfortune of falling into the Devil’s path. 

But Foggy seemed determined to shove the specter of you directly into his face. 

“You need to talk to her!” Foggy snapped, his voice only just shy of a shout. Matt ignored him as he headed for his office, desperate to retreat from your scent lingering on Foggy’s clothes. Foggy had taken you to a coffee shop that morning, one you’d frequented when you’d lived here, and now each inhalation was a vicious torment. It felt like breathing in shards of glass, the sharp pain of it throbbing with every stuttered, choked breath he drew in. If Foggy noticed, he didn’t seem to care. “Christ, Matt! You love her and we both know it. If you talk to her, it might trigger something—”

“Stop,” Matt grit out, reaching up to scrub his hand angrily over his face. He stalked his way over to his desk, still desperate to escape somehow, even if it was into his work. “Just stop, Foggy. I did talk to her, and you know what happened? Nothing. She didn’t remember anything at all. She’s gone, and you dragging this out is just making everything worse for all of us.” 

“So what, you’re just gonna roll over?” Foggy scoffed, crossing his arms as he planted his feet in Matt’s doorway. “Are you sure you actually loved her? Because I’m pretty sure she loved y—”

Matt slammed his fist down on his desk, the furious crack of it echoing through the office like a gunshot as he shouted, “Don’t you fucking dare!” 

Tension hung thick in the air as Matt’s chest heaved, his teeth bared, blood and adrenaline running hot in his veins as if Foggy were some sort of-of threat. Everything in him shook with rage, or maybe unshed grief, the burden of them both impossibly twisted and tangled beneath the sea of his guilt and his self-loathing until he couldn’t tell which was which. He just couldn’t—how was he supposed to force it all down when Foggy had just come so close, so dangerously close to shattering what few pieces remained of Matt’s crumbling armor?

It was bad enough loving you the way he did only for you to slip through his bloodied, desperate grasp like whispering grains of sand. What was worse, this entire disaster was one of his own making, a series of mistakes whose snarled, winding paths led inevitably back to him just like they had so many times before in his life. This loss of someone who’d truly understood him, accepted him, cared for him had already broken something inside him he wasn’t sure he’d ever be able to repair. But that fracturing inside him would surely rise up to consume him if Foggy were right, if you’d truly cared for him that deeply before your memories were taken, so deeply that you might even have…

I miss you, sweetheart.

…loved him the way he loved you. 

Abruptly Matt’s surge of rage drained away and his head fell, leaving him feeling all the more empty and broken. He braced his arms weakly against his desk, drawing in a shaky breath as he forced himself to confess, his voice gone hoarse and ragged with grief. “I loved her, Foggy.” He lifted one shaking hand to his face. “God, I loved her so, so much. I can’t… I don’t know what to do without her now that she’s gone.” “I know, Matt,” Foggy said gently. “I know.” “I loved how she always smelled a little like coffee, and the way she always managed to wind up climbing into the oddest places for a case. She had one of the foulest mouths I’ve ever heard, but I swear she could use it to talk her way out of almost anything or to bring someone up out of whatever dark hole they were trapped in. She was… far kinder than she’d ever admit.” His lips quirked, but there was no humor in it, the expression miserable and gutted. You’d have likely argued with him about how kind you were if you’d been here. But there was no chance of that now, no matter how much the scent of you on the air told him otherwise. “Some days it felt like she was the only thing holding me together, like the only time I could breathe was when she held me in her arms. She was always there when I fell apart, or when it all… when it all started to hurt too much. And I tried to give her whatever pieces of me the Kitchen hadn’t already taken, to be there for her like she was for me, to keep her safe. We were finally going to make our relationship official when she came back, her and me, even if there’d… already been something there for a while now if I’m honest.” 

And it had, it had been there, this soft, tender thing that had developed slowly but surely between the two of you, a tangling that came by degrees rather than all at once. It had sprouted, grown, and blossomed so gradually that even now he struggled to point to any one moment where it had truly begun—the night he found you in the warehouse, maybe, or that first game of Devil Hunt, or when you’d both almost taken the leap before he’d realized you were drunk. But the question of where it began didn’t matter. All that mattered was that it was there, something nameless yet still so good and warm and perfect, a connection nurtured in the low light and the blood-soaked soil of the Kitchen. You’d felt it just like he had, and you’d been willing to take that chance with him despite the baggage he carried behind him like an anchor destined to drag him down. You never would have agreed to kiss him when you came back otherwise. Now that chance was gone. 

“How much did she know before she left?” Foggy asked quietly, leaning against the doorframe. 

”She knew that I-that I wanted to be with her, but I never told her that I loved her.” Matt blew out a slow, heavy breath. “I was too scared of chasing her away, I guess. I thought maybe when she came back, if she still wanted me, I would… I decided that I would tell her. But I waited too long. Now she’s gone and I’ll never be able to tell her. All because of me.” 

He finally lifted his head, tipping it at Foggy. Neither of them dared mention the wetness on Matt’s cheeks. Even speaking about this—about how much he’d loved you only for him to ruin it—was almost more than he could bear, the edges of the wound still fresh and raw. Then again, maybe he deserved that pain after how miserably he’d failed you, just like everyone else in his life. “I miss her. And what’s worse is even when she’s right there in front of me, she’s not. She’s not, Foggy. Because I-I fucked up. I’m the reason the woman I knew, the woman I loved, died. I’m the reason she’ll never remember what we had, why I’ll never hold her again, and why she’ll leave New York at the end of the month like she does whenever she’s afraid of forming a connection.” He let out a bitter laugh, waving towards the windows, towards the place you’d once held dear. “I couldn’t even keep her here before. She almost ran last summer and the only thing that stopped her was being kidnapped. That was what slowed her down long enough for our thread to turn red, not me. She won’t let that happen a second time, not now that she’s seen what happens to people I care about. Do you understand?” 

The door to Nelson and Murdock creaked open, Karen’s voice making its way in first. Her voice was followed only a moment later by another’s, one still so familiar. 

“—I mean, winding up in a pool while chasing a kid sounds about right for me, so even if I don’t remember, I won’t argue—”

“I had to keep you here somehow.” Foggy’s voice remained quiet, but there was no disguising the ferocity in it now, the fervent belief. “Get out of your own head and talk to her, Matt. Fight for her. She would want you to.” 

No. 

No, no, no.

Your body may have been here, whole and real, but the woman who’d known him wasn’t. The song of your voice, your sweet scent, the flames of heat and stirred air currents around you flaring into a familiar shape: all of it was nothing but a lie, a snare for his senses, a ghost of his own making, and he wasn’t about to be caught by it again. 

He darted back around his desk, shoving his way past Foggy on the way toward the front door, his heart racing. If he was quick, if he just put up enough of a front, he could get out before they trapped you here with him like they’d planned. He wouldn’t relive this grief again, he couldn’t, not without falling apart. The moment he’d had with you in his apartment had been enough agony for one lifetime. 

“Hey, Matt.” You cleared your throat, shifting awkwardly on your feet where you’d stopped by the front door. Your stance was cautious and guarded, almost wary of him. It was just one more reminder of how uncomfortable he made you now. “Are you—”

“Heading out,” he said stiffly, only belatedly remembering to trace one hand along the wall as if his heightened senses hadn’t given him a clear map of the room the moment his adrenaline spiked. That spike was a curse all its own. It made the scent of you so much stronger, the lie of it fresh and present as it twined around him. His chest hitched just once before he forced himself to breathe his mouth. But that route of escape had been cut off, too. All it did was shift his focus to the taste of you on the air, and the taste of familiar fabric once so tenderly given. 

You were wearing one of his shirts. 

He fumbled for his cane, his hands starting to shake before he finally found it where he’d left it against the wall. He couldn’t let you see him like this. It wasn’t your fault that you didn’t remember him, nor was it your fault that he’d lost you. He’d done enough damage without adding a layer of guilt to what you were dealing with, too. But despite his attempts to hide what he was feeling, his face a hard mask, your fingers still brushed gently against his arm a moment later. It was an offer of help, or maybe an attempt to reach out, to slow him down, to connect. It was a kindness, a sympathy he didn’t deserve. Even now, you read him far too well, this touch the same as it had been that first night he’d met you when you’d gently brushed your hand against his arm. “Hey, do you need… I could walk you home.”

He shied away from your touch, finally managing to roughly unsnap his cane before going for the door. “I’m fine. I just—I have things to take care of. Excuse me.”  

He went straight home and showered, but no matter how many times he scrubbed, he couldn’t seem to wash the ghost of your scent away.

You slowly wandered around Matt’s office, taking it in. This was another place you’d supposedly frequented, a place that should have been familiar, and one you'd avoided until now.

Even though Foggy had assured you it was alright, it felt… almost wrong to explore a stranger’s space like this without them present. But you couldn’t help but brush your fingers across the battered desk and the small labels in braille you couldn’t read, run your hands along the chair for clients that you might have sat in once, and trace curiously the small seashell next to Matt’s laptop. The base scents of Matt were stronger here where he spent so much time, only partly erased by the smell of coffee and paper. The room was clean, cared for, and well-organized despite how rundown the office was. Important to him. You could tell that much, even if the scents and sights had failed to spark any memories.

Maybe… knowing his space wasn’t enough. 

This was about more than just figuring out who you were, now. For some reason, you needed to know who Matt was, too: this man Jane Hind had cared so much about and who’d cared so much about her. You told yourself it was practical. Matt was your best bet when it came to remembering who you’d been. But some part of you deep down recognized the lie. No, there was something in you inescapably drawn to him, a pull you couldn’t quite explain. Maybe that strange, unnatural gravity was what had started this whole mess in the first place. What was it about him that was so different, that had driven you to break every last rule you’d lived your life by for over a decade? 

And why… did you spend so long wondering if he’d ever climbed out his office window?

It had been twenty-nine days, and not a single memory had returned. 

Oh, there were beats now and then when you thought that maybe, just maybe something was coming back, but those moments were painfully few and far between. Even in those moments, you couldn’t say remembered anything, exactly. It was more a frustrating sense of deja vu, a fleeting little itch at the back of your mind like you’d forgotten something important, flashing road markers to warn you of the dark, empty gaps in your memory. That sense was probably driven at least in part by Foggy’s growing desperation as he frantically hunted for something that might trigger a return of your memories. 

But the rest of that feeling… the rest was all you. 

There was no denying a traitorous part of you wanted to remember no matter how ill-advised it might be. You wanted to remember this bizarre little family you’d stumbled into and then lost, just like in Los Angeles. You wanted to remember the love you’d had for this place, this city, this taste of mutual affection that had grown up around you after going so long without. After endless ages and ages of drought, of starvation, you hungered for even these bare crumbs of connection, something to tide you over until you found safe haven on the distant horizon. What a tempting thought it was to slither back into the life of this woman who’d been so cruelly murdered and replaced by a stranger wearing her skin.

Was this what a demon felt like when it took over a body? To walk around with someone else’s face, to speak with the unnatural voice of the dead, tormenting the loved ones that remained? 

That, ultimately, was why it didn’t matter what you wanted. Your presence in this city only spread rot and suffering. It would be better for everyone involved if you left like you should have long before now. Then they could all grieve without you tainting the very soil around them. 

Especially Matt. 

You’d seen him once or twice in passing as your time in New York wound down. Even at a distance, you’d marked the growing circles under his eyes, dark enough to be visible despite the glasses he always wore. The rest of him wasn’t doing much better. It seemed like every time he crossed your path, there was another bruise, another cut across his face or knuckles, a shifting canvas of pain painted across skin grown pale and drawn. He didn’t just look tired—that wasn’t what this was. This was something far worse, a haggard exhaustion, a weariness that couldn’t be solved with sleep, if he slept at all. This was someone being haunted. 

Probably because the ghost of Jane Hind kept crossing his path. But that would be solved soon enough. 

You’d already packed up your things, not that you had much to take. Just your bag and your memory box. You’d be leaving the next day. Foggy was still convinced he had a few more days, but you had other plans. You couldn’t give Matt back the woman he’d lost, nor could you give him a body to bury, a grave to lay flowers across, but you could give him what Jane Hind had carried with her until her dying breath. 

“I thought you might… want these before I left tomorrow,” you said quietly. “I… sorry, it’s… it’s a bag with my—with her things.” 

Matt took it carefully from you, the motion mechanical and stiff. He hadn’t really invited you the rest of the way into his apartment, the two of you now stalled out in the hallway just beyond the closed front door. He hadn’t taken his glasses off, either. It made it harder to read him, his face closed off and impassive, a wall of red glass placed firmly between you. Come to think of it, you hadn’t seen his eyes even once since that day you’d first come back, and you didn’t blame him. You didn’t like feeling vulnerable, either, though that was just a guess when it came to what he might be feeling. 

“It’s the shirts from her apartment, which I think are yours. And the stuffed bear.” You bit your lip and released it slowly, shifting uncomfortably on your feet. “And the… the mug, which Nelson said was yours, too. The one you used at her place. I also put the hoodie in there, the one she had with her while she was traveling. And…” You reached into your pocket, fumbling for a moment. God, you were bad at this, unsure of just how to do this without hurting him any more than was absolutely necessary. It wasn’t a concern you usually dealt with since your goal was almost always the exact opposite, a precaution meant to destroy any threads of connection they held with you. Unfortunately, he wasn’t giving you much to work with, though you didn’t miss his subtle flinch when you drew the key from your pocket. “I thought you might want this, too.”

You cautiously edged forward, daring to breach the ring of radiant heat that surrounded him, the closest you’d come to him in almost a month. He went stiff as you approached, his jaw growing tight as the gap between you both closed. Another step, and his head cocked as if he were listening to your footsteps, or maybe… maybe he was just waiting to find out what you had to give him. But he wasn’t telling you to fuck off or just set your gift aside, which was a good sign. So you hesitantly reached out and brushed your fingers lightly against his bicep, a signal so he knew you were about to pass him something. 

A breath.

He remained absolutely still amidst the sudden, crackling tension in the air as your fingertips skated gently down and around his forearm, stirring all the little hairs, his skin shockingly warm. All you’d intended to do to take his arm and guide it up so you could place the key in his hand, but you quickly found yourself distracted by a ragged scar along the back of his forearm, one your fingers seemingly made their way to on instinct. It was a deep scar, the original cut likely made by some sort of blade, the edges of it rough and uneven from messy stitching. Your curiosity got the better of you, so much so that you missed the way Matt had begun to hold his breath.

“Who fucked up the sutures on that?” You furrowed your brow, your thumb smoothly marking out the jagged line of it. “They did a terrible job. No offense.” 

Matt’s face fell and you only realized too late just who it was that must have patched him up. 

Before you could blink, he’d yanked his arm out of your grip as if your touch had burned him. “Don’t,” he grit out, his chest heaving as he put a few steps distance between you both. “You can—just put your key on the bench.” 

“How did you know—” “Because there’s only one thing left it could be.” 

You nodded weakly, taking a few steps back towards the little bench beside the door. That unfamiliar ache, that sense of wrongness was back, the weight of it settling uneasily in your chest like a stone until you almost wanted to retch. It didn’t help that Matt was just barely holding himself together while you were here. 

Best to say what you’d come to say and leave him be. 

You gently set the key down, and the quiet click of the brass against the wood seemed to echo in the hallway, a graveyard bell tolling with a looming sense of finality. What you were about to tell him would hurt, you knew it would, but maybe one day he’d find comfort in it. This—a sign of what she’d felt—was the real gift you’d truly come to give, the only true token of her you could offer. Your words, when you spoke, were almost as hoarse as his. “I thought you should know I… she wore it. The key. I asked them. She wore your key and she never took it off. Not once. Whatever you both had, she treasured it, and all she wanted was to get back to you. She didn’t leave you by choice, Matt. I hope that… that helps.” 

Of all the things you’d said and done, it was this that finally seemed to break him. His face twisted in a sudden wave of grief, and regret hit you all at once. You quickly took a step towards him, one hand out, though you weren’t sure what you’d do if he reached back—it wasn’t like you knew how to comfort him, and you sure as hell didn’t know if he’d tolerate you holding him again, nor whether he was someone that needed some sort of touch when he was hurting. But before you could take another step he’d flinched away from you, retreating quickly back into the darkness of his apartment, his voice ragged. “Just go. Get out.” 

“I’m sorry,” you whispered, backing away towards the door. “I’m… I’m so sorry.”  

It shouldn’t have hurt as you closed that door one last time. But you cried all the same. 

Somewhere within the apartment came the sound of splintering furniture and a hoarse scream wracked with grief.

“Look, Nelson.” You tiredly adjusted the strap of your duffle bag over your shoulder, reaching up to pinch at the bridge of your nose as if it would stem your growing headache. “I know it’s a day early. But another twenty-four hours isn’t going to make a fucking difference.” 

“I don’t need another day!” he pleaded, his arms spread wide where he’d blocked your front door, ensuring you couldn’t leave your apartment until you’d heard him out. You’d had no idea he even had a key until today and, not for the first time, you cursed Jane Hind’s apparent lack of common sense. You did not give out keys, or at least, you hadn’t before coming here to this ridiculous fucking city. “Just five minutes. That’s all. I’ve got one last thing to try.”

“Maybe I don’t want to try one more thing!” you snapped bitterly, dropping your hand. That anger was a good cover for the way something sharp and prickly had begun to catch in your throat, the incident with Matt still fresh in your mind. “I’ve tried for a month, and it’s gotten me nothing. Fucking-fucking bars and random rooftops and a shitty little duck, goddamn penguins and keys, and none of it did shit! Jane’s gone, ok? She’s dead. And I’m sorry, I know you all cared about her, but I’m done—”

“Have you climbed inside a thread?” 

“...What?” you asked in sudden bewilderment, your rage abruptly faltering in the face of pure confusion. “What the fuck does that even me—”

He let out a whoop, practically dancing on his feet. “Yes! I knew it! I can’t believe no one told you!” 

“Told me what?!” You chucked your bag back onto your couch in sudden exasperation. If this was thread-related, at the very least you could stay long enough to listen. “There’s nothing to climb!”

“Ok, so stick with me.” He rubbed his palms together eagerly, a bright light in his eyes. “Because I’m about to get really metaphysical.”

It took you what felt like hours to climb inside the shimmering honey-colored thread that lay between you and Matt—a thread that sang with his sorrow and your reluctant sympathy. 

It wasn’t right having your soul constricted like this, all of who you were narrowing down into something so small as you squirmed through a barrier that tasted and felt like dirt and earth, chasing after the sound of trickling water. There wasn’t supposed to be anything on the other side. It was an emotional connection, nothing more.

And yet here you were, standing in a place that had no reason to exist.

“Holy shit,” you whispered in amazement, spinning on your heels to examine your surroundings. “Holy shit, he was right.”

Despite the late hour, the air was full of a muted light that seemed to come from everywhere and nowhere all at once, tinting the world a hazy, eerie green. High up above you roiled thick, sullen black storm clouds, silent flashes of red lightning carving their way between swirls of charred smoke. It wasn’t much light, but it was enough to see by.

And what you saw was heartbreaking. 

You stood in a dry, stony riverbed. The ground beneath you was cracked and brittle where the water had receded, leaving behind nothing but dust and broken branches. The river itself remained though just barely, the thin trickle of flowing water down the center of the riverbed a far cry from whatever immense force had carved its way through the landscape until the banks were a good ten paces from one side to the other. The terrain beyond the river didn’t look much better, wilted, drooping cattails dotted up the bank before giving way to endless forest that stretched farther than your eye could see. Like the cattails and scrub, the pine and fir trees stood withered and brown, casting their empty branches up toward the sky. 

If it had been beautiful here once, whatever had happened to you had destroyed that beauty. 

“Jesus,” you whispered. 

“Can you hear me?” Foggy’s voice sounded distant and far away, tinny like he was talking through a long tunnel. 

“Yeah. Can you hear me?”

“...Ok, if you’re trying to respond, I can’t hear you. But according to Matt, whenever you were here, it felt like memories. So poke around, see what you can find.”

You sighed and started down the riverbed. “Not super helpful, but ok. Let’s give it a shot.” 

The water was the most obvious place to start, and you made your way over to the thin stream that ran raggedly across the parched soil. Much to your fascination, you quickly discovered that what you’d thought was one current was actually two, one layered over the top of the other, each flowing in the opposite direction. The first of those currents hiding on the bottom was fairly calm, steady if a little restless, swirls of pale color that almost felt like curiosity, though how you understood that translation was a mystery. The second current seemed far rougher where it roiled atop the first, its section of the stream cloudy and thick with swirls of black and the red of an open wound. You hovered over the second current for a long moment, working up your courage, before you finally knelt and hesitantly brushed against it with one finger. It was just water. How bad could it be? 

The moment your skin made contact, your chest seized on a sudden swell of agony. Your mouth filled with the taste of grief, with the sound of an empty home, the lack of some familiar scent that meant affection and warmth and softness and safety, the ache of an old wound reopened just when it had started to heal. Alone, always alone, I deserve it, so many gone, he was right, when will I learn? There was no hope for comfort from that pain, no escape from the darkness into tender arms that could hold you just right when it all hurt. All you had to look forward to was more— 

You threw yourself backward, scrambling away from that terrible current as if what you’d felt might rise up and chase after you, snapping its teeth the whole way. You didn’t stop retreating until your back slammed against the dry soil of the riverbank. Only then did you stop, panting, your eyes wide in shock as you cradled your hand against your heaving chest. 

Emotion. It’s emotion.

That was what the water was. Matt’s emotion. Which meant the other current—one now shifting back to yellow despite a momentary surge of twisting, roiling black—was… yours. 

Right. So you could rule the water out. But if that was emotion, where was memory? 

Examining the rest of the river was the most obvious next step now that you’d ruled out the water. Based on what you could see, the original riverbed had been a mix of silt and stones of varying sizes, a firm foundation beneath a once-powerful river. Now, though, the grey, dried-out silt was covered in a strange sea of divots and dips, as if something—a lot of somethings—had been plucked up and removed. You traced one of the indents in the soil curiously, lifting your hand back up to consider the grit as you rubbed it between your fingers. Another glance around revealed the answer. 

The stones. 

There were still plenty of stones remaining in the riverbed, but the divots in the dry silt told you there’d once been far more. If that was what you’d lost, then maybe…  

You rocked up eagerly to your feet, pacing around breathlessly as you searched for a promising stone to start with. Eventually you made your pick, plucking up a stone just small enough to fit in your palm, flat and smooth save for a little groove in it as if someone had run their fingers over it endlessly. Strangely, it smelled like honey and herbs, the surface oddly warm against your hand like the brush of a thumb against your mouth. You waited for a long, impatient moment, and when nothing else happened, you tapped it a few times. 

Still nothing. 

And something inside you… cracked. 

“Fuck!” you screamed, hurling the stone back down the river in a sudden rage. The pain and the loneliness you’d been suppressing for the last month, the last year, the horrible, endless eternity since leaving your family in Los Angeles began to claw its way up your throat, the clouds churning wildly above you in response. A wild rain came next, each droplet sharp and cold and edged like the blade of a knife, bitter and biting as it beat against your skin. You grabbed another stone, one that tasted like shitty beer—Josie’s beer. You threw that rock, too, then another and another, throwing stones that smelled and tasted and felt like your shriek of laughter as he grinned and caught you against his chest, like torn flesh and a needle held by tender hands, like your face nuzzling fearlessly against Matt’s throat as he whispered comfort into your hair and held you close, like synced breathing and hearts and dances between binary stars as you both fell into sleep, fell into safety, fell into one another, phantom sensations that only made the fierce ache in you grow stronger because with every stone you snatched up it became clear that… 

You’d been loved. 

Not your identity.

Not the image you showed to the world. 

Not the walls you’d put up in front of him before he’d found some way past them. 

You. 

And he’d loved you with every part of him. 

You weren’t sure when you started crying, a violent, vicious stream of tears that was just as much a product of rage as grief. Here was someone who’d loved you fully, loved you despite every asterisk and bit of baggage and sharpened edge that came with being a broken hound, with being a former experiment still on the run. But you barely noticed your tears, spitting up at the unforgiving clouds and the howling wind, because you could howl, too, just as violent, just as much a threat as any storm in this place. “I want my fucking life back! I want him back!” 

You hadn’t wanted it before, or maybe you had and you’d just been too afraid to ask for it. But now? Oh, oh, now you were furious, furious and hurting and screaming, because you’d denied yourself connection all these years only to find it in the last place you’d expected. That was what this had been—home, family, love. That had to be why you’d stayed in New York, why you’d risked everything for these people, for Matt. You weren’t an idiot. You’d have run the numbers and the math, made your calculations.

You couldn’t bear to lose this. Not… not again. 

You threw stone after stone, hunting frantically as your fingers bled dry, desperate fury into the air, reddened drops disappearing before they ever hit the ground. The trickle of water in the center of the riverbed had churned itself into a frenzy, but you ignored it. There had to be something here that would trigger a memory, something that would let you remember being loved again, something big enough, important enough, so you grabbed and you grabbed and grabbed and grabbed and grabbed until at last, you found a stone the size of your fist. You snatched it up with a ragged sob, cradling it greedily against your chest as if doing so might let you carry it out of here, because you wanted it, you wanted him, wanted to remember more than anything in the world. 

“Let me have it!” you snarled, snapping your teeth at the howling winds of the storm as if you might catch this place between your jaws and tear it open until you at last found what belonged to you. “Give it back!” 

And with a blink—

He tore one of his bloodied gloves off, his hand shaking as he reached out to you.

You stilled the moment his fingertips brushed tenderly against your cheek, so very gentle, affection layered over blood and earth and hurt. And god, your skin was so terribly dry and cold, the beat of your heart uneven as it struggled to pump blood through your body, but he could feel you react to him, the barest parting of your lips as you dragged in a startled breath. He didn’t want to startle you further or risk you fighting him, so he let his voice drop into a whisper, soft as the brush of a feather.

“It’s me. I’m here.”

‘I heard you,’ he tried to say. ‘I heard you. I’m here.’

And your weakened heart… skipped.

He wasn’t sure if he reached for you or if you reached for him. All he knew was it was the sign he’d been looking for. In a heartbeat, he scooped you up off the floor, stealing you back from that dry, filthy cement and crusted blood that had tried to take you from him. He cradled your cold body against his chest, then, held you there where it was warm and where you were safe. You made the softest little noise, the sound choked and dry, but there was no disguising the heartbreaking relief in it. He pulled you in further, pulled you up until you were curled up in his lap, not an ounce of air left between your bodies, your head laying against his shoulder.

He would never let you touch the floor of this place again.

“D…” you mumbled, not one hint of fear in you despite what he’d just done, the blood on his hands and the burning heat of violence that still lingered in his bones. You wearily slid your head over, inch by inch, until you’d buried your face against the sweat-slick line of his throat, nuzzling in against him with a hoarse sigh that only made him hold you tighter. You inhaled slowly then, heedless of the blood and dirt and sweat that coated his skin, your fingers coming up to hook weakly in the collar of his shirt. “You came.”

And you… smiled.

He buried his face against your hair and let out a shaky breath. As he did, he dug down past blood and dust and dirt, dug and dug until he found the sweet, familiar scent of you, a scent he never wanted to leave him again.

The stone fell from your limp hands, a ringing in your ears you could barely hear beneath the sound of the water nearby, frothing and wild. 

The increased sensory feedback had been bizarre, and there was… there was no reason he should have been covered in so much blood, his body burning as if he’d been fighting before coming to you. But…  

“Hey, you in there?” Foggy called. 

“D.” The letter felt strange, and yet… natural, as you cradled it on your tongue. “D?”

And you knew what came after that letter, shaping the word again in your mind. 

You knew. 

You… remembered. 

“Always,” he’d said. 

“Always,” you whispered, casting your eyes up the riverbed towards another large stone. “Always, D.”

He didn’t know what you were doing or why you’d climbed inside the thread. 

“Always, D.”

All he knew was that it hurt. 

“You’re stuck with me, unfortunately for you.”

He’d thought catching your scent, hearing your laugh, being forced to take back the key he’d given to you had been the worst of it. But no. It was far, far worse having to relive these memories of your time with him over and over and over without pause, his senses filled with you: with your touch, with your scent, with the taste of you on the air. He heard you whisper, laugh, and sigh; felt the brush of your fingers in his hair and your body shaking with laughter when he snatched you up during a game of Devil Hunt and the safety of you as you’d held him so tenderly after his fight with Foggy. All of it was a reminder of what he’d lost, what he’d never get back. 

“Don’t you give up on me, Matt. Ok?”

He was in agony. There was no blocking you out like this, no escaping your memory no matter how much he tried to push back or retreat, until he wound up trapped and spiraling in his kitchen. 

“Kiss me when you come back.”

On and on it went, memories snapping at his heels until all he had left to hide behind was rage. He swept his arm across the counter, glass shattering as he screamed himself hoarse. Eventually he found himself backed up against the wall, sinking down as he hitched out something like an agonized groan, his hands over his ears, his eyes shut tight. “Don’t do this to me, sweetheart, please—”

“Adoringly yours, because I do adore you, you ridiculous man...”

“Leave me alone,” he whispered. “Just leave me alone.”

“...Remember that. if nothing else.” 

In hindsight, it was a really bad idea to give back your key.

“Matt!” you shouted, pounding frantically on his front door. “Matt, let me in! It’s me, I swear, I can-I can—”

Silence. 

And you weren’t willing to wait any longer. This wasn’t something you could explain through the door, out here in the hall where the neighbors could hear. You needed to get inside. You knew he was in there somewhere. 

Red threads never lied.  

You wiped the blood away from your nose and took off for the stairs. It was only one flight up to the roof, and sometimes he left the rooftop door unlocked. Even if it wasn’t unlocked, you’d use the key under the mat. You didn’t remember everything. But you remembered that. And if the key wasn’t there? You’d break that fucking door down.

He sat unmoving in his meditation pose on the floor, the sound of your attempts to get into the apartment distant and far away. Meditation had been the only thing left he could think of that would allow him to escape the pain and the memories of you that had flooded his thoughts. Like this, with his mind and his focus withdrawn until it lay deep within himself, he’d hoped he’d be far enough away from the world that the ghost of you couldn’t reach. 

Yet even deep in meditation, his instincts were set off by the crack! of his rooftop door slamming open.

He was on his feet in a heartbeat, his heart racing as he bared his teeth, his body prepared to face whatever threat had just broken in. The sensations of you, at the very least, had quieted during his meditation, which should have left him enough space for some small margin of peace as he threw himself into a fight. But that peace was nowhere to be found, because you were here again. 

He recoiled from that thought the second it crossed his mind. This wasn’t you, that much had become painfully clear. You’d passed away somewhere far beyond his reach, away from the home, the life you’d lived here. The woman that stood on his landing now was nothing but a ghost, a fading memory and a terrible reminder of what he’d had and lost, what he’d earned by daring to reach for something good. There was no undoing it, no washing away the blood on his hands. If anything, how he felt for you had doomed any hopes of you staying long enough for him to reform that connection with you. He knew how you operated—hell, you’d tried to run on that hot summer night so many months ago after seeing just how much he’d cared, even if you’d ultimately changed your mind. At the time, he’d thought it was Destiny, the hand of God ensuring you remained in the Kitchen where Matt could keep you safe from the Man in the White Coat, here in this place where you both might… might shape something good out of all the broken pieces you’d both been left with. He knew better, now. Even the hand of God couldn’t break the curse Matt placed on those he loved. You would leave, leave like all the others, and he deserved it. 

The only question that remained was why you seemed so, so fucking determined to make him suffer. 

“Matt.” Your voice cracked as you stumbled down the stairs. “Matt, I—”

“Why can’t you just leave me alone, sweetheart?” he grit out, reaching up to fist his hands tightly in his hair. He’d never known you to be unnecessarily cruel, but there was no other explanation. “God, I-I can’t—you can’t keep doing this to me.”

“Matt, just let me—”

“Do you even care how much you’re hurting me?” He hitched out a broken laugh, something bitter and tormented, the sound absent all humor as you made it down the stairs. “All those months, all I wanted was for you to come back. I begged. I prayed to God, over and over again, that he would bring you back to me. And now that you’re gone, you just won’t leave. I can’t get away from you no matter what I do. Do you know what that’s like? To lose someone you love only for their ghost to haunt you every time you turn around?”

A soft intake of breath. 

There it was. Now that he’d said it, you’d leave. There would be nothing more frightening to the You he’d first known than a word like love. 

“I just…” His breath hitched again, something thick building in his throat. It was just another sign of his weakness, the same weakness that had gotten you killed. 

‘I warned you, kid,’ came Stick’s voice, so smug that Matt bared his teeth. ‘I fuckin’ warned you the night I opened up her eye. But you didn’t listen.’

He started to pace wildly, ignoring your voice as he hunted for some opening through which he could escape, flee from Stick’s voice hiding in the corners of his thoughts, from your ghost. With every step his movements grew more frantic, more furious as his rage built like a rising wave: rage at himself, at God, at the monster who’d taken your memories and the possibility of a life for you here with Matt, and at you, too, because you just didn’t get it. “I just want to grieve, and God can’t even give me that much, can he? Is that what this is? Punishment? Revenge? Congratulations. Job well done. You can go.” 

You tilted your head as you watched him pace, the same cock of your head you got when considering your potential routes forward. As far as he was concerned, the only route he’d give was a route out the door.  

“I don’t know why you came back, and at this point, I don’t fucking care,” he told you hotly, nothing but burning smoke and thick venom in each word. “We don’t have a red thread anymore. There’s nothing to keep you here. Leave. Now. I’m not asking.”

Your soft response was a single letter, one that struck directly at the open wound inside his chest. 

“...D.” 

He snatched up an empty beer bottle from the kitchen counter in a sudden rage, turned, and hurled it past you. 

You didn’t so much as flinch as the bottle came within inches of your head. Nor did you react to the distant shattering of glass, the sound of it barely audible over his anguished roar. 

“Leave me alone!”  

And then he froze in sudden horror at what he’d done, his heartbeat almost drowning out the soft sound of your steps. All he’d wanted to do was scare you away, frighten you away so he could break where you couldn’t see, because it had hurt, it had hurt to hear you call him—

Wait. 

You’d… you’d called him…

“My Devil Man, my Saint Matthew,” you whispered, the touch of your hands cool and endlessly gentle as you cupped his face. His skin was wet, damp beneath your thumbs as you swiped them across his cheeks, when had he started crying? You brought his head down until you could lay your forehead against his, the taste of salt hanging in the air. Your voice grew achingly tender, so longed for that he swayed helplessly on his feet, wanting nothing more than to be held like you’d held him so often before when he was hurting. “I’m so sorry, D. I’m so sorry I left you alone, sweetheart.” 

He closed his eyes tight, his breath growing shaky. You couldn’t know that he was two steps away from crumbling in your arms, fractures widening with every breath. He had no energy left to fight your touch, your misplaced mercy, but giving into the lie was another thing entirely. He couldn’t bear to hope again, not when it would crush him if he were wrong. “Foggy told you to… he told you to call me that, didn’t he? To see if you’d remember. But I can’t—you’re going to leave me, you’ll—” “Do you remember what I said before I left? Because I do.” You swiped your thumb gently against his cheek, your uneven breathing skipping and falling into rhythm with his as his hands shakily rose. They hovered hesitantly a few inches away from your face, terrified that you might vanish beneath his hands like a ghost. “I don’t leave my box behind, and I won’t leave you behind, either. I told you that you were stuck with me after Nobu. I meant it. It’s really me. I know you’re tired and hurting, sweetheart, but listen to my heart. What does it say? Truth or lie?”

…Steady. 

Truth.

Could it really be you?  

He held his breath as he dared at last to touch your cheek, stirring the fine hairs as he stroked his way along the familiar shape of your face, one he’d traced so often in his dreams. Your skin was damp with tears just like his, another sliding down to bump against his thumb as your lips quirked up into a brilliant smile. And the moment his trembling fingers passed your lips, you kissed the tip of each with a warm fondness, a mirror of that night you’d held his broken, torn body and he’d kissed your fingers and palm. 

“How much do you… do you remember?” There was a ringing in his ears as the world beneath him seemed to roll beneath him. “Everything?” “Not everything. Some pieces are still missing, with Foggy and Karen and my job, but I-I remember enough. I remember you, and what I had with you.” Your voice grew fierce and fervent then as you drew in a sharp breath, preparing yourself. “I remember you, D. And I remember that I love you. I love you, Matt Murdock, all of you, so, so much. And I will never leave you alone again.” You loved him. 

You loved him. 

The weight of it—being forced to let you leave the city, the ensuing months alone, the agony of the past few weeks thinking he’d lost you entirely, and now this, this, knowing you loved him like he loved you—hit him all at once, and with a sudden groan he started to drop. You caught him in your arms, the two of you sinking to your knees as you held him tight and he wound desperately around you in return. Only then did he start to fall apart in your arms, shaking in your hold, his grief, his hurt, his relief spilling out in choked gasps where you’d tucked his head down against your neck. He fisted his hands in your shirt as you both rocked, and a ragged moan tore free from him, spilling against your skin when you lifted your hands to trail your fingers lovingly through his hair. You knew, you remembered just how to hold him when he was hurting, a balm across every last wound. His shivering, touch-starved body remembered your touch, too, drowning beneath the sudden surge of good, warm, safe, soft after months of nothing but pain, so much so he couldn’t help but gasp out your name. 

“I’ve got you now, D,” you whispered, burying your face against his shoulder until he could feel the heat of your tears against his shirt, too. “I’m here, now. You’re not alone. I’ve got you, Matt.” 

“I thought you were gone.” There was no way for him to truly sync his breathing with yours, not with the way you were both crying, but still his body tried on instinct, tried and failed over and over again. He closed his eyes tighter, burying his face deeper against your throat as he pulled you in even closer, until there wasn’t an inch of space between your body and his, where he could feel every beat of your heart against his skin, as if to make up for the way he’d almost… almost chased you away. “I thought you’d left me and I was alone. I’m sorry. I’m sorry I didn’t try harder, and that I didn’t-I didn’t go with you, but I couldn’t—I’m so, so—” 

“Hey, hey, it’s ok.” You kissed shakily at his hair, his shoulder, and whatever other parts of him you could reach, your breath, your tears, your absolution washing over him like rain. “It’s not your fault, D. It’s not your fault sweetheart. None of this was your fault.” 

“But—” “Hey. Listen to me, before you get any further down in that hole.” You lifted his head from your shoulder, cupping his tear-stained face in your hands again. For a moment you both simply breathed with one another, your forehead to his, soaking in the contact, the affection that you’d both dearly missed and needed. “What happened to me outside New York, my memory loss… all of that is not your fault. It never was, D. There are-there are a lot of things we’ll have to deal with in the future, things I need to tell you. Consequences of what we’ve done, and—but this isn’t one of them. Never this. You’re what helped bring me back.” “How? I didn’t…” He let out a breathless, watery little laugh. “I didn’t do anything but try to chase you away.” “Some part of me couldn’t help but be drawn to you. I remembered, deep down, I think.” You gave an amused little huff. “And once Foggy showed me how to get into our thread, all your memories are what brought me back, helped me remember, because I could feel it, how you loved me. That was the key. Speaking of which…” You leaned in to nuzzle up against his cheek, your voice lowering to a whisper. “I think I made you a promise, you ridiculous man. And it’s one I intend to keep.” 

And with one small tip of your head, and a single slow breath… 

“Kiss me when you come back.” 

…your lips brushed against his for the very first time, tender and achingly soft, and so full of love that it would have stolen his breath away if he’d had any left at all. 

It wasn’t the first kiss he’d envisioned months ago just before you left, something triumphant and wild. Nor was it anything like the first kisses he’d imagined before that, the first kiss he’d thought this journey with you might lead to. And God only knew he’d considered kissing you for the first time more than was healthy.

Your first kiss with him was, instead, shaky and gentle, tasting of salt and tears and the fading shades of grief retreating like streamers of night before a welcome sunrise. Slowly, and then more surely, his lips began to move against yours, finally allowing himself to truly taste you for the first time, his eyes slowly falling closed as your fingers ran fondly through his hair, you, it was really you, you remembered. With a quiet moan, he breathed you in deep, calling your grace, your love deep into him until it settled there against his heart, knowing that, no matter what else might come, he would never lose it again, one of his hands rising to tenderly wind around your throat, his other hand finding yours so he could lace his battered fingers tightly with yours.

It wasn’t the first kiss he’d expected, but it felt perfect all the same. 

Because all that was left was him… 

And you. 

[dragonflavoredcake]

Gem, to Pearl, lying facedown on her bed, regretting everything: And then I called him Dad Doc, to Ren, trying not to cry: And then she called me Dad

[mikaikaika]

Quackity : Chilling after unleashing his social experiment on the ccs

Meanwhile Cellbit :

[cyclorose]

GFM TWITTER THREADS 🍉

https://x.com/tmascfyolai/status/1802525533026030058?t=dk2K0CNSb1GSzUz1UpCMHg&s=19

https://x.com/forresttdweller/status/1775163321026576574?t=dk2K0CNSb1GSzUz1UpCMHg&s=19

https://x.com/DESOLATIONSPLAN/status/1802470101339287862?t=FYISSf-BmHYttp0aHXyNgw&s=19

https://x.com/Dr_Laila0/status/1799759530731155930?t=lw0UDAIPOJp3ElQFvzVPxw&s=19

https://x.com/lordeoceanic/status/1788028163303293386?t=lw0UDAIPOJp3ElQFvzVPxw&s=19

my apologies for not speaking up properly here, I find twt to be more accessible, but it's not an excuse. If you have twt I encourage you to rt these gfm threads and any informative ones you encounter

[idliketobeatree]

banging my hands against the nearest mirror hoping to reach netflix's HQ screaming to provide the good quality cooper dead boy detectives clips or screenshots for hell's sake. the show's been on air for months and we are still rotating the same ten promo shots. we cannot be deading like this

[kotaromita]

Open Thread

Kotaro's thin eyebrows twitch nervously in the dressing room mirror, conflicted seeing himself in the outfit suggested to him. The way it fit his body, the skin it showed—was it too much?

He had only recently started to experiment a little more with how he dressed, given he was pretty picky with the genre of street fashion he wore. Having someone else choose for him was a surefire way to get him wearing something outside that comfort zone. But seeing his exposed forearms and collarbones made him wary.

Even so, he felt obligated to show them how he looked given they'd given him their assistance in the first place. So he steps out from behind the curtain. "So, does it suit me?"

[teslacoils-and-hubris]

you know whats worse than having a type?

getting hit in the face with where exactly that type started when you're trying to make a random hot character

[sometimeswritingsometimesdying]

eugesse fake dating au where jesse wants to piss off his father (who will pay off potential suitors to stop seeing his son) so he drags eugene along to be his perfect bad boy boyfriend (except eugene really isn’t that and they fall in love inadvertently) (robert comes around to it) (it’s mostly jesse’s grand evil plan to have a late stage teenage rebellion)

[knghtlock]

on mobile but heads up that i might not be super active dash wise... more than i already am, i am, uh. not doing very good. autism burnout is real and its happening to your local jestie. might queue up some headcanon posts and really buckle down & try to make more graphics ( unfortunately most of which require me to make my own art ) but mutuals can catch me on dis. cord @ astracyte! just lemme know who you are! also unfortunately this also means im gonna be slow to welcome all the new mutuals that have shown up to my silly house party of a blog, but i hope y'all know that

a: i wanna write with you sooooo bad

b: i appreciate you sooooo much

and c: i am offering you juice, cookies, and ( optional ) bear hugs in my mind /pos

[workingforitallthetime]

.

[lcngdays]

@fangmother // the gender breakdown.

"i'm not a woman!" Angel is just screaming at her, and for what? To prove what? It proves nothing, except the inner turmoil he works so hard to keep at bay. There is a distinct chance the mug he has in his hands might get thrown at her. Angel simply hasn't decided yet.

[docnefarious]

@nether-twins asked: Oh Nefariouuuus, I got a surprise for youuu~" And she couldn't wait for him to see it. See the 15 feet tall bronze giant she had been turned into, a Talos as it had been called, by a lovely anon. It had been seen as a curse at first, but now she was rather happy it had happened. Because now she could finally get back at the robot for scaring her. ((Magic anon got to Vendra oops))

Terrifying Vendra had definitely been one of the most satisfying moments of his life lately. He was still enjoying it! The look on her face had been priceless! It almost made up for all those infuriating pranks she'd pulled on him! Or... it was a nice start, anyway! He was sure he could think up even more ways to make the witch regret embarrassing him.

That's when he heard that voice, and it had him stopping dead in his tracks. He would recognize it anywhere at this point. But something was different... First of all, he did not like that mischievous tone she had. That was never a good sign. Secondly, why was it sounding from… above him?

Slowly craning his neck back, he looked up to see the gigantic bronze figure towering over him—and he just froze, blinking up at her for a few seconds and trying to process what exactly he was seeing. Well, whatever it was, he had a feeling it wasn't anything good for him.

"Oh, hi!" he gave a tiny sheepish wave, definitely noticing their size difference right about now. "Did you get a new suit? Looks great!" Yep, he had to get out of there.

[jekyll-doodles]

Have you ever thought about writing a fanfic about this universe, or have you already done it and I don't even notice?

Assuming this is about my alagadda/wakey wakey stuff,

I've written small snippets here and there: A Moment Prior , A Glimpse Into The After , and the occasional interview logs with them ( i compile them over on my deviantart)

I do have some written wips, but most of those are just. Conceptual? Canon-not-canon stuff that aren't enough to be posted.

[docs-before-dawn]

04 :: Stitch and Thread

Much like 03, 'Pink Slice', this started as a potential OC doc- but I scrapped the idea, and decided to complete the doc in of itself, since I rather enjoyed the doc concept! I hope you all get a kick out of it as well! The aesthetic was meant to be doll-esque, as well as relatively soft and quiet... I hope the vibe came across well!

How to use: Go to 'File' and select Make a Copy. DON'T REMOVE OR MODIFY THE CREDIT.

Please like/reblog if you end up using this doc template, danke!

Have fun editing, but please be careful! Certain elements of the doc weren't built for text to go on too long or be too short, so you may have to make empty spaces to keep everything in place (or shrink the text a bit!).

This is meant to be an OC Info template, complete with General, Physical, Personality, Powers, Biography, and an extra page for Relations!

Have fun!

Remember: ♥ < 🔁!