#feel free to add or correct me in some points

[sophiamarieispinkbunny-chan]

Thoughts on Short Chapter 90.1 (Long Post)

First of all, what in the world just happened? That short chapter was so unexpected for a short chapter.

Endo is really good at messing all of our brains in just four pages. Upon seeing it as an extra chapter, I thought it’s going to be on a lighter side but I don’t expect it to be dark and centered around Anya!

So here are some of my 6 takeaways. (Long post again sorry!)

1.Anya is probably not the real spelling of her name or not even her real full name

-Anya is pretty sure herself that her name is spelled as Ania, she spelled her name the same way in the Eden Entrance Exam.

-And the expression in her face when Loid corrected her tells a lot. (I’m really amazed how Endo conveyed this without the readers letting know what is going on in Anya’s mind. Meaning that he still doesn’t want to reveal that snippet of her thoughts process since it surely would reveal something about her past) Her expression was so subtle but it tells that for her, she's certain that it was really letter I. Then settling with oh, but not like a happy and excited or enlightened ‘Oh!’ But just a simple, Oh, okay... Like she had no choice but to just agree.

And her lying in her bed thinking about the name, saying it aloud as if familiarizing it.

So here are my thoughts about Ania/Anya’s name:

Ania is part of a longer name

Maybe Ania was a nickname given to her because she has a longer one.

I just told my sister days ago that Anya’s name sounds like Ostania and maybe that is where her name came from. So maybe Ania is just what they named her deriving from Ostania itself.

Ania could also be an acronym for something. Like the A could stand for Apple since the experiment is called Project Apple. The rest of the letters however I have no idea.

Ania could also be an experimental name (Like what I saw on some posts here the AN1A one so they decided to call her Ania but it was not a name but a label for her.

2.Why Loid assumes it was Y and not I

In the documents Franky had given him in the first chapter, her name is spelled Anya with a Y. Meaning, the orphanage thought her name is spelled that way but we can understand for Anya it was always spelled with I not Y. (The document is not readable in the manga but it was clear in the anime)

3.Endo has plans for everything, especially for the three main characters and their back stories

Endo often says that he thought things in a spur of a moment in terms of making this manga (Reference: fanbook Endo interview page 176) like how he decided Anya being a telepath on the last moment and called it luck that it worked out lol. But this was clearly planned and the anime creators, directors and writers are aware and is working closely with Endo. What he pulled in this short chapter isn’t something that can be thought for the last minute. It is planned from the very beginning. Probably some of the little details in the manga might mean more that what meets the eyes. (I saw a video before and in that video they showed Endo's studio and they showed miniature models of the designer chairs on the volume and there are chairs there that were just briefly shown that is yet to appear. I saw the video before the release of Volume 11, the one with Emile and Ewen and I saw their chairs in the line up of the models. So you can't convince me that he hasn't planned anything where he wants to take the plot next.)

4. The Anime on Anya's nameplate change

Anya's name changed in her nameplate, from Ania to Anya at exactly end of Season 1 Part 1 episode 12. Anime have been very persistent in showing that nameplate.

(Episode 3, not in the manga)

Then Episode 11, we saw the change of her name spelling on her test. So the short mission 90.5 took place before she got her first stella.

The Season 1 Part 1 Finale, we see this nameplate and I went to check the short mission of this in the manga and no, the manga didn't show the change of nameplate in that particular chapter.

Now I'm rethinking that it was really a well thought decision of Clover and Wit to make the Aquarium episode and this episode in the finale rather than starting the dog arc crisis and it was smart and sneaky of them.

Anime is doing a lot of work to elaborate the manga and I love them for that!

5.Like Father Like Daughter

It would make sense that in this family Loid and Anya would be the one who bears fake names. Yor being the one whose name being real symbolizes how she doesn’t lie about anything besides being an assassin, and there are times when she isn’t even keeping the fact that she is one. She always does things, mainly, because she genuinely cares for Anya and Loid not for her job at all (as the story progress she thought less about them being just a cover for her). Yet Anya and Loid often does things for their own ulterior motives (Anya for wanting a family for herself and Loid for his mission). They’re the ones who actively kept protecting their secret identities. The ones with the most the secrets. Both have names different from their real ones. Really makes sense don’t you think?

6.We could get an Anya backstory arc, if not by the next chapter, sooner than we expect.

We might have snippets of Anya’s backstory but I believe that Endo would not give out the whole thing. It’s too early to reveal it and what could Anya’s trigger be for her to think about everything that happened in her past?

Loid is triggered when he was rendered unconscious by Anya’s tonitrus

Yor is triggered when she’s thinking about Yuri

How about Anya?

What could trigger her to remember everything she went through?

-Will she perhaps see something or someone that will make her remember her past? (I read a fanfiction about her meeting a man who used to adopt her, it’s from coloredice I think and I can’t help but seeing it happen in canon)

Yet this is a short chapter, maybe Endo will continue this with another short chapter or give us a full chapter in the next two weeks centering around Anya. But it could also be not, since it could also just a way for Endo to add additional details to the narrative. But why bring this up now? for sure, it was a reminder, maybe a preparation on what the future ten chapters to the 100th holds.

Now it’s time for you to tell me what you think? Let’s be Twilight and overthink this four chapter short because our man's too attached to even care about knowing Anya’s background.

[wizardsix]

ok... so I have finally finished veilguard after about 90 painful hours (two playthroughs). im not gonna write an actual review about all of my detailed thoughts bc it'll actually take days, this is just to at least get my general thoughts out and see if anyone else feels the same or if ive actually lost it.

overall it is the weakest dragon age game story-wise, and I'd give it a nice lukewarm 4/10.

(i wrote this post right after I finished the game on the weekend so maybe I sound a bit harsh, I tried to edit it to be more reasonable lol but I didn't really want to delete this since I do still stand by a lot of this)

I really tried to go in with an open mind, bc I always want to experience media in full before making any kind of judgement, but about a few hours in I had this horrible feeling that once again this was another soulless, rushed game, and I still don't feel any different after finishing the game.

what stuck out to me was that there's no sense of urgency despite what the plot is, serious topics are not treated with care as the writing overall is shallow, and the gods as well as any other enemy you encounter are just cartoon villains (and apparently the lore retconning, but I'm not well-versed enough to dissect that so I won't).

I can't take this plot seriously when it feels so disjointed and forced and lazy. and I see no point in caring about anything when choices literally don't matter. no say in who you recruit, no say in the relationships with them and they have almost no awareness of rook, definitely doesn't matter if you have allies or not bc they show up anyway, and only four companions are locked into unavoidable decisions where one of them bites the dust no matter what (which is strange bc why are harding and davrin forced to die no matter if they're at hero status while bellara and neve can literally survive blight if they're at hero status), so it's impossible to try to strategize for better (or worse) outcomes with all the people you've gathered when there's only one right answer that the game pretty much tells you instead of letting you think for yourself (and side note this game does an incredible amount of hand holding). the game actively tries to trick you into thinking your choices matter with the onscreen notifications, but nothing matters bc the devs clearly had only one story in mind and for some reason lied that it had "complex choices".

also rook in general wasn't interesting as a protagonist bc they were written to be perfect. they always know what to say and are so supportive of everyone. they never struggle with anything. not even with leadership beyond "man leading a team is hard :/" but it doesn't actually show how hard it is by having actual volatile conflict between the companions* or showing how their plans sometimes fail. which, if we actually had choices that mattered, would have helped develop that struggle. also? what's with everyone being so friendly? I'm not gonna get into that but everyone is so eerily nice and it's been said a lot but yeah, the world is extremely sanitized and devoid of any real conflict aside from the gods I guess.

*(like off the top of my head cassandra fighting with varric and accusing him of not being on their side or how the inquisitor can literally punch dorian and solas if approval is low enough or fenris and anders bordering on killing each other is not the same as lucanis and davrin distrusting each other or people being uncomfortable with emmrich's necromancy. it just scratches the surface of conflict and never goes anywhere)

and let me say real quick again, there's nothing wrong if they wanted to make a more rigid story about being a hero. it's been done a million times and it can be executed well, but if you do that you need to make sure you 1) don't lie to people and 2) actually flesh out your (especially main) characters and plot to give people a reason to care. look at dragon age 2. hawke is a fixed protagonist with their own life front and center. they ultimately only have two choices (siding with mages or templars), but it works bc the game took time to build up the conflict straight from act 1 so by the time chaos happens in act 2 and 3 you understand why bc it's Been brewing the whole time. it just makes sense. the villains as well have sound reasons and feel real instead of being evil just bc. the story is more grounded, yet you have choices. you decide if hawke ends up alone or not. you decide how they approach situations with force or diplomacy. there's none of that in veilguard. a game that supposedly took 10 years to make. when dragon age 2 took almost 16 months (yes I know da2 also has problems like the fact that the templars are always proven right but this isn't the place to dissect that).

I want to be fair though and I do want to restate what I enjoyed about the game. the cc (though would it kill them to have more variety in face textures like age and body types beyond average.. also no colour wheel... especially since they claimed their cc was so good), the map progression/visuals/exploration (how certain places become more blighted overtime), the factions (though I feel there should have been more content for your faction, and helping them or not should have mattered more), the combat (did not feel like a slog, pretty fun and mindless), the companions (bellara, davrin, emmrich, harding, and lucanis had solid personalities and stories despite my complaints. neve was not memorable and I just feel sad for taash's bad writing), certain parts of the story were good, the intro and the point of no return sequences were solid, and the ending didn't feel rushed or boring compared to inquisition. and yes, I do appreciate that rook can be trans, I just think a little more subtly and care would've been nice.

another thing I did like and predicted was that varric died at the beginning of veilguard, and for a second I actually enjoyed that because i thought we were finally (a bit too late tho) getting some depth to rook and their own struggles of accepting his death and carrying this weight without him. and while I do think maybe they should've taken more time to establish the mentor/mentee relationship so we really feel rooks regret, I still think it was at least the right direction where in their grief they still see him, giving advice and narrating their journey.....but then it turned out to just be solas manipulating them the whole time, immediately destroying any emotional weight this reveal had.

whenever bioware has good ideas they shoot themselves in the foot and make it about solas. it's like nothing in the world exists without solas being involved somehow, and that is just incredibly boring and uninspired to me. not to mention solas just being an insufferable ass the whole time, which is fine, but it's not even in a compelling way like he used to be. he became so ugly by the end and the fact that the devs consider redeeming him the "good ending" and not giving him what he deserves is very telling and once again shows their own bias is king over good storytelling (solas' feelings should not come into play here, whether you/your companions live or die should determine good/bad ending since solas is trapped no matter what, only difference is who is trapped with him. idk but I personally think different endings actually means different outcomes). i will not go into the bs of the secret post credit scene, bc frankly I'm fed up with bioware's shitty writing and I won't be playing their next world ending space aliens game (unless they miraculously pull a good story out of their ass but lbr).

overall the bad outweighs the good for me. it's fun to play as a game, it's a decent fantasy game, but the story just doesn't do anything for me. sometimes I wonder if dreadwolf was a completely different game and was scrapped for veilguard last minute. maybe this was yet another inevitable industry fuck up and maybe there was a good story planned at one point. idk. all I know is bioware lied. respect and credit to the poor devs and writers who actually cared and to those who were kicked from the project, but in the end bioware promised too much and delivered too little.

[kikizoshi]

youre learning Russian, right? I've also started learning with borrowed textbooks, and the consensus I've seen online is that its not enough, and that a course is necessary. if you don't mind I'd be really appreciative to know how you got where you are and if you think that's true.

Спасибо за помощь (ღゝ◡╹)ノ♡

Unfortunately, I don't really know what I'm doing either. Just kinda stumbling through, and "where I am" isn't all that far. I can only ever be an authority on what helps me learn Russian; in my experience, there's never been a one-to-one, "follow these steps I took to become fluent" method. Everyone has to figure out their own quirks. (And if this isn't true for someone then I'm very jealous of that person.)

I've seen about as many different opinions as there are ways to learn. Some think you need courses. Some think courses are useless. Some like textbooks; others hate them. The one consistent thing seems to be input--everyone agrees you need a lot of comprehensible input (meaning, you understand some of what you're consuming). But is a course necessary? I don't think so. Whether it could be vastly beneficial or a waste of time and money is something that depends entirely on the person's learning style. A resource I've linked further down may help you determine whether it'd help you. I've never taken a course, so I don't have any experience there.

Also: I have ADHD, so everything here is working around that. Motivation is a massive issue for me, and I've generally found that forcing my way through something droll for long periods of time just... isn't something I can make myself do. It burns me out. I try to make everything something I want to do, or at least not very painful. But my methods are also slower and less effective than something more structured.

Comprehensible Input

How I got to it being helpful:

People go on about comprehensible input all the time, and I can see why; it's extremely important. It's what finally moved me from mid-A1 to late-A2. But actually getting to a place where input even can be comprehensible was so horrifically painful for me that for a long while I felt completely inept. So, here's the things I did, in order, that I think helped:

A0-A1 (not helpful yet)

Duolingo + Twitter: Don't get me wrong--I hate Duolingo. And non-fanart Twitter. But it was a great combination for learning Cyrillic. I used Duolingo's earliest levels to get familiar with Cyrillic and some very basic words. Concurrently, I followed some Russian fanartists on Twitter who also posted text posts frequently, and turned notifs on for them. That made it so that 3-5 times a day, I would get a notification for a post in Russian, and I would practise reading/sounding out Cyrillic. I wasn't too focused on understanding what the post was saying, just getting a familiarity with the alphabet.

Memrise + Anki: Pain. God, so much pain. This was the worst. Necessary and effective, but the absolute, God-forsaken worst. Once I felt comfortable enough with Cyrillic, I started working through two decks: a. Memrise: vlarya's 10k most common Russian words deck. It goes in order of most to least common, has audio, and has typing practise. This replaces Duolingo. (When Memrise inevitably removes community courses altogether, feel free to ask for a backup of this deck. If I'm still on here by then, I should be able to give my backup that works with Anki.) I don't recommend Memrise's official courses. b. Anki: Neri's Russian Sentences (blog link) deck is great for practising the simple words you're learning with Memrise, getting common phrases down, and starting to see how Russian as a language comes together. It'll take a bit to click. c. keybr: I also started practising a little with keybr, mainly because having to type in Russian on Memrise sucks with the on-screen keyboard. keybr is the best site I've found to learn to touch type different keyboards. It's extremely effective. If you're already a touch-typer, a few hours should be enough to type well enough for Memrise.

YouTube: Russian With Max's 'For Beginners' Playlist was really helpful and motivating, at this point. He speaks slowly, simply, and clearly enough that I could understand him, where I couldn't understand anyone else yet.

I... God, I hate the A0-A1 stage so much. You can't do anything. At least now, I can watch TikToks, read comments, enjoy memes, and understand enough of those to enjoy myself. The stage where you understand nothing is by far the most awful to me. I wish I had anything to make it more bearable, but it's really just the worst. Hopefully you're either past this already, or close to past it. The small mercy is that it doesn't take too long to claw your way out of.

A1-A2 (helpful now)

[Active Immersion] Memrise + Reading/Watching (comp input): keep working through vlarya's 10k deck. My routine is: speed review due cards; finish the 10 cards I started learning yesterday; start learning 10 new words today. That's my reps and warmup. Then, depending on my mood, I'll either read at least 30 mins of 'Дом, в котором...' (with or without audiobook, again depending on mood), or watch at least 30 mins of Max's intermediate vids w/ Russian subtitles. Sometimes in my free time I'll watch Russian lit or ДВК TikToks.

[Passive Immersion] Music/Audiobooks/Let's Plays: pretty self-explanatory. My passive input isn't as comprehensible rn, but I focus on things I enjoy. A let's play to fall asleep to, an audiobook while I'm doing something that requires on-and-off focus. The goal here is just to understand snatches of whatever I can, not so much the whole thing. Eventually, those snatches become more frequent.

I'm sure more dedicated study would help me a lot right now, but I don't really have the time or motivation to, so I don't try to force it.

Regarding Russian language learning YouTube channels, and why I only recommend Max:

I've found that most popular Russian learning YouTube channels feel... well, like school. They're not very interesting, they don't feel very organic. It doesn't feel like I'd be watching their videos for any other reason than learning Russian, which is bad for me, because I need to make Russian part of my life to have any motivation to do it.

So, the reason I like Max's channel so much is that he talks about things that're actually interesting and relevant to me. This video is a personal favourite, but he has a lot of videos about all sorts of topics--some of which I'm genuinely interested in. And his demeanour is more vlogger, less teacher. I like him as a person. (Protip: in this stage, don't be afraid to start his intermediate videos early, even if you don't feel you're there yet. It can still be very helpful to pick out the words you do know, and most of his videos have Russian and English subtitles if you're confused.)

Regarding how to find a good Russian book to read:

I... don't know. Reading ДВК with the audiobook really, really helped with my reading ability, and continues to. I can't state enough how important it was for me. But how to find a book that you can read over and over again... I don't know. I just know that Harry Potter would be absolute torture.

I've seen people say that you should start reading simple things, like children's stories. I personally haven't done much of that, because children's stories bore me out of my mind, but if you like them then I'd give that a shot. I've also heard that Chekhov's stories are good for beginners (I've heard that about Pushkin too, but I'm not sure how easy poetry would be to understand). Read-alongs on YouTube could be good too. Russian With Max has some old livestream read-alongs, and there are plenty of Russian read-alongs on YouTube.

Aside - if you're curious about 'Дом, в котором...', this fan-made trailer is the entire reason I picked up ДВК; the vibes captivated me and I had to know what it was about. So for anyone interested: if the trailer looks cool to you, you may like the book. The English translation is called 'The Gray House'. ДВК is fairly long, and different POV characters have differing levels of complexity with the language. The early chapters are the simpler ones, conveniently, so starting from the beginning should be fine. It's a slice-of-life type story, so easy to pick up and put down. I recommend the Князев audiobook, which is almost certainly the one you'll find if you search 'дом в котором аудиокнига' (it's a fan-made audiobook, so I don't think you can buy it, but like LOTR the fan version is by far the best).

Resources

r/languagelearning's resources page is a good place to skim through, see if anything sticks out. I recommend reading through their 'How to Teach Yourself a Foreign Language'. It's good for giving you an idea of how different people learn, different learning methods, how those methods work for others, and what might work for you.

Refold's Roadmap is very helpful for me to understand where I'm currently at, and what sort of activities it would be beneficial for me to be working on. I use their definition of levels (i.e. A1), so if I wasn't clear what I meant by A1 vs A2, reading through this could be helpful.

SRS:

Anki's for decks I have to create myself, or if I need a more specialised deck. I prefer Memrise for vocab, mainly for typing practise and the better UI. If you want to use Anki for vocab: Refold's ru15k deck is good for A2+. There are plenty of simple word decks to pick from for A0-A1. If you want to word mine to create your own Anki decks, see FLTR below.

Grammar:

New Penguin Russian Course is supposed to be good for grammar. I looked through it, and it does look good. If you understand grammar. I don't, but putting it here for those who do.

Reading:

u/La_Nuit_Americaine's post about reading helps me with motivation, and gave me some pointers about how to do it.

FLTR (Foreign Language Text Reader) is a good Windows program alternative to LingQ, if you can't or don't want to pay for LingQ's subscription. You have to input the word definitions yourself. I used Reverso and Yandex Translate together for this. Your word list can be exported to Anki.

ReadLang is supposed to be a good web-based alternative to LingQ (its free level is still usable, unlike LingQ's). I've not used it much, but it seems pretty good. My preference is using some translation extension that will let you click on a word and automatically translate it and move on quickly. Simple Translate on Firefox is what I use.

Video Media:

Language Reactor is a subtitle extension for YouTube, Netflix, etc. that has a bunch of cool features. I hardly use it because it's not on Firefox, but if you use Chrome, Opera, etc., it's really handy. For YouTube, it will translate the auto-generated subs for videos, so if you have a Russian video that only has Russian auto-generated subtitles, you can use Language Reactor to get English subtitles.

Other ADHD Accommodations:

Being kind to myself is very important. I can't make myself study by thinking "why can't you just" or "it's not that hard, what's wrong with you". I can't make myself study with positive words either, but using positive language helps my morale so that I have more motivation to study more often.

I use a different browser (Opera) solely for learning Russian. I chose Opera because Language Reactor works on it (would've used Chrome but Chrome is set up for work), but the general idea is having a separate space for Russian. I put Opera's language in Russian, and I keep all my Russian-learning tabs open there, so that when I'm ready to study it's as simple as opening Opera. Having it separated like that also helps my brain see active study as a task that can be opened and closed, rather than combined with everything else (Firefox).

I try to give myself enough options of things to do for immersion that it's always a choice. My brain has so many different states: motivated; unmotivated; foggy; clear; distracted; focused. Each one will want--or even need--something different. If it's a foggy day, I may be able to read along ДВК with an audiobook, but not able to read words without that help. If I'm distracted, TikToks may help more than reading; if I'm focused, reading may help more than TikToks. Or if I'm completely unmotivated, watching one of Max's vids is more passive than reading, therefore less painful.

I love Russian. Not much to this one. I don't think I could stick to learning a language I didn't love for the sake of the language itself.

I wasted time and motivation watching things I wasn't interested in, trying to find media in Russian that appealed to me. I don't recommend that. I don't know the alternative, but I always felt horrible about myself after. It's important to have media you like, but forcing it won't work. Russian movies don't interest me. Everyone else's favourite Russian YouTubers don't appeal to me at all. TikTok is much better for me in that regard, because I can search for specific fandoms that interest me. Luck seems to be the only thing that works for finding good YouTubers.

Textbooks are my kryptonite. I can't use them. They drain motivation so fast. If they work for you, that's great. If they don't, I don't know that forcing it is the solution. It wasn't for me.

I scroll language learning subreddits sometimes for motivation. It's not productive, generally. But it's fun. And I do get some ideas sometimes.

I've mostly accepted that my progress is going to be slower than others. I'm trying not to compare myself. I'm enjoying it now, mostly, learning slowly but learning, and each time I reaffirm that that's okay, it becomes truer.

[waterparksdrama]

thank yall for explaining some of the pros/cons of going indie because while i want to be optimistic i hope this just doesnt fuck them over in some horrific unfixable way

like owning their music is good!!! having control over the creative output and releases is good!!!!! but like it’s hard to be independent especially when you’re not a big band because you need money for things like touring and marketing and even last tour when they still had fbr’s money i think awsten said something about him paying for the bus - iz

[writersdrug]

Thinking about Simon with a goth! gf, and introducing his team to you.

Warnings: cursing, very slight nsfw, pda

Typed this up on my lunch break, not thoroughly proofread, ending is meh but it's been rotting in my brain so I had to push it out. Feel free to send me asks about this headcannon, I'd love to write more about it! <3

Simon insists on dragging his team to the nearest pub after a particularly rough day, offering to buy then a round of whiskey. They are all reluctant at first, complaining about aching backs and heads, and Price saying that the missus was expecting him.

Then Simon mumbles something about how his girl would've loved to meet them.

"Yer wha' now?"

"My girl."

Suddenly, Gaz's headache is gone. "Must've just been dehydrated, I suppose." Soap's back feels much better, after being able to sit in the car for just- five minutes, now. And Price? Apparently, the missus was at a dinner raffle for her charity- thing, and he'd just now remembered.

So, drinks and a quick bite at the pub you worked at. It was settled.

Simon leads them in shortly after parking the truck. The other three quickly scan the room for anyone who stands out. As Simon brings them to a booth in the back, they all take a seat, heads on a swivel for some pretty thing to come bouncing over and latch herself onto him.

"Gonna hit the head." Simon says. "I'll put our drinks in- she'll bring 'em over, she'll be done with 'er shift soon."

As he leaves, Soap, Gaz, and Price all sit there in a few moments of observatory silence. It's much harder to sample the crowd, they realize, since there's apparently no dress code for the servers. Johnny eyes each person like a hawk, until he sees a potential pick.

"Tha' one." He says, nodding towards a busty, long-legged blonde. Price and Gaz follow his line of sight to her as she leans against the bar, playing with her hair and laughing at something her friend says. Her bootcut jeans and frilly top accentuate her curves, and it's obvious that every man in her vicinity is ogling. "Twenty on 'er. Seems like he'd be into swimsuit models, eh?"

Gaz humms, scrunching his nose disapprovingly. "Nah, mate- too simple."

"Feck is simple 'bout 'er?"

"I mean for Simon." Gaz corrects Soap. "Don't think he'd want someone so... ditzy- no offense to her." He adds. "I think he wants a girl who can hold her own, in the physical and the figurative sense. Someone..." he narrows his eyes, searching through the crowd of people. "Like her."

He discretely points to a woman across the bar. She's playing darts with a few people, and hits the bullseye perfectly just as Soap and Price look her way. Her tank top and cargo pants show how defined, yet lean her muscles are. She looks like she could last a few decent minutes in a brawl. "I bet on her."

"Well I'll raise ye forty - I ken LT wants someone more... passive."

"Forty it is, then. I'd love to have you pay my bill tonight."

"If I may..." Price chimes in, leaning against the back of the booth with a smug look, arms folded over his chest, "I'd love to get in on this little game o' yours, and walk away with eighty pounds t'night - because you're both wrong."

Soap smirks. "And how's tha', Cap?"

Price smooths his fingers over his mutton chops. "Well, for starters, I'm a bit ashamed o' you boys. Neither of those girls actually work here, do they? Mm?"

Gaz groans, letting his head drop against the wall behind him. It takes Soap another moment, but then he remembers Simon saying this was where you worked. The whole point of them going to this specific pub was because you'd already be here, on the clock.

"Shite..." he mumbles.

"Alright, sir." Gaz says defeatedly. "Lay it on us."

Price leans his elbows on the table and points his finger straight ahead; Gaz and Soap both follow it to the bar, where a sweet-looking girl is punching orders into a server tablet. She has long, silky, red hair, and a petite frame. She smiles so kindly at every patron who speaks to her, and when she makes their drinks, she is quick with it, still engaging in conversation as she shakes the mixer with a powerful arm. Despite the crowd, she seems to be managing fine on her own.

"Her." Price says, tucking his hand back onto the table. "Y' see that face? The way she talks to 'em all? How she's soft and tough at the same time? Imagine that birdie tucked under his wing, eh?"

Soap and Gaz can imagine it. She's a cute little thing, a social butterfly, it seems - the perfect polar opposite to Simon that just might be the perfect fit.

"And I know he's got a thing for redheads." Price adds.

"Piss off, how d'ye ken tha'?" Soap grumbles.

Price shrugs. "Call it intuition."

Simon comes around the corner, carrying several glasses of neat whiskey. "Sorry-" he says, setting a glass in front of Price, and handing out the others as he sits down on the end of the booth. "She's on 'er way now."

"No worries." Price says, trying to hide his smirk. "Didn't know y' were into redheads, Simon."

Simon pauses, looking down at the table in confusion - then he chuckles. "Yeah, s'pose I am. How did y' know? Did she come by already?"

Price laughs. "No, son. We were just sayin'-"

"Hey baby!"

You turn the corner and lean down, squealing as you throw your arms around Simon's neck and kiss him. The other three look on with shock, and Soap is about ready to throw this random woman off of Simon, until he holds you just as tightly and kisses you back.

Price's smirk falls right onto the table when he realizes that he is just as wrong as the other two.

You're Simon's bird. Simon's raven. Black, styled hair, with black lipstick that is currently smudging Simon's chin. You have a choker - no, several chokers, wrapped around your neck, as well as a tiny corked bottle filled with red liquid that makes Soap and Gaz nervous, dangling from a chain. Long, black-painted fingernails, with small spiderwebs decorating the tips, caressing his face and the back of his neck. Your arms and legs are covered with torn fishnets and small tattoos, and you're wearing a black number with a corset, paired with studded Doc Martin's.

You finally pull away and look at the rest of them. "Sorry- nice to finally meet the lot of you." You say, shaking each one of their hands. Your eyes are striking, with full, dark lashes, eyeliner, and red contacts. Gages and a bull ring, too. Soap feels a shiver run up his spine when he looks at you head on, and Gaz hasn't picked his jaw up off the floor since you came around.

"Erm-" Price clears his throat, "pardon us- call me John. This is Kyle, and Johnny." He gestures to the other two, still watching you with a mix of curiosity and awe.

"I've heard so much about you. It's good to put names to the face." You say with a smile, shaking the other two's hands. Gaz manages to smile a bit, but Soap has the same shocked expression plastered onto his face.

Simon has a love-drunk, black-smudged smile on his lips as you sit down in his lap. "She's been wantin' t' meet you all for a while, now. Sorry I kept 'er a secret."

"To be fair, I'm usually hard to find." You say, grabbing a napkin and wiping the lipstick off Simon's face. "I'm either here, at class, or roaming around and people-watching... at night, of course. People are more interesting when it's dark out." You traced a fingernail along his jugular as he stared up at you.

"John 'ere knew you were a redhead."

"How?! Oh my god- are my roots showing?"

"Nah, luvie, he's just observant. 'S our job." Simon places a kiss to your forehead. You smiled, leaning into the kiss.

"Oh, kitchen's about to close. You wanna split a burger, Si?"

"Sure, get what you like."

"'S no onions ok?"

"Fine w' me - chips?"

"You know it." You giggle, making a show of squishing his cheek and biting it. You turn to the rest of his team with a smile. "You boys hungry?"

Price is the first one to speak, taking a heavy breath in, causing Soap and Gaz to finally snap out of their trance. "Erm- whatever you get, we'll do the same. On us tonight."

"Oooh, you sure?" You asked, raising your eyebrows. Simon looked at Price curiously.

"You positive, cap?"

Price nodded. "Lost a bet."

Simon looks even more concerned. You pat his shoulder and stand up. "I'll go punch it in, be right back." You give him a peck on the cheek, and begin to walk away - Simon's attention returns to you as he hooks a finger in the chain choker around your neck and tugs you back.

Soap, Gaz, and Price all watch, stupefied, as you land back in Simon's lap with a giggle. He grabs your chin between his thick fingers and kisses you on the lips, shamelessly letting his tongue slide past your teeth and squeezing your thigh. You laugh into the kiss, letting him devour you for a moment, before tapping his cheek and breaking away.

"I got fifteen minutes to put everyone's order in, Si."

"That's plenty of time, dove."

"Yeah, but then kitchen will get mad for doing it last minute, and I don't want-"

He chuckles, gently shoving out off of his lap and smacking your rump through your skirt. "You're fine, go on."

You smile, then disappear behind the booth, boots thudding against the hardwood floors.

Simon looks back at the three of them - Soap is staring between you and him, a blush covering his face. Gaz immediately turns to look at the wall, scratching his chin, and Price is gazing into his whiskey, though there's a lingering surprise in his eyes.

"So- what bet?" Simon asks, adjusting his hips; Soap notices his hand reaching down to palm at the fabric over his groin. "I don' remember bettin' nothin'."

"We weren't bettin' on ye pullin' her out ye pockets, LT." Soap comments, trying to avoid Simon's eyes. He reaches into his pocket and pulls out forty pounds, slapping it onto the table.

"It makes sense..." Gaz, chimes in. "With your whole skeleton look, she fits you."

Simon slowly smiles, understanding what they had bet on. "Oh... I see. Lemme guess - you thought I's with someone more... simple? Lile that blonde at the bar, is tha' right?"

"Tha's what I said!!" Soap exclaims, dropping his fist to the table. "You got te give me credit fer pointin' t' a swimsuit model first, aye?"

"Oh- because every bloke on earth is shallow enough to care about swimsuit models." Gaz scoffs. "I at least picked someone who didn't look so bloody helpless." He gestures to the girl playing darts with her friends. "You don't even know if the other girl's a model."

"Well, one can imagine..."

"Feel as though I's the closest..." Price mutters under his breath, making the other two glare at him.

"Ye were not."

"Get off your high horse, cap-"

"Well- try this." Simon leans on his forearms with a smug look on his face. "My bird? She's a model, and she's a black-belt in Judo, and-" he looks at Price- "she's a natural redhead."

They all look between Simon and you, as you stand behind the bar and punch their orders in, laughing with the other redhead. Their eyes would drop onto the table if they were any wider.

"You sly dog-" Gas comments with a chuckle.

"I don' believe ye." Soap says, crossing his arms. "Wha' kind o' model?"

"Lingerie."

Price chokes on his whiskey.

"Bullshit." Soap snaps. "Pictures or ye lyin'."

"Nah." Simon sighs, leaning back in his seat and daking a sip of his whiskey. "Not the ones I have, at least. But pick up the last "Bloodletting" magazine, and she's there."

They all sit there, a bit dumbfounded, watching you walk back to the booth. How on earth did someone like Simon land someone like you?

Simon's full of surprises, even in his personal life.

[ultimate-marysue]

I made some sort of alignment classification based on whether they're impulsive or if they plan ahead for the Batfam. Feel free to correct me (politely please, I'll cry) or to add your opinion. I'm not trying to be super canon, just based on their characters' vibes.

Bruce Wayne: 100% planner. This man could be a Bene Gesserit, plans within plans, and they always work even if they shouldn't (because DC can't have him be wrong). It's like a choose your own adventure, you follow the plan and each time something new happens that is sure to chase things up he pulls a subsection specifically for it. Senior Justice League Members just don't question him anymore no matter what. "You had a contingency for getting invaded by mind controlling ballerina spiders? Yeah, sure, tell us all about it".

Barbara Gordon: she plans around her impulses. She is self aware enough at this point to know she's a bit of a hot head. It is what it is, she's called Batman an Emo Boy's idea of Therapy enough times to his face to know she just can't help herself with some stuff. So instead of working against it she plans around it. In the end, it was her plan all along. Canary thinks she could just hold her tongue, but considering the vigilantes Oracle manages, her experience in planning for these situations is invaluable.

Dick Grayson: Impulsive, not because he can't make plans or because he isn't smart. Quite the opposite. He just has that ADHD dog in him. He would be guiding the Titans through a mission and they'd be thinking "Woah, everything is going according to his plan", meanwhile inside his head is Bear Grylls saying "Improvise, Adapt, Overcome". It's not so much that he comes up with plans on the spot but he ends up changing it along the way because he thought of something better for that specific situation. He may use B's protocols for a general structure but then trusts his instinct to come up with something better on the spot.

Cassandra Cain: Neither. She's not one to be coming up with elaborate schemes but, as much as she relies on her instinct, she's able to stop before jumping. She doesn't need to plan, she knows what works. She observes and then takes the best course of action. When Bruce goes on and on about the importance of planning she just answers "Skill issue" and leaves.

Jason Todd: impulsive planner. This is a man that makes plans, okay? He's theatre kid coded, he needs to know his little monologues by heart. The thing is, he's also very emotional and has the impulse control of a toddler in front of the cookie jar. He can't help himself, he has to punch the asshole and make the witty comeback or he will explode. The outlaws have been grilled to death on the importance of following the plan but then watch him like ten minutes later throw it out the window. They find it both endearing and annoying.

Stephanie Brown: Queen of Chaos. She can plan. She's good at it too btw, she just doesn't want to if she can avoid it. She works best when she's improvising and it drives Bruce and Tim up the walls. They just hate to see women winning. She's the best one out of all of them at turning a mistake to her advantage in a matter of seconds. It's quite impressive.

Tim Drake: Chaotic planner. Everyone is so sure Tim is a mini Bruce and to a certain extent, if you squint your eyes, then yes. But Young Just Us know the truth: his plans are extremely effective but only in the most chaotic way possible. There's the Batman plan, and there's the Red Robin plan, which is like the first one but faster and with more fire. He also has to be periodically reminded to take into account his own wellbeing when making his little schemes.

Duke Thomas: plans on the go. I don't know how else to explain it but it's like those sequences in the Sherlock movies (the ones with RDJ) where he's watching his surroundings and opponents almost in slow-mo till he puts together a plan. It's similar to Dick from the outside, but if you pay attention you can see the wheels turning in his head as he goes along. He actually stops and thinks (metaphorically, most of the time his thinking is done while he distracts enemies).

Damian Al Gul Wayne: he's a strategist, not a planner. This is an important distinction because whenever Batman or Red Robin are explaining one of their convoluted plans he feels like he's actively losing braincells. He's closer to Cassandra in the way he prefers a more direct solution. He also gets palpitations anytime Jason or Stephanie just start doing things without thinking. If he knew what Dick's thought process was he would have probably developed an anxiety disorder in his time as Dick's robin. He doesn't understand the need for such high detail planning and hates the idea of making it along the way. No, he just needs to come up with the most efficient strategy and that's all.

[tackykachowch]

OKAY CHAT I DIDN'T INTEND IT TO BE THIS WAY BUT THIS POST IS SUPER-HUGE. Read at your own risk lol

*taps the mic* Uh, welcome to Chili's. So, I mustered up the courage to finally make a post about how I view Silco and Jinx's relationship and why I think it is actually a lot better than it's commonly perceived. Please please please do not assume that I do this to specifically whitewash Silco or make him less morally gray, this is my genuine read on them based on my own experience and views. I do not claim that I don't have any bias at all, but I think that it didn't influence my opinion that much.

I am going to say this from the start: I don't have much negative to say about them and I don't think of their relationship as toxic. If this point of view is unacceptable to you, please disregard this post. However, if you want to discuss this topic with me and challenge my points, please be civil about it and don't insult me. I don't have any ill intentions, nor am I trying to normalize unhealthy behavior.

Okay, from this preamble to another. This analysis is going to be based entirely on season 1 and nothing else. Some of my points will address common perceptions about them in the fandom, some I'll write as a regular analysis.

Now let's start shall we (yes, this is going to be a one long post because they're so so important to me). In the second paragraph I said that I don't view their relationship as toxic. Let me explain. I think this is a very complex topic and opinions will vary from person to person. Considering that both Silco and Jinx are mentally ill this adds another layer to our already complicated cake. So, for me toxic relationships are those where at least one person almost always behaves in the way they see is right, disregarding other person's wants or needs. It also must include unhealthy/toxic behaviors, i. e. manipulation, gaslighting, possessiveness, control over other person's decisions, physical and/or emotional abuse etc etc. These behaviors must be routinely occurrences and not happen only once or twice. You can say: "But a lot of things you listed exactly describe how Silco behaves towards Jinx!" well. No but I'll get to this later.

There's also an elephant in the room we need to deal with: codependency. Now, I don't claim to be an expert on the topic or even well-informed, but I have a feeling that this term is a Bit overused. Terms, especially medical ones, are very useful for describing one specific thing. But as of late a lot of terms are used on things that are not. Well. The thing the term is describing. You don't need to go far for examples: hyperfixation, depression, panic attack, etc. When knowledge becomes widespread, things like that are inevitable, unfortunately. But back to the topic. Are Jinx and Silco's relationship codependent? I personally don't think so. One of the key characteristics of a codependent relationship is losing a sense of self and disregarding your wants/needs, and Jinx and Silco never display that. They are very self-driven characters. And while Jinx did do some things to impress Silco, it's not necessarily a symptom of a codependent relationship specifically. Again, I'll compare it to medical symptoms. If your right side hurts it doesn't mean you have appendicitis, if you have a short attention span it doesn't mean you have ADHD. Mental health problems Jinx and Silco have can be just that: mental health problems. Trust issues, low self-esteem, fear of abandonment, etc. They don't need to be a part of a bigger problem, even if there are some similarities. (Also just a side note: I got misdiagnosed with OCD this year, so I take correct descriptions and understanding of conditions/words very personally).

MAN THAT WAS TOO LONG. GET TO THE ACTUAL POINTS.

Alright. So first of all, Jinx and Silco are VERY trusting of each other. They both allow each other to enter their personal spaces, and feel comfortable and free in each other's presence. Silco allows Jinx to do his eye injections, to show him physical affection, he also trusts her with missions for his job, even when everyone else is against it. When Jinx in ep4 tells him that "(her screw up) won't happen again", he simply answers "I know". Despite Jinx's own insecurities Silco fully trusts her (sometimes even to his own detriment). And she fully trusts him as well (until the whole Vi shenanigans anyway), what can be seen in a way she's not afraid of his emotions or even to hurt him, because she knows perfectly well that he'll never harm her in any way (physical, I mean). And although there is a clear miscommunication between them in ep4 I don't think it's a common thing between them, and this specific case was caused by Jinx's deeply rooted trauma and low self-esteem, which Silco is unfortunately unable to fix.

Now onto the probably most common criticism of Silco specifically: that he made Jinx his weapon and raised her to be this bloodthirsty on purpose. And to this I say - no way. Silco DOES love Jinx and DOES trust her, but he's not blind and not an idiot. He perfectly knows that Jinx can cause a huge mess and potential troubles on the missions, his subordinates hate her, her mental state is unstable and therefore she's not the most reliable asset in the slightest, nor a necessary one. At no point do we get actual proof that Silco needs Jinx specifically for his operations, he seems to allow her to participate in them out of her own volition. After all, she does like being needed and included in the family business. You could argue that he needs Jinx for her gadgets and weapons, but nobody besides her uses them, so this option doesn't fit. "But he did request her to build Fishbones!" yeah. After Jinx stole the gemstone, again, out of her own choice. Silco is a swift strategist, if he sees an opportunity somewhere he takes it immediately. So there's nothing actually wrong with him asking Jinx to build a weapon with the use of gemstone. She didn't steal it for it to just. Lie there, after all. As to her bloodthirsty-ness I think he only nurtured what was already there. If you remember, in the very first episode Jinx made a bomb with NAILS in it. I don't think I need to tell you that it's just a horrible idea for a bomb, and she was only 9 at the time. As to Silco's "become what they fear" line. I don't think it indicates that he specifically raised Jinx to be a weapon, because he applied the same phrase to himself and we don't see him running around throwing glitter bombs at everyone (although it would've been cool to see ngl).

Next - Silco is very supportive of Jinx. His office is filled with things she drew all over, her inventions are tied to the ceiling. When Jinx is overwhelmed and upset about the failed mission he tells her to "focus on her gadgetry" and to "take some time". He clearly knows what she likes and what would put her in a better mood. He also doesn't restrict her self-expression, which can be seen in the way Jinx looks. I mean, you'd think that Silco would probably want for her to wear something more...classy? But he doesn't mind even one bit.

Another point I see a lot - that Silco loves Jinx but not Powder. I actually kiiinda understand where this point of view comes from, because the show does frame Vi and Silco as representatives of her Powder and Jinx persona respectively, but I don't think the text itself supports this. Let's take the river scene because it is the cause of this discussion in the first place after all. Silco tells Jinx that she needs "to let Powder die" and that "Jinx is perfect", but I don't necessarily agree that he meant it in a "choose between two of your personas" kind of way, because this conflict never existed between them in the first place. Vi does want "Powder" to come back, but Silco didn't show anything that would indicate of him disliking young Jinx in any way. He did adopt her when she was still Powder, after all. And even if she changed her name on the same night, her personality didn't, because that's not how humans work. So, he NEEDED to love Powder to raise her. Back to the river scene, he tells Jinx that she needs to let Powder die so "the fear of pain would no longer control (her)". "Powder" is tightly connected to Jinx's trauma of killing her entire family and Vi leaving her, i. e. the fear of pain of being betrayed again and the fear of messing up. In terms of psychology she really does need to live through this moment and properly process it, but unfortunately there's no psychologists in neither Piltover or Zaun, and Silco being mentally ill and not knowing better himself can only help her this way. "Jinx is perfect" also doesn't mean that he prefers Jinx over Powder, but rather "Jinx, the person you are right now, is perfect and strong. You need to let that weak part of you (Powder) die, so you can move on and become something greater". Jinx might've interpreted his line in the wrong way herself, but again, there's no actual evidence of Silco liking "Powder" less and only ever wanting "Jinx". And if we hop further into the finale, he literally says "YOU are perfect". Whatever seat she chooses, she will always be perfect to him. Even if she turns against him and everything he fights for, even if she kills him, even if she hates him, she remains perfect in his eyes. He might differentiate "Powder" and "Jinx" and a weaker/stronger part of her, but despite all that she's still his daughter.

Also. He's dealing with her mental health SOOOO great chat it's not even funny. I mean obviously he can't take care of it perfectly because again, psychology is non-existent in this world, but everything he CAN do he does just sooo good. He never lets other people berate or insult her, if he scolds her he only ever does this in private, he always tries to be patient and gentle with her, and the only time we seem him lash out at her is after Jinx stole the gemstone. He also seems to know what causes her psychosis and how to stop it, because he yells "Don't listen to her!" to Jinx when Vi triggers her, and then proceeds to try and shoot in Vi's direction to shut her up. We now know that this wasn't the best decision at all, but he literally goes feral when Jinx is hurt, so can you really blame him? There is of course an issue of him enabling her violence and letting her do everything she wants, but to cut Silco some slack he deals with a very mentally ill child, and as we saw in ep3 cutting Jinx off of something can easily cause her to have a mental breakdown. So I think partly his enabling was caused by his want not to hurt her.

Phew. I think we only need to get through the minor points now.

Manipulation: we only ever see Silco manipulate Jinx once, when he lied to her about Cait and Vi's reason for being in the Underground. Nothing indicates that he regularly manipulated her before.

Possessivness: I think this claim also doesn't have substantial evidence to back it up. We only see Silco being possessive of Jinx because of Vi, and even then it's not pure possessiveness. He literally doesn't want Jinx to be betrayed and possibly even killed like him. I think if Jinx just wanted to leave him on her own he would be a-okay with that. Also he doesn't watch over what she does/where she goes, which again reinforces his trust in her and him respecting her privacy.

Silco isolated Jinx from others: uhhh. See the end of the previous paragraph. If Jinx wanted to befriend someone she could've easily done that, and Silco wouldn't even know. The only person she couldn't befriend because of him is Ekko, but even he says to Vi that Jinx chose to be on Silco's side herself, so *shrugs*

And with that, I think I covered everything I wanted about their relationship. It's not perfect, but it's not bad either. Personally, I don't want to label it as anything, because minus the drug mafia and murders aspects they're just a regular father and daughter. There are no perfect parents, there are no perfect children, but if they try their hardest to love each other in a way they're both happy with, they're great in my book.

[qoldenskies]

Thinking about Rise Splinter hate… it always makes me kinda sad. Like YEAH, it wasn’t right the way he treated the boys. But like, Rise is really good at expressing subtle familial dynamics, and one of the big ones for me is the fact that like… there’s always an undercurrent of “It’s complicated” to their interaction with Splinter. IRL, it always pisses me off to see people casting judgments on people’s relationships with their family, because you don’t know!! Yeah, they hurt you, but not everything’s black and white. It’s complicated. Because you love them, and sometimes you get to understand a little bit better why things happened as you get older.

In a matter of smaller importance, hate for him loses so many opportunities in his character… even things that might just be kinda off-handedly mentioned.

He fought for SEVEN years—give me Splinter with chronic pain. Splinter relating to his boys with their neurodivergence—it’s HIS fault they have it!!!

That was seven years of imprisonment, or even simpler, an abusive relationship. What did he learn from that? How did he change? What things are skewed in his worldview?

His childhood! We saw his relationship with his grandfather a bit, but how did Splinter grow into his dream of being a movies star? HIM BEING A MOVIE STAR. He was both a rebellious team and a literal celebrity, this guy probably took empyrean at some point without knowing it, just like. Recreationally or something LMAO.

I maybe just need more of his old man knowledge. Him being so loser-core was a great move by the Rise team, and I could SEE where his story was going—ROBBED. We were ROBBED.

splinter hate is CRAAAAZY when he's such an INTERESTING character who does actually have a lot of obvious depth. like he's goofy and he's objectively flawed as a parent but he does go out of his way to improve himself and LEARN throughout the show, and he does listen and apologize when he knows he's messed up. his issues are so similar to leo's actually, leo's a kid so he's got more leeway to be shitty but idk when people act like its endearing on him and not on splinter. splinter's hilarious free my man

on the other side of the coin i dont really like when people make him a perfect loving parent either,,, i think people going for all kinds of interpretations in order to serve whatever story they need is fine but i do prefer kind of messy parent splinter, i think its kind of sad to see him reduced down to bad or good. he LOVES his boys so dearly and he would NEVER intentionally want to hurt them, but he's quick to cast judgement when he's angered/feels disrespected (evil league of mutants comes to mind, but also in turtle dega nights when donnie first stops the tank) and he's really a lot more inattentive than he should be. but there are REASONS behind this, coming out of an abusive relationship, fighting in bloodsports against his consent for years, you could probably count the whole draxum thing as traumatic (its presented as kind of silly in the show, but considering what it lead to,, its a pivotal moment in the backstory. its one of those things that i reasonably feel can be recontextualized because its so essential) and then dealing with crippling body dysmorphia and being forced into the sewers with no company other than his children,, it really adds up

idk like ,,,, you can still be extremely traumatized and be a horrible parent. in fact trauma can be a direct CAUSE of being a bad parent because that kind of thing influences every facet of your life and if youre unprepared emotionally, yeah. but splinter isn't the kind of person to double down and become more overtly nasty when he feels cornered. if he gets the feeling that his kids are actually upset with him, he backtracks. this is actually kind of a key trait of his, that he does try very hard to correct himself when he messes up. he's communicative and apologetic, and he tries very hard to be that way.

and also this is maybe something that i just have a wider problem with when it comes to the way people interpret things in cartoons at times but splinter's actions in eps like lair games (especially in lair games) and flushed but never forgotten are meant to be like. jokes. its absurdist comedy that's meant to catch you off guard. there are more serious emotional beats in rise you can use but i think when youre adapting this world and characters into a more serious tone you have to keep that kind of thing in mind because some things are meant to be surprising and absurd for the sake of making you laugh. i think the best comparison i can think of is how in musical movies they're not actually singing (in most cases, sometimes the fact that they actually are is played for laughs it depends. but yk what i mean). the joke is that this is kind of a shitty thing he's doing but taking the actions themselves seriously in a vacuum in order to cast shame on a character has always been odd to me. that'd be like calling raph abusive for rolling up the window on mikey's neck in late fee. or calling the teetz murderers because they caused a robot mass suicide that one time. it just doesnt make any sense

[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.

[fairyhaos]

How To Fucking Write: a guide by fairyhaos

[masterlist]

this post details:

DIALOGUING INTERESTINGLY

hi gays and gals! the first post on starting and pacing a story did really well, so "how to fucking write" is back, with yet more advice and tips for everyone ^^ please feel free to let me know if there's something you want me talk about, because i'll be more than willing to see if i can help. also a reminder that i have a taglist for this series as well, and please reblog if you find this helpful :)

# - HOW TO DIALOGUE.

.. bullet point one : grammar

okay guys, as a native english speaker, i'll be the first to tell you that this language fucking sucks in terms of its grammar, but when it comes to dialogue, understanding how it works even to some extent will help you branch out and vary the way you write dialogue, which makes it so much more interesting.

with dialogue tags (said, asked, etc) if the punctuation mark in the dialogue is not a ! or ? then it should be a comma.

example : [junhui + castle]

as you can see in the first line, a comma is used rather than a full stop, because the sentence hasn't been finished yet. there's a dialogue tag, ('you correct'), that comes after it. and since the pronoun 'you' isn't a proper noun (i.e. a name) then it shouldn't be capitalised, because, again, the sentence hasn't been finished.

with action tags however, (he smiled, he stood up, etc) then it should be a full stop.

example : [i just made one up bc i don't use this a lot lmao]

"I disagree." He stood up, and walked over to close the door. "This isn't safe. You shouldn't go alone."

and now, since there is a full stop, it indicates that the speech is a sentence all by itself. that means the next word ('He') ought to be capitalised.

but the key part when grammar-ing dialogue in order to make it interesting depends on where you put the action and grammar tags.

if you constantly have lines that are just:

"dialogue," he said.

"dialogue," she said.

"dialogue but a bit longer," he said.

... then it can get repetitive, and annoying. by varying your dialogue structure, it can create more interesting dialogue.

example : [minghao + password]

there's a variety of dialogue and action tags being used with each line of dialogue, preventing everything from sounding too repetitive.

the first line starts with a normal sentence, and an action tag. the second is a standalone line of dialogue with no tags. the second has the action tag in the middle of the dialogue. and the last has a dialogue tag in the middle of the dialogue.

by varying the ways in which you write your dialogue, it makes everything a lot more interesting.

.. bullet point two : verbs and adverbs

the easiest way to make dialogue interesting, though, is to use fancy words.

this can be by replacing 'said' with a range of other dialogue tags (see this really comprehensive list for a whole variety of different words), but i'd advise against overusing these. 'said' is your friend! it's the invisible dialogue tag, helps your reader read through your dialogue in comfort, but of course, if you wanna add a nuanced way of describing the dialogue, then replacing 'said' is the easiest way to make your dialogue interesting.

but don't overuse these. for me, i'd focus on action tags and adverbs.

use interesting adverbs that add description to how a character is saying something can go miles. and using action tags that break through what could have been a long section of characters just talking? it helps so much.

i'd recommend having onelook thesaurus open as you write. you don't have to type in just words: phrases, the overall vibes of the word you're thinking of, all of that can be typed into the thesaurus and they'll provide you with pretty good results each time.

it also really helps when you've forgotten a word and can only remember vague bits of what the word should feel like.

.. bullet point three : voices

the best way, however, is ultimately to create a character. write a personality for them, bring them to life, think about the way in which they would talk and then put that down onto paper.

it's difficult, perhaps the most difficult to do, because it's also so tricky to advise someone on how to do this. it's all about the character you want to create, the personality you envision for them, and the only person who can fully write that is you.

however, i would find a few 'ticks' of theirs and use them as indicators in your writing.

for example, in my seoksoo long fic, seokmin's tick is that he always "chirps" what he's saying. and beams. a lot. this identifies his character, makes him unique(ish), and establishes his personality and differs him to the other characters.

but ultimately, it comes down to word choices, when you're writing a character voice.

like, your character describing something with elegant, floral language vs them going "this is so pretty". or perhaps making them stumble over their words when they're panicked vs them simply just going silent when they're flustered.

it's about being specific. about making choices with your words that would have english teachers analyse and unpick your writing, hundreds of years later.

(even if it's fanfic. especially if it's fanfic: because who knows how many fans may join your fandom in the next few years?)

... and that's it ! if anyone has anything else they want advice on (how to structure, how to write dialogue, how to plan etc) then just shoot me an ask, because i'd love to help however i can :)

tagging (comment/send ask to be added!): @selenicives @stqrrgirle @weird-bookworm @eternalgyu @blue-jisungs (tough luck guys btw but youre gonna be tagged in this entire series ehehehe)

[stovetoast]

pillow tpot headcanons (long ramble expanding on the ocd part under the cut)

ok so first warning: i am not a psychiatrist. this isnt a super educated essay on ocd, just me projecting my lived experience onto an object show character. this is just an observation. if i get something wrong feel free to correct me, ill add it here. (its also worth noting i am self diagnosed. not "quick google search" self dx though, ive gone over it with a therapist and everything)

and that leads into the second warning: this ramble will get a tad bit personal sorryyyy

and finally the third warning: i put she/it on the ref but im just using she/her for simplicity (+ i forgot LOL(

anyway so yeah i think that pillow has ocd and is basically the embodiment of "letting intrusive thoughts win" except like. actually. this headcanon didnt stem from the killing or the strange impulses though, i think she has it because of her fixation on good and bad luck in tpot 10.

for me it manifests in a few different ways. my main one is counting—i have good luck numbers and bad luck numbers. i need to take a specific number of snacks every time i have a bowl of them. i have to shake medicine bottles a certain amount of times before taking them. i am always counting the "syllables" of whatever im doing, and it always has to land on a multiple/factor of my lucky number. and if i break any of this, i (generally, if i cant convince myself its fine or if i dont notice) have to count to my lucky number otherwise something bad will happen. hell, i added more flags to this ref because the number of them was my unlucky number.

i have a few other things that affect it that are completely unrelated to counting, though. like a particularly bad one is that i straight up cant wear certain articles or clothing anymore because theyre bad luck. or my ungodly long night routine (which is probably more of an autism thing tbh. but certain parts of it are absolutely influenced by the ocd, like having to say goodnight to my dog).

that ^^ is what i saw in pillow. she was distraught that her team lost in 9, because not only did she think she was doing the challenge right, but killing people (bringing death) was good luck for her.

i think her killing people was a compulsion, and her whole thing in 10 was her scrambling to find a new one after that stopped working.

and before anyone tries to be all like "oh thats fucked up why would they portray ocd like that," one: i dont think this was on purpose this was just an observation, two: i mean..... fuck dude if i lived in a world where revival was incredibly accessible and one of my compulsions were to kill people, id do the same thing. death is fairly normal in bfdi, to the point everyone literally has a kill count on the fandom wiki (hers is 13 as of tpot 11 btw, a commonly unlucky number ironically enough. if she gets eliminated in 12 with an unlucky kill count thatd be so funny). once they get past the pain, its. really just an inconvenience to them.

when it comes to ocd, you. HAVE to do these things. its not a choice until you can get some outside help with it, and oftentimes its an inconvenience to those around you. i dont think its right for her to be going around killing her team, but when i get past the fact that is literally what made her my favorite, i get where shes coming from. shes trying to help in a way she "knows" will work.

or maybe shes just silly idk

[twistmusings]

Character Analysis of the Twisted Wonderland Dorm Rooms - Savanaclaw

Thanks so much for your input on the first post everyone! Honestly a lot of you have much sharper eyes that I do, so I'm making it a habit to add addendums when people spot things that I don't.

At any rate, here is the examination of the rooms for Savanaclaw!

Dorm Room Character Analysis Series

Heartslabyul | Savanaclaw | Octavinelle | Scarabia | Pomefiore | Ignihyde | Diasomnia

Leona Kingscholar

To start with the obvious, Leona is probably the most disorganized dorm that we've seen so far. He's noticeably left his clothes lying around the room. It's of note that he's got an empty hangar in his closet, which could mean that some of these clothes are clean and he cba to hang them up.

Leona has a chess set with three pieces displayed - what appears to be a Knight, a Rook, and a Pawn. I believe this may be a reference to the story arc of book 2, considering that Rooks are a powerful piece in chess. If we consider in terms of chess, if I had to guess, I would say the Knight is Leona (known for it's unique movement which can be used to strategize and take tactical advantage of board placement), the Rook would be Ruggie (known as one of the most powerful pieces in chess because it can move any distance in a single line so long as it doesn't jump another piece, thank you anon for correcting me on this!) because of his unique magic being the lynch pin of Leona's plan during book two, and Jack, or more generally, the rest of his dormmates, being the pawns, that are used to set a strategic defense.

Also of note, Leona has a plant in his room. Of course, it could be fake, but if it is real, it shows a nurturing aspect to Leona that is interesting given his characterization that we know of. Minor Spoiler Warning for Book 6 that has definitely been pointed out by other people, but we know that he lets Riddle rest on his lap during the book when he's knocked unconscious, so he does, indeed, seem to have aspects of a nurturer in his characterization that he tends to hide by being prickly. If I had to read further into this, I would say it's another aspect of his motif overall - Leona has the capacity to care a great deal about everything, but he doesn't because he isn't given the same opportunities as Falena, and so you see those parts of him come out in other places.

This may be a bit of a stretch, but I believe this pillow in Leona's room is intended to be a call-back to Lions and their manes. When Leona lays his head down on the pillow, the pattern would be splayed out around his head like one.

Leona, of course, has textiles in his room, which is mentioned to be important for his homeland in the Tamashina Mina/Cloudcalling event as they are handmade and the primary source of income for Sunset Savanna. This is of note because Leona is not the only one in Savanaclaw to display tapestries like this, but these tapestries are notably similar to those shown in the Tamashina Mina.

So this is going to be a very long and not particularly important sections, so feel free to skip if you CBA to read it, but I wish there was a little bit more information about the inspiration drawn for Leona's homeland because it could be particularly informative of the actual symbolism in the textiles. If we are considering what we know about his homeland, Leona mentions a few things that give us some hints as to the location.

Generally speaking, the Lion King is considered to be set in Tanzania, and this is in line with the Hibiscus and the Baobab that Leona mentions in the Cloudcalling event, however from my most definitely not expert research, a lot of textiles produced in Tanzania are wax dyed. (Mind, I am far from an expert in African Textiles.) This becomes important when Leona mentions that the tapestries and clothing in the Sunset Savanna are woven. While it's not always a rule, typically woven clothing and tapestries are dyed before they are woven, and weaving is what produces the pattern. With wax dyeing, the textiles are produced first, and then waxes are used to create layers of dye that are arranged in patterns. (This also gets called batik dyeing).

The left, above, is a Tanzinian Batik Kitenge Fabric from east Africa, while the right is a Ghanaian Woven Kente Cloth from West Africa next to Leona's Tapestry to show more of what I mean, which throws a wrench into examining this further because we are talking about two different cultures across the continent from one another.

The gist of this being, it does seem that Leona's tapestry and blankets would seem to be more in line with woven fabric as opposed to batik dyed fabric. If anyone has more information who is more versed in this subject, I would love to know more! Basically, this is the long way of me saying I can't exactly identify whether or not any of the tapestries or blankets in his room hold any particular meaning in their patterns or colors because I wouldn't know what culture it would be drawing inspiration from! To be quite honest, it is entirely possible this is a case of Twist mixing several cultures together to paint a more general picture of African culture.

To change the subject back to the room - Leona has a notable lack of study materials in his room. In fact, I don't see a single book in his room. If Riddle is the one who is the king of the little readers club, Leona was the kid who filled in all the stamps on the summer reading list to get the prizes without reading anything.

While it's not as prevalent as Cater or Trey, Leona's room features a lot of darker yellows and reds. It's possible that Leona favors these warmer colors, which is funny considering his rather gloomy outlook on a lot of things, as these colors are generally associated with happiness and passion.

The hidden mickey in his room is just below his overhead lamp.

Jack Howl

Jack, as we know, has a little cactus garden in his room. it is of note, his cacti are flowering, which is a sign that his little cacti are as happy as could be.

This might be a bit morbid, but if I had to guess, I would guess that Jack's rug is a synthetic wolf-skin rug given the jagged design on the edges. This is only a guess of course, as the bedrooms and backgrounds in twist tend to have a slightly flatter style than the rest of the game, so it's hard to tell if it's actually fur or not. Regardless, we see see a lot of the members of Savanaclaw's animals represented in small touches in their room.

Jack is pretty organized in comparison to the other freshmen! All of his books are put away, and even his weights and resistance bands are tucked away as much as they can be.

Jack seems to have soy protein, a protein shake container, and a stick of deodorant ready-to-go! Jack might be a bit extra with his workout routine, but at least he seems to be responsible about it by making sure he's getting the nutritional support he needs to build muscle and taking care not to smell rank.

Jack also has a textile on his wall. Given the Shaftlands seems to be generally inspired by Europe, I would guess that the tapestry is most similar to Nordic knitted and woven fabrics. The motif of the tapestry seems to be floral designs or snowflakes and pine trees. This seems to be a cute callback to how Jack likes to snowboard and how he comes from a snowy place.

Like the other first years, Jack doesn't seem to have decorated his bedsheets much. He does have a bedrunner in a flamestitch sort of pattern. Though the flamestitch pattern isn't commonly attributed to any one country, it is generally considered to be of European origin, adding to the European inspiration of the shaftlands.

The hidden Mickey in Jack's room is next to his tapestry.

Ruggie Bucchi

Mr. Pig. More seriously, Ruggie found it abandoned on the street and took it home. There's a meerkat version as well that Ruggie has mentioned getting in his Birthday Boy Vignette. He also mentions that it sings or lets out a happy squeal when you put coins into it.

Also, Ruggie has a framed photo on his desk, similar to Deuce. I would guess this is a photo of him and his grandmother.

Ruggie actually seems to read quite a bit! He has books in his bookshelf, as well as stacked next to his bed within easy reach to read there if he would like to. These don't seem to be textbooks, so it's an easy conclusion that Ruggie probably reads in his free time. My guess for the textbooks is that Ruggie likely downloads them online from a library resource. Or illegally. To be quite honest, good for him, textbooks are expensive for no damn reason.

Ruggie is also quite well organized - he doesn't have a lot of personal items in his room, but the ones that he does have are put away.

Following on that last point, Ruggie's lack of decorations aside from a handful of things likely lends to him being raised in poverty.

Interesting note, but Ruggie has roommates. In fact, a lot of the Twisted Wonderland cast do, but you can actually see snippets of Ruggie and Jack's roommates space in their cards. The freshmen are mentioned to have four to a room, so though I didn't include this in the first post, Ace and Deuce have two other roommates.

While it might be easy to assume that Ruggie's comforter is giraffe print at first glance, the coloration and spacing of the pattern actually leads me to believe this is meant to be the pattern of a spotted Hyena.

Ruggie's hidden mickey is on the wall next to his closet.

[suudbe]

hi! i hope you don’t mind me asking but what happened with Akatsuki? im very out of the enstars loop so i feel a bit lost in understanding what all is going on 😅 feel free to ignore me if you don’t want to explain!

No problem at all! I'll explain to the best of my ability.

Recently, Enstars added 5 new idols. One of the new idols is Taki Ibuki and he is from Okinawa and is Ryukyuan. When Japan colonized the Ryukyu Kingdom, they forced the people to assimilate into Japanese culture. This process is called Japanization.

So, when rumors came out about the Ryukyuan character Ibuki possibly joining Akatsuki, a unit focused on Traditional Japanese aesthetics, people who know that history immediately called out the implications of writing such a thing. The head writer is known to write indigenous characters disrespectfully, but surely he wouldn't go this far?

It's been stated in several Akatsuki stories that Keito, Kuro, and Souma want it to only be them. There is a heavy emphasis on them having a bond stronger than blood. This is gonna be a one-off collab that leads to something bigger maybe Ibuki will go solo! Literally anything else BUT this please.

What followed was a story that mischaracterized every Akatsuki member. It was like all character development was reversed, for Keito, it seemed like he was a completely different dude.

The Enstars official twitter released a message to "Please not spoil the last few chapters for at least 4 days 🥺" they've never done this to my knowledge. It was blatant damage control for the shitstorm they had created themselves. Ibuki was brought into Akatsuki. What followed the next few hours were QRTs in all different languages absolutely GOING IN on Happyele, as they should. I saw so many people mourning the future of the franchise, many more leaving altogether, so much sadness and anger.

People connected the dots of releasing a Rei along with the event, since he's very very popular, and also announcing the PJSK collab. These would build up hype so maybe people would overlook it or it would draw them back in or some shit.

If I'm to sum it up in one sentence I'd say that Akatsuki was blatantly mischaracterized so they could fit their racist narrative of Indigenous people being "primitive" or "fixable" and needing to assimilate into Japanese culture.

Hopefully I explained the gist of it, I have a hard time phrasing and I've been told I explain things a bit unorganized. Here's a link to a twitter thread that most certainly explains way better than I could and two Wikipedia links that helped me learn.

A thread by @/gitsunegal on twitter written Oct. 10th when the rumors started. The last tweet in the thread is after the announcement, Jan 3rd.

A Wikipedia article on Japanization, contains summaries of not only Okinawa but also other areas that experienced Japan's colonization.

A Wikipedia article on the History of the Ryukyu Islands, I'd like to specifically point out the section Okinawa Prefecture, 1879–1937. Starting at the section Battle of Okinawa, the article discusses heavy topics such as rape, violence, and death.

If I missed anything or if any information is inaccurate please feel free to correct me or add on.

[h0neybane]

someone's probably already done one of these by this point but uh.

GHIBLI-MOVIE-BASED TWST FAN SCHOOL!!

i actually tried designing a ghibli inspired fanschool when i first got into twst (four years ago... yeesh) but it never took off and i cant find any of that anymore so... I'M TRYING AGAIN!! i literally dont even have a school name yet but i'll add tidbits explaining my choices for the uniform under the cut! i'll tag this with the school name when i come up with it later edit 8/4: school name has been added in tags! edit 8/4 (again): school logo and first dorm have been added! edit 8/6: second dorm added!

im 1st going to explain my reasoning for the uniform design and then dive into my ideas for the school itself (dorms, atmosphere, location, etc) one of the biggest things i assosciate ghibli with is their nature + sky shots; such as these ones

so i wanted to include flora inside the design, hence the boa, laurel, and the little vine wrapping around the fem uniforms sock! adding onto that, i made the uniform a light blue striped with white to reference the skies. i also assosciate ghibli movies with peace, so the light blue adds onto that. the band on the arm is the same as nrc's; serves to show what dorm the student is in. the mage stone is located at the broach on the collar's bowtie. the gold around the gem is meant to look like a little flower!

moving onto the ideas i have abt the school...

going back the floral aspects of the uniform design, i think it'd be really cute and magical if they when they recieved the greenery (i'll refer to both the boa and laurel as 'greenery' collectively for simplicity sake) during their freshman year, there were no flowers yet. i think over time, as each student grows as a mage over their years at the school, flowers and plants bloom on the greenery to show their progress. maybe the flowers are specific to each student? i cant decided whether its instinct or they choose what flowers they want themselves

i feel like itd be fitting for the school to be located in a very secluded area. when i picture it in my head, the main building is smack dab in the middle of a flower-filled hillside that's right next to a forest... i'd like for it to be next to water too, but i'm not sure if the ocean would make sense geographically????? maybe it's just a big lake or waterfall inside the forest

i think the correct aesthetic for the school is 'romantic academia?' that's what pinterest is telling me anyway LOL. i think maybe the building is just shaped like a castle similar to nrc and rsa.. but then again i really like the idea of it being similar to Little Witch Academia's luna nova academy. we'll see

like nrc, i have seven dorms planned and theyre twisted from the most iconic ghibli films (according to google). in no particular order: howl's moving castle, princess mononoke, spirited away, ponyo, my neighbor totoro, kiki's delivery service, and castle in the sky. i might add or remove some of these! but theyre what i have for now. thats all i have for now, but feel free to give me any input/ideas (whether in the replies or my asks)! also if anybody wants to draw their oc in the uniform or anything i'd love to see it pls @ me...!!!!

[fandomfourever]

Hmmm

Thanks to a post in the Inhun tag, I've been having more thoughts. The poster shared a screenshot of the books in In-ho's apartment:

So of course I was curious and had to go look up what this book was. Now, anything I say beyond this point is based on the 30 min research I did so please keep in mind I make no claims to be an expert on Lacan or whatever. If anyone who did study Lacan has anything to add to this or correct, please feel free. I took some screenshots of some interesting aspects about Lacanian theory that I felt seemed potentially connected to In-ho and Inhun.

In-ho having a book on this theory is interesting. If he agrees with any or all of the things Lacan says, then it makes sense why he has little regard for the players, who he sees chasing the desires they'll never truly fulfill. That they subconsciously enjoy the fight for desire above attaining the desire itself, and so they'll always go against self-preservation, if it means they continue that "pleasure". However, that last screenshot I took is particularly intriguing to me as in Inhun shipper, lol. I mean, it shows that In-ho has perhaps reflected on the fact that deep down all he really desires is love. But given the things he's seen and done, and the rest of the theory, maybe he sees that as a thing he'll never have again. If he ever truly had it (as some of the things I've been reading on the theory suggest that at it's most basic, all love is conditional and can be taken away at any moment).

We see In-ho fixating on Gi-hun, who has shown that he's willing to put aside his own desires to help others. And if he is able to disprove In-ho's views on the games, perhaps Gi-hun is capable of unconditional love, counteracting Lacan's theory.

I don't know if the creator of Squid Game also wanted to use this theory to color the entirety of the show, but I could see this being a possible indication we could get a happy ending (well, happy for Squid Game, lol, I don't expect everyone to make it out unscathed after all). That's if he intends this all to be a dispute of the theory of course, especially since the theory does have quite a number of critics. Given in an interview he said Gi-hun is based a little bit on himself, I'd imagine that Gi-hun's optimism and hope is not meant to be entirely quashed, you know?

Again, not an expert on this, but I found it something worth thinking on, especially when it comes to analyzing the character and the ship (and potentially the show as a whole).

[lady-pug]

Written Between the Lines

Chapter VIII - Wrap Me In Your Embrace, Quell My Fears

Summary: You receive the most wonderful news from the maester, and you must share them with your Aemond. But, even though you should be happy, why do you suddenly feel so… afraid?

Pairing: Aemond Targaryen x Reader

Word count: 2,2k

Warnings: canon-typical incest (uncle-niece); discussions around the topic of pregnancy and childbirth and fears and anxieties that come with it

Notes: Soooo, here we are! This is just some short (at least shorter than other chapters) and cute (if not a little angsty) thing I had in mind for these two for a while now before going forward. Do bear in mind that this chapter (and a few others to come) contains talks around the topic of pregnancy and childbirth and fears and anxieties that come with it, so if this is not really your cup of tea, proceed with caution.

Anyway, as always, if you spot any mistakes, please feel free to warn me and I’ll correct it right away, and feedback is always welcome and appreciated. I hope you all had a great start to the new year!

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You knew you should be happy, ecstatic even. Yet, the only thing you felt as one of the maesters gave you a little congratulatory pat to the back of your hand was fear. Spine chilling, paralyzing fear. Why were you suddenly overcome by dread, to the point where you whimpered when the closing of the hardwood door that led to your chambers signaled the maester’s departure, almost calling after him, begging him to stay with you.

This was what you wanted, wasn’t it? Something you craved for so dearly it almost brought tears to your eyes when you couldn’t get it the first few times around. So why, why were you feeling like this now that you finally got what you wished for?

You could go to your mother for advice. You knew she would understand, but lately she had been swamped with petitions and audiences, never catching a break. You didn’t want to add even more to her plate. Alternatively, you could search for comfort in your good mother, or even send a raven to Dragonstone, where your good sister now resided. Alicent, and especially Helaena, would understand, help quench your anxieties, and they weren’t as bound by duty as your mother. Hells, you could even send word to Driftmark and ask your grandmother Rhaenys about it.     

But you couldn’t, not really. Or at least you felt like you couldn’t. No matter how many excuses you made up in your mind for hesitating to look for help, even just for someone to talk to, the undeniable truth was that you were ashamed. Ashamed of what exactly, you couldn’t quite put your finger on it, but ashamed nonetheless. You couldn’t help but feel guilty over your own emotions, that you felt the need to hide them from your mother, the one who had carried you in her womb and watched you grow.

But that was precisely the problem, wasn’t it? 

And the guilt grew even stronger, now feeling ashamed over the shame you were feeling. How could you feel this way? How could you forsake the very life growing within you like this? It made you feel like a failure, and you had yet to actually start on this journey, if this was any indication of how you’d be as a mother than you had already failed in your own eyes. 

So lost inside your own mind you had barely heard the door opening and shutting once more. In your unrest you had taken to pacing around the room, now standing close to the window that overlooked the bay.

“Ābrazȳrys?” you heard the soft, amiable voice of your husband sound from the threshold “What are you doing up? You should be resting.” 

Aemond took a step closer, crossing the distance between you. He held so much love in his eyes, so much care, you knew you had to tell him. He deserved to know, this wasn’t something that regarded only you.

So you took his hand, so callused from years upon years of sword training and dragon riding, and pulled him to sit beside you on the mattress.

“Is everything alright?” he asked, concerned, before you could even begin “Did the maester stop by like I requested?”

For a few sennights now you had been feeling… odd. Not necessarily bad most of the time, just different. First came the fatigue, feeling more tired than usual at the end of each day, sometimes falling asleep even before supper could be served. It had regretfully caused you to miss your secret sparring sessions with your husband on more than one occasion by now. Then came the nausea; most days it stayed just that, only an uncomfortable stomach churning feeling that would usually go away on its own, before resurfacing the following day. Only once did it actually evolve to something more, which resulted in you not being able to keep down the seafood casserole served at supper that night. You tried brushing it off, claiming some of the ingredients must not have been as fresh as the seller insisted, but Aemond was unconvinced as you were the only one to experience such a thing after the meal.

Then the final and key indication that something wasn’t quite right was the fact that your moonsblood was late. Where you’d typically get your flow almost precisely on the second weekend of each moonturn, this moon it hadn’t come yet. Suspicion and excitement arose within you, and when Aemond suggested that a maester be called to check on your symptoms, which you had previously written off as a bug or a cold and that it would go away on its own, you didn’t think twice before accepting.

Now you wished you could pinpoint where all that excitement had gone, for all you felt currently was apprehension. But you steeled yourself, for you had news to share with your husband.

“He did.” you grabbed his hand, settled over his thigh, and his thumb instinctively started brushing over your skin in a calming motion.

“And?” he pressed, concern still evident in his tone “How serious is it?”

“Not as bad as anything you are picturing, valzȳrys.” you chuckled but it came out shaky “He did have something important to say though, after his assessment.”  

His eyebrows raised, his hand squeezing your own in reassurance as his eyes urged you to continue.

“Aemond,” you took a steadying breath, your hand giving his a squeeze back, more for your sake than his own, before carrying on in a hushed whisper “I am with child.”

You could see the exact moment the words got through to him, his mind processing what you’d just told him. His eyes shone with unbridled happiness, shimmering under the light coming in from the window, his lips curving up just the tiniest bit, a radiant smile threatening to break out on his features. But he must have seen something, noticed a tiny movement in your own face, for all those signs vanished, replaced by a furrow of his brows in concern.

“What is it, my love?” he asked, voice so tender with worry, and all that guilt you had been carrying came crashing through once again, knocking the breath out of you.

You didn’t realize that tears had started streaming down your cheeks but one moment you were staring at your husband, and the next you were sobbing uncontrollably against his chest, one of his arms snaked around your waist, keeping you close to him inside the safety of his arms, and the other around your shoulders, a hand to the back of your head. His lips were pressed against your temple, whispering soothing, caring words onto your skin.

Oh, he had been so happy. He was so elated and in your selfishness you took that from him. It just added to the ever growing pile of shame you were feeling, making you cry even harder. 

“This is wonderful news, is it not? Should you not be happy?” he whispered once your wails had calmed to mere sniffles, his voice betraying how utterly confused he felt. 

“I-It is, I am!” you hiccuped, and he gave a peck to the top of your head “I just…”

“Ñuha zaldrītsos, ȳdragon naejot nyke kostilus.” he said, pulling back so he could cup your cheeks between his palms, his thumbs catching leftover tears that still refused to dry. The tenderness, the love in his face made you realize he wasn’t angry, or resentful towards you. He was just confused and worried. He wanted to help you. But he couldn’t do so if he didn’t at least know where you were coming from.

“I am scared.” you whispered, finally.

His face gave nothing away, but from the way his palms slid from your cheeks to your jaw, his fingers scratching gently at the spot right under and behind your ears, he wanted you to explain. He wanted to understand.

“I have helped my mother deliver three of my younger siblings, Aegon, Viserys and Visenya. And Aemond…” you bit your lip just remembering the smell of her birthing chambers “She was in so much pain. It would take hours, Viserys’ took almost an entire day. And there was so much blood.”

You could still hear her screaming in agony, could still feel her hand gripping onto your own so tightly you worried your fingers might crack under her strength. 

“And Queen Aemma, my grandmother?” you rapidly continued, your breath quickening as you remembered your mother telling you about her own mother. You didn’t have to tell him, he knew. Gods, the whole realm knew “But nearly every lady, every woman goes through this, do they not? My septa has once told me that the birthing bed is the women’s battlefield, so why do I feel so afraid? And what gives me the right? Almost every woman before me has been through this, and certainly many will do so after me, they make it seem so easy but in truth I am terrified.”

Aemond couldn’t quite say he understood the feeling, as a man that wasn’t a burden he had to carry. But he caught a glimpse into your emotions and could see were you were coming from. When he was little he had passed by where his own mother had been locked away in her chambers, bringing Daeron into the world, and he would never forget her screams, even muffled by the closed door. Even if he never truly understood what it was like he knew that you needed him to at least understand you.  

“Fear is rarely a rational thing, I believe.” he started, trying to grasp onto something more concrete he could offer you “Not every lady shows it, but from my limited experience on the matter I could say most, if not all, also experience this fear.”

“B-But… they make it appear so easy, so effortless. My mother, even, she seemed so prepared.” you argued, almost defeated “They make it seem like pushing out babe after babe is nothing but a blessing from the Gods.” 

“And perhaps it is.” he added, but quickly reverted to his original argument. That was not what you needed to hear right now “Perhaps they never say otherwise because they think exactly like you.” 

You averted your gaze in surprise, like the thought had never crossed your mind in the first place.

“What I know is Helaena was terrified as well, when she was pregnant with the twins.” he continued “She would not say anything for the most part but one night she admitted it to me. She also confessed she did not wish to go to mother with such matters because she feared mother would see her as a failure of a woman.”

It was similar to what you had felt. Helaena understood. You weren’t alone in your fear.

“But when she had Maelor she was less scared, having known what to expect. Scared nonetheless, but less so. Mayhaps it was the same with your own mother. You ought to remember she did carry and deliver six children.” he jested, bumping into you, but his arguments made sense.

As a small, hesitant smile started growing on your face, Aemond nudged his nose against your cheek.

“I know it is not customary for the father to be present for the delivery of his children, but maybe I could-” he started but you were quick to cut him off.

“Yes, please!” you nodded enthusiastically, gripping both of his hands in yours “Please, stay with me when the time comes. I do not wish to be alone.” 

He smiled sadly then.

“You would not be alone, even if I was not there. Your mother would be with you, even my own would gladly assist you. Perhaps you could even send for Helaena.” 

“Still, I would feel safer with you.” the determination in your voice indicated that your word was final, and the adoration in your eyes as you stared at him made something warm, prideful, cozy even grow in his chest, making his heart clench in joyous comfort.

You felt safe with him.

Not because of his dragon, the largest one alive, or because of swordsmanship. Him.

“Then I will be there.” his determination matched your own, before he remembered your worries over the late queen “And I will not let anything happen to you.”

“Husband…” you chuckled “You should not make promises you cannot keep.” 

“Oh, but I will.” he smiled, smugly “Nothing will happen to you as long as I am by your side. I will fight the Stranger himself if I have to, if he dares try and take you from me.”  

“Aemond!” you laughed, fully laughed at his antics, and he couldn’t help but join you. 

As you both calmed down, you felt your heart twist in blazing, scorching love. Whether for your husband or for your child, you couldn’t tell. You just needed him to know. So you rested your forehead against his, leaving a soft, gentle peck on his lips.

“Avy jorrāelan, ñuha vīlībāzmio.” you whispered, your breath fanning his skin.

“Se avy jorrāelan, ñuha rhae ōño.” he answered in kind before pulling back “I mean it.”

He then pulled one of his hands from your grasp, laying a palm protectively over your lower stomach.

“Nothing will happen to you as long as I live.” he said, fierce in his resolution “To either of you.” 

Even though you were still fearful for what would come, some of your worries settled, for you truly believed him.

High Valyrian translations: - ābrazȳrys - wife - valzȳrys - husband - ñuha zaldrītsos, ȳdragon naejot nyke kostilus - my little dragon, talk to me please - avy jorrāelan, ñuha vīlībāzmio - I love you, my warrior  - se avy jorrāelan, ñuha rhae ōño - and I love you, my ray of light (meant as in ‘sunshine’)

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