#how the fuck do i add tags

[funkyfreshinthebuilding]

since discord people liked this i am also posting it on tumblr

made with alcohol markers and acrylic paint markers in case you were wondering.

also the right leg is supposed tobe bent which is why it looks shorter but it doesn't really look bent so i'm just telling you that it's supposed to be. i probably could have emphasized that with the lighting or something but who cares it looks good anyway

[f1b3r-0pt1ca]

was trying to figure out what draw for like 2 hours

[reizerou-arts]

M🟣CHI M🟣CHI

[gabe-lovebot]

councilor 3D model

i learnt 3d modelling from the ground up to bring him to life. he's yours now. do whatever you want with him

[link]

please credit me if you make something using the model (or even ping/link me to it, i would love to see what you made!)

currently available as a .blend, .fbx and an SFM port.

[buqbite]

part 1 (on VA and being better than humans)

part 2 (on welt and being just a human)

[mixtapedoh]

and it was all yellow | y.j.

welcome back to SVTU ! lost your way? refer to our campus map for directions.

pairing: yoon jeonghan x gn!reader with guest appearances from c. seungcheol, h. joshua, w. junhui, and more !

word count: ~5.9k genre: neighbors to friends to lovers warnings: language, intermittent Lore Dumping™ (i have to kick us off into svtu somehow), jeonghan is a little shit, light suggestive themes (heavily lampshaded and perhaps only occuring twice?)

☄. *. ⋆

olive's notes: these individual headcanon sets are going to be very ~stream of consciousness~, so bear with me, here. second, cheol and jeonghan are brothers (and there's a secret third brother i'll introduce eventually, don't you worry), also, thank you for stopping by <3. now here's the content you signed up for.

☄. *. ⋆

now playing... ılı.lıllılı.ıllı. ... ⌜ angel baby — troye sivan ⌟

AND IT WAS ALL YELLOW ☄. *. ⋆

— it all started when jeonghan realized that jun was loaded.

now, don't get him wrong. it wasn't as though he had befriended jun because jeonghan had been looking for someone rich and easily persuaded. it's not like jeonghan used his ineffable charm to win over the quasi-cryptid that was wen junhui because of jun's apparent legacy funds.

not that jeonghan couldn't have done — he clearly had the persuasion and cunning to do it — he just didn't. jeonghan wasn't in need of someone else's money. please. he was very capable of taking care of himself, thank you very much, he was just also, however, very good at knowing things.

especially those things that could be used to his advantage.

— and well... wen junhui was loaded. wealthy as shit. a classic trust fund baby. a walking dollar sign that just so happened to share classes with jeonghan every year since he started SVTU as a political science major (of arts, of course. he hadn't taken latin in high school to not absolutely crush the romance languages in uni).

— you see, SVTU had this fun little program for long-suffering students interested in the government and manipulating it to their will wherein if you took merger courses — lectures that ate up a hell of a lot of your time and money but gave substantial credit hours that counted for both applied and allied course credit — you could get a jump start on your degree, be offered more opportunities for internship, and explore a subject's "many facets" through "multiple lenses."

to jeonghan, it meant working faster and harder so that he might graduate early and get into the actual politics of pol sci quicker — at a more “genius” and “revolutionary” age.

(half of politics, after all, was being appealing enough to make headlines. there wasn’t time to waste, in the long run.)

to wen junhui it had to mean something different — after all, jun was a pre-law student with a completely different career path from the other party involved (though jeonghan had considered law at one point in time — something he’s not above admitting though certainly not pining after). merger courses for him likely meant an expedited process to law school. but that was truly beside the point. an aside.

— what mattered in the end, was that jeonghan and jun had more than enough shared merger courses to go around, and in the process of things, had gone from strangers to acquaintances, then study partners (blame it on the fact that jun — the altruistic leaning bastard he was — actually tutored in his free time. willingly. as in, not a joke.) to committed group project members, and eventually to that nebulous thing called friendship.

ask them both when that final stage commenced and you’d get varying responses — jeonghan always far more generous than jun in such regards, but almost annoyingly so, like he wanted to be the one leaning more on the ridiculous.

— yes, it was quite a ways into their friendship when jeonghan learned that wen junhui, his sweet jun, was loaded. like, living alone off of campus in his own two bedroom apartment on the wealthy side of the city that prospered from the University Living Aesthetic™, loaded. as in, so loaded he could have easily found more than enough willing bodies to become roommates with him and help pay for the exorbitant expenses but simply decided against it because he hadn’t, and i quote “thought about it before.”

“never thought about it? jun. how much does this place cost?”

and jun had to think for a minute. genuinely think about how much he paid in monthly rent. “i suppose for a month’s rent i pay around… [REDACTED].”

and jeonghan was no stranger to dramatics, to be sure, but anyone else would have gaped the same as him. “[REDACTED]??”

"[REDACTED]."

"...shit."

— yes, jeonghan finding out that jun was loaded, living in a (rather well kept) apartment with an empty room, no roommates, and an assortment of (dying) houseplants that needed care, was truly the beginning of it all.

— after all, while the chaos settled in a year after the fact when he and joshua would finally move in with jun because of circumstances that aren't truly relevant to the here and now, all true origins start a little before dramatic changes. there's always a gentle precursor, something soft that sets the stage. rumblings of change are necessary forefathers to the strength of revolution; jeonghan learning that jun was a walking line of credit with property to his name and a work ethic that would make any professor blush was necessary groundwork for the events that would follow.

and goddamn, if things didn't follow.

— but i suppose, if we're back tracking all the way to jeonghan and shua moving in with jun on one very ill timed sunday (jun had an exam in his special topics in deviance, crime, & the law course the next day), we are also brushing up against jeonghan meeting you.

another precursor to the chaos that would follow. another tremor that would shake the ground and cause things to tumble.

— you also lived in the terraces on 17th and attended svtu. you lived on the same floor as jun — two apartments down from his, no less — and his first week there, you showed jeonghan the campus shuttle routes that passed right outside the complex (he'd come to learn that the domino route was the one you took most often, as it led right to the heart of the university, but the pinwheel route was also a convenient option for evening courses).

— you and jeonghan weren't friends right away. no, you were always a friendly face around the complex and a decent conversationalist when stuck in the elevator together, but it wasn't as though you and jeonghan became fast friends. you were just neighbors for a while; just another person grabbing mail on monday afternoons, stopping at the in-residence coffee shop on bleak wednesday mornings, ordering pizza on saturday evenings and giving joshua a slice after he weaponizes his big, brown eyes.

— and then came The Series of Fire Alarm Mishaps.

— you see, at some point in the middle of the semester, someone new moved into the apartment building, in the same hall as you and jeonghan. at first, you barely even noticed the change, and then they started cooking.

— which wouldn't have been a problem. if they had been good at it.

the first few times the (incredibly loud and not unreasonably sensitive) fire alarms from down the hall had gone off, it had been unfortunate - a mild nuisance that disrupted what jeonghan had been doing, and nothing more. but then, the first few times became multiple, and from multiple, came a pattern. every other day, at least twice, the fire alarm next door would go off. and it would always be at different times - breakfast, the afternoon, early evening, even sometimes at 1:28 in the morning. the fire alarm would sound, and while it would mostly be no longer than a minute or two, it was still enough to be irritating.

you and jeonghan talked about it every time you saw each other in passing, or just so happened to be taking the same shuttle to campus (which happened quite often, anymore, since jeonghan enrolled in an extra course to help him graduate all the sooner). your neighbor and that damn fire alarm. your neighbor and their inability to cook, yet unnecessary dedication to the craft. you both joked about the inevitability of them actually burning the apartment down.

— and then, one day, the fire alarm went off at 2:19, waking jeonghan up out of a dead sleep (he hadn't meant to fall asleep at his desk, and his neck would pay for it all the next day). he heard it, and immediately decided to ignore it, knowing it would stop soon.

but then it didn't.

at about 3.5 minutes of non-stop alarms, jeonghan was annoyed enough that he left his room and staggered into the kitchen for some water, where shua and jun were already waiting around, likely with the same idea (though it was clear that shua hadn't ever fallen asleep, and perhaps jun was in the same boat, though he'd changed into sweats and a light t-shirt).

at about 6 minutes, jeonghan opened the door to see if anyone else was, well... concerned.

and at 13 minutes, he was standing outside in the brisk autumn air, agreeing with jun as he whispered that if there wasn't an actual fire but just their talentless neighbor attempting to cook in the middle of the night, he was going to kill the bastard himself.

— and there, in the middle of all this stupidity — sleepily rocking back and forth from one foot to another — and on the other side of him, was you.

— and, well, when you offered to buy him and the rest of his roommates coffee at the convenience store that was just down the street, not far, he couldn't do much beyond say yes. what was he going to do? decline your offer?

and so all four of you walked to the convenience store and aimlessly wound your way through the almost neon colored aisles. jeonghan used the opportunity to stick to you like glue and get you to open up — about yourself and your roommates, both of whom had gone home for two weeks for (separate) family vacations (not that you were jealous. clearly the superior option was to stay at the apartment, embroiled in course work and standing outside at 2:00 am because of some loser neighbor who can't cook a singular meal without burning the building to the ground, and yet refuses to have anything delivered).

— in the end, the fire hadn't been bigger than something contained in the pan ("thank god," you had said, shaking your hands in lackluster triumph, "i have a physics exam next week. i need those notes more than you know"), but at only 4 months of having a new neighbor, someone new moved in within 2 weeks at most. and, after being neighbors for almost 7 months, you and jeonghan were decidedly friends.

after all, you bought him a triangular gimbap, ice cream, and convenience store coffee. jun had slipped away with just a banana milk (which he promptly paid back the next day), and shua nearly bought out the whole store once the two of you got to talking about the best midnight (and hours after) snacks lining the walls. at the least, he was indebted to you, which could only be solved by more trips to the convenience store with more mindless conversation, and more time for the both of you to endear yourself to the other.

and the way jeonghan saw it, friendship at that point was inevitable. especially when, at the start of the next semester, you and jeonghan both had an early morning class and used the domino route to get to class via campus shuttle.

(and sure, jun had an early class, too, and drove himself to campus everyday, meaning jeonghan could have easily just gotten a ride, but he didn't. for no particular reason, really, he just never did; but one frost bitten morning after a snowstorm, when jeonghan was waiting at the shuttle stop and you stood beside him, bundled up in a thick winter coat and rubbing the tips of your fingers to keep them warm, you turned to him, the cord of the wired headphones the both of you always shared swaying from the movement (a streak of yellow against all this white, the sun in the middle of stark winter), and smiled, "i'm glad you're here with me." and maybe — just maybe — that was reason enough.)

— and thus, for reasons above explained, in the end, it all started with jeonghan learning jun was loaded. if it weren't for that simple knowledge, he wouldn't be anywhere near where he currently stood.

— which was the open doorway of jun's apartment, garbage in hand, falling in love with you.

"what?"

and you at least had the presence of mind to be flustered by it.

jeonghan could laugh, really. "is that my jacket?"

it totally was, and perhaps the way you fiddled with the sleeve of it and scoffed awkwardly, refusing to meet his eyes, was the true giveaway that you knew it most certainly was. "i don't know, is it?"

you were met with smug silence, so of course, you'd elaborate.

"i thought it belonged to my ex. i just chose what looked the warmest. it's storming out there — you might want something more than a sweatshirt if you're taking that all the way to cans." you gestured to the garbage bag — a detail jeonghan had almost forgotten at the sight of you in his clothing.

"you think your ex would have bought that?"

of course he wasn't going to take your bait in changing the subject. that would make things easy. you rolled your eyes, spinning your key ring and making it jingle. "hoseok has great style. it's just different from yours."

"and that jacket is more my style than his."

"it is," you conceded. under jeonghan's gaze you stuck one half of the jacket out, towards him. "do you want it now? you'll need it out there."

"i don't think i will. not when i'll have your sunny presence to warm me."

and for a split second your eyes narrowed. you had just come in from the storm — that much was plain to see from the wet of the jacket to the reusable grocery bag in your hand, full of pantry odds and ends. there was no need to go back out, and you and jeonghan both knew it. and not to mention that the invitation (thinly veiled) was unattractive — stay inside where it was warm or brave the stormy weather once more, all for a garbage run?

"race you to the elevator."

— and see, the truth of the fact was, it wasn't as though you made it difficult to fall in love with you (though even if you had, jeonghan would have liked the challenge, perhaps. there's fun in plenty of things). you were generous, a good conversationalist, you bitched about people with jeonghan but still tried to see the best in them, you were knowledgeable about the most random yet oddly applicable things, and for all of his teasing, you put up with him. perhaps enjoyed him.

— it certainly confused seungcheol, to say the least (but don't such things always confuse brothers).

"as someone who's had a lifetime to cherish your personality, there has to be something wrong with this y/n if they're willingly spending time with you. i'm trying to save my soul, putting up with you on the daily. they have no excuse."

"if i'm going to respond to that, you'll have to give me five minutes to run first."

and it ended with jeonghan quickly pushing away from the table, trying to duck out of seungcheol's grasp; but of course, the older brother and president of the boxing club would get him anyway, and through laughter, attempt to knock some humility into jeonghan (it wouldn't stick).

— but no need to focus on all of that, now. after all, this deep into the semester, jeonghan was busy enough without Crippling Thoughts of Romance.

— the worst damage you wrought thus far was making him choke that day you wandered into karaoke club and he was in the middle of a duet joshuji had managed to cajole him into doing on the spot (you swore up and down that you didn't know he was even in the club to begin with, but something about your flustered behavior and shua's glee at the whole affair made him consider otherwise); while it had been a (minor, he claimed) blow to his pride, it was easily pushed aside. jihoon, the bastard, might bring it up on occasion — the one (1) time angel voice yoon jeonghan chokes, and it's all on camera — but other than that, jeonghan? cool as a cucumber.

the last thing he'd do is be awkward around a crush. jeonghan was cool; jeonghan was suave; jeonghan was speaking in the third person because joshuji had been on a self-love bender a few months back and had said daily affirmations into the mirror every morning, and after finding out and teasing him relentlessly for it, jeonghan unfortunately picked up the habit.

AND IT WAS ALL YELLOW (CONT.) ☄. *. ⋆

— and now that we've gotten this far, i suppose it's time we bring up Jeonghan Habits™ because there were many, the closer you and jeonghan got to each other, strings of fate drawing you ever nearer, joining you at the hip.

— for one, it seemed that ever since that first unfortunately timed run to the convenience store at hours after-midnight, jeonghan felt comfortable just showing up at all odd hours of the evening, all messy hair and too-big hooded sweatshirts (most stolen from seungcheol, he'd reveal to you one day when you were confused as to just when jeonghan had picked up a love of coton de tulear puppy conventions — enough to get a commemoriative sweatshirt, no less), with the oh-so-enticing offer of going to grab a snack.

he even called it a date, once, when you were wrapped up in three blankets and your fuzzy house slippers, weakly try to convince him to just rummage through you're cupboards instead

"you're so cold you're going to cancel our date? and here i thought we had something real."

(you'd been so flustered by the whole exchange you simply ended up going to the with him, hoping that the act of Just Doing It would buy you time against his rapid fire machine gun comebacks — probably exactly what the fucker had planned in his 4d chessboard of a brain — and jeonghan took the opportunity to file away in his mind the cute expression that crossed your face in the split second that the words hit you fully in the chest and you floundered, wide-eyed into recovery)

— another, of course, was his habit of casually leaving things at your place whenever the two of you hung out; the first few times he left something — his jacket, a pair of sunglasses, necklaces that you don't ever quite recall him taking off to begin with — you promptly returned it with the naive belief that it was a one-off mistake not like to happen again. but it just kept happening, and so eventually, you just stopped returning.

if it were important, jeonghan would have texted you about it — he texted you about all kinds of random things, anyway, his lost socks would be no more strange than texts of ootds or how particularly sparkly his eyes looked that day.

and he never did...

until you started to wear the things he left, of course.

'should i get two of these?' the text came in while you were walking to your next class, taking your sweet time since the weather had cleared up nicely and the campus shuttles were running smoothly — not a single one hand been late all week, a sure change from usual. a moment later your phone chimed again, and jeonghan had sent a picture of a silver ring with a greek key styling. it was cool enough, and fit in nicely with jeonghan's usual style of accessory (not that you were particularly knowledgeable of such things... haha.)

'sure, but why 2?'

'so you can have one of your own instead of stealing it.'

'???!?'

'look at your outfit right now. you're wearing MY necklace. it's been missing for weeks.'

'YOU LEFT IT AT *MY* APARTMENT??????'

'you still have necklaces of your own; didn't have to be mine.'

'😑'

'so what's your ring size?'

'stfu'

— in your defense, you didn't think it was an issue, borrowing the things he'd randomly leave at your apartment. it had started off innocuously enough — seonghwa and momo (your roommates, bless them) needed you to go grab a few last minute ingredients for dinner (they were the ones cooking, so charitably you offered to do the grunt work) and when you couldn't find your own sunglasses, there were jeonghan's, just sitting on your dresser and waiting to be used.

and after that, well... jeonghan had nice style, okay? you were not immune to convenient and accessible clothing. if jeonghan wasn't so forgetful of his own articles of clothing, it wouldn't be the case that you steal his favorite sunglasses and borrow his usual rings and get a little too caught up in the way his cologne lingers on his jackets and night shirts, a smell all-too comforting and somehow tempting...

— you attempted to give the necklace back later that week when you and jeonghan met up to take the domino route to university, but he just shrugged it off and told you that you might as well keep it. he already bought himself another.

and besides. it looked good on you.

— and as for the last of Jeonghan's Habits™ (certified and trademarked, of course, everything jeonghan did was protected by common law)... well... the discovery of this one came later, at a time you weren't expecting it, and so perhaps that explains why it makes you as flustered as it does.

— see, it's of no surprise that yoon jeonghan is clingy in a very positive sense.

being friends with jeonghan is always being kept in the loop, having an ongoing dialogue about most everything, doing lot of Things together and always knowing that if there's something you're even thinking of doing, jeonghan has already cleared his schedule in anticipation of going to do said thing alongside you.

— what surprised you, but really shouldn't have (so perhaps the right word is simply astonished, flustered, made giddy by the realization of), was that he was also very cuddly. and very hard to be talked out of, no less.

— and like, okay, sure, it was kind of hypocritical of you to be taken aback when you'd been indulging jeonghan of his affinity for physical touch for quite some time, now.

the surprise hugs whenever he caught you waiting for the campus shuttle or simply Minding Your Own Business, his inclination towards taking your hand to make you walk a little faster when the two of you were going convenience store diving (yes, again), the quite literal poking and prodding whenever he was attempting to get you to change your mind and agree with his worst impulses... it was all pretty damning, in retrospect. but it never really fazed you: jeonghan's cuddly sort of behavior.

though you had gotten a smug kind of glee whenever you initiated contact and jeonghan's cheeks would warm to a beautiful shade of pink before he'd counter his own seeming embarrassment with a comment like "aaahhhh y/n, you're so familiar, what would others think if they saw you?"

randomly touch jeonghan's forearm, whether to pull him closer for some reason or another or just to softly massage the skin while you absentmindedly scrolled on your phone (instagram scrolling was sacred time you and jeonghan shared — then you didn't have to send him the reel with your comments, you could just tap him on the shoulder and show him). they way jeonghan would get all shy at the touch — like maybe he felt some of those butterflies that perpetually fluttered about in your stomach whenever he was around — was all the satisfaction you could ever need.

— so yes, you were quite used to clingy jeonghan. but cuddly? you had never quite strayed into full cuddle territory... until you did.

— that fateful night, you had lovingly been given notice via a very abrupt group text that you would not be able to return to your apartment for the evening (someone was going to have company over, doing... things that familiar company do) and when you had told jeonghan of your plans to join seonghwa in his trip to the computer rooms at crescent hub (they were open 24 hours and while it was based on reservation, you were almost always able to get a seat), he offered you come to his apartment instead.

either that, or i guess you could spend your time watching the gaming club host whatever tournament they had going on — apparently jun was planning to be gone for Quite Some Time (as a senior member of the club) and shua was there... for moral support? that part was unclear, to be quite honest, but it wasn't as though shua ever needed a reason to be Busy and Outgoing, so it didn't quite matter much, in the end.

"why aren't you at crescent hub with your roommates, then?"

"and encourage them? ah... don't make me look soft."

and you're sure that the way you roll your eyes can be heard through the phone.

"i had an assignment to finish." / "you had work to finish."

"but! it's all been submitted now."

"then i'll meet you."

— after all, it's not like you were a stranger to jun's apartment — you'd hung out there plenty of times as your bond with jeonghan deepened and your friendship to shua and jun grew — and they did have a rather comfy couch... you were almost certain jeonghan's offer implied and unspoken 'you can at least get some comfortable sleep on our vertiable cloud of a couch when i'm done prying at the finer details as to just who momo decided to bring home.'

you both, after all, had a deep-seeded delight for gossip.

— and when you got there, it was exactly what you expected: jeonghan had seemingly raided the pantry finding ingredients so the two of you could make dakdoritang — excepting the carrot, of course.

despite his seeming love for convenience store runs and general lazy attitude toward preparing his own meals, cooking together seemed to be something jeonghan enjoyed lately — or at least, that's what you surmised. to you, it seemed that one day jeonghan woke up and chose cooking as a new hobby.

if you were to ask jeonghan, he would brush it off, of course, probably saying something about his mom visiting and praising jun's affinity for cooking and there was no way jeonghan could let the bastard win — but really all it had taken was one (1) absentminded hand on his chest from you and a "hannie, can you pass me the garlic cloves?" for him to make cooking with you a new personality trait of his. go figure.

— and so the two of you made your stew while debating which movie you should watch when you were done. you ended up compromising on some drama that you'd seen people claim was so bad it was good, and it really was. the cringe,,,, the mutual yelling at the tv,,,,,,, threatening the lives of fictional characters,,,,,,, talking over whole dialogue scenes because you had a brilliant rewrite in mind and jeonghan simply couldn't resist the way you looked when there was an earnestness in your eyes and an opinion on your lips,,,,

it was quite late, indeed, before you even knew it. and when you switched the tv to a music video you really wanted to show jeonghan, the autoplay sort of took over, and your mind sort of shut down... drifted off to sleep.

— you woke up at some point in the early morning; the sound of the lock clicking and the door opening wasn't the sound you were used to, in your apartment two doors down, and it was just enough to snap you awake momentarily, still half in dream yet with one foot in reality.

it was just shua and jun, and they whispered an apology before padding off to their respective rooms (jun his own, shua his shared room with hannie), clearly worn out from their gaming activities.

— but that little push to semi-wakefulness was just enough for you to take stock of where you were, and you noticed belatedly that jeonghan had never left to go back to his room. you were both sleeping on the couch, legs intertwined; jeonghan was resting his head on your shoulder and your hands were reaching out, as if almost to give him a subconscious hug.

— the embarrassment ran through your nervous system almost instantly, and when you made to slowly and gently move your limbs so you were less... interwoven, jeonghan stirred and, still sleeping, pulled you back towards him. perhaps even closer than before.

you couldn't help yourself. a giggle escaped you; perhaps half nerves, mostly endearment. jeonghan stirred again and the sound and you covered your mouth, not wanting to wake him.

he stilled soon enough, and before drifting off again, you kissed him on the forehead.

— when you fully woke up the next morning, jeonghan had already began his day, but he didn't even try to hide the fact that the both of you had unwittingly unlocked a new feature in this friendship of yours. he sort of just... took the night prior as a confirmation that cuddling was on the list of approved actions and refused to let go of you, after.

not that it bothered you, of course.

it just seemed that the butterflies in your stomach were given wild energy at this new development; all your strategies for calming them suddenly ineffective.

AND IT WAS ALL YELLOW (CONT.) ☄. *. ⋆

— so.

if you had asked jeonghan at any point in his life if he were good at manipulating, his answer would be an unequivocable yes.

deceit? of course.

scheming? obviously.

lying? naturally.

blackmailing? most assuredly.

gaslighting, gatekeeping, girlbossing? undoubtedly.

changing criteria? yes.

moving goalposts? clearly.

hiding the apparent? well...

— see, the thing is... you get so good at the others that concealing the obvious isn't exactly necessary. everyone might know to be wary of the scheming, cheating, self-serving yoon jeonghan, but it didn't change the fact that he was so astute at the rest of it, image didn't exactly matter.

and besides, why save face when it was so fun to see people accuse him of what they were all very aware?

— so yes, jeonghan was quite skilled at all manner of deception. the one facet he was not so adept in was hiding his feelings toward the matter.

— thus, it should be no surprise that everyone and their mother knew jeonghan had a crush.

and it was only getting worse.

— don't ask jun when he put the dots together — he was more emotionally intellectual than he let on most of the time — and don't ask joshuji when either — that fucker had this quirk where he joked about something before it had real honest basis, but in some way only attributed to the gift of clairvoyance, he always seemed to be right. if you were to ask joshua, he'd likely recall the first time he had looked at jeonghan and wiggled his eyebrows and call that he knew then (he didn't; at least, not really).

— as for s.coups... well, don't ever ask cheol anything about jeonghan. he'd rather die than give it to you straight.

please. when he could embarrass jeonghan? seungcheol lives for that shit.

after all, what else are older brothers for?

— so yes, it was obvious to those close to him that jeonghan was in the long-suffering limbo of Having A Thing For Your Best Friend But Not Acting On It, and it had been apparent for months.

— after all, it felt like centuries ago that joshua had offered to play matchmaker for jeonghan and you — the veritable apple of his eye — and set the two of you up on a date.

it had been some lazy morning and jun nearly spit out his breakfast.

"you'd both love it! i'd get jihoon to play something romantic on the violin; well, maybe recorder—"

cue jun choking once more.

"and you could be there waiting in full suit and tie."

"with couples rings waiting in the bread basket." and joshua's eyes went comically and maniacally wide at jun's inclusion.

"ah, cheol would crash any date like that."

"but then y/n could get his blessing!"

— at some point, jun was at his wits end.

in his defense, it was him who had to see the two of you be all sweet and love-struck all the time, giggling and teasing each other on his couch in his apartment while all he's trying to do is eat a sorry excuse of a subway sandwich (eat fresh.) before jetting off to his internship again.

if you had to see that shit while eating soggy bread you'd be annoyed, too.

one more "aigoooo" while jeonghan squishes your cheeks, and you bat him away with a roll of your eyes and jun would take a knife out of the block behind him.

— especially when jeonghan started calling you "angel" at every chance he got. had jun's eye twitching, it did. never had he regretted getting roommates until jeonghan fell in love.

one day jun learned that the phrase "get a room" made at least one of you self conscious enough to at least tone it down, and he never stopped weaponizing it, since.

— of course, overtime jun's protests became background noise, but once, when your roommates and jeonghan's all went to the museum of fine arts together to celebrate the end of finals week (it was free admission so long as you had your svtu activities card), jun had deadpanned his new favorite phrase in the middle of the outdoor conversation area. jeonghan had turned to you grinning, like it was the excuse he'd been waiting for all day, and after a lighthearted "shall we?" you grabbed his hand and the two of you pranced off to explore the sculpture terrace.

jeonghan had raised an eyebrow at your choice of exhibit, but you pulled him over to a sculpture of a human figure with black wings and flashed a smile: “it’s not a private room, but i think it works.”

“if you’d prefer it, i’m sure there’s a custodial closet we could go to instead. i bet there's one right outside, even.”

you snorted. “and if i did kiss you? what would you do then?"

— you stunned him into silence. him. yoon jeonghan. 

— right as he was about to recover and shoot back some smartass comment, you laughed — the sound clear and playful, bright and radiating with warmth — and then you wandered to where they showcased student work.

— umm... uhhh... WHATTHEFUCKWEREYOUDOING WHATTHEFUCKWASGOINGONNNNNN

“angel.”

you hummed absentmindedly, only half hearing jeonghan through the internal screaming reverberating in your skull.

“y/nnnnnnnnnnnnnnn…”

he was closer now, if you focused, you were sure you could feel him, inching closer, right behind you, just to your right…

— he kissed your cheek: half on the corner of your lips, half on the soft of your skin.

— you couldn’t help yourself. you turned.

“if you were bold enough to kiss me here, i’d kiss you back. then i’d be scandalized, ‘how forward!’”

your mouth opened: in shock, in delight, in laughter, in a heavenly mix of the three. jeonghan just stood there, all self-satisfied grin.

“you could waste your time finding a comeback, or you could be forward.”

“i think i have time for both.”

☄. *. ⋆

end of file .

SVT (sophrosyne; virtù; truth) University hopes you've enjoyed your stay !

[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.

[screechingfromthevoid]

nothing (besides everyone ignoring Orym's deal) has made me angrier than watching Dorian keep up this facade. Dorian Storm has always been a type of mask he's worn. At first he called himself a liar because of it. The happy go lucky bard was a way of escaping for him. He was escaping Brontë so he created Dorian. He didn't believe he was Dorian. Until the Crown Keepers made Dorian real. And for a while, he really believed he was Dorian. That he has this new family and new life and he could be who he truly wanted to be.

And then his brother came back and made his problems Dorian's problems. Until he had to put Brontë back on. Because even if the Crown Keepers + Cyrus called him Dorian, he was Brontë. He had to be who his brother thought he was.

When Cyrus dies, the thread to Brontë had snapped. He was going to see Orym, back to the Bells Hells, back to Dorian Storm. But the foundation of Dorian had shattered. Dorian was created in order to run from his place in life, family, Cyrus. Now he was gone. The Crown Keepers had fallen apart. His friends fell through his fingers and he couldn't do anything to stop it. He was once ready to side with a betrayer god for these people and now they're in the wind.

So Dorian shows back up to Bells Hella and he's completely broken. The foundation of both of his lives has been thoroughly rocked. No brother. No Crown Keepers. The two things that forged Dorian Storm. He wears that mask so fucking well. Because he still wants to believe in it. He said it live on stage that he should "believe his own backstory". The one he made up. The one where he was a bard.

He wants to be Dorian so bad. He spends all his money on Orym, he spins the bottle so he can kiss his friends, he flirts, he blushes and giggles at compliments. Exactly how Dorian would, should.

But he wears the gold of the heir. He has a festering animosity inside his chest. He doesn't sleep. He's thinner than he was. He doesn't sleep. He sicks abominations after their creators. He talks to God's without an ounce of self preservation, daring them to strike him down. He does not acknowledge them as they taunt him.

The god of beauty and magic calls him beautiful and he does not smile.

[wow-an-unfunny-joke]

Dazai leans over the edge, a strong gust of wind is all it would take to push him over, to send him falling to his sweet, ultimate demise.

Chuuya grabs his arm in a strong grip- but he doesn't pull Dazai away from the edge. Chuuya looks Dazai straight in his eyes. Bright blue eyes meet Dazai's and he says in a firm voice,

"If you jump, you'll kill both of us."

And it's clear, right then, how deeply Chuuya trusts Dazai.

And Dazai doesn't jump.

[manesvoid]

Made a design so my friends and I can order some stickers of the most iconic figure of this year Olympics >:3c

If you want to know the person who designed this costume is a jury of drag race France! Which explain a lot

[hrokkall]

HOW TO PIN YOUR INSECTS:

Position limbs into desired arrangement and pin in place

Maintain eye contact

Pin should pass through the center of the thorax

Move slowly; lest the divine light leak out along with the ichor

Wait for the embers to die.

Wait for the embers to reignite.

[front-facing-pokemon]

[cloudysarts]

this show would be good if literally everything about it was different

[luck-of-the-drawings]

POOR GABRIEL MONTEZ! YOU NEVER SAW THIS COMING DID YOU? ALL YOU WANTED WAS POWER. SECURITY. SAFETY. & THATS EXACTLY WHAT YOU GOT! JUST IN EXCHANGE FOR YOUR BODY. LETS JUST HOPE NO ONE FUCKS THIS UP. LETS JUST HOPE YOU WONT HAVE TO CLEAN UP THE MESS.

[sluckythewizard]

'I wont cry for you, I wont crucify the things you do. I wont cry for you, see, when you're gone, I'll still be BLOODY MARY'

[they-didnt-last]

anyone interested in talking about the iconic 2000's middle-grade-bordering-on-ya book series gallagher girls??