#edit: WHAT THE FUCK HAPPENED TO THE FORMATTING

[lucabyte]

i'm so curious about your character gender reads now tho 👀👀

(You enter the kitchen and see me, eating shredded cheese out of the fridge by the handful)

(I turn around to face you.)

Hi. Do you want me to sell you on amab NB Siffrin? I'm going to try and sell you on amab NB Siffrin. And maybe even a little bit of tranfem siffrin and/or loop. as a treat. just for you.

So, (I put the cheese back in the fridge.)

This read of mine comes from a number of things, a lot of them to do with the game's themes, and to do with Siffrin being a narrative foil to the other characters. And Vaugarde as a whole.

(READMORE WARNING: THIS IS LIKE 6K WORDS LONG. YOU ALL SHOULD KNOW BY NOW I DON'T MAKE POSTS WITHOUT UNCONSCIOUNABLE AMOUNTS OF EVIDENCE AND EXPLANATION. IF ANYTHING I'M BEING RESTRAINED HERE. THUMBS UP.)

(Pre-readmore note: this is in response to me having given an analysis of how I personally percieve Sifloop in relation to asexuality and shipping. Which you can look at here. (x))

It is however, not what my like, no-holds-barred no-rules just-for-me headcanon for Siffrin would be. (which is intersex 'head empty no thoughts' siffrin, for the record). This is instead my close-reading-of-the-text-and-themes interpretation of Siffrin. This is why I'm gonna be saying Read and not Headcanon, to distinguish the two. (Anything I consider a little bit too much of a stretch vis a vis interpretive hard reads I will call a headcanon. But those are for the last bit of this post.)

Unlike *gestures at mass media* All That… ISAT is already packed to the gills with queer rep, to the point where I feel no need to grasp at straws and make overextended reaches into obviously unintended subtext. Like with, y'know, most media. Since here, the subtext isn't unintended. Like this isn't a Transfem Metal Sonic or Aroace Ash Ketchum situation where I know none of the evidence is on purpose and I'm just having fun making a conspiracy theory pinboard out of it. This is like… There's intentionality there. And I want to engage with it on its level, see what the text itself suggests. It's my personal preferred method of expressing deep respect to a text. (Not that it has to be anyone else's, obviously. This is just my way of showing I love a work.)

So yeah, I am, in general, very interested in hearing hard-fought arguments when it comes to interpreting texts. I'm glad ISAT has a lot to pick at here, and so, I will. (and since not a lot of texts ever have anywhere near this kind of depth in this arena, i don't wanna squander it… i'll try and keep my own biases as in check as i can, and already have done by hashing quite a bit of this interpretation out with two people of very different gender identities to mine. To put it mildly, binary-aligned or transfem I am very squarely Not.)

(Now that the cheese bag has been removed from the equation, I drop this framing device, sit you down at the table and begin to dredge up evidence from below it.)

Okay, so. What are my like… Core reasonings here? I think I can split it into three categories. Broadly, with an amount of overlap, so bear with me…

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Okay so up top I'm going to split my argument for Siffrin's gender identity Present and Future here. This means, for now, I'm arguing for AMAB NB Siffrin alone. The transfem stuff is for later (and more for loop, in my mind, too).

I have a few direct observations of the text here that set things up. Here are the things in-game that make me assume that Siffrin, as of the start of the game, has not yet undergone any radical change to their identity in their life. Not on purpose, at least. These are ordered in a messy but logical flow, so uh, try and keep up. I'll synthesise at the end. I Prommy.

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

CHANGE & THE UNIVERSE: PERCEIVED OPPOSITES

When interacting with most objects in the Changing Room in the house, they express a genuine curiosity toward body craft. It seems they are legitimately unfamiliar with it on a deeper level than having simply heard of it.

Despite this curiosity (explicitly stating they've previously wondered about it), they dismiss it as too much work early on in the game. These points combined seem to suggest to me that they have never previously sought out any kind of real change to their appearance or identity. Either for gender reasons, or other body dysmorphia reasons. (Which, despite the dismissal, they do refer to their body as a 'meat prison', which is not particularly positive) However...

This changes in Act 3. In acts 3 and 4 they flatly state: "You're thinking about crafting your body. You seem to have all the time in the world now." While still never spoken aloud, their declining mental state corrosponds with a worn-down, almost nihilistic reckoning with the feelings they masked with the 'meat prison' joke in act 2.

[Image: Interactions with the change craft textbook in acts 2 and 3/4.]

In talking to Mirabelle, they are very self assured that one can stay the same/be comfortable with their born identity. They also seem a little unsettled by the change religion's flippancy in general, which makes sense, as they have been clinging to the famliar (even when painful) to cope with other traumas. (More on this later, section 2)

The Universe Faith appears to heavily disincentivise Wanting for oneself and other expressions of Free Will due to safeguarding against Wish craft. This seems to have impacted Siffrin's mental state majorly, even if they do not recognise it. The followers of the faith are (if Siffrin is to be believed) incentivised to 'go with the flow' and take paths of least resistance, and those that DO make big decisions will tend to justify things as being The Universe's Will. (See: The King's entire Modus Operandi, and the way Loop (and Siffrin) do the same rote actions, constructing worldviews (the play analogy, the Universe's Will) and justify that as what the Universe Would Want (despite a total lack of evidence to prove as such)) As such, it seems as if a follower of this faith as neurotic as Siffrin would be unlikely to act upon any Wants to Change Themselves without a lot of turmoil and backwards-justification. (Of note, Loop's forcible change coinciding with a dropping of pronoun. But that is again for later, section 3) As of the start of the game, they do not appear to have broached this kind of turmoil directly.

[Image: Act 5 interaction with the star journal, emphasis on it being a cautionary tale against reckless usage of wish craft, instilled so deeply to be a children's bedtime story]

Siffrin, in act 5, grows frustrated with both The Universe and The Change God, feeling abandoned by the former. They struggle with simultaneously anthropomorphising the Universe as a cruel onlooker, while also seemingly acknowledging them as a cold, almost scientific fact of nature. This would heavily imply that the 'blame' put upon the Universe by Siffrin in these moments is known to them, at least a little, to be potentially meaningless. It seems that somewhere in Siffrin's belief system is something, be it the core or merely a creeping worry, that the Universe is not a thinking, feeling, thing. And thus that their invocations of "The Universe's Will" are merely rationalisations of random chance and consequence. This is in DIRECT contrast to the Change God, proven to be an emotive sapient entity, who merely refuses to offer a helping hand. (Similar sentiments are, too, spoken by the Change God itself.)

[Images: Interacting with the window in the observatory in act 5, text from the change god meeting]

So. These are the bulk of my observations when it comes to how Siffrin is positioned in contrast to the Change Belief. It would seem to be that Siffrin, inkeeping with their role as an outsider, is a complete fish out of water in Vaugarde's change-centric world. This makes sense! It makes them a compelling foil to the Vaugardians in our cast, and allows the Vaugardians to challenge Siffrin's worldviews merely by existing. It also, more importantly, makes Siffrin an interesting lens through which to inspect our two most Change-driven characters. Mirabelle and Isabeau.

MIRABELLE.

Mirabelle and Siffrin's differing faiths are put on display the most frequently. Interactions like the circle key and the party's disbelief of Siffrin's facts about the stars make this clear. These interactions other Siffrin from the group further, and are another avenue through which Siffrin can ignore their own needs, not communicating with the party and allowing them to dismiss things he deems important.

Obviously, the friendquest is primarily about Mirabelle's struggle with her aromanticism and asexuality. But there's an implicit undercurrent of gender there too. Mirabelle has never made a big change, not like Isabeau. She has never 'changed completely', by her words. And Siffrin distinctly finds this an odd thing to be worried by. Whatever culture he carries has no pressure to explore these avenues, it seems. Siffrin is able to help her by sharing their honest opinions, that he's never felt the need to change these things, and he's happy (allegedly). Why should she?

[Image: Mirabelle's friendquest text] Siffrin is not thinking particularly hard when he first does the friendquests, they are just being themselves. By positioning Siffrin as this unchanged yet confident object, they are in the perfect position to help Mirabelle by being in her almost exact position, both sexuality and transgender status (albeit, with the caveats of potential alloromanticism, and a they pronoun), that they become her ideal foil. (And in fact, the subtle differences between their positions in canon add to this, showing a display of Perceived Genuine Truth, rather than simple in-group camaraderie)

Whereas…

ISABEAU.

When Mal du pays speaks as Isabeau, it says the following;

"I don't want to know someone who won't even try to change, who luxuriates in things staying the exact same like you do."

I don't want to know someone - Shame of being known, that's Isabeau's insecurity. Reflected back at Siffrin, who has become the worst thing imaginable to each of their friends, in Siffrin's own mind. He absorbs their insecurities like a sponge and incorporates them into himself. Empathy turned ill.

Who luxuriates in things staying the exact same - Now THAT'S interesting. This is not Isabeau's insecurity, it's Siffrin's own. But also, it appears as if, Siffrin, whom to Mirabelle was unflappable in that not changing was alright, has internalised some of her worry. That it is MDP's Isabeau saying this, though, shows this is about Personal Change, perhaps even Specifically Gender and Self Image, rather than Mirabelle's spiritual side.

Isabeau and his distinct change in personality and gender, to become someone who he actually likes… Diametric to Siffrin, who has been stagnant for a long time, presumably as far as they can remember. It would seem to imply they have no recourse against this argument. Siffin becomes, in his mind, the opposite to Isabeau, a man he deeply admires the bravery of when told the story of his Change. These are Siffrin's words against themselves, that they consider themselves to have never even 'tried' whatever it is they think Change to be.

So. These are my main points vis a vis: Siffrin as a foil. This reading would posit that Siffrin's He/They status is, well, almost accidental? Which I would imagine befitting of them. They are, at the start of the game, still the mysterious rogue who never elaborates upon anything. They aren't going to be correcting a they/them from a teammate who is likely far more cautious about assumptions.

Notably, Mirabelle excludes Siffrin from the label "man" in the bathroom monologues… But as does Siffrin when in the prologue poem room. Though one needs remember, Siffrin only expresses these thoughts internally.

[Image: Bathroom conversation featuring Isabeau identified as the party's singular man]

[Image: Prologue!Siffrin expressing that they are not a man in very certain terms.]

While I do wonder what Mirabelle's knowledge (or lack thereof, potentially! Did Siffrin actually divulge this to her, once? Or is she making assumptions again?) is here, this is pretty clear evidence that Siffrin doesn't see themselves As A Man. (that, and Adrienne's word of god "fella" comments). I'm sure you can see where I'm going with this… but.

The thesis here is, that Siffrin may want to explore their gender further; doesn't feel connected to Masculinity, and yet, keeps that He pronoun around? Well, the Universe does not, in Siffrin's mind, really allow for personal wants and desires. If their friends start they/themming them, then cool. They like it, but never requested it, so it's the Universe's will. But, asking? Making decisions and requests and rocking the boat? That seems to scare Siffrin a lot. It seems to scare them so much it causes a lot of, if not all of, the conflict in the game. I feel like it's a fair deduction that this aversion to humour their own desires pervades a lot of their existence.

Plus, I think there's meat there. By only allowing Siffrin to reckon with any potential desires to change only after growing closer with the family, you get to explore things like "How does Mirabelle feel that even the person who said she didn't have to change is changing." and the slightly less potentially harrowing (OR MORE, IF YOU WANT IT TO BE? IDK. I'M NOT YOUR BOSS.) "Isa's continued changing allows Siffrin a space to explore it, maybe even just by proxy, or maybe by joining them."

But mostly, this section is about how Siffrin not having Changed Yet makes them delightfully strong narratively; allowing them to relate to Mirabelle, and get cold feet when comparing themselves to Isabeau. I love this as a narrative strengthener. It's very rare in media that we get to explore a nonbinary character's thoughts and insecurities on whether or not they're "doing enough" to be nonbinary. Even less so Aligned nonbinary people. And reading that alignment and insecurity through the lens of a nonbinary person not fully disconnected from their assigned gender at birth? It's a very compelling exploration of a very common and raw and yet underdiscussed feeling, much like the rest of ISAT. I think this is an extremely potent element should it be read this way, and is only strengthened when taking Siffrin's other themes into account.

Speaking of which.

2. SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

HOLDING ON TO WHAT YOU KNOW. (OR KNOW THAT YOU DO NOT.)

I explained above many of my thoughts on the Universe Faith, and trying to keep these two sections separate was difficult, but needed to be done for the sake of clarity. But this section and the above are deeply intertwined.

Siffrin… Holds on to the things they know. They do not know much. But man do they fucking hold. And yet, paradoxically, they are also avoidant about it.

It is made clear in the text, to the point where I really don't feel the need to rehash it here, that Siffrin's disconnection from their homeland is incredibly painful, but that they consider that culture utterly and irreplaceably important to them. They cannot face it, it is too painful. They cannot let it go, it is too important.

Knowing what we know of the Island's irl inspirations (though, word of god, the exact location is not supposed to matter, one can infer it from the text (and I did! within reasonable proximity!)), Siffrin is of an indigenous peoples of some description, more than likely. And at the very least, Siffrin carries with them inherent biases and ignorances that show that Vaugarde's conceptions of things don't quite mesh with their own. Bowing to the Vaugardian way of things could very easily be seen as assimilation, in this way.*

And identity? Gender? Presentation? Role? All of that has a cultural element. There's no telling what specifics Siffrin has lost in that arena, and that's the problem. Neither do they. How paralysing, the feeling, to know that should you change yourself you risk unknowingly erasing another piece of home? I wouldn't blame them for locking it off. Keeping their old clothes, keeping what little they can remember of themselves… It doesn't seem to me a conducive or safe mental space to get experimental.

And the Universe makes for a perfect scapegoat. As referenced in the section above, a lot can be justified should you call it "The Universe's Will", because who's there to call you on it? Hardly anyone. Your divine right to Freeze A Place In Time; Your Deserved Punishment for Wanting to be Loved: All of it the Universe-- If you want it to be. And thusly, if the Universe wanted you to be a certain way, wouldn't you already be? Wouldn't it make you so? (Wouldn't it take away your body, that which makes you human? If that is what it thought of you?) So best to put it out of your mind. Wouldn't want to accidentally wish anything.

But as the game itself puts it, personified by The King, you cannot stay mired like this forever. As Loop themselves puts it, they can "get so fixated, sometimes." At some point they need to allow themselves to grow in whatever direction they need, because in the end, they need to live their life. They don't need to abandon their country, their culture, but they can't let it restrain them either.

(* MASSIVE CAVEAT: im white as fuck boyyy. i cant say shit. im like technically Of The Land im like 90% pictish or something ridiculous like that so my particular line has never moved anywhere but. this is notttt something i have input or insight on. this is all gleaned from reading and listening to indiginous perspectives from wherever they may be. i am simply trying to infer from what the game gives us without inserting my own feelings on the matter.)

3. SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Alright, here's some less heady and purely-thematic points to round things out. And where we'll also address the fucked up star being in the room; Loop.

My last couple of reading points are the most potentially-transfem to me. Or at least the ones that really hammer home, to me, a seeming lack of want to be masculine-aligned.

ANOTHER NOTE ON THE 'NOT A GUY' THING.

Obviously, there is the aforementioned "Not a man/not that you're a boy" thing. This is rather straightforward, but also still pretty ambiguous. You can be masc-aligned and still Not A Guy. But it does seem to be of note that being a guy very much does not seem to be a goal of Siffrin's. I would posit this in direct contrast to… Isabeau.

But not Isabeau's masculinity. I would instead hold it up against Isa's femininity.

ISAT, as a text, has its characters have genuinely different levels of security in their gender identity, and Isabeau, despite still having insecurities, seems super chill on the gender angle specifically! Their internal strife comes not from their 'not feeling like a man enough' or 'hating being a woman', but instead from their self perception as a friendless nerd! Something that seems to be only tangentially related to Isa's gender, really?

The big dumb bruiser thing is certainly aided by being a dude, but Isa still seems completely comfortable referring to themselves with feminine language, calling himself a "mother hen" (prologue) and having "the heart of a fair maiden" (cookie snack time). (However, they also take being excluded from Mira's girly book club as a surprised compliment, implying they weren't expected to be excluded, and find it affirming.) And even further so, Isa states they want to continue changing further and exploring their identity more, being rather blatant that they might lean back into femininity (and more importantly, let themselves be outwardly smart again), since they're starting to feel hurt by everyone assuming they ARE genuinely stupid.

[Image: Prologue Isa calling himself a mother hen]

And man, this is such a breath of fresh air vis a vis representation. I don't think I really need to explain that. A character who's gender identity is driven by chasing euphoria, even if it started out by trying to drive out misery. Isabeau's character is so damn good. But this essay isn't about him, so get back in the crate, boy.

... So here we have Isa, who is genuinely comfortable reclaiming things about their birth gender, and Mirabelle who loves her traditionally feminine traits to the point where she feels a little guilty that she isn't rejecting them to foster change. And then we have Siffrin… who seems to reject masculine language…? Hrm… (… And then we have The King. A Masculine Title. Someone who Siffrin increasingly sees themselves in and deeply, deeply dislikes this.)

APATHY AND SURVIVAL

It should be clear by now that I see Siffrin's core character as being driven by avoidance and survival. This seems to lead to a lot of apathy, brushing off emotions that are too intense or events and occurences that are too painful. (See: just absolutely everything with Bonnie)

It's all Siffrin really seems to be able to do to Survive. They've travelled, seemingly alone, for what would be around a decade by what the game says about the island's disappearance. They've lived alone on the road as a traveller in a country that so openly welcomes strangers that THE KING and his whole motives can happen. Siffrin is avoidant and refuses to acknowledge problems or strive for help and comfort.

So. That line about the dress. Let's unpack the line(s) about the dress.

THE DRESS LINE, AND THE WAY IT CHANGES BETWEEN PROLOGUE, ACT 2, AND ACT 3.

Good god where to start with this. Full disclosure, the first draft here was way more vague in how I approached this line because I remembered it (and another line, I'll get to it.) way more tame, but going and getting the screenshots..... Siffrin. Buddy. We gotta unpack this.

In act 2, we have "You haven't worn a dress in forever!". This is a neutral, if seemingly a little joyous statement. All we really glean from this is the information that Siffrin at some point, wore 'a' dress. No real inferences there. (Maybe you could say that the singular as opposed to plural makes it more likely that they borrowed/only owned One Dress rather than owned several? But that's a massive stretch...)

Then, act 3/4 shuffles this off into a more general "You wonder if you'll ever wear different clothes again." Which is a more despairing and distant statement. Considering Siffrin seems to travel with only the items they can carry, and owns sleep clothes... It's unclear how many changes of clothing they have. The party seems to consider the cloak a pretty permanent fixture, anyhow. But this line doesn't really say much aside from 'oh god i'm losing myself to the time loop malaise'

NOW THE PROLOGUE. Prologue Sif, buddy, pal, Loop, if I'm allowed to call you that....

Thousands of loops in. We are wistful for specifically dresses. You've forgotten almost everything. You dream about someday seeing the sun again. To be anywhere but here. You want to wear a dress again.

I. Kind of do not know what to do here but point at it. Like I said, my first draft had me half-remembering the progression of this line and as such I was far more vague on what I thought it could imply. Instead this is just straight up yearning.

To, try and segue back to what I had initially written, we'll pick up here...

Siffrin expresses a want to wear other clothes, explore changing their body... But instead, they wear a ratty old form-covering cloak that keeps them warm and safe and is a last reminder of home. They are shapeless, formless, hiding their face under the brim of a wide hat. They do not voice their desire to wear a dress aloud. They once again, keep a desire to themselves, because they do not allow themselves to want publicly. Apathy is safer. Apathy and quiet means you do not risk retribution or hurt.

While I do not think the above is exclusively a transfeminine feeling, it really, really reads like one when taken part and parcel with assuming Siffrin has denied themselves prior exploration.

... And here I have to break my first draft again. I was being, once again, restrained in my reading when writing this. Because I had convinced myself I had maybe straight up imagined one of the lines I was basing my reads on, because I couldn't find it. Because it was a line that read so strikingly desolate to me that my brain had slotted it in during Act Five, meaning when I went looking for it neither me nor my friends could find it.

It's in acts 3 and 4. It's a line I already brought up.

"You're thinking about crafting your body. You seem to have all the time in the world now."

good fucking christ. sorry to break the academic tone but Jimminy Fucking Willikers, Siffrin. What's with that bit. The resignation and despair and guilty comfort we know the timeloop brings them, bleeding into the gender.

This. *taps my finger harshly on my desk* THIS, this feels transfem. this feels so wildly transfem to me. The knowledge that they've never changed before this line lends. The admission that they've been holding back because it's 'too much work'. I spent a lot of time during the game relating Siffrin not to myself but to my friends.

If I'm honest, really, truly, I'm not all too often in Siffrin's shoes. I'm the stable one, of my group. I'm the rock people ground themselves on. And I see so much hesitance, all the time. Denial of joy because what if it's taken away, again? Or futilely out of reach? It hurts more to try, and to fail, than to never try at all.

I wanted to shake Siffrin by the shoulders this whole game. Grit teeth beg them to accept help because for fuck's sake people are clearly offering it get it through your skull--

*coughs* Ah. Ahem. Right. The uh, academic tone.

Right. What I mean to say is, this read as transfem to me because of the way it relates to real-world experiences of denial. And this combo of the Dress line, and the progression of the Meat Prison line, the constant evidence of never having strived for what they want, and that insistance that you're not a man, seem to dislike being percieved as a man, but not being able to shed the outward signifiers?

Individually, yes, these points can be read in different ways. The total opposite ways, even, I'm sure! But as a gestalt it feels really, really transfem. Even if yeah, sure Vaugarde is a magical setting where being transgender is accepted, and this hesitance, specifically, around gender, might not 'make sense' in 'the lore'...

Diegesis isn't everything. Sometimes something that reflects a real-world feeling is important, even if it doesn't 'mesh' with 'the lore' of the world.

TANGENT: DIEGESIS AND READING INTO NON-REAL-WORLD-SETTINGS.

This is a Watsonian vs Doylist spectre that's been haunting this whole argument. In-universe (Watsonian), Vaugarde has seemingly no discrimination between genders, sexualities, and a lackadaisical approach to most things in the arena. Reading our own patriarchal/heterosexual/amanonormative/perisexist society unto it does not make sense, not in this context.

In the real world, however (Doylist), ISAT is a text made in our prejudiced society. A text that is distinctly flavoured by those bigotries which it is kicking back against. Because of this, it is not the whole story to simply read the text while discarding our real-world-informed inferences. Isabeau is a big example of this. While perfectly accepted in Vaugarde, he is very obviously a revolutionary character in our real-world space! He has so much to say, specifically BECAUSE things about him that are not readily accepted here, are accepted there! Same with Mira's struggles, and yes, Siffrin's too.

ISAT was written with the knowledge of how it would play against our real world in mind, we know this, clearly, from many an interview. This is most present in how it engages with asexuality and aromanticism (and immigrant identity), but make no mistake, it influences the Whole Text.

Ergo, just because I view certain writing choices here in the context of Our Real World Perspectives On Gender and not Vaugarde's In-Universe Perspectives, it does not make them an invalid read. They are simply a Doylist read.

There's been an admittedly loosey-goosey lack of delineation here between things I'm reading with either lens, because for the most part all of these points have been a vague synthesis of both that I can't quite decouple. Unprofessional, I know, but I'll admit to not having written my thoughts down like this in a good long while. Usually I just hash this out verbally over discord voice to a small number of weirdo literature and classics student friends who are willing to humour me. I'm an arts student too, but animation hardly required I actually write an essay to a literature degree's standard. Lol.

DE-PERSONING. AND LOOP. OH JESUS . LOOP .

Siffrin de-persons themselves a lot. I say de-person rather than dehumanise because, well, there's a subtle difference there. Siffrin doesn't see themselves as vermin or an animal or an object, but they do seem to see themselves as lesser, not requiring the respect they grant others. They aren't, you know, a 'real person'.

People get to have things like thoughts and wants and identities. Siffrin is, at best, Just Siffrin. They have what they have and they don't ask for more and they don't (CAN'T) feel too strongly on what they do have!

When Loop at first offers their pronouns they offer the Royal 'We'. This is at least a little bit, a joke. A nudge toward their true identity, a potential dig at themselves for becoming so understanding of The King. Mostly though, a joke on the first thing…. and a sign that they do not see themselves as a separate entity to the Siffrin stood before them.

When Siffrin rejects this, they settle for they/them. Loop drops the he/him, presumably partially to cover their tracks, but… They just showed their hand with the 'Royal We', and if you wanted to go even further with this, there's no way for us to know whether Loop is treating this pronoun as singular or not. They presumably are, but it is still a potentially plural pronoun.

Loop… Clearly does not see themselves as a person. It's, I would say, a completely reasonable assumption that the form they have taken reflects implicit feelings toward themselves as less than a person, an actor, a monster, a tool, a means to an end. They are rendered inhuman by The Universe, frivolous distractions removed. No mouth, inventory and clothes confiscated, nothing between the legs. Formed roughly in the shape of a person to allow them to do their only job: Help.

Loop's body does not make logical sense, given their continued ability to sleep, dream and their continued habit of deep breaths to self-soothe. It would seem to me, it was made in the image it was, with only the tools it needed to Help Siffrin. Why obfuscate their identity? Because giving the game away too early would likely make them lose hope. Why so deeply, thoroughly star themed? An instant signal, that even if a stranger, they are an ally. They are home.

[Image: Loop saying that they take naps and dream, and evidence of Loop habitually attempting to breathe in the twohats lose-to-loop ending]

And they… Degender themselves. No longer with any bodily signifiers of masculinity, and cruelly disallowed the ability to hide themselves beneath fabric, they are null. The spoiler Q&A (paratext, as it were) states that:

Q. Is Loop: 1. Actually comfortable with both he and they, but only gave the one pronoun to emphasize the distance? 2. Only using they/them because a large life event led to a shift in identity/ how they’d like to be perceived? or 3. time lops stole he from they they :( A. Mostly that first one. But all three of those reasons have a bit of truth to them.

While the 'mostly the first one' comment does imply that Loop would not baulk at being he/him'd (similar to how Siffrin does not), the other reasons, especially the second, having 'a bit of truth' does lend credence to this reading. That Loop's self-perception has shifted, and what I posit, is that this shift is in tandem with a disconnection with humanity. Due, presumably, to the dehumanising experience of the timeloop.

Loop has no biology to speak of, and yet they remain blind in one eye. I take this as an implication that they considered this so core to themselves, to who they could remember being, that it stayed. Even if they had forgotten their own face, trapped in a part of the house with no mirrors, they knew they couldn't see. They kept this, and yet seemingly they, or The Universe, or both of them in tandem, discarded all else.

This isn't like…. Healthy behaviour. That is for certain. But it is interesting that Siffrin and Loop seem to hold on to their masculinity by a thread, and that Loop, when actually given the excuse to make a choice, chooses the Neutral Option. Siffrin might de-person themselves, but Loop, Loop is absolutely dehumanising themselves. From Loop's own mouth (or lack thereof) do they call themselves a Corpse. That's… pretty damn bad.

TANGENT 2: POTENTIAL IMPLICATIONS OF THE JAPANESE TRANSLATION.

Did somebody say 'distance'? Yeah turns out that has some more potential evidence. In the form of First Person Pronouns. See, English, with its third person only pronouns relies on others to gender you. Japanese, you get to gender yourself. And Siffrin specifically has an interesting discrepancy in the way he refers to himself.

(DISCLAIMER: I . DO NOT KNOW MUCH ABOUT JAPANESE. THIS IS SECOND-HAND KNOWLEDGE. SOURCED FROM THIS TUMBLR POST AND OTHER QUICK SKIMS OF WIKIPEDIA)

Loop and Siffrin use the same, very neutral "mostly male but could go either way" pronoun of 僕 boku. Safe, soft friendly pronoun. Used by people on the younger side of adulthood, not so impolite that you can't use it in a formal setting. Such a neutral all-rounder that female singers in japan tend to use boku in their songs to relate to the audience with quiet confidence.

And in their internal monologue? Siffrin uses a completely different pronoun. In his head, for himself, he uses 自分 jibun. Now, this may be an artefact of the monologue's english second-person "You", since jibun can also be used to mean a very neutral "self". A "myself/herself/himself" type 'self'. But when used as a first person pronoun, it has a connotation of being… distant, introspective. Which is… a fascinating implication, if that was the intent.

But I don't know anything about japanese so ! If I'm off the mark, discard this!

LOOP, PART 2: MAYBE NOT A GREAT STATE TO BE IN.

While Siffrin I can comfortably argue that they can like, keep their current gender presentation, whatever you may perceive it to be, once the game is over, Loop, I cannot.

Siffrin's potential issues with their identity are ones that honestly feel like they would best be explored with gentle refinement and searching. They don't need to violently seperate themselves from what they are now, far from it, in fact. They need to learn to grow comfortable in their own skin, and with the people they love. To become open and trusting, with an open mind to where it may lead.

Loop has already lost this battle. They don't get to refine anymore, just pick up the pieces. While I don't necessarily think radical change is Good for Loop, I think they may Need It. For them, resting will probably become stagnation (see: napping all day under the tree, resigned, really, to the idea they're stuck there forever.), they need a shake-up in order to re-find their feet. Even if they end up right back where they started, they still need to do the actual painful process of soul-searching first.

Problem is, they're still rather avoidant. So it basically becomes a question of getting them into a situation where this exploration is forced upon them. At which point, that's a whole new plotline. This becomes fanfiction. Hence, why while I think Transfem-Egg Loop is a Valid Read when extrapolated from Siffrin… I must concede any actual adventures into them acting upon that as headcanon territory. I just do not know how you would get them there without making a whole new Thing, at which point it stops being Just A Read of the text haha. It doesn't help that Loop and Siffrin (grudgekeepers supreme) both have reason to spite the Change God after who was phone.

As for whether this egg-read reflects directly back on to Siffrin? Maybe! They are the same person. But I think that, especially with Vaugarde's lax views, and their actual differences (Loop's general worse mania // Siffrin's incentive to stay a reminder to themselves and Loop of their country) means they could easily go two different routes, along the road to becoming their own distinct individuals. (And in all honesty, growing into their differences is probably the more healthy option in the long run if you're keeping Loop around? But again, we are going so far into the future here this is no longer a read. And I am not here to dispense baseless headcanons without massive disclaimer, so…)

Tl;Dr:

Siffrin's Survival-Apathy and hesitance to change feels really thematic to their being 'what's left' of their homeland

They seem unsettled by the flippancy of the Change Religion at times, clinging to the familiar to cope with the trauma of displacement.

Mal du pays speaks of them that they have not 'tried' to change, showing an insecurity there, even outside of the literal stagnance of the loops.

They are self assured to Mira that one does not have to change, in a very genuinely personal impulsive statement.

They and others exclude themselves from being "A Man", but Siffrin keeps desires to explore their expression to themselves.

The Universe belief, seemingly in Siffrin's view of it, disincentivises Free Will and Wants very heavily. It is not hard to assume they extend this to all elements of their life.

They have self-admittedly never pursued tangible change, likely due to this aversion to choice. Despite this, they express interest in changing, seeming nonplussed with their body, and house at least some desire for more traditionally feminine expression.

Oh Good God. Loop Sure Does Not Treat Themselves Like A Person. Why Does That Come With A Pronoun Change? What Does That Mean?

But most of all:

It makes them such a fascinating foil and lens to Change and characters who believe in it! It makes them eerily similar to The King! It opens up such fascinating debate between characters like themselves and Mirabelle, Isabeau and Loop, on whether or not they want to change in future, or if it truly is okay to never radically change yourself! What genuinely fertile ground for dialogues. And man if I'm not heavily drawn towards dialogues.

(End of essay! Congratulations for making it the whole way! 🎉 I hope this nightmarish deep dive helps with understanding some of the ways I've been writing Siffrin and Loop too. Since while I've not ever focused on the gender side of it (and probably won't in comic form) this does pervade my view of the two, since it would be impossible for it to Not. As you can see, I do think it is pretty relevant to both their themes.)

(Now for some bonus material)

ADDENDUMS:

PERSONAL BIAS NOTE:

Not included in this analysis since this is more a Pet Theme of my own (usually kept quarantined to the realms of my OCs), but something else I see in Siffrin is a reflection of the Dude Issue(tm) of patriarchal irl society disincentivisng Dudes(tm) from ever fucking introspecting ever.

I'm curious about nonbinary/trans characters who have no idea they’re nonbinary/trans because they’ve been disincentivised from thinking/doubting their identity due to societal power structures or simply tradition. I dig around the themes of “a lot of guys are trapped in a societal prison without ever knowing and it makes them miserable but they can’t escape because they don’t even see the cage” like, a lot, in my personal work. It intrigues me. So bleh, cards on the table there. That mode of interacting with nb/trans characters is one I'm inclined to.

This kinda goes hand in hand with the watsonian vs doylist situation i took an aside to mention. But it is so far along the doylist side that I didn't want to include it, since it is a little too assumptive of the text for my comfort. I don't think the game necessarily has much commentary on this specific Societal Bind. But if it does, then hey, there's my thoughts on it.

STRAY SIDE NOTES AND HEADCANONS ABOUT OTHER CHARACTERS (AS A TREAT FOR GETTING THIS FAR):

MID-GAME OBSERVATION ABOUT BONNIE AND ODILE THAT I NEVER WENT BACK TO VERIFY:

I got the impression that Bonnie heavily favours they/them pronouns for Siffrin, and Odile he/him, as a bit of presumed character voice. I don't know that I am right, literally at all, in that observation, because it very well could've been confirmation bias.

BUT! It did give me the impression that one of the things Bonnie was idolising about Siffrin was a degree of "wow!! older person with my gender!! wow!!", which is just like, cute. I like it even if I don't have any solid evidence.

ODILE, WHAT'S HER DEAL?:

Oh she stays just as mysterious as she intends to be, huh? Even with her comments in the Changing Room alluding to knowing things about underground changing operations, you can't draw much of a conclusion about her. I appreciate verily that she's word-of-god unlabelled and also poly. That shit's great. Woman who has stopped drawing lines or caring what she's up against. Nice characterisation flavour I think.

Anyway, I do think that transfem Odile is a really, really nice take. I have no evidence in either direction for her in either direction, and her being a woman of any description makes her relationship with her absent mother something interesting to chew on, but the idea that she pursued womanhood intentionally lends an interesting texture. I've not much to say, but it's a thread to pull on. Makes you wonder what other female role models she had in her life instead. Anyway she's mysterious as fuck I can't extrapolate Jack nor Squat. Shrug! I'm also made curious by the idea of her potentially moving away from womanhood as she feels the weight of her history lifted. This goes either way, really. Diagnosis: mysterious.

HEADCANON NOTE: INTERSEX SIFFRIN

I don't have any in-text support for this so this entire thing is an unbased headcanon to me. but i DO like it because 1. fun and 2. potential for more thematic exploration

haha gotcha its fuckin themes again. its always themes with me.

But yeah. Not much to say here besides drawing a parallel (that I believe I've seen drawn elsewhere in the fandom already?) between ISAT's comments on how a society that values change would view Aroace identities, and how Mira feels about not wanting to change with the real world experiences of Intersex people having alteration and conformity forced upon them, saying the Change Belief would likely be just as bad for them as it is for aroace people.

So, adding it to Siffrin's situation further drags them into the opposition-to-change foil role. Which like I said, think has a lot to explore.

HEADCANON NOTE: A POTENTIAL METHOD FOR GETTING LOOP OUT OF THEIR GOD DAMNED COMFORT ZONE

I think utilising Loop's contrarianism is an effective and funny way to get them to explore their gender. I personally think running with them trying to hide their identity from the party is a hilarious way to do it. Having them try to position themselves in direct opposition to Siffrin to "throw the party off their trail" (not that i think they really need to?), going full feminine-revealing-clothing because it's NOT what a Siffrin would do and accidentally growing accustomed to it. Funny to me. Especially when the party eventually do find out who they are and go . "????? what was the girl stuff about ??? is that something you wanna do now ???".

[Isabeau] "Ohhhh it was a bit! Haha you really are Sif, still a jokester!" [Loop] "HAHA YEAH . JOKES. LOVE THOSE. LOVE TO MAKE JOKES!" [Isabeau] "Yep! Anyway. Tell me if you need anything!"

Bonus bonus:

[Siffrin] "Okay, so, if you're a girl. Does this reflect on like… me?" [Loop] "No doubles. Get your own gender, parasite~!"

[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.

[yuripoll]

KNOCKOUTS: I Don't Know Which Is Love (2021 - ?)

I Don't Know Which Is Love (or, I Don't Know Which One Is Love) is an ongoing harem series by Tamamushi Oku about a college student desperate for a girlfriend.

Mei Soraike tries to confess her love to the best friend she has harbored a secret crush for…only to have her hopes crushed. But a little heartbreak is fine—because she’ll absolutely, definitely get a girlfriend in college! - AniList

ENG published by Yen Press; JP available on Comic Walker.

CWs under the cut. General severity rating: moderate.

sexual content <- ecchi level, not quite explicit? every time something starts it gets interrupted, but it'll probably go there at some point.

adult teacher/student <- the power dynamic is not used maliciously against the student, but concerns about the teacher getting fired are regularly brought up

dubcon / sexual harassment <- ch1, a stranger undresses another girl in her sleep without her knowledge and then sleeps nude beside her, though no sexual activity occurs. multiple instances throughout of creepy behaviour, like recording someone's voice without knowledge for sexual reasons or making advances when the other party is protesting. pretty much works on porn logic so no one is hurt by it, but may make some uncomfortable.

incest <- offhand reference as part of a fiction within the fiction.

mentions of misogyny

jealousy <- between the various love interests; never gets especially heated

[blood-and-foam]

microsoft word save me. microsoft word. save me microsoft word

[laugtherhyena]

You know what i think i regret making so many attacks because tumblr does not want me to upload all that shit apparently-

[tytonnidaie]

people who are starved of stories that make them feel things to the extent they groan and writhe like a worm HATE being told that they might have to read technically poor writing. like grammar is that important

[goldenpinof]

I'm beginning to think we're never gonna see the last "episode" of dystopia daily. only 2 tour dates left and one of them is sold out? he doesn't need it for promo and if he did he should have started uploading the parts at least 2 weeks ago right? unless he's been re-editing them to remove all the tour promo bits and he's gonna post them after the tour is over, maybe?

yes. that's my theory since Berlin show. he's editing promo segments out. i think initially there was a promo with Iceland included and if it was verbal, he should cut it out (the thing he didn't do with his last reel and Warsaw). that would delay the video. but also the memes video delayed the last 4 dd videos as well. it's so overwhelming to explain but i do have some sort of vision of the timeline. idk why it should have been so far postponed because of Louise but i don't think that right now she is the main problem. (unless it's not Louise's collab at all).

he mentioned dd videos in the memes video, right? so he's planning to upload them at least to cover (some) expenses with ad revenue. but i think back in the beginning of February he already realized that he fucked up with time management, and now he's waiting till the end of the tour to peacefully upload it in March. i agree with you that for promo purposes he should have uploaded the memes video in mid-January and started uploading dd 2-3 (more like 3-4) weeks ago. but alas! marketing just doesn't work with this tour.

(also, *i cannot fucking shut up* if the whole episode, aka 4 videos, was filmed before (or around) the episode with Dodie, i wonder if he has to edit it to make it go smoothly with already uploaded episodes that were filmed after Louise's. so they wouldn't contradict each other time-wise)

[piningpercussionist]

(ooc)

I want you all to know that if I had the energy for it. There are so many posts stored in my drafts I long to queue... but neglected to preemptively tag, despite knowing I am Like This....

Anyway, there is a slight chance the queue might run out tomorrow unless I can get more responses in there-- I am,, tired,,

[unluckyxse7en]

I bring a "guy you can just ignore/talk over" vibe to the discord that my BPD really don't like

[aethercurrent]

The Incident in the last tags was in relation to leer aka eden rewrite.

check-ins required gdocs. which, like, fine, whatever. bothersome since that thing is laggy as SHIT on my end but i'll live.

i thought

now, you see, i'd been having a wretched time. lowest of the lows i'd had in a while. working on leer had been nothing but the little bit of joy i had at the time. it's nice to work on something experimental and seeing it come together after all! then, The Incident. i paste leer into gdocs thinking it'll be fine.

leer, experimental as it is, is in screenplay format. meaning fully edited and formatted, it looks like this.

leer was nearly finished at that point. it had 60k of its 77k words.

all the formatting was gone. uploading the darned thing didn't make the formatting work either, because the universe fucking HATED me that day. so guess which person going through a hysterical breakdown laugh-sobbing as it progressed, was forced to re-align already aligned text. because the mods said it needed at least the base formatting.

and THAT's why i have a blood feud with gdocs

also read leer please

[bottomschlatt]

it’s autism in slow movement.

[osarina]

ᡣ𐭩 LOST IN THE DARK (THEN I FOUND YOU)

FEATURING: dazai osamu

SUMMARY: with a blizzard rocking yokohama, you find yourself seeking refuge in nakahara chuuya's apartment because, somehow, his building is the only one that has working generators... yet you find yourself becoming a bit suspicious (and concerned) when you realize the one person you expected to be there isn't. so you decide to go looking for him yourself, forcing chuuya to come along, and you end up maybe biting off more than you could chew.

wordcount: 8.2k; sfw; fem!reader, pm!reader, i don't think any other warnings necessary but lmk if i've missed any

AUTHOR'S NOTES: ughhhhhhh i was not going to post today BUT 1) i remembered that it was ghostienon's birthday yesterday (HAPPY BIRTHDAY!!) and 2) sophie said she was sad so i forced myself out of bed to edit and format. i hope you guys enjoy the background to how reader and dazai started living with each other ;) i love being able to write them as stupid teens HAHAH if u guys can't tell. we also get some hints as to mori's opinion on her and dazai's growing relatioship in this installment, though that will have its own dedicated fic <.<

“God, it’s fucking cold.” Chuuya shivers, tucked beneath a blanket in his apartment, scowling out the tall windows looking over the city. “When will this storm end? I swear it's never ending."

A blizzard has been tearing through the entire Kanagawa prefecture the past two days, and right now, Yokohama is taking the full force of it, has been since three am. The harsh winds knocked the power out hours ago, and none of the building’s generators are working. The easternmost building, the one where you live, was the first to go, so you dragged yourself all the way across to the westernmost building to force your way into Chuuya’s apartment, the only building that’s power was still holding strong by the time you made your decision.

Evidently, you were not the only one that had that idea. Ozaki Kouyou sits primly in a bundle of furs as she reads through mission reports from her subordinates, Hirotsu Ryuro flips through files on an upcoming mission for the Black Lizards, and the Colonel is berating one of his subordinates over a walkie-talkie in the corner of the room. You and Chuuya are huddled on the couch with each other, trying to keep each other warm as you wait for the worst of this to pass.

“Says you,” you say bitterly, burrowed in three of his blankets as you glare at him. “You’re like a furnace, I think I’m going to freeze to death.”

The power in his building had gone out an hour ago, and being on one of the upper floors, his apartment became chilly quickly. Chuuya scowls at you and his hand darts out to press against the back of your neck. You shriek and give him an accusing look at the feeling of his icy fingers against your bare skin, slapping his hand away hard. He snorts, looking thoroughly smug at his actions and you have half a mind to beat him to death with a pillow.

“Better than being out on the streets, hm, boy?” Kouyou says idly, glancing up from her papers, raising her eyebrows.

You watch as Chuuya’s gaze flickers down to the ground, a guilty expression crossing his face. You don’t know much about what happened last year that led to Chuuya joining the Port Mafia—you do know that evidently he’d been monikered ‘King of the Sheep,’ a small organization of teenagers that had stupidly taken to trying to siphon off territory from the Mafia, and he’d been exiled by his kingdom of orphans courtesy of Dazai. You think maybe he’s probably wondering if they’re still out there, trying to wait out this storm in whatever back alleys they can find.

You nudge your shoulder against his, trying to draw him out of his thoughts, and he gives you a tight smile, one that doesn’t reach his eyes.

At least you guys don’t have to worry about any attacks until the storm passes. 

The Dragon’s Head Conflict has been raging for a month now, you came back to Yokohama at the start of it and it's only continued to escalate with each passing day. There are so many foreign organizations trying to get footholds in Yokohama for the money that started this conflict, the entire city has become a bloody battlefield. You’ve hardly slept the past few weeks trying to work with Mori to figure out a game plan for handling Strain, the biggest threat of this conflict by far, but it’s hard when the Mafia’s warehouses and ports are getting assaulted day after day. 

Chuuya’s been taking on the brunt of the attacks, single-handedly pushing them back, but you know he’s getting tired. You see the exhaustion on his face and the bags beneath his eyes—the storm, as awful as it is, is bringing him a break that he very much needs. And Dazai-

“Dazai.”

You sit up straight, blankets tumbling off of you as your eyes widen. Instantly, you can feel all of the eyes in this room on you.

“What about that bastard?” Chuuya asks irritably.

“Where is he?” you demand. You haven’t seen him since the storm started, don’t know where he is; you don’t even know what building he lives in. You figured that he would have wormed his way into Chuuya’s apartment too when he realized his building lasted the longest with power, but you didn’t even think anything of it until now just because of how cold you were. “Where does he even live, actually?”

A month you’ve been in Yokohama and you’ve never been to Dazai’s apartment. You spend a lot of time with Chuuya up in his, and Dazai usually pops in too whenever you’re there; they come up to yours once in a blue moon. But you’ve never been to his.

“Out in some shipping container in the yards in southern Naka-ku,” Hirotsu answers your question and you turn to look at him, appalled.

“What?” you ask bluntly. “A shipping container?”

“The Boss offered him a nice apartment in the central building,” Kouyou hums. “He refused many times.”

“I wouldn’t want to live in the same building as Mori either,” you say snippily. “He’s out there now? In this storm?”

Kouyou lifts her shoulders in an elegant shrug, raising her eyebrows as she finally looks up at you, there’s something chilly in her eyes that you don’t like as she studies you. Chuuya doesn’t meet your eyes when you give him a pressing look.

“Those containers aren’t insulated,” you continue. “He’ll freeze to death.”

Kouyou scoffs. “That boy won’t be killed by something as mundane as the cold,” she says dismissively. “He will be fine.”

You give her a dismayed look. You’re not too close with Dazai, you’ve only known him for a month, and in that time, you haven’t really had the opportunity to spend much time with him besides the occasional invasion of Chuuya’s apartment. The two of you always seem to have missions scheduled at opposite times of each other—whenever you’re free, he’s gone and whenever you’re gone, he’s free. Sometimes, you think Mori does it on purpose, but you don’t know why.

“It’s blizzarding out there,” you argue. “He’s stick and bones in an uninsulated piece of metal that’s probably buried in snow. We can’t just leave him out there.”

“Leave him be,” Kouyou says sharply, and you’re almost taken aback by her tone, giving her a cool look. “Don’t involve yourself with that boy.”

You draw back at the sternness—you and Kouyou have been on good terms, so you don’t really know where this is coming from, and it pisses you off a bit, but that might just be because you’re cold and already irritable.

“Excuse me?” you gape, looking between her and Chuuya, noticing how Chuuya immediately averts his gaze from you. “Chuuya?” 

“You heard me, girl,” Kouyou tells you firmly. “Keep away from him.”

“Why?” You’re half convinced you’re not hearing her correctly because what does that even mean. Your voice rises as you become more incensed. “What do you even mean? Chuuya hangs with him all the time-”

“Mori has forced the two of them into a partnership,” Kouyou interrupts. “Chuuya has no choice in the matter. You-”

You bristle, about to rise to your feet, but before you can say anything, Hirotsu speaks up: “Kouyou-san is right, hime. The Boss has that boy on a tight leash for a reason, he does not like anything trying to interfere with it. Even you. Especially you.”

Chuuya gives you a look from the corner of his eye. “The Boss is weird about him,” he agrees quietly, but he does seem distinctly uncomfortable, like a part of him wants to go out searching for Dazai. “You’ve had to have noticed.”

Of course, you have. It’s impossible to miss the way Mori hangs over him. He has Dazai shadow him everywhere he goes, never far out of sight. He’s harsher with Dazai than he was even with you back when he first took you in years ago, has impossibly high expectations and refuses to accept failure from him. You think maybe it’s part of the reason why he’s always so careful to ensure that you’re on missions at opposite times—Dazai has shown interest in you since your arrival in Yokohama, becoming giddy like a kid whenever he runs into you, and Mori already warned you not to distract him.

You rise to your feet, shaking your head. “I’m not leaving him out there to freeze.”

“Girl,” Kouyou says, voice tight, finally looking up from her reports again to give you a stern look. “I won’t say it again-”

“Or what?” you ask coolly. “What is he going to do to me? I’ve known Mori longer than any of you. I know what he’ll do if he doesn’t like what I’m doing, it’s not worth leaving Dazai out there alone, especially in this weather.”

You toss off the blankets and storm over to where you’d hung your jacket up, looking back at Chuuya over your shoulder. “Are you coming?” you ask, annoyed. 

Chuuya glances between you and Kouyou nervously before sighing and tossing his own blankets off. “Whatever. You’re bringing him to your apartment. I don’t want his shitty ass here.”

“Whatever.”

“I don’t know why the fuck I agreed to this,” Chuuya spits out complaints as the two of you trudge off the road through knee deep snow to the slope leading down to the shipping yards. “You’re insane. Dazai would not do this for you.”

“I wouldn’t be stupid enough to be in this situation,” you scowl, tossing Chuuya a dirty look before your eyes trail across the shipping yard. “Do you know which container is his? They all look the same.”

“That red one out there, I think,” Chuuya says, pointing out across the shipping yard to one of the few containers not falling apart. You grimace, it’s all the way out in the center of the yard in the deepest parts of the snow. Chuuya sees your displeasure and rolls his eyes. “Come here.”

You yelp when he grabs your arm and yanks you closer to him. The Tainted Sorrow is an ability you’ve become well acquainted with over the past few weeks, but it’s still jarring to feel it wash over you so suddenly. Chuuya gives you a sharp smile when he feels your grip on his arm tighten as he uses his ability to launch the two of you in the air; your stomach lurches at the sudden feeling of weightlessness that spreads through you.

It takes a total of maybe five seconds for him to get the two of you in front of Dazai’s supposed shipping container, and you shiver when the two of you land in the knee deep snow, casting him a dirty look when he keeps himself floating right above it.

“Asshole,” you mutter, ignoring his smug look as you trudge forward to the door of the shipping container. “Dazai! Dazai, are you in there?”

Your voice strains as you shout over the howling wind, grimacing and blinking rapidly at the snow pelting your face. You get no response from inside the container and you give Chuuya a scowl.

“Are you sure this is the right container?” you demand as your fingers enclose around the bitterly cold metal handle.

Chuuya shrugs. “I’m pretty sure.”

“I can’t stand you,” you snap as you try and fail to yank open the container, the deep snow preventing it from budging even an inch.

“Here, move,” Chuuya says, coming to stand next to you, finally dropping down into the snow as he nudges you out of the way to use his ability to pull open the heavy, jammed door.

You squint as you look into the dark container—it’s mostly empty and you’re about to turn on Chuuya for having the wrong one before you notice a chair and a desk in the far back corner. The snow spills into the container as soon as Chuuya gets the door open and you yelp as you slide in, nearly slipping to the floor. 

Chuuya snorts. 

You glare at him, but you have more pressing matters to attend to.

“Dazai,” you call again, frowning when you don’t see him in the container, wondering if you came all the way out here for nothing. Chuuya would kill you. “Do you see him?”

“I’m gonna kill you if we came all the way out here for nothing,” Chuuya says, voicing your thoughts. You wince as he jumps down to stand next to you. “Maybe he went over to those other friends of his? That low ranking guy?”

Maybe, you think, taking a few steps further into the container, eyes straining in the dark to try to make sure he’s not there before facing Chuuya’s wrath and leaving. Just as you’re about to give up, you spot a lump covered by a thin blanket in the corner of the container and you frown. You think at first it’s a pile of dirty clothes until you draw a bit closer and see that it’s moving, a slow and steady rise and fall that could only be Dazai huddled beneath it.

“Dazai?” you repeat again, making your way over to the corner of the container and kneeling next to the lump. Chuuya trails a few steps behind you slowly, pausing when you reach out to snatch the blanket off of the lump. “Jesus, Dazai…”

He’s sleeping beneath the blanket—sleeping or just straight up unconscious, you’re not sure. He looks small curled into a ball in the corner of the container, his skin and lips are paler than usual, breath concerningly slow. You reach out to press your hand against his cheek, feeling how cold and clammy his skin is.

“And you wanted to leave him out here,” you hiss at Chuuya, shooting him an accusing look. To his credit, he does look guilty as he looks down at Dazai, brows twisted and lips curled down, an unreadable look in his bicolored eyes. “Help me get him up.”

Dazai is lighter than you expected—he’s tall and gangly but there’s so little meat to his bones that you can almost lift him up on your own but it’s just awkward because of his height. Chuuya grabs his feet, you grab under his arms; his body is limp, like you’re carrying a corpse and not a living, breathing human being.

“Chuuya, hold on, I’m gonna put him down,” you say before the two of you get to the entrance of his shipping container.

Chuuya grunts as the two of you lower him to the ground, giving you a questioning look. You ignore it, pulling off your thick fur coat and wrapping it around Dazai, trying to warm him up even just a little because you fear that if you bring him out in his thin button-up and slacks, he’s just going to get even more sick. 

“You’re gonna freeze,” Chuuya says with a sigh, shaking his head. He pulls off his own jacket and tosses it at you. “I run hot anyway. Take it.”

“Thanks,” you say quietly, shrugging it over your shoulders and then looking back down at Dazai. “Ready?” 

“Yup,” Chuuya agrees, leaning down to grab Dazai’s feet again.

You grimace as the harsh and bitter winds immediately sting your face, a shiver running down your body. You glance over at Chuuya, whose face is already becoming red with the cold, he looks distinctly uncomfortable although he’s trying to hide it, and you feel a bit guilty. You look to the side, all the way across the shipping container yard up the hill to the road the two of you had come from, all of it covered in several feet of snow.

You realize, a bit dreadfully, that Chuuya will not be able to use his ability while carrying Dazai and you give him an agonized look.

Chuuya looks just as harrowed.

“This is going to suck.”

“Give me your blankets,” Chuuya demands, shivering violently once the two of you get Dazai up to your apartment. 

Luckily, the backup generators had come back on while the two of you were out so you didn’t have to walk up literally nearly forty stories to get to your apartment. The heat is still off though, so it’s freezing and you really need to change into something warmer, but you’re more concerned with the boy curled up beneath your covers, still breathing but still also concerningly slow.

“He’s not looking too good,” you say quietly, reaching out to pull the blankets tighter around him. You brush your fingers across his cheekbone, trying to see if he’ll stir at all, but he remains frighteningly still. “Do you think maybe I should call Mori?”

You don’t want to call Mori and you’re pretty sure Dazai wouldn’t want you to call Mori, but you think that if he doesn’t move or show some kind of life in the next ten minutes, you’re going to have to. As much as you don’t want to get the man involved, you want Dazai to die in your bed even less. You sigh as you take a seat at his bedside, pulling out your phone to try to figure out what exactly you should do if he’s hypothermic.

“Yo, I asked for blankets,” Chuuya says irritably, rifling around your clothes closet for blankets. “Where are they?”

“Downstairs,” you say dismissively, “I thought you weren’t staying.”

Chuuya’s shoulders slump as he scowls at you. “Only long enough for you to figure out if he’s gonna live,” he mutters and then storms downstairs to find blankets as you finally find a website that will load so you can figure out what to do with Dazai.

Be gentle. When helping someone with hypothermia, handle them gently. Only move the person as much as is necessary. Don't massage or rub the person. Vigorous or jarring movements may trigger cardiac arrest.

Move the person out of the cold. Move the person to a warm, dry location if possible. If moving is not possible, shield the person from the cold and wind as much as possible. The person should be kept in a flat position if possible.

Remove wet clothing. If the person is wearing wet clothing, remove it. Cut away clothing if necessary to avoid too much movement.

Cover the person with blankets. Use layers of dry blankets or coats to warm the person. Cover the person's head, leaving only the face exposed.

Monitor breathing. A person with severe hypothermia may appear unconscious, with no clear signs of a pulse or breathing. If the person's breathing has stopped or appears dangerously low or shallow, begin CPR right away if you're trained.

Supply warm beverages. If the affected person is alert and able to swallow, give the person a warm, sweet, nonalcoholic, noncaffeinated drink. Warm drinks can help warm the body.

Well, you think, he’s not conscious for a warm drink and Chuuya changed him into a warm pair of your thick sweatshirts and sweatpants. He’s piled under the blankets in your room and he didn’t go into cardiac arrest from the two of you jostling him out of the shipping yard and into your apartment, so you think the only thing really left for you to do is make sure he keeps breathing.

You can do that.

You turn your attention back to Dazai, chewing the inside of your cheek as you look down at him. You shift into a cross-legged position, hesitantly reaching out to touch his cheek. His skin is cold under your touch but your breath hitches when he finally moves on his own; you almost draw your hand back like you’ve been burned when you see his lashes flutter, but you don’t. Your lips part when he unconsciously leans into your touch, a soft puff of air escaping his lips as he shifts into a more comfortable position, pressing his face into your hand. 

You’re only snapped back to reality when Chuuya walks back into your bedroom, your fluffy blanket from the couch downstairs pulled entirely around him. He gives you a judgmental look, eyes drawing from where you’d very inconspicuously yanked your hand back into your lap before looking back up to your face and your cheeks heats up.

“I was checking his temperature,” you hiss, lying through your teeth. “Don’t look at me like that when you look like an egg.”

“Yeah, okay.” Chuuya rolls his eyes as he waddles over to you, sitting on the bed next to you as the two of you look over Dazai. “How is he?”

“Alive,” you say with a shrug. “There’s nothing else to really do but make sure he keeps breathing. Give him warm water to drink when he wakes up. You don’t have to stay if you don’t want to.”

“It’s fine,” he replies awkwardly. “I’ll stay for a bit. Don’t want to go back so Ane-san can scold me anyway…”

You think it’s more that he feels guilty over wanting to leave Dazai out there while he was suffering but you don’t shatter the facade he’s putting up because if he feels bad, it’ll be easier for you to make him do the things you don’t want to do while he’s here.

“Yeah, she’ll probably be mad,” you agree, glancing down at Dazai again, some of your tension easing when you see that his chest is rising and falling a bit more steadily and much more deeply now. “I’m not happy with her.”

“Why?” Chuuya asks.

“What do you mean why?” you ask. “You know why.”

“She was just trying to look out for you,” Chuuya says with a frown. “She’s right, the Boss gets weird about Dazai. I mean, I’m sure you’ve seen it yourself but you haven’t been here the past year. I always thought it was weird that he never introduced Dazai to the Flags like he did for me but… I just don’t think he likes it when people get close to Dazai.”

It is weird, you won’t deny that, but it’s not worth leaving him out there to die. Plus… you remember the day you first met him, his excitement at having someone else his age around, his disappointment when he thought you didn’t like him… he’s just a boy, a lonely one at that, and Mori is cruel for trying to keep him isolated.

“I don’t care what Mori wants,” you say tightly. 

It’s a lie—the thought of doing something that pisses him off chills you to the bone. Your throat spasms as your mind is drawn back to the warzone he found you in; the way he’d give you small smiles and pats on the head all the while telling you that if you couldn’t get a hold of your ability, he’d send you back where you came from. The thought is cold and haunting, a constant reminder that if you can’t prove your worth to him he’ll discard you like a useless tool, but…

Your gaze drifts back over to Dazai, still shivering from where tucked underneath your blankets, but he looks much more comfortable. Much more at peace. You think again of the way he was so happy to meet you. The way he was so bothered by the thought of you not liking him. The way he constantly tries to seek you out even though Mori ensures that the two of you have opposite mission schedules. The way he so instinctively leaned into your touch. 

But maybe just this once you’ll do what you want regardless of Mori’s wishes.

Chuuya gives you a heavy side eye before shaking his head. “Wanna play cards?”

“... Yeah, sure.”

The first time Dazai wakes up, he’s not even coherent.

He doesn’t know where he is, doesn’t know what’s wrong with him, doesn't know who you are, and is panicked over something. Chuuya had left hours ago once the two of you were mostly certain that Dazai wouldn’t suddenly die, going back to his apartment to face the wrath of Kouyou for disobeying her. You’re starting to doze off when you feel him jerk up next to you; he thrashes under the covers as he tries to free himself, nearly knocking you off of the bed.

“Dazai,” you gasp, startled. You shift around to try to get him to calm down and nearly end up with a fist to the face. “Jesus, Dazai, chill.”

You grab his hand and try to pin him down to the bed but it only ends with him thrashing harder, eyes wild, more panicked. You let go of his wrist and he scrambles away, tripping off the bed and onto the floor, yanking the blankets with him. You curse as you follow after him, kneeling on the floor next to him as he scuttles back into the corner like a frightened animal.

He looks… terrible, actually. His skin is pale and clammy, you think he must have developed a fever from the cold. He looks half delirious, his visible eye is glazed over and full of fear and your throat tightens as you lift your hands to try to show you mean no harm. Dazai doesn’t calm down, kicks his feet out when you try to get close and you sigh before stopping a few feet away from him.

“Dazai, calm down, it’s just me,” you say quietly. 

When he finally starts to calm down, you shift forward to place your hands on his ankles, stopping him from kicking out again if something sets him off. When he doesn’t immediately start thrashing under your touch, you take it as an okay to come closer. Scooting against the floor, you come to sit next to him, pressing your shoulder against his. Dazai instantly is leaning into you, body exhausted, head falling against your shoulder.

“We have to get you back up on the bed,” you tell him but you feel him weakly shake his head from where it’s resting on your shoulder. “We have to, Dazai. You can't stay on the floor.”

“Why are you here?” he croaks out. “... Why am I here? Is this your apartment?”

“You were going to freeze to death out there,” you tell him. “I-”

“But why? Why do you care? I don’t-no one cares so why…” Dazai doesn’t even finish the question, tongue loosened in his half-delirious state. He sounds distressed but more than that he sounds confused, like he can’t understand why you would go out of your way for him. Him.

“C’mon, Dazai, back in bed,” is all you say, voice quiet as you shift into a kneeling position, wrapping an arm around his waist to help him stumble back to his feet.

He’s light, but his limbs are awkwardly long so you stumble a bit when he leans his full body weight onto you, nearly tripping over one of his legs as you help him onto the bed. As soon as you get him situated, you reach back over onto the floor to grab the blankets he’d pulled off the bed and tuck him back under them.

His eye tracks you—big and black and empty as you leave his side to grab the chamomile tea you’d brewed when he finally started stirring thirty minutes ago. It’s not as hot now but it’s warm enough.

You sit at his side, shoulder pressed to his and back against the headboard as you lift the mug to his lips. He stares down at the mug for a moment, making no move to drink it, but then he lets his head fall on your shoulder again, pressing his lips to the rim of the mug.

You tilt the mug back, using your other hand to keep his head steady, watching as he takes a few sips before stubbornly turning his head away, pressing his face into your shoulder so that you can’t force him to drink anymore.

“You should take a few more sips,” you tell him quietly. “It’ll make you feel better.”

“No,” he says, voice muffled against your shirt. It’s only when he hears you put the mug back down does he finally lift his face. He still looks entirely out of it, but his gaze still somehow manages to take upon a more accusing look. “Why am I here?”

“I told you why,” you frown, side-eyeing him.

“Why am I really here? Did Mori tell you to come check on me? I don’t need-”

“I came because I wanted to,” you say as you become increasingly more irritated. “I’m not Mori’s lapdog. I do what I want.”

Dazai stares at you, more withdrawn now and an uncertain look in his eye. “But why?” he asks, a bit quieter this time like he can’t possibly fathom why someone would come for him because they wanted to. You almost want to reach down and grab his hand but you refrain. Instead, you knock the side of your head gently against his.

“I told you back when we met that I wanted to know you. Wanted to be your friend,” you say, honestly.

“You didn’t say that,” Dazai accuses, averting his gaze. “That you wanted to be my friend. You didn’t say that.”

“It was kind of implied,” you reply, rolling your eyes and that add a bit more quietly, “I do. I do want to be your friend. And friends look out for each other.”

Dazai’s entire expression shifts at your words, expression crumbling. Just as suddenly as his expression changes, he throws himself back into a laying position, turning away from you and lifting the covers up above his head to hide himself from you. You stare at him, unsure of how to take his reaction—a rejection? Or maybe he’s just flustered? He murmurs something that you can’t hear because it’s smothered by the layers of blankets on top of him.

“Huh?”

“I said that I’m allowing you to be my friend,” Dazai raises his voice, pitched and wobbly, like he’s trying to make it come across more snooty than it actually does. As if it’s a bother for you to want to be his friend. It’s almost funny but you can’t help the way you roll your eyes again. “Be grateful.”

“Thank you, Your Majesty,” you say sarcastically, “for gracing me with this most honored title.”

You hear him sniffle and then sneeze beneath the lump of blankets. “It is an honored title. You’re welcome.”

You roll your eyes. Again. But you don’t respond this time, resigning to just leaning back against the headboard and grab the book you were starting before you’d started dozing off. You think maybe he might be right—it is an honored title. Dazai doesn’t have many friends, doesn’t let people get too close and certainly doesn’t let them think they mean anything to him. He’s very selective with the people he chooses to associate with.

“The next time you wake up, as your friend, I’m forcing you to eat some soup.”

You hear him grumble but you think he must be too tired to protest because he doesn’t even get any words out before you notice that his breath has evened out beneath the blankets. You sigh and pull them down a bit so that he doesn’t accidentally smother himself to death in his sleep, ignoring the small smile that twitches to your lips as you turn your attention back to your book.

The second time Dazai wakes up, he’s much more alert and entirely more difficult.

“You need to eat something,” you hiss, trying to wrangle Dazai up out of bed. “And you need to drink something, you’ve sweat so much that my sheets are soaked through. You’re going to be dehydrated and then you’re going to feel worse.”

“Go away,” Dazai shrieks, nearly smacking you in the face as he tries to push you away. “Go away, I don’t want your help, just let me go back to the shipping container to die. I don’t-”

“Oh, would you just shut up?” you hiss, taking the pillow he was laying on and whacking him over the head with it hard. Dazai flops back on the bed hard, staring up at the ceiling in disbelief. You raise the pillow again threateningly. “Get up and eat soup or I’ll hit you again.”

“You just whacked me with a pillow while I’m dying of fever,” Dazai says, voice riddled with shock. “I can’t believe you just-”

“Eat the soup,” you demand, winding back your arms again as you prepare to hit him again. 

Dazai gives the pillow a wary look before sitting up and scooching across the bed to the nightstand, staring at the now lukewarm soup with a contemplative expression. “Do you eat or drink soup? It’s liquid, isn’t it? Wouldn’t I be drinking the soup?” 

You stare at him flatly. “There’s carrots in it. You’re eating the carrots, so you’re eating the soup.”

Dazai’s face twists in disgust as soon as the c-word leaves your lips and you know you’ve made a mistake. Everything happens in a split second—you see him look at you from the corner of his eye, you see his gaze dart to the door, and you see his body tense as he prepares to make a break for it.

He doesn’t get more than an inch before you’re bringing the pillow back down on his head, sending him sprawling back down against the mattress with a loud ‘oof.’

“You can’t just beat me until I eat the soup,” Dazai protests loudly, disgruntled as he looks around trying to figure out if he can try to make another break for it, casting the pillow a wary look. Luckily, even if he is more coherent now, his brain and body are still sluggish from the fever. “You can’t.”

“Watch me,” you say, and just for good measure, you whack him with it again.

“Stop! I didn’t even move that time,” he cries out. “Now you’re hitting me just to hit me!” 

“You’re not eating it fast enough.”

“That’s not fair.”

“Life isn’t fair!”

Dazai bristles like an irritated cat as he stares at you, but his shoulders slump as he drags himself back over to the nightstand. You’re almost insulted, honestly, considering you spent an hour trying to figure out how to cook it properly for him, but you simmer down when he lifts the spoon from the bowl.

He blinks suddenly, eyes wide and owlish. “This spoon is large.”

You stare at him. “It’s a soup spoon,” you say flatly. 

“Can I keep it?” he asks, twisting it around to look at it more carefully.

“No, Dazai, you can’t keep my spoon.”

Dazai pouts at you but then lets out a heavy, disappointed sigh as he gives the soup one last wary look before taking his first spoonful of soup. For a split second, you watch with bated breath to see his reaction to it, but then his face lights up as he spoons up another mouthful of the soup. You pretend that you’re not entirely pleased and smug that he likes the soup you made him, but you can’t help yourself from making a snide comment.

“So after all of that, you like it,” you say dryly. 

Dazai scowls. “I’m just hungry,” he disagrees, but his cheeks are flushed pink. “That’s all.”

“Sure,” you agree blandly.

“It’s true.”

You don’t say anything else after that, staring at the wall as Dazai scarfs down the entire bowl of soup because whenever you look at him, he stops mid-spoonful and waits for you to look away again. You think he’s ridiculous and want to roll your eyes, but you also can’t help the fondness that blooms in you as you pull your knees to your chest and wait for him to finish.

It’s not long before you hear the spoon scraping against the bottom of the bowl. When you look over at him, you see the frown on his face as he looks down at the bowl—as if he hadn’t realized that he’d finished all of the soup already. You nudge his shoulder with yours, drawing his attention away from the empty bowl. 

“There’s more in the pot if you want it,” you offer, watching as a conflicted expression crosses his face as he looks back down at the bowl. “It’s gonna go to waste if you don’t. I ate earlier.”

Finally, Dazai mutters, “Only because you’re forcing me.”

You give him a flat look but don’t say anything else, taking the bowl from him and making your wait out of the bedroom to the kitchen. It’s been a little over a day since you first got him in your apartment. It’s dark again, the moon high in the sky and stars glittering prettily—you pause at the towering windows in your living room to look up at the sky and you find yourself thinking of Dazai. 

Or, of his eyes that is.

When you hear people talk about Dazai, they mostly talk about his mass of terrifying feats. They talk about how he’s sixteen and already in command of one of the Port Mafia’s most elite combat squads, they talk about how he’s sixteen and rivaling the Colonel’s success rate on operations, they talk about how he’s on track to be the next promoted executive whenever there’s another opening. They talk about how his blood is blacker than anyone else in the upper echelon, they talk about how he was born to be one of them. You can never tell if they’re scared of him or if they admire him—probably both, and you think they’re probably more scared than anything. 

They also talk about his eyes. Eye. Whatever. Too dark, too emotionless, too dull. Soulless, hollow, creepy. They’re uncomfortable meeting his gaze—they say he’s inhuman, that only a demon could have eyes so hauntingly empty. 

You think they’re wrong, they remind you more of the night sky than anything else.

You love the stars. 

You sigh as you walk over to the kitchen and pour the rest of the soup into the bowl. You heat it back up in the microwave for a few seconds before bringing it back over to the spare bedroom where Dazai is staying. You think you’ve probably not been gone for more than two minutes, but by the time you’re back, Dazai is curled up beneath the covers again, dozing off. 

He doesn’t notice you enter the room and you watch him for a moment, tilting your head to the side as take note of the slow rise and fall of his chest, the way his lashes flutter as his eyes droop shut. There’s still sweat beaded on his forehead, a faint flush over his cheeks that proves the fever is still running him down—you find your lips curving up, you think he’s much more pleasant when he doesn’t speak. 

He only jerks back awake when you take a few steps closer to him, eyes wild with panic as if he was surprised by your presence. He doesn’t seem to recognize you for a moment but when he does, he visibly relaxes, brows furrowing in confusion as if he didn’t realize he’d started falling asleep.

“You can sleep if you’re tired,” you say as you place the soup down on the nightstand and take a seat on the edge of the bed next to him. “I can heat up the soup later.”

Dazai stares at you with an unreadable expression, he looks like he wants to ask you something or say something but his lips remain sealed shut. After a few moments, he sits up silently and shifts into a sitting position. Your shoulders brush and his thigh is pressed against yours as he starts to eat the soup carefully again, slower this time.

Too slow, you realize almost a second too late when Dazai’s head lolls to the side and he nearly drops a whole spoonful of soup onto the bed. Luckily, you’re quick enough to grab the bowl and catch the spoon and soup before it hits the sheets. His head drops on your shoulder and that fondness in your chest starts to spread again. 

You don’t think you’ve ever seen Dazai so at peace before, and yes, it might be because he’s half dead with exhaustion, but you think it’s a welcome difference from the tight expressions you’ve seen from him when you happen to cross paths with him at headquarters. When he’s not Dazai Osamu, but the Demon Prodigy, the Black Wraith, cold and distant, intimidating and cruel, not a sixteen-year-old boy who dislikes carrots and has a fascination with soup spoons. You think back to his refusal to believe that you were helping him of your own free will and you can’t help but frown a bit.

You let him lay on your shoulder for a second longer than necessary before shifting him back into a lying position and tucking him beneath the comforter. You sigh as you take a seat next to him, back against the headboard as you pull out your phone to shoot a text to Chuuya so you can let him know that Dazai is doing better.

You yawn as you think to yourself that you’ll stay a bit longer—watch over Dazai to make sure he doesn’t get worse again before heading back up to your own room… but you find yourself sinking into the mattress, a bit too sleepy and a bit too comfortable…

Dazai feels better the next time he wakes up. 

He yawns as he shifts in bed to nuzzle into the thick blankets and soft pillows. He feels warm, comfortable, surrounded by a familiar and pleasant scent that leaves his defenses dangerously low. A bit alarmed by how at ease he feels, Dazai’s eyes fly open, trying to figure out where the fuck he is and why the fuck he feels so good.

He tries to sit up, but there’s a weight pressed against his side that makes him pause, so he turns his head to the side slowly, unsure of what he’s going to find. He freezes when he sees you propped up against the headboard next to him, fast asleep, neck turned at an uncomfortable angle.

“Friends look out for each other.”

At once, the past day or so comes back to him—most of it is a fog but he vividly remembers him waking up a few hours ago and you whacking him around with pillows until he got some soup in him. He finds his lips curling up into an amused smile as he looks down at you, an unfamiliar warmth spreading through his chest that makes him feel almost… Dazai doesn’t dare to admit it. He’s never had someone take care of him like that before.

He sighs as he reaches out to shift you into a more comfortable position. Carefully, laying you down against the mattress and placing your head on the pillow where his had been resting. He pulls the covers over you and watches as you let out a sleepy hum of appreciation, rubbing your face against the pillow before settling back down into a deep sleep.

His hands drop back down to his lap and he stares at you for a moment, wondering if you meant what you said, wondering if you were telling the truth when you told him Mori hadn’t been the one to send you to check on him, wondering if maybe… 

Wondering if maybe you really did want to be his friend. 

Dazai doesn’t have many friends. He has Oda, but he pretty much forced himself into Oda’s life by almost dying on his doorstep—literally—so he doesn’t think that really counts. Chuuya… well, he pretty much coerces Chuuya into hanging out with him by antagonizing him into video game challenges, so he doesn’t think that really counts either. 

Dazai might not have any friends, actually. 

He decidedly doesn’t like the emotion spreading through him now. It's light and airy and it clings to his black heart dangerously. It blooms in a way that nothing should be able to bloom in the dark. It’s too… feels too close to hope and Dazai knows better than anyone that hope is a dangerous, dangerous emotion—one that he shouldn’t allow to take root in him unless he wants to be hurt in ways that he’s tried to carefully guard himself from.

He should leave.

He should leave now. 

He’s feeling better, there’s no reason for him to stay now that he can move around and think but…

But this bed is so much more comfortable than the floor of his shipping container… The sheets and comforter are warmer than the thin and ripped blanket he uses to cover himself at night… The pillows are so much softer than the clothes he props behind his head as a pillow. Dazai has never slept so well in his entire life—the nights that he is able to sleep are restless and plagued with faces he’d rather forget and voices that haunt him. This is the first time in… well, forever, that he’s been able to sleep peacefully, that he actually feels rested when he wakes up in the morning. The thought of going back to that metal box almost makes his body itch with discomfort. 

He’s just so warm and so comfortable and you smell so nice… and Dazai... for the first time in his life, he feels content.

As soon as Dazai is awake, he feels his eyes drooping back shut just as quickly, breath evening out again as he drifts back to sleep.

“So he’s just… living with you now?” Chuuya asks, baffled.

“I mean, I guess so,” you shrug helplessly. “He just… never left after we brought him there that day.”

Never left and brought his few belongings into the spare room he’d been staying in when he was sick, but you don’t add that part. Honestly, you don’t mind that Dazai has usurped your spare room—your apartment is too big for just you to be living in, you don’t mind the company after spending two years alone in Kyoto and Dazai is fun to be around despite the awful movie he picked on Friday and his terrible taste in food. 

Plus, you think it’s a bit of a much deserved, subtle rebellion from Mori, who has seemed to do everything in his power to make sure that the two of you never have time to interact with each other. You’re still not quite sure why he seems to be against the idea of you and Dazai becoming friends—probably something to do with a future plan of his, or maybe he really is just worried that you’ll distract Dazai from the carefully constructed path Mori has set him down—but you’ve decided that you like Dazai and you want to be his friend whether Mori likes it or not… which is saying a lot, considering you don’t think you’ve ever wanted something more than you want to impress Mori.

He’s not happy with you—you can tell by the disapproving stares and the disappointed comments that make you want to curl in on yourself, and you have a feeling that as soon as this conflict is over with, he’s going to send you right back to Kyoto, but that’s an issue for you to deal with in the future. 

For now, you’ll enjoy not being alone. Not having to watch your back and sleep with one eye open. Having people to rely on. 

Having friends. 

“And you didn’t tell him to get the fuck out?”

“Why would I do that?”

“Why wouldn’t you do that?” Chuuya demands. “What’s wrong with you?” 

“He lived in a shipping container, Chuuya,” you defend yourself, “and I have a spare bedroom, it’s not a big deal.”

Chuuya stares at you for a moment, gaze sharp and accusatory, and then his expression shifts into one of disgust. “No.”

“Excuse me?” you demand, baffled.

“No. No, no, no. No.” Chuuya shakes his head, taking a step away from you. “You need to see a goddamn shrink. There’s something seriously wrong with you.”

“Something wrong with me? What are you even talking about?” 

Chuuya doesn’t even respond, looking severely disturbed as he storms off in the opposite direction, leaving you standing there, perplexed and slightly insulted. 

“What’s the pipsqueak crying about this time? Is it his height or his terrible taste in clothes?” A familiar voice mocks from behind you. 

You brighten a bit at Dazai’s voice, feeling him hanging over your shoulder as he looks over to where Chuuya had left. His cheek brushes yours from how close he is—he has no concept of personal space, you’ve realized in the past few days he’s decided to make himself at home in your apartment, but you don’t really mind.

“Couldn’t tell you,” you answer. “Just ran off mid-conversation.”

Dazai clicks his tongue. “Stupid slug is always getting emotional about something,” he says. “Whatever. More popcorn for me. I finished my assignment early. Movie?”

“You’re not picking this one.”

“What? My movie was great.”

“Hah! If you say so.”

“I do say so, and I have another that you’re gonna looooove.”

“You will literally have to tie me down and clamp my eyes open to make me watch another movie of yours, Dazai.”

“...”

“... Stop looking at me like that.”

“...”

“Dazai!”

[kinopio-writes]

Hi! Would you be willing to write something for Adam with a sensitive reader?

Everyone knows that he is loud-mouthed jerk, even reader, and she loves him regardless, but one day he crosses the line and says something particularly mean that makes her cry. Like REAL mean. To the point that he pauses because he did not think before speaking (or, well, less than usual lol)

I'm happy with whatever format you feel like using! Thank you!

A/N: I will be more than delighted to write that for you. But would you excuse me for a moment? AHHHHHHDISJDIOEOFJSKXJND—I’m sorry; I love this idea so much. Reading ‘Adam with a sensitive reader’ got me hooked instantly. But I’ll go over that in the headcanons, along with the general stuff. And I’ll add a oneshot at the end that plays the exact scenario of Adam taking it too far.

Holy sh!t. I made it so that the reader being sensitive is their greatest but also weakest point and it turned out pretty angsty. Has a bit of hurt/comfort, though. Did I go overboard? Maybe. That’s why it took so long. Sorry, anon.

Words: 2,328 (edited)

Warnings: Sex is mentioned (only a bit, surprisingly), Angst, Adam being Adam

———

Adam w/ a Sensitive!Reader

• ha, this man is also sensitive himself

• well, sensitive about himself

• he feels his own emotions strongly, so he’s not the caring, easily able to pick up on other’s feelings and empathize type of sensitive

• you, on the other hand, are on the opposite end of the spectrum compared to Adam

• so you experience other people’s emotions just as strongly as yours

• you easily know what makes someone tick

• you’re selfless

• you’re able to admit your mistakes and apologize

• you’re respectful and actively listen to people when they talk about themselves

• you don’t push people down to make yourself seem better

• you try to make everyone feel good and comfortable

• you’re everything he isn’t

• because you fit in Heaven perfectly

• you deserve to be there

• and Adam knows that he doesn’t belong (subconsciously at least)

• you’re able to draw people in just for being yourself

• and he’s envious of it

• so he demeans you and is snarky about everything you do, and every time people give you praise or affection, he tries to divert the attention to himself or just stares at you with utter hatred from afar

• although all of that is just when he hasn’t even had a conversation with you

• after a while of being around you, he’ll cling to you because you give him the reassurance and validation he oh-so craves (he acts as if he didn’t hate you before. What do you mean? You two were always buddy-buddy!)

• you acknowledge all of the things he puts his worth to

• heck, you hang out with him—you sometimes even initiate it—willingly, and you’re genuinely interested in everything he has to say

• but he‘ll only hang out with you where no one recognizes you (so you don’t get all the attention)

• terrible transition here, but he notices that you mimic people’s expressions often

• he definitely makes fun of you for it

• and also mocks you

• up until he realizes that you do the same thing to him, too

• which is fine and all, if only you didn’t do that when he’s upset

• well, you mimic him when he’s joyous as well, but he (already subconsciously) expects you to. I mean, why wouldn’t you? He’s fucking hilarious!

• so you copying his negative emotions just stands out more

• and he…doesn’t like it

• that’s only really what he doesn’t like about you

• and the fact that you hog all the attention

• and the fact that people see you as perfect…

• buuut what happens when he gets to see a new side of you that isn’t exactly upholding that image?

———

Your phone lit up from your bedside table, brightening your otherwise dark room along with the soft glow of your halo. You only moved your eyes to the light, not wanting your tears to spill and dampen your pillows.

You had an inkling as to who was texting you this late—if the fact that your phone lighting up several times in the span of 5 minutes had anything to say.

When the texts stopped pouring in after a few seconds, you heavily sighed, wings ruffling. You resisted the urge to rub your face as you went to grab your phone.

HEY (2:34) HEY (2:34) HEY (2:34) ARE YOU UP? (2:35) I’M BORED (2:35) GET YOUR ASS OVER HERE (2:36) IF YOU’RE UP (2:37) ARE YOU? (2:38) DID I TELL YOU THAT BITCH WITH THE HUGE TITS GOT FIRED TODAY? (2:39)

Figured. Of course, it was Adam. He was the only person you knew who’d be awake at this ungodly hour. And the only person you knew who’d disturb your peace if it meant curing anything that ailed him. Which was now about boredom, it seemed.

You read a few of his texts displayed on your lock screen before tapping one of the notifications and opening the app, scanning the rest of the unread messages.

Adam was going on about ‘that bitch with the huge tits’—her name was Tiffany, you were sure—and how she was rumored to have slept with an archangel to assume higher authority. He also went on to complain about how he didn’t have the chance to bed her anymore since she was basically deemed an outcast and that he couldn’t be seen with someone like her.

You frowned, not believing any of it, but you didn’t have time to think about it enough when he began typing again.

SO YOU’RE AWAKE (2:43)

You barely finished reading the new message when another one popped up.

DON’T IGNORE ME BITCH (2:43)

You frowned deeper, quick to type out a reply.

i’m not (2:43) i was just reading your texts (2:43) don’t worry (2:43) i’ll be there soon (2:44)

When he stopped typing, you placed your phone back on the nightstand, sitting up on your bed as you carefully wiped away your teary eyes. You hugged yourself for a moment, wings functioning as a cocoon while a hand tugged on your hair.

Today had been draining—both mentally and emotionally. Just like the day before, and the day before that. But you didn’t want to think about it, lest you start to cry some more and smear your face with tears this time. What mattered was that everyone was back on their feet again.

Since you didn’t bother changing into your sleepwear when you got home, you only checked your face in the mirror to see if your eyes were puffy or not. You then took in deep breaths, holding up your drooping wings before putting up a charming smile.

You couldn’t stay in the bathroom for long, quickly leaving to tread the path to Adam’s.

•••

“BOO!” Adam’s masked face suddenly peeked from the corner of his hallway, earning an indescribable scream from you as you jerked back. He burst out laughing, brows creased in confusion but also amusement. He couldn’t even make fun of you for getting scared. “What the—what the fuck was that scream?”

Recovering rather quickly as you blinked, you only smiled at him. You were expecting him to wait for you on his couch as his front door was left unlocked, but you weren’t complaining; his action took away any drowsiness you just had.

When Adam didn’t hear you laugh with him, his laughter subsided as he opened his eyes to look at your face. He raised his brows and placed the back of his hands on his hips. “What’s up with you?”

Shit. There was no way Adam was seeing through you.

“Nothing; I just love hearing you laugh.” You heard a tiny squeak in response. “Anyway, what did you make me come over for? Surely not just to scare me.” You moved past Adam and tightly crossed your arms, entering his spacious living room.

“Pshh, fuck no. You’re so easy to spook. Though that was a first. Didn’t know you could hit high notes, (Name).”

You didn’t know what to say to his…compliment? And sort of insult? Was it really either of them? Should you thank him? But in a sarcastic way? No, you weren’t known for being sarcastic, so he might think you were being genuine and look at you weirdly. And it would also seem highly egotistical.

Not as if Adam had much to say about that…

You tugged at your hair when you caught yourself with those thoughts. Shit, that’s so rude! You can’t think that! You shouldn’t think that!

You settled on an awkward chuckle, making yourself appear smaller as you averted your eyes to his TV space.

It was different, certainly. The modular couch pieces were rearranged into a pit sectional. And it looked as though he had chucked a bunch of pillows and one large blanket as an afterthought. It appeared messy, but at least it looked cozy.

“What’s this?”

“Hm? Oh, well, since you were taking your sweet ass time coming here, I thought to switch things up a bit.” You flinched when his head appeared right on your shoulder. “What’d ya think?”

“It looks super comfy.” Adam wore a goofy grin behind you as you walked closer to the area and noticed that he already prepared snacks on the low table. “Is this a way to say you wanna do a movie marathon?”

“You know it, baby.” He flew past you and landed on the sofa, patting the space beside him with a smile you just couldn’t reject.

•••

Heaven’s natural light beginning to peek through the open windows indicated that it was already dawn. Thank goodness you didn’t have work today.

You two—or rather, Adam—had settled on watching the film series, Die Hard. Every single one. You didn’t mind, but you didn’t understand why Adam invited you over if you two were just going to rewatch the film series for the eighth time.

He had also been pretty immersed in the large screen in front of him, so he hadn’t attempted to converse with you ever since the first movie started. In all honesty, he could have just watched them all by himself.

But you didn’t question it. This time was the same as the last seven, after all. You always concluded that maybe he just wanted someone to watch movies with, no talking necessary. Even if the no-talking part sounded a bit out of character.

Was it though? Because he did that quite often. For instance, he constantly brought you along to whatever mundane errands he had to do during the weekdays and never really talked with you unless he found something cool and pointed it out.

Although, the earlier times you tagged along with him on his errands, he kept yapping his mouth off about the ‘totally awesome’ things he does. He talked about music, his own albums, his band, women, sex, and himself as the first-ever man.

As time went on, however, the talking was replaced with silence. You wondered if he just ran out of things to say or if he found it unnecessary to talk anymore.

You also sometimes wondered what was going through his head when he thought you didn’t see him glancing at you while he was doing something he believed was boring.

The sound of Adam’s stomach rumbling broke you out of your train of thought.

You both looked at each other blankly as if either of you were to blame.

He blinked to break the eye contact between you. “(Name), I’m hungry.”

You snorted, facing ahead. “You ate all of our snacks before the first movie even finished.”

“Don’t blame me.” He hugged the pillow he held tighter. “I’m still fuckin’ hungry, though.”

You hummed as you reached for your pocket. “Do you want me to—oh. I…I forgot my phone.” You frowned. You never forget to bring your belongings.

Adam merely stared at you, unblinking.

You averted your eyes and held your legs tighter. “Uhm, We could get delivery if you want. Can you lend me your phone?”

“Oh, yeah, sure.” He casually tossed you the device before laying on his back and looking up at you. “I’m down for anything.”

His phone hit your knee before you could catch it, silently landing on the cushions. “Are you sure?” You picked it up, opened his unlocked phone, and stared at his basic home screen.

He didn’t really use his phone that often to know that it could be changed. He only really used it to fetch one-night stands or occasional dates, text, play music aloud, look at outdated memes, take random blurry photos, and right now, order delivery.

“Totally.” His crow’s feet displayed on his mask as he puffed out his cheeks.

“Because last time you said that, you didn’t like what I had to pick.”

“That’s because the 5 ʼn 2 is so fucking overrated!” he suddenly started to complain. Your wings ruffled. “Jeez, I swear, every fuckin’ time I take a chick out and ask her what her favorite eatery is, basic bitches always go, ‘Oh, bREaD & fIsH, ceRTAinLy’ or ‘bReAD & FiSh’S a cLAsSIC’” He used his hand as a puppet to imitate their words before waving it. “Like, helloooo? Can’t you see the joint that’s literally on the other side of the street’s a hundred times superior? It’s cheaper, too, unlike Bread & Fish. Overpriced ass. You get me, right—?”

“Then you pick!” Adam jumped at your volume, and your eyes widened upon noticing yourself. You quickly gave back his phone as you turned your face away from him, and he slowly took it with a weird look.

“Shit, chill, (Name). The fuck’s up your ass?” He kept his gaze on you before turning to his phone.

While he was serious about his opinions of your bland tastes, he didn’t think it was that personal. Your preferences were the same as everyone else and that was boring. He was just being honest. And you usually didn’t take the things he said that seriously.

“Adam, I’m sorry,” you spoke up after a moment of silence and ran a hand through your hair. “I didn’t mean to yell at you.”

“ʼs not a problem.” He was still a bit weirded out, but he was willing to shrug it off.

You insisted, however, “I mean it. I’m not mad at you.”

“Okay…?” he muttered when he saw a notification pop up from Lute. Her message consisted of how some of the exterminators got into a quarrel during roll call and the ones involved got injured in the process. She said she was going to discipline them.

Adam did not want to know what she meant by that and was most likely not going to stop by their place today.

“Really. I’m not. Sorry. It’s just that yesterday���s been…”

“Uh-huh…” At this point, Adam was not listening to anything you were saying. But when he still heard the static noise that was your words, he groaned. “Look, sweetie, I really don’t give a fuckin’ shit about your fuckin’ apology, ʼkay? I don’t fuckin’ care. Now what do you want?”

You saw Adam’s confused yet concerned expression after he looked up from his phone and immediately noticed that you were starting to cry. You instantly turned your face away as you carefully wiped your eyes.

“Sorry. Sorry. I’m not crying because of you.” You didn’t know if that was true. You didn’t know if you were crying because of his words or were crying because of everything else.

That was the first time he ever used a sweet petname for you in a long time. He only ever used that to demean or mock other people.

Shit. Stop thinking—you were going to cry more. But even after carefully wiping your eyes away, new tears kept flowing. You couldn’t stop. This was humiliating. You wanted to disappear. You didn’t want anyone to witness you in this state. It was mortifying.

“Shit.” Adam’s voice came out panicky as he held his hands out towards you, but he hesitated. Hesitated in what, he didn’t even know.

He…didn’t think you could cry.

Adam didn’t know what to do; this emotional shit wasn’t his thing. He couldn’t ask you to leave, he knew that much, but he didn’t want to leave himself. This was his place. Why should he leave?

So, he did the only thing he could do in this situation.

You suddenly felt something warm envelop you.

You didn’t look up, but you knew it was Adam. You could feel the texture of his robe on your hands and the side of your face. You could feel his hands on your shoulder blade, but you couldn’t quite feel his arms on you.

You stopped wiping your eyes for a moment.

No one had ever hugged you before when you were sad.

No one had ever let you be sad.

Adam heard you sob.

Fucking great. He made it worse. What the fuck was he supposed to do then?

But when he went to unwrap his arms, he felt yours slip around his midsection, pulling him closer than before as he grunted from your firm hold.

So you wanted to be hugged? Alright. Whatever.

Adam slowly hugged you back after you muttered a ‘sorry’ and loosened your grip.

The next seconds were silent, so when he heard muffled words coming from you, he looked down. You also looked up moments later when he didn’t respond, realizing he must��ve not heard you.

Your gaze softened as you two held eye contact, and with teary eyes, you smiled. “Thank you, Adam.”

Something about his expression changed, but before you could stare any longer, you felt a hand behind your head push you back to his chest as the arm on your back held you tight.

“Yeah, whatever…”

[httpsserene]

ᴛʜᴇ ᴠɪʀᴛᴜᴀʟ ʀᴀᴄɪɴɢ ʙᴏᴏᴛᴄᴀᴍᴘ ᴡ/ᴍᴠ33

📖ꜱᴜᴍᴍᴀʀʏ: you start showing interest in sim racing. max's only option is to turn you into the best virtual-racer there ever was--well besides himself, of course. 📖ᴄᴏɴᴛᴇɴᴛ ᴡᴀʀɴɪɴɢ: fluff. brain vomit. formatting (done on mobile💀). tiniest explicit reference. not edited. 📖ᴡᴏʀᴅ ᴄᴏᴜɴᴛ: 2k words 📖ᴘᴀɪʀɪɴɢ: max verstappen x fem!black!reader 📖ɢᴇɴʀᴇ: headcanons & smau 📖ꜱᴏᴜɴᴅᴛʀᴀᴄᴋ: word on the streets • key glock

ᴘʀᴇꜰᴀᴄᴇ: thought about this the whole time i was working. and then some man had the exact same voice as max and i genuinely almost dissolved into thin air because i felt like max was punishing me for thinking about this on the clock :) anyways, hope u enjoy the brainrot, loves !!!

wanna be on my taglist ? send me an ask !

and yes, i did make a masterlist !

*whispers* next f1 kinktober fic this weekend

you were probably unaware that sim racing was even a thing until you started dating max

like you’ve seen the funny little twitch clips of people playing driving simulators and being absolute menaces on the road, but you never knew actual virtual racing was a thing

anyways, whether or not you consider yourself a gamer in this scenario, you’ve always been pretty down to play videogames with max.

he absolutely annihilates you in FIFA, and no matter how much he tries to help you, you’re a lost cause

in return, you embarrass him in COD; he should’ve looked at your kd-ratio before he tried to play with you

but, sim racing 🧐

i mean, like, you never even fully considered that you could sim race at all, like not for leisure at least

max takes that shit seriously, he’s a part-time f1 driver full time simracing twitch streamer 😤

you are always around watching him practice on the sim, playing the f1 games, and even tuning in for his iracing competitions

at first, whenever max would stream you would probably be doing other things with your time

your hair, cleaning, self-care, cooking, etc.

eventually, you started migrating to sitting on the couch off-camera and watching him drive irl instead of having the stream on in the background

you were originally like, “oh it’s just because i wanna drool over his massive veiny hands” 🤤

but now it’s like “oh i wonder what each button he presses with his nicely proportioned fingers on the steering wheel does?”

and slowly it transforms from “wow my boyfriend is so cool” to “wait…this sim-racing thing is kinda cool”😵‍💫

now imagine you being like “lol wait a minute now” and being like i'm only interested in because my boyfriend loves it 🤥

in order to disprove this theory you start to ask max questions about virtual racing

not that you wouldn’t before, but they were fairly surface level; now you’re asking him about tactics, strategies, and track conditions etc.

and max is fucking thrilled 🫨🫨🫨 !!!

he eagerly answers all your questions (maxplaning 🥱), going way more into depth than you were expecting, but what did you think was going to happen

max is always happy to ramble about any small facet of virtual racing (doesn’t matter if it’s the sim, or iracing, or f1 2023) but

it makes him really pleased that you’re showing a genuine interest in it because most people don’t

you support him in anything he wants to do wholeheartedly, and listening and answering your well thought out questions has him falling head over heels for you again

so, he thinks nothing of it other than you being the best girlfriend he’s ever had and trying to learn more about what he loves

his previous girlfriends didn’t really care to understand how important vr racing was to him

they all just saw it as him playing a “game” and him wasting time when they could’ve been on dates or smth

anyways

everything is going fine and dandier, max continues to answer all of your vr racing questions, and you continue to watch him pilot the sim

until, he catches you watching a beginner’s guide on f1 2023 and get’s so jealous 😒

bro is all like “wtf, you’re watching some lame ass unranked gamer when i’m your professional driver boyfriend who does this for a living?? hell nah if you want to start playing i’ll teach you”

you’re just like, “nahhhh….i don’t want to waste your time trying to teach me, it’s not worth it. i’m not even a good driver irl, so—“

max shuts that down expeditiously

if his girlfriend wants to start vr racing, he only has one option

make you the best virtual racer there ever was (excluding him)

you’re wide-eyed like, “i just wanna go vroom vroom in circles for fun 😭”

max deathly serious, “that was never an option”

he enlists you in his virtual-racing training camp

if you are aware of the disney rapid training montage where the mc sings one song and suddenly they’re the best fighter ever, that’s how i imagined it

mulan, for example, i’ll make a man out of you

max reveals his inner george russell, he becomes a power point king

instead of date nights being cute pottery classes—they turn into him teaching you the parts of the car, the buttons on the wheel, f1 2023 settings breakdowns, reviewing iracing competitions etc.

eventually max finally allows you to play on the sim after he thinks you’ve got the theory down pretty good

you suck at first 🤗

but then you start clocking in some hours

after work, during your “lunch break”, using the sim while max is gone and playing during all the practice and media sessions

whenever max is gone, and you have any questions or ask for feedback on how to get better, you text him all about it, of course not expecting an immediate response back

max has told you before that he likes getting out of the car after a practice session and checking his phone to see all the missed messages from you with some wishing him luck and the others asking for his thoughts on your strategies

one day, he’s going for lunch with some of the other drivers and they start to make fun of him for how he’s stuck in his phone, heart-eyes and all as he rapidly texts you

they probably think that you’re sending him cute texts or photos like that one time they caught him looking at photos of you and learned he had a locked photo album of you on his phone ☠️

max remains unbothered under their teasing thinking, “they don’t know my gf can out pace them by .200 in f1 2023”

max even personally bothers christian into getting him another sim for you

christian is so tired of you two, max won’t leave him ALONE

i think max would text his team principal screenshots of your lap times and make jokes about it

“if checo keeps dnf-ing, my gf can fill in”

christian gets you the goddamn sim 😒

y’all procrastinate on building and calibrating it, max more so because it means his chair would stop smelling like you 🥺

you get it set up, but you still play on his sim every once in a while after he told you that because you’re a simp

he goes to stream one day, planning on practicing with the redline team for an upcoming iracing event

and the man almost BREAKS HIS LEGS trying to sit down because you forgot to move the chair back after you were done using it 😭😭

in between his groan of pain he let’s it slip “ow fuck, my girlfriend forgot to move the seat back after she was done”

chat goes ducking crazy

yooo, what? ur gf sim races???

is she good???

max is like “hell fucking yeah my girlfriend is great sim racer, she could replace one of the boys at redline if she wanted too!”

(team redline sweats anxiously, mics now suspiciously silent)

max continues, “well she is not as great as me, but she’s good i guess”

stream chat “they are going to have babies that completely dominate f1” “if their babies are born in the netherlands we will be stuck in purgatory cursed with hearing the dutch anthem forever”

max continues with his practice but everyone is begging to see you play, even some of the redline guys are asking questions

they wanna know if they’re really at risk of you stealing their seat

max gives up and turns to you on the couch with a smile and says, “i will beg, schatje. do not put it past me, we all want to see you drive. some people are saying i’m lying so you have to prove them wrong🙇🏼”

you’re like “what 😅 no 😧i suck 🤭 at this 🤗” but you’re already getting up and walking over to boot up your sim

the urge to flex on people and embarrass them is something both you and max share

max opens f1 2023 and starts a party for just you two, and you both decide to do quali laps at zandovoort

you do your hot lap first, and max goes after you

max y’ know, probably thinks that he can take it relatively easier on you, there’s no reason to put 100% effort into something for fun, so he puts in 95% 😀 (competitive boy)

and you know that one nepenthez meme

that’s how this goes

max is like, already rambling to the stream “yeah that’s a comfortable p1, she still has a lot to learn before she can beat a world champ—P2??!!!! 😧😳”

you’re just in the background in your sim chair, turned facing the camera with an innocent little smirk smile on your face ☺️

you got pole by .050, and chat starts bullying max, the redline boys laughing hysterically in his headphones

max requests a rematch and promptly annihilates you :)

i like to imagine that eventually you start joining max’s stream and the two of yous start having little racing tournaments whenever you guys have the time

omg could you imagine the little championship ceremony where you put party hats on jimmy and sassy and have fake little tiny gold trophies for whoever wins 🥹

imagine one day ‼️ you actually start doing iracing events, and just working your way up to being one of the best 😌

ANYWAYS to wrap it up, best teacher max ever

virtual racing 🤝 strong relationships

twitter • today

instagram

maxverstappen1 • 32 mins ago

liked by yninstagram, danielricciardo3, and 7,324,122 ofhers

maxverstappen1 the only woman for me 🧎🏼

tagged yninstagram

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yninstagram baby. baby—😭😭😭😭

➥ maxverstappen1 i love you

➥ yninstagram what the fuck has gotten into you 😳 i love you, maxy 🫶🏽

user the way ‼️ he cradles ‼️ her head 😭😭

danielricciardo3 this genuinely the sappiest thing max has ever said

➥ maxverstappen1 do not worry daniel you are the only man for me

➥ user my therapist will be hearing about this

user the fact that max personally handmade that meme 💀

user never thought i’d see the day that max uses the kneeling emoji

➥ maxverstappen1 i’m on my knees for her more often than you think

➥ user alRIGHT go ahead and clock out for me 😒

➥ redbullracingf1 do you remember the media training we had two days ago, max?

taglist: @lorarri | @saintslewis | @cherry2stems | @sweetpiccolo-blog

© httpsserene2023

[atomicladytimetravel]

Mirror Mirror

Summary: No Outbreak AU. After an upsetting encounter with a young girl at Sephora, Joel has to show his wife just how beautiful she is. Established relationship. No physical description of the character, just that she’s female and has hair long enough to gather into a ponytail. She = You. I just wanted to try a different format. Inspired by the many Sephora brat TikToks I’ve seen and my own depraved imagination. There may be a sequel later.

Warnings: Dom!Joel, Daddy kink (slight dd/lg vibes), throat fucking, choking, fingering, squirting, oral (m and f receiving), face sitting, spanking, mirror play, unprotected sex, creampie. So…just general depravity. 18+ ONLY. MDNI.

Word count: 3,692

This has been edited. I realized I missed a whole chunk of text 😩

“Joel, have you been using my good shampoo? I just bought this bottle and I’m almost out.”

Joel Miller’s wife appears behind where he’s sitting on the couch, shampoo bottle in hand. She walks around to stand in front of him, brandishing the mostly empty bottle.

“Oh…yeah,” he admits sheepishly. “I like the way it makes my hair look.”

“No wonder you’ve been extra irresistible lately,” she giggles, tousling his very soft hair. “I’m gonna make a run to Sephora to get more. I’ll just get a bigger bottle.”

She grabs her purse, gives Joel a swift kiss and makes her way out the door.

When she enters the store, she heads straight for the shampoo. She picks out the biggest bottle of Living Proof Perfect Hair Day they carry and starts to walk towards the checkout counter. She passes a Drunk Elephant display and notices that exactly one bottle of the coveted drops is available. She’s been wanting to try them and decides to grab one while it’s there. She reaches for the bottle, and her hand is about to close around it when another slightly smaller hand snatches it.

“Ha! Got it!”

She turns to see a girl who could’ve been no more than twelve holding the drops with a triumphant and smug grin.

“Wow, uh, okay. I was gonna buy that.”

“Looks like you’re not now,” the girl says. Before she struts away, she turns back and says: “By the way…no amount of makeup in this store is going to fix the ugly on your face.”

She’s taken aback by the girl’s unsolicited insult. She waits to see if the girl meets back up with a parent (or adult of any kind) but she doesn’t - she buys the Drunk Elephant drops and exits the store alone.

“Jesus, kids just do whatever the fuck they want now I guess,” she thinks to herself. She buys her shampoo and thinks about the interaction for the entire twenty minute drive back home.

Upon her arrival home, she kicks off her shoes in the foyer and makes a beeline for the bedroom.

“I’m just gonna put this away, I’ll be right back,” she tells Joel. She does put the shampoo away, but she can’t help but hold onto what the girl at Sephora said to her. Before meeting Joel, her confidence level was near zero. He spent a lot of time convincing her that she’s beautiful, but this little girl obviously saw something Joel doesn’t.

She stands in front of the beautiful antique mirror Joel had gotten her as an anniversary gift after she fawned over it at an antique store. She picks herself apart in the full length mirror, pinching skin between her fingers and looking for any sign of aging, no matter how subtle. The longer she looks, the more she hates what she sees. Her nose isn’t right, her skin isn’t clear enough, her pores are way too fucking big. Her bottom lip trembles and tears spill from her eyes. Defeated, she shuffles to the bed where she buries her face into a pillow to stifle her sobs. This is how Joel finds her. He rushes to her side, kneeling beside the bed and rubbing her back soothingly.

“Whoa, hey…what’s wrong love?”

She tearfully recounts what happened to her at Sephora and Joel’s face turns stoney. All the work he’s done to make her love herself, to see herself the way he does was all undone in an instant - and over a fucking bottle of overpriced skincare.

“It sounds like you’ve forgotten everything daddy taught you, huh little one? Maybe you need a reminder.”

She sits up on her elbow and looks at him incredulously through her tears.

“Does it really look like I want to fuck right now Joel? How can you even want to fuck me anyway? Look at me!”

“I always want you baby girl. Always,” he replies earnestly. Then, he lowers his voice and his tone becomes dominant. “And now, you’re gonna be a good girl and let daddy show you. Right?”

She can’t deny him when he speaks to her this way. His dominant affection for her never fails to get her going. She sits up fully and wipes her tears.

“Yes daddy,” she responds. He gets to his feet and takes her hand in his, leading her around to the foot of the bed. He stands her in front of the mirror and, standing behind her, slowly begins to undress her. He starts with her top, placing his hands at her sides and pushing the fabric up her body. She raises her arms so that he can pull the top off and he discards it somewhere to the side.

Next is her bra, and he makes light work of unclasping it. The straps fall off her shoulders and she lets the bra slide to the floor. He cups her breasts in his large hands, kneading them and pulling gently on her nipples. She moans softly, arousal overriding the self pity she’d been feeling. Joel’s eyes meet hers in their reflection and the look of pure adoration and love on his face makes her feel silly for her insecurities.

“Look how fuckin’ gorgeous my wife is,” he tells her, his lips right next to her ear. He kisses just below her earlobe and she tips her head to the side to allow him to nuzzle her neck. She shivers as he sucks her skin, leaving red splotches behind that will surely be purple later.

He hooks his forefingers into the waistband of her leggings (and, simultaneously, her panties) and drags them down around her feet. She steps out of them, kicking them away with the toe of one foot. He straightens up and admires her naked figure in the reflection.

“You see this body, hmm? I love this body.”

He brushes his fingertips up the curves of her hips and the sensation elicits another soft moan from her. He takes her jaw in his hand and turns her head for a kiss, his other hand dipping between her legs teasingly.

“Mm, wet already? And I’ve barely touched you,” he muses. He walks the two of them backwards until the backs of his knees hit the mattress. He sits and scoots back far enough to give her room to situate herself between his legs.

“I want you to watch yourself in the mirror while I play with your pretty pussy, okay?” he instructs. “I want you to see what I see.”

He rests his chin on her shoulder and she meets his eyes in the mirror.

“Look at yourself, not at me.”

Her eyes, which are still puffy from crying, shift back to her own reflection.

“Now, say ‘I’m a pretty girl.’”

She hesitates and he smacks one of her breasts. The action catches her off guard and she gasps, but an unmistakable pang of arousal follows the stinging and she whimpers quietly.

“Say it,” he commands harshly in her ear and this time, she obeys.

“I’m a pretty girl.”

“There’s a good girl,” he praises, now massaging the breast he’s just smacked. Soft, sensual kisses are pressed to her neck as his free hand squeezes the flesh of her inner thigh. “Spread your legs for me now.”

She opens her legs and he begins rubbing her clit slowly, teasingly. Her eyes flutter as pleasure takes over and he whispers a reminder to keep them open in her ear. She lets her eyes focus on her reflection and, to her immense surprise, she kind of likes what she sees. Her mouth is parted to let her breathy moans escape and her pupils are lust blown. Her eyes flit to where Joel is rubbing circles on her clit; his hands are beautiful and watching his long middle finger trace the sensitive bundle of nerves makes her eyes roll back.

“That is actually so hot,” she moans. He grins satisfactorily.

“I know it baby. Got me hard as a rock back here.”

He slides his finger into her slowly and she begs him for another. She attempts to watch as he fingers her in earnest, but her eyes eventually slip closed. It’s hard to keep her focus on the mirror when he’s making her feel so good.

“Keep those eyes open,” he warns. “Don’t wanna miss the best part.”

“S-sorry daddy. It just feels so good.”

“Mm, I can tell. You’re fuckin’ soaked.” He curls his fingers and hits that spot inside her that would’ve made her eyes fly open if they weren’t already glued to the mirror.

“Oh fuck,” she swears breathily. “Please keep going like that.”

He can see on her face that she’s almost at her peak. He brings his other hand to her throat and gives it a light squeeze. She likes how she looks with his hand around her neck and his fingers inside her. It makes her cunt throb that much more.

“Oh god…daddy I’m so close, please don’t stop.”

“Got no intentions on stoppin’,” he says in her ear before nibbling on her earlobe. She feels the pressure building and with just a few more curls of his fingers, the coil snaps.

“Fuck!” she shouts. “I’m cumming…oh my god!”

He removes his fingers and a spray of fluid comes out of her. She squirts so hard that it hits the mirror. Her eyes roll back in spite of the effort she’s putting in to keep them open and her mouth opens in a silent scream. Joel rubs her clit furiously and doesn’t stop until she clamps her thighs around his hand.

“Jesus Christ baby, I love it when you do that,” he tells her before pressing a lingering kiss to her lips. “Did you see how pretty you look when you cum for me?”

She had, briefly. And she had to admit, it was pretty hot.

“Yes daddy,” she answers. She’s a little sheepish as she admits: “I kinda liked it.”

He chuckles at this.

“As you should baby girl.”

He kisses her and she reaches her hand behind her to squeeze the bulge in his sweatpants. He groans and she squeezes him just a little harder.

“Fuck, get on your knees for me,” he says. The two of them shuffle off the bed and she drops to her knees in front of him. He rids himself of his t-shirt and she yanks his sweats down. He’d forgone underwear and his cock springs free when the sweatpants go past his waist. He gathers her hair into a makeshift ponytail in his hand while she teases the tip of his cock. She drags her tongue along the vein that runs on the underside of his shaft and he hisses.

“Don’t fuckin’ tease me woman.”

She smirks, looking up at him and batting her lashes.

“Sorry daddy,” she giggles.

“Don’t let your newfound confidence get ya a punishment, princess,” he warns. Heeding this warning, she wraps her lips around the tip of his cock and takes him in until her nose touches skin.

“Ohhhh yeeeah,” he sighs, gripping her hair just a little tighter. “Love that mouth baby.”

She bobs her head back and forth a few times, pushing him a bit deeper down her throat each time. She gags just a little when he starts fucking her throat, but she’s able to recover.

“God, fuck yeah, swallow my cock baby. You’re so good at this.”

He thrusts forward a few more times before tugging on her hair and making her look up at him.

“What are you?” he demands.

“I’m a pretty girl,” she gasps, voice horse from having his cock in her throat. He taps her lips with his tip and she opens obediently, allowing him to continue fucking her throat. Tears spill down her cheeks as she gags.

“That’s right; and whose pretty girl are you?”

He takes his cock out of her mouth long enough for her to answer, “Yours sir!” before shoving it back in.

“God damn right. Good girl,” he praises as he continues to fuck her face. The ache between her legs becomes too much to bear and she slides a hand between them to play with her clit. Joel doesn’t miss this and he moans at the sight.

“You like getting your throat fucked, huh baby girl?”

She manages to make a sound akin to “uh-huh” and he chuckles through his nose.

“My good fuckin’ slut.”

She gasps for air when he pulls his cock out of her mouth, drool connecting her lips to his tip. He runs his thumb across her puffy bottom lip and smiles at her affectionately.

“Fuck baby, that’s a stunnin’ sight: red swollen lips and tears runnin’ down that pretty face,” he compliments. He bends down and kisses her roughly before helping her to her feet.

“I want you to come sit on my face,” he tells her. This is his favorite position to eat her out in and he insists on giving her multiple orgasms before even considering giving her (or himself) a breather. Not that she’s complaining.

“Don’t you dare hover,” he reminds her as he lies flat on the mattress. She straddles his face and lowers herself onto his outstretched tongue. He wraps his arms around the tops of her thighs, holding her in place as he flicks his tongue over her clit.

“That feels so fucking good,” she moans. Joel’s eyes are glued to her face in anticipation of the moment she falls apart. That moment is going to come sooner rather than later; it only takes about a minute of him swirling his tongue around her clit to make her cum. He doesn’t stop there, cleaning up one orgasm and reveling in the taste while simultaneously leading her to another. He laps at her pussy while she unashamedly rides his face, chasing her next orgasm.

“Oh my g - fuck, please I’m cumming again!”

He moans into her pussy and reaches a hand down to wrap around his cock. He’s so hard he can’t stand it any longer. He strokes himself as she writhes above him, being anything but quiet. She falls forward and grips the headboard to steady herself. Joel sucks on her now swollen clit relentlessly and she orgasms again. He feels an immense satisfaction as she ruts against his face, babbling about how she can’t stop cumming. After three consecutive orgasms, she feels that familiar pressure building and she knows she’s about to soak him down.

“G-gonna squirt,” she manages to warn him. She lifts off his face in enough time to not completely waterboard him with the spray coming out of her. She shouts profanities, her thighs trembling, and she hears the telltale signs of him jacking off furiously.

“God damn princess, you are so fuckin’ sexy,” he compliments through gritted teeth. She collapses onto her back with her legs squeezed together, trying to catch her breath and recover from the intensity of the last several orgasms.

“Are you good?” he asks, panting a bit himself.

“Yeah, I just need a few seconds,” she replies breathlessly. He sits up and rubs her leg soothingly as she recovers. When she’s ready, she relaxes her legs and lets them fall open. He settles between them on his knees and rubs her pussy with the tip of his cock. Her hips jolt upward, clit still sensitive. He does this a few times until she’s rubbing herself on him in desperation.

“Please put it in daddy, I need to feel you inside me,” she whines. He’s as desperate as she is and he fulfills her request without hesitation.

“Fuck baby girl, you’re soakin’ wet. My cock went in so easy. S-so good, so tight, fuck,” he babbles. She loves how vocal he is and it gives her a confidence boost to hear him whimpering because of her pussy.

“You feel how fuckin’ hard I am inside this little cunt baby doll?”

“God yes, you’re stretching me out so good.”

“That’s what you do to me - make me so hard it hurts. Why do you think I’m always pawin’ at ya, huh?”

The way he’s snapping his hips into her renders her unable to answer. All she can provide are pathetic moans, her eyes rolling into the back of her head. She registers a smack across one of her breasts; the sting is delicious but the smack is still enough to get her attention.

“Answer,” he growls.

“Be-because…I - oh fuck - cause I’m a pretty girl,” she manages to answer.

“Atta girl. My beautiful…sexy…fuckin’…bombshell.”

He punctuates each word with a snap of his hips and she cries out each time. He fucks her harder and harder and she knows he’s determined to make her squirt again. She holds her legs back so he can go deeper and he leans in for a sloppy kiss.

“C’mon sugar, squirt all over me. Gimme that fuckin’ cum,” he says into her ear, his voice low and gravelly.

“Now, gonna cum now,” she pants in warning. He pulls out and she explodes, fluid coming out of her like a fountain and splashing against his chest. He rubs her clit with four fingers to prolong her orgasm while she writhes and shouts underneath him.

“Oh yeeeahh” he grits out when a few more spurts of fluid come forth. “Gimme all you got baby girl. Such a pretty little mess for me.”

When her hips still, he spreads her legs open once more and stuffs his cock back inside, going at it full force. He holds her under the crooks of her legs and grunts wildly as he chases his orgasm.

“You ready for my load baby? Daddy’s gonna fill this sweet little pussy so full.”

“Oh god yes, please fill me up daddy! Wanna be so full of you.”

“Oh fuck, here it comes. You’re makin’ me cum so hard,” he moans. He stills and shoots his load inside of her, groaning and rubbing her swollen clit with his thumb. She feels his cock pumping ropes of cum into her and his orgasm lasts for what seems like thirty seconds. When he pulls out, she doesn’t fail to notice he’s still hard. He flips her over on her stomach and pulls her hips back toward him.

“You see baby?” he says as he slides his cock back into her. “I’m still so fuckin’ hard. You make me crazy.”

He gathers her wrists behind her back in one hand and smacks her ass repeatedly with the other. All she can do is whine and whimper while he pounds into her relentlessly.

“Fuck yeah, take this cock. Daddy’s pretty slut,” he mumbles. He reaches forward and grabs a fistful of her hair, pulling slightly as he fucks into her forcefully.

“Who’s it for baby, huh? Who does this little pussy belong to?”

“Y-you daddy, belongs to you.”

“Damn right darlin’.”

Her hands grip the sheets beneath her hard enough to pull them off the corner of the mattress as he brings her to yet another orgasm. She’s lost count of the orgasms at this point.

“Look at how fuckin’ good we look baby,” he grunts, directing her attention to the mirror once more. She looks at their reflection and the sight is erotic. Joel’s body is flush, sweat droplets forming at his hairline. One hand is in her hair, the other gripping her hip. Her breasts bounce with each of his thrusts forward and both of their eyes are wild with lust.

“Oh fuck…so hot,” she moans.

“Yeah? Does my pretty wife like watching herself take daddy’s cock?”

“Yes sir!”

“And you take it so well, too. God, you’re so pretty with me inside.”

“D-daddy,” she whimpers. “I’m gonna cum again.”

“Nu-uh baby, wait for me this time.”

“Daddyyyy,” she whines.

“Don’t you cum until I say so,” he growls. As he chases his orgasm, his thrusts speed up and make it almost impossible for her to obey him.

“Look at me,” he commands. She lifts her eyes and meets his in the mirror and it’s all she can do not to cum right then.

“Please daddy, please! I need to cum, fuck, please!” she begs.

“I know baby, I know. Doin’ so good for me. Just a little longer, you can do it.”

He lets go of her hair and grips both hips so that he can pull her back to meet his thrusts. He can’t stop watching his gorgeous fucking wife take his cock in the mirror. She’s biting her bottom lip, her expression a mixture of pleasure and concentration as she attempts to stave off the orgasm she so desperately wants to have. His cock twitches inside her and she knows that he’s close.

“Cum for daddy now baby. Oh god, let me see you cum.”

She relaxes and lets the coil snap. Her vision goes white as her eyes roll back. She cries out and she hears Joel saying filthy things while he pumps her full of cum again.

“Yeah, that’s right, take this cum. My little cum slut. Fuck, I’m cumming so much.”

When both their orgasms subsided, he pulls out gingerly, his cock sensitive and spent. Her pussy is the same, red and puffy and still throbbing. They both fall onto the mattress, breathing heavily. She flips so that she’s facing him and gives him a soft smile.

“Thank you,” she says. He returns her smile and tucks a strand of hair behind her ear.

“For the confidence boost or the dick?” he jokes. She giggles.

“Both.”

“You always have been, always will be, the most breathtaking woman I’ve ever laid eyes on,” he tells her sincerely. He places his hand on her cheek and kisses her sweetly. “The only thing I can think of that would make you even more beautiful is if you’d let me put a baby in here.”

He pats her stomach and looks at her hopefully. Her face breaks out into a grin.

“You wanna have a baby with me, huh?”

“Yeah, I really do.”

“It’s settled then,” she says, snuggling into him. “We’ll try for a baby.”

[canadianno]

TCOLC AU Bishop refs!

They're done holy FUCK. The art here is kind of old, so some of the proportions are a little wrong, but I don't really mind all that much. 15 hours and 89 layers later, all 5 bishops are done. On one canvas because... I didn't wanna make new ones I'm ngl.

Each bishop has an everyday outfit and a crusade outfit! If you're drawing them at any point (now or in the future) and you have questions about the designs, don't be scared to send an ask my way, I'm always happy to clarify stuff.

(Note: I would greatly appreciate it if people didn't make suggestive jokes surrounding any of the designs, I'm not comfortable with them! Love yall <3)

Ramblings below! Edited note: tumblr likes to completely break my posts when I add a cut sometimes, which happened here, so I'm not gonna put one in hopes that it doesn't kill my formatting again. Hopefully it automatically "read more"s this post. If it doesn't I'm very sorry 🙏

🌿 Leshy: It's to be noted that my Leshy is transmasc, literally just because I think he deserves it, it's cool as fuck. I really wanted to give him the classic top-surgery scars because, I'll be honest, they're fun to draw, but I had to find a reasonable explanation for it because he's not a mammal. Anyway that's how I ended up with an entire evolutionary explanation for why he would have those. I will never be given the chance to explain it in the fic ever, so it shall just be random information I have forever. I love him he's silly.

🍄 Heket: While I am a big supporter of tomboy Heket, I also think she deserves to be cool and wear pretty frills whenever the fuck she wants. She's awesome and her shirt is supposed to look like a mushroom. It's also worth noting that the crosses on the bishops heads are specific, with Heket having two crosses with double prongs. She has them like this in-game and there's probably a cooler explanation for it but. I have my own silly headcanons bc I do what I want! Also, since I can't decide for the fucking life of me if she's a toad or a frog, I've decided she's just. Both. Both of them. Her mom was a frog her dad was a toad. Is this possible irl? No but COTL is a fantasy world I do whatever the fuck I want.

🌑 Narinder: Main thing I note for Narinder is that he has distinct facial markings, you just have to look closely. Another note is that his clothes have a repeating cloud motif because of the fog in the gateway- which, trust, it was his own idea. Lamb doesn't know why he chose it but they're not gonna argue. Narinders' main robes are made of wool, but his crusade outfit is made of cotton so it's easier to repair if damaged. His crusade outfit has the Big Pants because he's mostly gotta fight with his feet now, since most of the time his hands don't function reliably enough to hold a weapon.

🪸 Kallamar: Kallamar is funny to me because he's the only one here who's plantigrade, meaning he's got human-esque legs. Another notable design aspect is that he has a tail, when squids do Not Normally Have Those. That's because my Kallamar isn't fully a squid, and you can kinda sorta blame my mutual for that. Not really it's me who gave him the tail. Anyway, no matter how you draw him or what outfit he's in those 3 dark red jewels on the golden chain thing gotta be on him somewhere- they're sentimental to him. He usually wears them as a crown, but in the crusade outfit they're around his neck to be safer. Also, on the crusade outfit, he has stolen a set of Shamuras gloves. Brat little brother <3

🔮 Shamura: Their main outfit really closely resembles their bishop robes and that is intentional! They made the robes themselves, and it would've been close to an exact match had the Lamb banned them from using golden colored cloth. This is only partially because Lamb doesn't like them, but also because they don't want the bishops trying to start a mutiny, and walking around in bishop robes is a pretty easy way to collect weaker followers like flies. Shamuras' crusade outfit is also pretty unique compared to the others, and one of two reasons is that it's meant to resemble their old crusade outfits when they were younger. The second reason is that they look really cool. The outfit is designed for mobility, mostly, and before you say anything, the hip windows are because Shamura usually holds close range weaponry in the second set of arms and hates the way they snag on fabric when its there.