#finally put it into words

[space-mantis]

i've thought a lot more about cagney as well and the way i interpret him is that yeah he's a cute seemingly friendly flower, that's his natural state that we see at the beginning of his fight and the ending of the game. but he's quick to make it very clear that he's not a pushover. you don't get to trample all over him because he's a flower, he's going to bite you back.

cagney is volatile and will easily snap when pushed too far, he isn't mean or violent though, he's just adamantly drawing a line you shouldn't cross. he can also be very single minded and stubborn which sometimes leads him to making reckless choices, it's the depiction i also love from the comics.

[stoopidstapler]

SO IVE BEEN GOIN INSANE SINCE THIS TRAILER DROPPED. JUST. SIMON. SIMON. SIMON.

[sakuravalelp]

Phantom letters - DPXDC PROMPT

The bats wake up one day to the internet going crazy; people around the world were getting letters from they're diseased loved ones. The reactions are mixed, from people being outraged for the "prank" to people crying in melancholy at getting closure.

All the letters have something in common: They're closed with a green sealing wax that had an stylize DP and the name Phantom beneath it. Posts about the cards were using the # Phantom Letters.

The bats are discussing the viral posts in the cave when Alfred comes holding a basket filled with letters, announcing they were left at the doors. The letters had the sealing wax that they recognize from the posts. Checking the cameras they can see how they glitch before the basket appears.

Alfred starts to distribute the letters that had only one destinatary. Letters from each Thomas and Martha to both Bruce and Alfred. Letters from each John and Mary to Dick. A letter from Catherine to Jason. A letter from the Drake's to Tim, and another one to Bruce.

Once they had calmed down enough from the shock, Alfred proceeded to read the shared recipients. From Thomas and Martha to "The grandchildren we never got to meet." From John and Mary to "the family that took our little Robin in." Letters from Catherine to "My little boys family." The letters were directed to people the deceased didn't get to meet.

As much as the mere existence of the letters tugged at their hearts, they decided to not read them until they verified that the handwriting actually belong to the ones it claimed. They checked each letter, and in the end confirmed the letters were in fact from they're lost love ones.

After much discussion, each person makes the decision to read they're own letters later in private, and they proceed to read the ones that shared recipients out loud. The letter mentioned specifics like names and events that the deceased shouldn't have been able to know, including they're vigilante abilities, which had them pause each time to panic a bit. But what was more interested were certain pieces of the letters that mentioned a Prince Phantom.

"Prince Phantom said to don't mention things past our death, but it wasn't a command, so we're hoping this won't be much of a problem." - John and Mary

"I still can't believe Prince Phantom is letting us do this, but I'm so glad." - Catherine

It finally paints the mystery in a more concerning light when at the end of Thomas and Martha's letter there is a call for help.

"We're sorry for ending the letter on a serious tone, but seeing the kind of job you all get involved in, we wanted to ask: Could you please help Prince Phantom? Phantom had asked us to not give information about this, but he's so young, and has already been hurt so much. Please, check on Amity Park, Illinois."

-_-_-_-_-_-_-_-

Meanwhile, team Phantom has decided that they needed to get the news about the GIW out of Amity and ask for help. Two problems:

the GIW blocks any technological attempt made.

People might be afraid to learn that ghosts exist and side with the GIW.

As a way to deal with the public image, Phantom opens a possibility that the death have never had:

"All afterlives are open to write letters to their love ones that are still alive today. Nothing that includes threats, and don't go talking about the anti-ecto acts or Amity Park yet, we're trying to ease people into our existence first. Also, I know you all check on your love ones when the veil is thin, but please keep the things you shouldn't know out of the letters if possible. If you want your letter to be sent in the first batch, make sure to deliver your letter before the week ends."

Letters are a good way to reconnect people with the death, they aren't digital, and the GIW won't be able to intercept letters if they're send through inter-dimensional portals. Two birds in one shot.

[clarionglass]

here we go :) part one of three, updates to be released weekly!

---

sam says 4 (game master cinematic universe, part 3)

Ruby was at her mum's for a family dinner she couldn't miss on pain of death, apparently, and the Doctor was many things, but a family dinner kind of guy wasn't one of them—particularly when Carla had already slapped him once in the short time he'd known her. He thought he'd broken his streak of bad luck with mums, but… well, seemingly not. So he was companionless for a few hours, and while he could wait for her to get back, maybe catch up on his reading—what was the point of waiting when you had a time machine? 

He ran his hands over the TARDIS console, marvelling at her clean lines and metallic flourishes, the way that even now she felt brand new but familiar, and paused. He’d just pop off for a quick adventure, nothing too dangerous, but—where to go?

He could scan for a distress call nearby, and pitch in to help. He could drop in on Donna and Shaun and Rose, beautiful Rose, and see how they were all doing. Or he could just hit the randomiser button, and jump in feet first wherever he ended up.

He remembered a conversation from a long time ago, when he wore a different face, and his gorgeous TARDIS wore a face too, for the first and only time.

“You didn't always take me where I wanted to go.”

“No, but I always took you where you needed to go.”

He grinned. Who could resist an offer like that? He pressed the button and whooped as the time rotor spun into action, ready to see where the universe would take him.

---

Apparently, he was needed pretty close to where he already was. Earth, 2024. Huh. Same planet, same time—within a few months of where he’d left Ruby, even. The main thing that had changed was the location: he was now in the good old US of A. California, to be more specific, and Los Angeles to be more specific still. And to really narrow it down, the Doctor discovered as he poked his head out of the TARDIS doors, he was in… a broom closet. Not bad, as a parking spot—a bit squeezy, but out of the way. And as he poked his head out of that door, he could finally see he was in the backstage corridors of a studio of some kind. Film or TV, if he was to hazard a guess, it was a different vibe from Abbey Road.

With a shrug, he decided to go exploring.

It couldn’t have been more than a minute before a young woman wearing the full-black outfit, headset, and permanently stressed expression of a production assistant came running up to him.

“Are you the fill-in Sam organised?” she asked breathlessly, and honestly, seeing the look on her face, the Doctor didn’t have the heart(s) to tell her no. And really, what was the Doctor, if not a professional fill-in? This, this was why he had a randomiser button on the control panel, because whatever he was about to get himself into was going to be fun.

“Sure!”

“Oh, thank god,” sighed the production assistant, relief dawning across her face. “When Ally tested positive this morning, I thought we were sunk for the record, because we called around and we couldn’t get a hold of anyone. But then Sam said he could get someone in, and, you know, here you are, and just in time, so—ah, yeah, if you could follow me this way?”

Smiling all the way, the Doctor followed his guide through to hair and makeup, looking around as they went. The studio seemed to belong to a company called Dropout, according to the branding scattered around, and things seemed, at least on the surface, to be… well. Fine. He couldn't tell why he'd been brought here yet, which meant that when he found the reason, it was going to be particularly tangled. He couldn't wait! 

And then he looked back at his guide, still engulfed in a miasma of anxiety, and realised he'd been too busy looking for clues to notice the person right in front of him. 

“Hey, it's cool, you've found me,” he started with a gentle smile. “You can relax. Hi, I'm the Doctor. What's your name?”

“Oh!” she said, startled. “The Doctor, yeah, of course. Um, hi, I'm Kaylin. Look, sorry, it's just that I've been so busy this morning, I'm so distracted… Shit, and I would've completely forgotten to get your details too. There's paperwork to fill in, but you can do that later. Um, just for now, though, can I get your pronouns?”

The Doctor thought for a moment. “He/him, for now.”

Kaylin nodded, making a note on her phone. “Okay, cool! And do you have any socials?”

“Not me, babes,” he replied. “I'm hardly sitting down long enough to be able to update, you know?”

“On a day like this, I know exactly what you mean,” she said. “That's okay, Lou didn't have socials either for the longest time. Right, so if you go through there, the team will get you sorted, and once you're done, someone will take you up to the greenroom. All good?”

“All great,” the Doctor replied. Kaylin flashed him a quick, relieved smile, then hurried off.

Hair and makeup was a fairly quick process, the sound mixer fitted him with a microphone, and before too long, Kaylin was back to take him upstairs. 

“This is the greenroom,” she said, pushing the door open. “The rest of the cast for the episode are already here—they’re great guys, and they’ve both been on the show a lot, so they’ll be able to help if you’ve got questions. And if you need anything else, just come find me or any of the other PAs, okay?”

The Doctor nodded, beamed at Kaylin, and walked in.

---

The greenroom was small but comfortable, and its occupants, two men around the same age as the Doctor appeared, looked up as he entered.

“Oh, you’re new,” the taller of the pair said, clearly giving him the once-over.

The other sighed with a mixture of fondness and exasperation, just as clearly used to his friend’s antics.

“Hey, I’m Brennan,” he said, levering himself up to standing from his perch on a chair arm, and holding out a hand. “That’s Grant.”

The Doctor took it warmly. “The Doctor. Just passing through, and happy to help.”

Grant’s eyebrows quirked. “Doctor… something?” he prompted.

“Or is it just ‘the Doctor’?” Brennan asked.

“Just ‘the Doctor’,” the Time Lord confirmed cheerfully. “You’ll get used to it, everyone does.”

Grant didn’t look convinced, but—

“Copy that,” Brennan shrugged, and settled back on the arm of the chair, returning his gaze to the door.

Grant, in turn, looked at the Doctor and rolled his eyes in a clear expression of ‘no, I don’t know why he’s like this, either’.

“Okay,” the Doctor said after a moment of watching the watching. “I wasn’t going to ask, but now I think I have to. What’s up with the door?”

Brennan huffed a laugh. “Well, the last time there was one of those up—” he pointed to the Out of Order sign stuck to the bathroom door, “—we got locked in here for the game.”

“He’s paranoid,” Grant interjected.

“Well, yeah, maybe,” Brennan retorted. “Or just cautious. Because Sam’s been acting weird lately, and we’re coming up to the last few records of the season, so he’s probably planning something way out of the box for the finale. And the original cast was you, me and Beardsley, so…”

He shrugged one shoulder meaningfully, and Grant nodded, conceding both the point and the potential for chaos.

“So if Sam comes in to give us the briefing, rather than waiting til we’re on set,” Brennan continued, “or there’s anything else weird going on, I’m gonna know about it right from the beginning.”

He turned to the Doctor. “The only reason I'm not quizzing you is because I know for a fact Beardsley was genuinely scheduled for this, so you can't be a plant by the production team. No offence.”

“None taken,” the Doctor smiled. “That sort of thing happen often, does it?”

Grant and Brennan exchanged a look. 

“More than you'd think,” Grant answered with a grimace. 

“Alright,” the Doctor said slowly, then brightened. “So what is it we're actually doing?”

Grant gave him a disbelieving glance. “You don't know—?”

“Very last minute fill-in,” the Doctor said breezily. “But don't worry, I'm a quick study.”

“Well, you're not that much worse off than the rest of us,” Brennan said encouragingly. “You know about Game Changer, obviously, if you know Sam, and we only find out the rules of the game once we get on set. Hopefully,” he added, with a dark look back at the Out of Order sign. 

The Doctor nodded. No, he didn't know Sam, and he didn't know Game Changer, but he could work out the situation from context clues. This was a game show. And with the Toymaker banished, and Satellite Five not coming into existence for another 198000 years, give or take, he found himself smiling. Maybe third time would be the charm. 

“Mmm, hopefully they aren't going to throw you in the deep end,” Grant said. “Because Brennan might seem lovely now, but as soon as we get out there, he's a whore for points. He'll stab you in the back and won't even blink.”

Brennan barked with laughter. “Yeah, and you wouldn't?”

“Excuse you, I'm always a goddamn delight,” Grant replied, the very picture of injured dignity. 

“Oh, absolutely!” agreed a new voice. The Doctor turned to the now-open door to see a bearded man in a pinstriped suit smiling broadly. “That's why we keep inviting you back!”

Grant bowed sarcastically. “Why, thank you, Sam. Good to know I'm appreciated by someone here.”

“Always,” Sam replied, gently but firmly ending that particular path of the conversation. He scanned the room, and his eyes lit up when they landed on the Doctor. 

“Ah, you must be the Doctor!” he said with obvious delight, walking over with his hand outstretched. “I'm Sam—thanks for filling in for us, you've made sure we're going to have a good show. Seriously, it's a pleasure to have you here.”

“Aw, cheers!” the Doctor smiled, shaking the offered hand. “Glad I could help out, I'm really looking forward to this!”

“Well, great!” Sam exclaimed, then took a step back, regarding all three players in turn. “Now, folks, I'm just letting you know that we're just about ready to start the record, so if you can start heading down, that'd be great.”

Grant and Brennan nodded—Brennan, the Doctor noticed, with relief. 

“See you down there,” Sam said, smiling. “Have a great show, and—”

His eyes caught on the Doctor's for a second, twinkling. 

“Good luck.”

---

Backstage, the Doctor, Brennan and Grant were marshalled into podium order and given a final briefing from the crew. And then, with a thumbs-up from Kaylin, that was it.

Showtime.

“Get ready for a Game Changer!” came Sam's voice from onstage. “Tonight’s guests: he can shoot off a monologue with laser accuracy; it’s Brennan Lee Mulligan!”

Brennan, his back to the camera as the curtains opened, spun on his heel and, with a stone-cold expression, pointed finger guns straight down the barrel, before letting the facade crack open. “Hi!” he exclaimed, and walked over to the leftmost podium.

“It’s his first appearance, but he’s already on fire; it’s the Doctor!”

The Doctor leant against the archway to the stage and flashed a broad smile towards the camera, then in a few skipping steps, had bounded over to the next free podium. What the hell, why not make an entrance?

“And even in the toughest of mazes, you’ll always be able to find him; it’s Grant O’Brien!”

Grant dipped his lanky frame into an approximation of a curtsey, spreading his arms wide, then sauntered over to the closest podium with a grin.

“And your host, me!” Sam announced, a ring of manic white showing around his irises as he beamed down the barrel of the camera. “I’ve been here the whole time!”

“This,” he continued, pushing his microphone shut and stowing it in his jacket pocket, “is Game Changer, the only game show where the game changes every show. I am your host, Sam Reich!” 

As he said his name, he looked at his hands, front and back, as if he was pleasantly surprised to be himself, then gestured towards the three podiums.

“I am joined today by these three lovely contestants! Now, you understand how the game works.”

“Of course not,” Grant started. “You know we don't.”

“We can't, Sam, that's the whole point of the theatre you've set up here,” Brennan said over him. 

“Not yet,” was all the Doctor said, anticipation starting to drum a tattoo of excitement against the inside of his ribcage. 

“That’s right!” Sam said brightly, shooting finger guns at the camera. “Our players have no idea what game it is they’re about to play. The only way to learn is by playing. The only way to win is by learning, and the only way to begin is by beginning! So without further ado, let’s begin by giving each of our players fifty points.”

The Doctor, biding his time, watched the reactions of his fellow contestants. Grant looked at the front of his podium, checking the point total, and nodding approvingly when he saw that yes, it was sitting at a round fifty. Brennan, on the other hand, was starting to frown.

“Players, Sam says: touch your nose,” Sam began, and Brennan sighed the sigh of someone who wasn’t happy to be proved right.

“Oh, no,” he groaned. “Oh, you son of a bitch. Wasn’t one this season enough?”

He touched his nose anyway, as did the others, and Sam smiled encouragingly. “Sam says: touch your ear.”

When they all did, Sam nodded. “Touch your other ear.”

Everybody held still, fingers on the ears they had originally touched.

Sam beamed. “Easy, players, right?”

“You say that now,” Brennan said darkly. “Which makes it worse, because all you're doing is setting us up for failure.”

Sam gasped, pretending offence. “Would I do that?”

“Yes,” Brennan and Grant replied in unison, which drew a grin from the Doctor and set Sam off chuckling.

“And I'm not having it,” Brennan continued, leaning his elbows against his podium and pointing at Sam with the hand not touching his ear. “You better watch yourself, because I know how this game works, and you're not going to get one over on me.”

“Strong words, Brennan!” Sam said, clearly delighted by this response. “Okay, then, let's start making things a bit more interesting!”

The game continued as per Sam Says usual, some rounds done as a group and some individual. Points were won, sure, but lost slightly more frequently, and even the Doctor found he was having to concentrate to avoid getting caught in the host's traps. 

It was fun. Genuinely, it was like playing a game with friends, and the Doctor felt himself leaning into it. There wasn't any sign of danger—maybe there wasn't a mystery to solve at all, and the TARDIS just decided he needed a total break. 

Well, probably not. But the way things were going, he was able to let himself hope. 

“Alright, players,” Sam said a good few rounds in, just as pleasantly as he would start any other question, and the screen behind him dinged as a new prompt popped up. “Survive the death beam.”

For a second, everything was frozen perfectly still. 

And then came the crash, the explosive noise of heavy machinery moving relentlessly through a drywall set.

The Doctor was already moving. “Everyone down!”

“Duck!” Brennan yelled at the same time.

The two of them hit the ground within milliseconds of each other, but Grant was still paralysed in the face of the giant, science-fiction type laser cannon that had just ploughed through the wall. 

It whined ominously, screaming its way to fever pitch. And then a sharp pain in Grant’s ankle made him stagger, pitching forwards onto the carpet behind the podiums as the Doctor rolled away to avoid getting pinned.

“Sorry, babes,” the Doctor whispered. “But it was either kick you to get you down, or—”

A hideous metallic screech ripped through the air, and all three of them could feel the crackle of ozone as a beam of energy swept across what had, moments ago, been neck height.

“…Or that,” the Doctor finished with a grimace.

“Jesus fucking Christ,” Grant breathed, suddenly very conscious of every inch of his 6’9 frame. “Thanks.”

“Well done, players!” Sam exclaimed delightedly from above them. “But… sorry, I didn’t say ‘Sam says’, so that’s a point off for everyone.”

“What the fuck!” Brennan snapped.

“Are you actually insane?” Grant demanded at the same time, his voice overlapping with Brennan’s.

In response, Sam just wheezed with laughter. “You can come back to your podiums,” he said, cheerfully ignoring them.

Nobody moved.

“Very good!” he acknowledged, and even without seeing his face, the grin was obvious in his voice. “Okay, Sam says: come back to your podiums.”

Although the words were innocuous, and his tone was just as light and breezy as usual, there was nevertheless an edge hiding just underneath the surface. And while the death beam loomed large in the minds of all three players, it was impossible to consider disobedience as an option.

Slowly, they stood, returning to their places. Now they had the time to look at it properly, the death beam was even more sinister, and Brennan and Grant both kept flicking nervous glances its way, ready to move if it looked like it was charging up again.

The Doctor, however, was focused purely on the man standing in front of them. Unbothered, Sam met his gaze like a challenge, a mischievous smile playing about his lips.

“Oh, you’ll love this one,” he said, and the screen changed. “Sam says, starting with Grant: say my name.”

Grant frowned in confusion, but answered quickly nonetheless. “Sam Reich?”

The man himself shrugged tolerantly, moving on. “Brennan?”

Brennan just stared at him coolly. “Do you take me for a fool?”

“Well caught, Brennan!” Sam said happily. “Sam says: say my name.”

“Sam,” Brennan replied, suspicion clear in his voice. “Samuel Dalton Reich.”

He nodded, still with a hint of indifference. “And lastly, Doctor.” His smile broadened. “Sam says: say my name.”

It was easy. Too easy. And as the Doctor looked into the eyes of the man calling himself Sam Reich, he felt his hearts stutter in recognition, because something had changed. He wasn’t hiding himself anymore, and while the face was different yet again, the Doctor would know the shape of that soul anywhere. It was impossible. It was inevitable.

“You can’t be,” he breathed. 

Sam smirked, leaning in across his podium. “Oh, but Doctor… I’ve been here the whole time,” he stage-whispered with a wink.

“He said you lost,” the Doctor said, shaking his head, looking wrong-footed for the first time that Brennan and Grant could recall. “You lost, and he trapped you.”

The other two watched, uncomprehending, but Sam just smiled, drumming his fingers against the podium with an audible beat, fast but distinct. Four taps, four taps, four taps. “I’m waiting.”

The Doctor took a slow, deep breath. Set his jaw. 

“Master.”

---

missed an installment of the game master cinematic universe?

original idea by @ace-whovian-neuroscientist: x

art by @northernfireart concept: x scissor sisters sketch: x sam and his doppelganger: x

writing by me (!) part one (escape the greenroom): x part two (deja vu): x part three (sam says 4): you are here!

[lucdoodle]

Oh man the Buggy wink scene!! I had to draw it!

[barblaz-arts]

I am OBSESSED with this animatic. The lyrics fit them so well and the uh whatchumacallit? Storyboard? It's so in character and so cuteeee

Like it's probably enough to tide me over until we get an actual chaggie duet

[crustyfloor]

Ivan hugging the wagyein feels so deep to me. Ivan doesn't think of himself kindly in canon, almost to a self-deprecating extent. When he's shown being close to such a terrifying creature, touching it so casually. Like he understands-- as if he's comforted by it, accepting it. To me, It's like a metaphorical and symbolic way of him embracing his own inner 'monster'.

(Also like, the way you can compare them too? red eyes/pupils, snaggletooth >< teeth, solitary and protective, eerie?....Ivan....)

[blue-hail]

I finally realized what specific brand of resentment izzy has for Ed and Stede …

It’s watching your ex be a better person for someone else.

Izzy has given Ed his everything for decades. He stood by Ed’s side, he supported him, he killed for him, he undoubtedly went through so much pain and suffering for him. And all Ed ever gave him in return was roughness and cruelty, which Izzy didn’t have any problem with, he loved ed and he was willing to take what he can get.

but suddenly there’s Stede.

Stede does essentially nothing to win over Ed, no blood, sweat, or tears, actually Stede does things that could be considered disrespectful, so Izzy waits patiently for Ed’s wrath, the only thing he’s always been able to count on.

… but it doesn’t come. Instead Izzy watches Ed fall in love with Stede. All the soft touches and quick glances, the laughers and kindness that has never reached the light of Izzy and Ed’s relationship.

Izzy has to watch Ed become a better person for stede.

It reminds me a lot of the good place scene where Eleanor watched her mom being a good parent to another kid and she refuses to believe it.

“Izzy why can’t you believe that Edward is a good person. That he’s a kind and loving partner, who genuinely cares about Stede”

“Because I wanted that Ed. I wanted the captain who thanked me after I almost died on a mission for him, instead of being told ‘to stop whining cuz it’s your job’. I wanted the Edward that was willing to make room in his life to for someone to be his equal, to co-captain with someone who deserves it. why does bonnet deserve it??

If Edward has really changed for stede bonnet, that means he was always capable of change. I just wasn’t worth changing for.”

So anyways that’s why Izzy sets off Ed at the end of season 1, he wants to prove to himself that Ed didn’t actually change, because admitting that Ed changed was admitting that he wasn’t worthy of Ed changing after all that time.

Also here is that good place scene for anyone who wants to watch it

[thresholdbb]

I'm a Kai Winn apologist but not because I think she's a good person. She's a compelling tragic character

[leenfiend]

what's ur type first < prev next >

[thedeadedhooman]

get me on the call with eric kripke because I need to know his version of the supernatural finale. I just know it would've been a banger. it would've been the darkest of shit and horrifyingly gory and too tragic to even rewatch but it would give you a fetish so bad you'd find yourself going back and watching it while you gag and jack off at the same time. it would've been wacky enough to even have him cancelled by a section of the fandom.

[kazanskyy]

the pause tom has to take before he tells ken and rome they're doing chest compressions...

[chipthekeeper]

Velcinta September, Weekend #2 - connect

Cinta and Vel stay connected by a window motif throughout the second half of the season. More meta thoughts on the symbolism under the cut.

Starting with Gorn’s description of the Eye, Vel and Cinta’s story is always connected by the motif of windows. Cinta watches from the ground as Vel and the others escape through the Eye, aka “the window to the galaxy.” They reunite on Ferrix but soon after have to separate again – Vel takes the shuttle to leave, staring out the window down at the city; Cinta watches the Andor place through the window in the nearby room. We get a blurry view of Vel and her cousin through Mon’s window on Coruscant. And of course in the finale, Vel returns to Ferrix and pleads with Cinta to “come away from the window” and relax for a moment. Cinta does, even if slowly.

From what I can tell, there are two main things symbolized by windows in stories – freedom and escape, and a portal between one’s inner and outer worlds. I’d say sometimes these blur together within the symbol as well. In this case the first mostly pertains to Cinta, even though Vel was the one to escape Aldhani through the window of the Eye. She longs for an escape from the pain she has suffered at the hands of the Empire, for freedom from its oppression. It is her singular focus, underlined by the intense stare out the window in episode 8 and later 12. She cannot take her eyes away from the window, from the chance to get closer to freedom.

The barrier between the inner and outer worlds applies more to Vel, the character with the most stark contrast between the self they present to the world (or at least the world that once knew them) and who they really are or want to be. Even in the scene with Mon – which starts with that blurry, rainy window – Vel cannot be fully herself and tell Mon what she’s done on Aldhani. And all the rest of her family knows her only as some spoiled rich kid who just likes to go off traveling.

So what does this symbolism and connection mean for their arcs? I find it interesting that when we first meet them it’s out in the wild on Aldhani, where there really are no windows. Out there in the highlands they have work to do of course, but compared to the rest of their lives this is a place where they can be free and escape, where their inner and outer lives don’t have such a barrier between them. Then the Eye comes, closing the window between them rather literally. Vel escapes, leaving behind the most important part of her inner life. And Cinta is left watching, trapped there on the planet and literally wrapped in the uniform of her oppressors.

In episode 8 during their reunion in the cafe, they’re on a bit more even ground with Cinta having also escaped Aldhani, but now the windows are there and they are still on opposite sides of them. The escape Vel craves is not the same one Cinta does, and Cinta points this out to her with the iconic mirror line: “I’m a mirror, Vel. You love me because I show you what you need to see.” And the thing is, they BOTH reflect what the other needs – Vel to look outwardly toward the fight, Cinta to look inwardly to a connection that will keep her from losing herself to that fight.

When they part again they are very beautifully shown looking through the windows between them, seemingly at each other – like reflections in a mirror – but not really. Because this is about windows, not mirrors. Again, they’re each looking toward the thing they want, the thing the window is either a portal to or a barrier in the way of: freedom from the Empire for Cinta, who is surrounded by the Empire and longing to take the fight to them; and the comfort of her inner life for Vel, who knows she has to go back to Chandrila and pretend to be the spoiled rich girl. This all culminates in the final big scene for them, when in the finale Vel asks Cinta to come away from the window. She has gone back to Coruscant and used Cinta’s words to help keep Mon’s focus on the fight, and she’s returned to help finish this job now. She even tells Cinta that she was right to miss picking her up in favor of keeping an eye on the ISB. She’s now looking outward at the fight and what needs to be done, but Cinta still needs to turn around and look inside, look at her inner life and how dark it’s become. Vel gently orders Cinta to turn around, turn away from that window she’s kept her eyes on all this time. And she does, and finally they are looking at each other but also in the directions they’ve avoided until now – Vel facing the window, Cinta facing inside. They both still have some work to do, but at least now they're looking and moving in the right direction. The window both separates them and connects them the whole time, and finally they are on the same side of it, even if only for a while.

[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.

[the-leftover-rice]

Gift art for @childlikegoblinqueen

✨💛 More art of the kid under the cut! 💚✨

1.‎ Art by frostpencil

2. Kidd by @smol-hibiscus

3. Found A Good Specimen! by @myshoeisonthewrongfoot

4. Kid by dragonfroit

5. The child by Maeve999

[wallabywhump]

Post Episode 8x08 CODA/Continuation

Content: Light angst, Buck spiralling, Buck's abandonment issues/running thoughts/(has ADHD), BuckTommy hints at the end.

Word Count: 1,965

Started writing this when the episode ended, please enjoy!

---

The sign goes out front of Eddie's house two weeks later, Buck helps to dig the hole. Buck helps talk to the realtor. Buck talks Eddie down from a three-bed home with an attic office in a HOA suburb and helps him find a respectably sized two bed that will leave him with money to renovate the bathroom and add a ramp up to the door.

Buck bakes a million cookies and eats them while Eddie has meetings with realtors. He sets out sweet breads and muffins when Eddie has an open house, and he happily serves them to people, "yes, there is a gluten free option! I was playing around with xanthan gum, so it shouldn't- oh, you're too kind."

All through it all, Buck focuses on Eddie, and he tries to ignore the ball of panic that's growing and growing and growing, as Eddie calls his mom and dad, and talks to Chris, and they're discussing going to view the home together and-

"I'll be there in two days, buddy!" Eddie says to Chris, a smile wide on his face while he put the autographed picture of the Hotshots cast into a wallet to keep it safe. "I can't wait to see you; we can talk without it lagging."

Buck takes a deep breath.

"Buck's not coming, LA won't survive if we both are off work."

Buck takes the butter off the heat, starts mixing in the sugar.

"I was talking it over with Grandpa, and we can go to the aquarium while I'm there. I'll even get to cheer you on in your chess match."

Chris groans. "You don't cheer during chess matches, dad, you have to be quiet."

Eddie laughs, and Buck needs to savor that sound. Needs to bottle up the sound of his best friend, and the kid he loves to the moon and back, teasing each other because he doesn't know how long he'll have this for. "Well, okay, you'll just have to teach me what to do, Mijo. I've never been to a chess match before."

The flour comes out of the microwave and Buck mixes that in, the soothing fold-fold-fold making his raging heart beat easier to ignore.

"You've never played chess before," Chris teases.

Buck spares a glance at Eddie, and he's fondly smiling at the tablet, and he says, "Well, you'll have to teach that too. Need to understand how you're winning, kid."

Buck is trying his best to be happy for Eddie, desperately putting his issues to the side, he hasn't even mentioned Tommy with all the baking he's been doing.

Eddie, graciously, hasn't mentioned how Buck has gone back to how he was the exact week after Tommy dumped him.

Or perhaps Eddie hasn't noticed with all the preparation and the legal jargon and clearing out everything to make the house look pretty for viewings, and Buck-

Buck really wants to talk to someone.

Eddie's leaving, Bobby is busy building a house, Hen, Maddie, Chimney-

Everyone's moving forward towards something happier. And Buck's stuck trying not to tie his best friend to a city with his sad puppy dog eyes and a pout, all while missing his ex so much that focusing on Eddie leaving drowns out that pain and fills it with something different.

"Buck?"

Buck jumps, dropping his spatula into the bowl. "Huh? W-What's-"

"Chris hung up, he's got school tomorrow."

Buck picks his spatula up, continues mixing his cookie dough. It's as he folds a third time that he notices he forgot the chocolate chips.

"More cookies?"

Buck forces a smile on his face, ignores the floundering puttering in his heart that tells him he needs to call someone before this becomes unsustainable. Baking isn't distracting him, it's not-

He wants Eddie to stay, he wants Chris to come home, he wants a barbecue in Bobby's backyard with his family-

He wants to call Tommy.

"It's for the viewing tomorrow," Buck says, proud of how even his voice sounds, how it doesn't even sound like a lie.

Eddie sidles up to the counter, looking into the bowl. "You don't have to try buttering up potential buyers with sugary goods. I know you set a precedent for the first one, but I don't want you to feel like you have to."

Buck puts the bowl and spatula down and bumps his hip into Eddie's as he starts greasing up the pan. "If I sweeten them up, maybe they'll actually buy, and you can leave quicker."

The free-sounding tease is easy, it's easy to fake, it's been easy to fake since that day he picked up the tablet and saw the houses. It's been easy to fake since Tommy dumped him, and he had to crawl out of his home and go to work and look somewhat put together, so no-one was scared on their calls. It's been easy to fake since Abby left him at the airport, and with a home that wasn't quite his, and an uneasy feeling in his heart that she wasn't coming back. It's been easy to fake since he was sixteen years old, and Maddie was leaving and-

Maddie, Abby, Tommy, Eddie.

People leave, and that's okay, and it's selfish to force them to stay. No matter how much he wished they would choose to stay.

Buck scoops out a glob of dough and drops it onto his pan.

Eddie rolls his eyes. "Okay, bud, I'm gonna have a beer while you finish with...that."

Buck sets up the mixer to bake a cake after he puts the cookies in the oven.

---

Buck drops Eddie off at the airport and spirals.

The goodbye wave feels robotic, despite knowing that Eddie will be back in a week, even if it's just to start packing up his life to move it hours away. His phone sits in the dock on the dash, and Buck-

Buck doesn't have anything to distract himself from the yawning emptiness inside him.

Nothing to put his mind to, nothing to focus on, just a whole lot of nothing.

The nothing that has been eating away at every positive thought and coping skill he'd put into trying to ignore how much he missed Tommy. The way Tommy would rub his arm and pull him in for a hug when he was feeling low. How Tommy would sarcastically tease him when his anxiety spiked, until Buck couldn't even remember he'd been anxious. How they could sit in silence and not have to chat, and it was just peaceful, and it put Buck at ease, and Tommy wouldn't even mention when Buck's leg started tapping, he'd just put a hand on Buck's knee and lean his weight into-

Fuck.

Tommy would have been a rock through this, platitudes about Eddie not being dead, stop panicking. "I can fly a helicopter, babe, just say the word and you can visit."

Except, Tommy isn't his rock anymore. He's a hurricane that has Buck unmoored and swirling in an abyss of panic and loneliness and, fuck, shit, fuck, Buck has to talk to someone. Or bake something. Or go to the middle of nowhere, with no reception, and scream at the sky.

Everyone's busy. Eddie's on a plane. No-one...he has-

"Buck?"

Buck jolts, staring down at the phone now in his hand, Tommy's face filling the screen, his nose scrunched and looking confused, concerned and cold all in one expression.

So closed off.

"I-I didn't mean to call," Buck whispers, his voice weak and thready even to his own ears. "Hi. Uh, I'll just, uh, hang up."

Except Buck doesn't, he stares at Tommy and feels his heart stutter.

Tommy raises an eyebrow, and Buck watches the cold melt off Tommy's face, leaving only confusion and concern.

"What's happening, Buck?"

"I...just dropped Eddie off at the airport, and I'm sitting at the drop off spot in the taxi ranks, and-"

Tommy's confusion disappears, and his eyes soften, and he's openly concerned and it's like a knife in Buck's chest.

Buck lets out a hoarse laugh. "I've held it in for weeks, not calling, and my best friend leaves and it's like I can't help it- Jesus." Buck runs a hand down his face, he feels like a mess.

"Why did you call me, Buck?"

Because it was habit for six months straight, because every time Buck's been sad since the breakup he's had to physically remove himself from his phone to stop himself from calling Tommy, because Buck just wants to have Tommy as his, and he can't seem to move on despite everyone else seeming able to.

"Everyone else...is moving forward, making families and living their lives, but I'm-"

Buck should hang up, forget about this, say 'sorry, bye asshole', and block Tommy's number once and for all.

Except-

"I'm stuck, stuck on that day in my loft, wondering what happened and how that occurred, and all I've wanted since the day it happened was to call you and fix it or-or, I don't know...I just feel so incomplete here. Unsatisfied. Nothing-nothing makes sense."

Buck rolls on.

"And Eddie told me not to call, so I didn't, except then Eddie decided he wanted to move to Texas and I couldn't be selfish and ask him to stay, so instead I've been helping him, helping him leave my life, because then at least I helped control it."

Buck chokes up.

"Because he's an adult with different priorities, and he can make his own decisions and it's my job as a friend to support him, and I guess you'd know that too if you still talked to him, or hey, maybe he would have stayed for you." He's fucking it up, finally got Tommy on the phone and rather than giving Tommy all the reasons they could work, and he should stay, he's dumping all his fears about Eddie leaving. "And I- I'm not making sense, I'm all over the place, this is not what I wanted to say at all, I had a whole speech about how I love you, and I deserved better, and-"

"Are you safe to drive?" Tommy asks, his voice cutting through Buck's monologue.

Buck bites his lip and nods his head. Of course, Tommy doesn't want to hear about his problems, they're broken up.

"Yeah, yeah, I..." Buck sniffs, wipes at his face despite it being dry, and forces a smile on his face. "I'm just a little sad, sorry for calling."

Tommy shakes his head, and he looks like he's in physical pain, and God, Buck feels like an asshole. He's so selfish, and he should have just thrown his phone out and got a new number after the breakup if he knew he was just going to trample over boundaries.

"No, don't be s- I mean, okay, okay. This sounds like- Eddie left? No, this is a conversation for in person," Tommy sounds just as confused and lost as Buck, which isn't nice, because Buck expects Tommy to be a rock, to be steady, to be- well, that went out the window the night they broke up.

"In person?" Buck wonders aloud.

Tommy hums, and his nose scrunches up, and he puts a finger to the bridge of his nose. The video feed is shaking like the phone in his hand is shaking. Buck swallows and waits for whatever emotional turmoil Tommy is experiencing to pass.

"Drive yourself to mine," Tommy orders.

Buck stares at the screen in shock. "W-What? Tommy, I- no, I-" A taxi starts honking their horn behind him.

"Mine," Tommy repeats, sure, and despite everything it makes that emptiness in Buck feel a little smaller, like Tommy is filling it with just the promise of a conversation. "Sounds like you need to get going. See you soon, Evan."

Tommy hangs up, and Buck spirals, but he starts the car anyway and drives to Tommy's with a spark of something in his chest.