#i put this in drafts because it was comically long

[littleeyesofpallas]

Eh! TAMER wa Tsukaenaitte PARTY kara Tsuiho shita yo ne? ~Jitsuwa sekai yuiitsu no 【Seirei Tsukai】 da to hanmei shita totan ni tenohira o kaesa rete mo osoi. Seirei no Oujo-sama ni mechakucha dekiai sa renagara, boku wa MY PACE ni saikyou o mezasunode

[え、テイマーは使えないってパーティから追放したよね？　～実は世界唯一の【精霊使い】だと判明した途端に手のひらを返されても遅い。精霊の王女様にめちゃくちゃ溺愛されながら、僕はマイペースに最強を目指すので]:

Eh! I banished you from the party saying you can't use TAMERS, right? ~As soon as it turns out that you are actually the only 【Spirit User】 in the world, it will be too late to return your palm. I'm aiming for the strongest at MY PACE while being insanely doted on by the princess of the spirits.

[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���) (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.

[dadsbongos]

a king, his advisor, and the betrothed

@toxycodone the fic is here fren

11 K words / warnings - reader has vag n wears a dress once, threesome WOAH, p in v + p in a sex, oral (m receiving), kabru is a fan of inappropriate workplace relationships

summary - Laios cannot find a suitor on his own, so Kabru is forced to summon an old... friend... for help.

~~~

“Just… someone you would like, then.”

“Someone I would like?”

“Yeah! If you like them, they must be good, right?”

“This isn’t about… ugh, fine.”

Kabru already knew exactly who to set up with Laios, but he wanted to grant himself a few more hours of delusion by drafting a list of desired traits.

.

.

.

A queen should be: diligent and humble, wise and patient. Honest.

Ideally, a short-lived king should marry from another short-lived race. Any children will therefore be short-lived as well, which Kabru considers highly preferable. Another tallman is his best option to keep infertility sparse.

Laios’ personality will need to be accounted for as well (Kabru finds that the longer he dawdles, the more fun he has hypothesizing Laios’ perfect match).

Laios, specifically, needs someone blunt and unencumbered by conformity -- the man seems to thrive when others feel comfortable speaking frankly with him. Someone from another royal court will not do, and especially not someone descended from direct nobel blood. Furthermore, Laios is clueless as to what his own title ensues, so he does little more for his countrymen than make appearances or pass budgets and bills. So for Kabru’s own sanity, someone intelligent and inclined to make Laios do his actual job is also preferred.

They must balance indulgence and sobriety for the man’s antics, as well as willingness to sit through Laios’ obscure personality.

Wait…

“No,” Kabru scratches that last half of his sentence, ink bleeding across the page, “What kind of matchmaker settles?”

They must like Laios, and Laios must like them. Laios is not a man Kabru can envision enduring loveless marriage, it’d be too awkward and the dolt would have it annulled.

Someone not petrified by monsters and intrigued by Laios’ strange personality, but also not so deranged as to be exactly like Laios.

Again, a single name comes to Kabru’s mind, but this time he does not put it off. He’s had his fun scheming, now he must draft a letter to the Northern Continent. To a village chief’s firstborn -- acquainted well enough with basic politics while also sharing a similar upbringing with Laios.

You’re perfect.

You’re also…

“An ex-party member?” Laios’ eyes skim over the contents of Kabru’s summoning letter, addressed at the top to you, “Cool.”

“Yeah, an ex-party member,” Kabru sighs to himself, imagining Rin beating him over the head with her staff right about now, “I think you should know, I briefly- ”

“Kabru,” Laios shakes his head, grinning, “I don’t care. If you trust them, I do.”

Briefly -- sure -- if an entire year and some months was brief. Kabru sighs louder and decides to let Laios find out on his own, since the king is so determined to look cool and easygoing.

In any case, you’ll be fond of Laios, Kabru’s certain.

Certain, and also dreading.

Year 512

“Where’d you find the space case anyway?”

“You sound upset.”

“Look!” Rin flings a gloved arm straight out, gesturing heatedly towards where the party’s newest member is staring straight at the first floor’s cracked ceiling.

Both hands squeezing the straps of your pack, you leave your throat completely exposed in order to gaze at a dark, faraway roof. The ease with which Kabru could slit your tender neck is comical, he finds it more concerning than charming. Any hoodlum or hooligan could rob and beat you blind and you’d be incapable of a proper defense.

“Let me handle it,” Kabru hopes to placate Rin with a soft grin, its success is limited because Rin’s known him long enough to push through his gushy exterior. She puts up no fight, thankfully, and let him approach you alone, “Hey!”

“Shh!” you hiss cutting your fingers along your jaw to silence him. His shock and horror at your rudeness must be visible because you wave that same hand around and smile, “Sorry. It’s just…”

Pointing up, your stare returns to the ceiling. Eyes wide and lips curled with glee. Kabru heeds and grimaces: glistening slimes the shade of clovers goop between gaping slashes in the ceiling. Pulsating and shivering as one beating organ, Kabru can’t think up a more disgusting sight.

“Slimes are sensitive to the heat we exhale, so the louder you are the easier they can find you.”

Blinking at you as inconspicuous as possible, Kabru asks, “Why stand right under them then?”

“They’re so weird. They don’t look intelligent, but they move around easily and developed such a scary way to trap prey. Pretty neat.”

Kabru has half a mind to cut you out of the party just for saying that, until you tack on a,

“Still super gross, though. We should move before they notice us.”

Kabru nods, watching you cross towards the rest of the party before following with a silent prayer that you’re not actually a monster fanatic.

His prayers are answered on the second floor -- your party is down, Holm and Daya crumpled over on opposite sides of the tree den. Kuro is strewn over a shaking, teary Mickbell with a bloody gash in his back. Rin has a similar slash, only deep in her gut and Kabru can tell she’s bleeding out fast.

While he prides himself on his wit and light thinking, Kabru is horrified by the sight of his party in agony. Planning so far ahead of himself he’s trying to scheme how to charm a passing healer into aiding Rin or reviving Holm, meanwhile he can’t even be certain he’s going to survive this attack. His own life is on the back on his mind, body stiff in preparation to swing his sword and cut off the chicken head of a charging Basilisk.

But how should he cut? It has to have a carotid artery, or a heart, but where? What if his strike is at a wrong angle and the snake side gobbles you all up.

Suddenly, the glint of your sword blinds him -- you snip the snake in half, exploiting the monster’s following stagger to round its body and stab through the Basilisk’s head. Tearing outward and splattering Kabru in blood as the beast drops.

He looks to you in silence, knees sore and wobbly and hands a shaking wreck.

Simply, you say, “The snake head is the real head, so if you attack that end first the chicken tail is distracted and easy to sneak up on,” then, you notice his trembling, “Oh, sorry…”

As if waiting for permission, Kabru’s body gives out once your hands find his shoulders. You smooth a palm over his back while shredding the loose material of your blouse to mop up the mess. Gently soaking Basilisk blood from his face with a frown marring your face, continuously murmuring apologies.

Kabru takes your wrist in his hand, blinking back his shock to sigh, “Thank you.”

Suspecting there’s more words jumbled on his tongue, you patiently wait that way: knelt beside Kabru as he squeezes your wrist.

“I think we should go back to the surface.”

You nod quickly. Much quicker than he’d assume you would given how directly you dealt with the terrifying Basilisk, “Do you want me to head back and get corpse retrievers? I doubt we could carry everyone up by ourselves.”

He takes note of how you specifically exclude Mickbell, presumably due to the young man’s hysterics.

The sharp tang of raw iron is filling Kabru’s nose, he chokes on it. He can’t stand to smell it a second more.

“No,” but inhaling through his mouth makes him taste it, rotting each bud on his tongue, “No. I’m the party leader, I should get them.”

Your eyes are lidding, no shock or awe found in the twinkle of your iris -- you were expecting this response.

“Sure, Kabru, I’ll wait with Mickbell.”

You don’t call him out on it, though.

Once the party has been revived and Kabru’s thrown the men their coins, you suggest the crew return a floor above.

“I’m sure nobody wants to eat where they died, so let’s have lunch up there and save instead of visiting a stall,” you gasp quietly and cover your mouth, then deferring to Kabru, “If that sounds good to you? Sorry… I shouldn’t have spoken so boldly like that…”

“No, you’re right,” even though he’s not looking to confirm, Kabru can feel Rin burning holes into his skull with her glare, “I think that’s a good idea.”

Secretly he’s glad no outsiders heard you make that call -- he isn’t ashamed to be bossed around by someone in a blouse, but he’s also not unrealistic. Others seeing that could threaten his meager status among the adventuring community. He’d be the wimp pushed around by his own members.

Interrupting his spiral, again, is you, “Okay, let’s get going then!” you clamp another hand over your mouth, “Right, Kabru?”

“Right.”

Thankfully, it is just your party who only finds your zealousness comedic rather than an opportunity for mutiny.

Returning visit to the first floor proves you about as useful as the initial one did.

Holm and Daya are unpacking rations with Mickbell and Kuro straggling at the edge of the blondes’ conversation. Rin is fetching water. Kabru is watching you; and he knows he should be either helping Rin, or lecturing you to help Rin, but he keeps watching.

He cannot hear you, but he knows you’re speaking -- crouched to make eye contact with a pair of slight humans. Round cheeks and marblesque eyes tell Kabru they’re just scratching at maturity. Not even thirteen.

The shorter one, a boy with freckles, picks at tender plumes of skin around his nails, knees shaking. He finds no voice, but the girl beside him does. She squeezes the shirt over her heart and her brows furrowed with passion, he can barely make out the words: mage, fourth, corpse retrievers.

One of your hands is perched on your bent knees while the other grazes along the forsaken graveyard, your head tilts and if he really forces his ears then Kabru can hear you ask, “How did you get separated?”

The girl’s shoulders go lax, lip twitching down as she sputters a reply. The boy’s picking grows frantic, his head shaking and voice shivery (this time Kabru can pick up: without her, no chance).

Kabru’s gaze hones on you, dissecting each twinge in your face as you process the information. Daya and Holm’s voices become vague, like buzzing insects, even Rin’s agitated staring from the fountain is pushed out of focus. How will you react to these children?

It's a horrible story, he’s sure. He’s so sure it’s a truly heartbreaking tale about two little ones separated from their ward on a lower level due to a snap decision from fear. However, it could also be just that: a story.

Criminals banned from The Island’s coasts often seek refuge in the bowels of the dungeon. Kabru feels confident that as this dungeon continues to fester unconquered: criminals are beginning to raise their children here.

If you blindly follow them down, you’re a fool. If you hand over all your party’s gold, you’re a fool. If you do nothing, you’re heartless. Heartlessness can be worse than foolishness, at least fools have good intentions.

Fingers wrap around the stem of a limping flower and pull, cutting it clean from the floor and holding the plant for both children. You push your hand closer to the kids, waiting until the girl grasps the flower before speaking again,

Something long winded, and judging by the shudders racketing down the boy’s frail body something rather dismal too. Yet you’re beaming up at the children, then they’re smiling as well. Rising to your feet, you brush moss stains from your knees and wave the children off with a promise Kabru can actually hear,

“If my party finds any retrievers, we’ll send them down.”

With eager nods, the kids sniffle and affirm their bravery to you -- the girl cradling the plucked daisy to her chest. You return to your party’s camp and boldly declare,

“I think we should try reaching the fourth floor soon.”

Rin bonks you with an elbow to the side, “Where’s this enthusiasm when I needed help carrying the water?”

Rubbing the tenderized area, you laugh and accept her frustration, “Sorry. Got caught up.”

“Obviously,” Rin sighs, falling to her knees around the party’s temporary camp.

Kabru sits as well, still observing as you apologize to Rin again though your eyes trailing the kids as they heft food packs onto their shoulders and begin their trek.

Mickbell settles into Kuro’s lap, Daya has begun digging into her plate while Holm ensures everyone has a filling portion. Rin agrees to dissolve the tension, meaning you two can begin gaffing amongst yourselves. As if you never left, the party is normal.

Despite your itch to reach the fourth floor as soon as possible, you don’t mention the interaction whatsoever.

Overall, Kabru considers your first dive with the party a cohesion success.

Year 515

“Don’t speak over or interrupt. Got it?”

“Okay.”

“At all.”

“Alright.”

“I’m serious,” Kabru’s eyes widen a smidge, as if to force how pertinent it is that Laios absorbs this lesson, “I’m still upset about the meeting last week.”

“I didn’t know he wasn’t done talking,” Laios frowns, shrugging in an obnoxiously coy play, the worst part being that Kabru knows Laios does it in earnest. His stupid kicked-puppy stare is entirely genuine, “That guy takes long breaths, it’s hard to tell when he’s done.”

“Well try harder to tell now,” a wave of guilt hits Kabru in the chest, heart squeezing at the sight of Laios’ frown deepening, “I don’t mean to upset you. I just… I want this to go well.”

“I do, too, you know?”

Kabru finds that hard to believe, but Laios isn’t lying to him right now. He’d know otherwise. Whether Laios can make a positive impression will have to be seen, but the man clearly has no intentions of sabotaging himself.

For all his lackluster socio-political ambitions, Laios is still a good king: insightful to the experience of commonmen and quick to new ways of strengthening their country. He has yet to give citizens, or Kabru, valid reason to question his ability to rule.

“I’m sure,” Kabru turns in his desk chair, bracing his forehead with his palm, “Let’s get this finished then.”

“But- “ Laios hesitates when he’s shot an icy glare from Kabru, “But I’m so hungry…”

As if to punctuate his torment, Laios’ stomach grumbles. Loudly. Echoing through the informal setting of Kabru’s personal quarters.

“My poor royal majesty,” Kabru coos, inked with sarcasm, “Will you survive till lunch?”

Laios’ eyes go thin, arms folding, “Don’t demean me.”

“It’s one meal. You’ll hardly die. The faster we finish this paperwork, the quicker we can usher you to breakfast.”

“I want to go now,” Laios, with no sense of self, lays his lips into the crook of his advisor’s neck. Soft, plump flesh scorching Kabru’s pulse, then a cold flash of bone: teeth, “I’m starving.”

Bladepoint canines puncture Kabru’s skin, shock blinding him to the scathing scratch till after Laios has already pulled away. Saliva stringing them together before Laios snaps it, sloppily swiping the wrist of his sleeve across his mouth.

“Disgusting,” Kabru starkly avoids eye contact by glaring at the sheen of spit on his shoulder, cupping the inflamed flesh, “Go change your shirt now, it’s not a handkerchief.”

He doesn’t remember when he first felt comfortable being so venomous around Laios, only that it's easier than trying to be pleasant all the time.

“After I eat?” Laios prompts.

“After you eat,” Kabru massages his tensing temples, working away the headache as it builds.

Upon Laios’ exit, Kabru traces the shallow indents with his fingertips -- lashes fluttering against his cheeks at the resulting faint sting. Now he’ll be forced to find a new shirt of his own, one that hides his bruising mark.

Year 513

“As long as we don’t piss off any living armor, we should be able to get to the fourth floor, at least,” you nod to yourself, hands steady and body firm as you hold up your homemade map of the area.

Raucous groans follow your cheery assessment, and a cursory glance back shows your party in disarray: Rin and Holm have heavy, discolored bags beneath their eyes. Daya is leaning against her axe with quaking arms while Mickbell coils around Kero’s shoulders. Even Kabru can admit he looks worse for wear, or assumes he does because he certainly feels at his worst.

“Oh, unless you all want to head back?” you roll the map up and wave a hand dismissively, almost seeming ashamed of the previous suggestion. Cautious to maintain a soothing and even tone, clearly doing your best to prevent any of them from feeling coddled or mocked.

Not that he truly wants to, but Kabru agrees, “Probably for the best. We’re running low on food, so we should save what we have for the journey back.”

“Makes sense,” you don’t appear disappointed or discouraged, “There’s always next time.”

“Enough optimism,” Mickbell whines, “It’s making me all nauseous.”

“Be nice,” Rin chastises, then looking at you forlorn, “You could probably carry on without us.”

Her dejected lilt prevents any accusations of wanting you to go it alone.

“No way, I’d go crazy by myself!”

Kabru reads that instantly as a lie -- if your scrunching brows and fidgeting hands weren’t telling enough then perhaps you don’t remember confessing to him your days as a solo adventurer.

You could easily carry on without the rest of the party. Hell, you could even join a better, stronger party -- the Toudens, maybe. They’d chomp at your skills if they cared even a little about their fellow men. Kabru bets you would even be able to form a party of your own with ease.

“We’re strongest when everyone’s at their best, after all,” you reassure, turning your back on the dream to hit fourth floor this crawl in favor of aiding your party’s exhaustion, “As long as we can go that deep eventually, I’ll die happily.”

Kabru doesn’t bring up how rapidly approaching the date for you to sail back home is, he gets the sense you wouldn’t want him to.

“Well don’t go keeling on us as soon as we do,” Rin’s scowl loosens, only slightly, when you smile in return and loop an arm through hers.

“Of course, not, Rin. Who else would terrorize you if I died?”

Quickly, the mage’s dark eyes flick to Kabru before returning to you, “I have an idea.”

“Oh, duh.”

Her gaze lingers on the way you’re staring at Kabru and how Kabru stares back. She must read his fondness because her forehead wrinkles up and she tugs you forward, “Yeah, duh.”

Year 515

Kabru’s foot taps impatiently, knowing it’d be improper were he to rush over and help you down from the carriage himself. But forgive the man, he’s in a hurry to have you at his side again.

He wonders if you wear the same perfume.

He wonders if you’ll take to Laios immediately, or will it take the entire two weeks before your wedding ceremony for you to warm to him?

Most of all, he wonders if he can compose himself during the entire courting process.

“Hey!”

Kabru’s mind snaps back into the present at your call, you’re charging over with an ecstatic wave. He waves back, calmer and centered towards his chest.

“It’s great to see you again!” you effortlessly knock the polite handshake Kabru extends aside to wrap your arms around his shoulders, “Imagine my surprise, the first time you send a letter is to try and marry me to a king!”

“I never found the time to write back when things finally got interesting,” Kabru bluffs, returning your hug. Warmth spreads between the both of you, if he focuses hard enough he can make out the dull thud of your heart, “Hopefully this makes up for it.”

“Definitely,” you pull back, rolling your eyes, “Father made my brother village chief while I was on The Island, so there wasn’t anything left for me to do there.”

“Perfect time to get one up on your brother. Even just marrying into royalty is better than village chief.”

You hum thoughtfully, “Let’s meet Laios Touden first. I remember he was kind of a weird guy, no?”

“He still is,” Kabru shrugs, turning to guide you into the main hall as men lug your bags towards the castle’s south wing, “He’s nice, at least. Wants to make living easier,” he glances back at you over his shoulder, “Handsome, too. You must remember what he looks like.”

“I remember he was big.”

“Strong, yeah,” Kabru slows to match paces with you through the rolling corridors, “Nice jawline, pretty eyes, and the slope of his nose isn’t terrible. He’s kind of an outstanding specimen, physically I mean.”

“Oh…” you press a hand over your mouth to keep from laughing at his rambling, “So his looks do the heavy lifting?”

“Just something to keep in mind,” he pauses outside a set of tall double doors, one hand braced against the hanging, solid black handle, and the other drawing circles into his temple, “His unique personality hasn’t faded with becoming king.”

“How interesting.”

“That’s a word for it.”

Laios is slumped comfortably back into his throne, sunlight complimenting his bored expression before he notices the pair pushing through his grandeur. Immediately, his eyes sink into you, scrawling from the top of your head to your feet in blatant observation. Staunchly, his gaze remains respectful to your modesty, indicating he’s purely sizing you up; perhaps confirming whether or not he could take you in a fight. Or to use you as a meager replacement for his monsters, studying your anatomy and mentally attaching tails and horns and heads where he sees fit.

“King Laios,” you politely remain behind Kabru. Your own gaze lurches over the king’s body as well, much less clinical than his examination -- you already know you could take him in a fight. What you want to imagine now, is if he’s the outstanding specimen that Kabru claimed, “So nice to see the Golden Kingdom for myself.”

“Prettier than the North,” Laios, much to Kabru’s unspoken irritation, scratches the back of his head without grace, “You’re from there too, right? How has it been? I haven’t been in awhile.”

“Oh, you know,” none of the men from your village look like Laios, despite their hard labor they aren’t built like him. Big. Beefy. Chewable also comes to mind; you could chew him up and be full of protein. From the little pouch of his stomach you surmise he isn’t cut or excessively defined, which drives you mad, “Same as usual. Cold and quiet.”

“Mhm. How about the monsters up top? I don’t think anybody from my village was willing to slay them,” he folds his arms, legs spreading as he readjusts for comfort, head ticking curiously, “I’ve been thinking lately that they could be overrun by monsters if nobody fights them off.”

Kabru’s irritation grows, having to claw at his thighs to restrain from choking the man. He may be older and bigger and more powerful than Kabru is, but Laios is the most painfully oblivious man in the world. He just has to be. He’s so focused on not attacking his king that Kabru almost misses how eyes scald his side at the mention of monsters overtaking the North.

“I haven’t noticed anything unusual,” and you mean that, the North truly is as boring as it was when you were growing up, “Maybe more acceptance for magic, but that’s mostly to combat the increase in ghosts.”

“Increase in ghosts,” Laios’ eyes bulge, posture straightening out in vivid excitement, “Do they know why there’s so many? Do they just wander around, or do they remain in cemeteries?”

“Ah, King Laios,” you try to hide the way your eyes bounce repeatedly towards Kabru’s rigid frame. His hands are balled, even shaking, and his stare is aimed over the king’s right shoulder, “Perhaps we could get some privacy before discussing such things?” you boldly step forward, correctly assuming Laios would take no offense at the intrusion, “We should get to know each other on our own.”

“Oh, right!” Laios waves a dismissal towards Kabru, apologizing for holding the man so long.

You don’t ask Kabru if he’s okay before he leaves, but you take one of his hands and squeeze it gingerly. Smiling tenderly and bidding him well. A soft halo of gold ringing around your head from sunlight pouring through glass panes.

“Don’t let- ” just as he’s apologizing for his king, you silence Kabru.

“I’ll form my own opinion,” you release his hand, still grinning, “You trust me, don’t you?” he nods, of course he does, “So trust me to gather my own thoughts, okay?”

Oh, God that cannot be a good sign.

Please, please, please -- he’s contemplating getting on his knees to pray outside the doors -- please don’t let his reaction to Laios’ monster obsession make you hate the king. You’re his only choice, the only one that will do!

You’re kind and strong willed and beautiful and he’d love to have you living under the same roof as himself.

Not that that has anything to do with his decision. No, no, that would be idiotic.

That would be the worst plan he’s ever planned in his entire life. So, he’s glad it's separate from his real motivation.

At least, he’s glad until that night. Alone in his bed with only moonlight shining along his pristine sheets.

For hours Kabru has been cooped in his room, and technically he’s been cooped in his mind even longer. Since the second a passing pair of guards relieved him from lingering outside the throne room, Kabru blindly stumbled through his messy thoughts.

Worse now than ever before is the desperation to know. Clawing him apart from the inside out. He needs to know.

To know what you’re feeling. To know what’s being said. To know why you two never came out, even hours after Kabru left. In explicit detail, he must know. What you like about Laios, what you don’t, what you find attractive, if you got hot in the face when you saw him, if you ever felt that way about Kabru, if you think Kabru’s attractive, if you accepted his invitation just because Kabru sent it or because you truly wanted to meet Laios.

He can’t just ask, so now he must meticulously set up a series of precision events to fish the information out.

Because your hesitance to emphatically accept the proposal confuses Kabru. You’ve never been particularly picky about partners, but you’re not the type for manufacturing attraction to spare a person’s feelings. So theory one is that Laios is not physically appealing to you.

Though not even that explanation makes sense. To be short, Kabru doesn’t understand how you couldn’t be attracted to Laios. Such strong, determined features demanded attention; and trust, the attention would be positive.

Broad shoulders and meaty thighs, Laios’ build is admirable on its own: Kabru could sink his teeth into Laios’ bicep and never cut bone. Aside from that is the healthy fluff of blonde hair his king keeps trimmed, as well as his face. Remaining clean shaven gives an air of proper hygiene and self-sufficiency that makes Laios seem more attractive.

Kabru cannot fathom how you’re not preparing vows yet.

That thought makes him shoot up in bed, eyes wide and a hand curled into his churning gut.

Why can’t Kabru fathom how you’re not preparing vows? Why does he find it so peculiar?

That type of questioning, this obsession -- it implies Kabru wants to prepare vows, doesn’t it?

With ragged grumbling Kabru collapses back into his mattress, letting his fried brain melt through his ears as he finally attempts giving in to sleep.

…

He wakes to a nightmare the next morning -- you and Laios are alone in the great hall, sitting shoulder-to-shoulder on the end closest to the kitchen. Chairs pushed so close the armrests are peeling against each other, elbows knocking as Laios forgoes all table etiquette. Not once do you scold or demean him. Instead seeming too engrossed at the ear-nibbling of shapeshifter trivia Laios is laying down.

“Did you ever run into one?” Laios asks, eyes a little too glittery for someone who must’ve woken quite early for this private breakfast, “My dad had our dogs follow herds so we could spot them in the flock.”

“Dogs can tell which sheep are fakes?”

“Oh, yeah! Dogs can tell by the smell,” Laios taps his nose, “I wonder what the difference is, don’t you? Do they smell more sweet, like dirt? Or do they have no smell at all since their illusions?”

“Maybe a Kobold would be able to tell you? Their anatomy is dog-like, after all.”

“I thought so, too! But there’s not many Kobolds native to the North.”

“Well, hopefully you can find out one day,” then you bite for more monster facts, “I did always wonder what my own shapeshifter could look like. Don’t they read people’s minds to make their copies?”

Laios’ silverware clatters away, tinking loudly on the glass plate, hands flexing hysterically, heart jumping to his tongue, “They do, they take other people’s interpretations of you to confuse your company into keeping it around.”

“How thrilling,” you muse.

“It’s a shame I’ll never get to see or make another one,” he lifts his fork, pushing meat and eggs around his plate glumly, “Would’ve been fun to see what you look like in my memory compared to the real thing.”

“You can tell me now,” your palm bares his shoulder, leaning over your chair and towards his own. Laios’ honey eyes dip, tracing the shape of your lips which makes you lean even closer, “How is it that you see me, Laios? Would I be flattered?”

“I hope so,” he blurts.

Kabru backs away, rattling door hinges before slumping back into the corridor. Rotten thoughts of how lovely you are corroding his brain. You’re so lovely to nip at your betrothed’s interest wholeheartedly, no matter how unconventional.

You’re so lovely it's all consuming.

You’re so lovely he can’t remember when or why, exactly, he fell in love with you.

You’re so lovely he thinks he might have just always been your emotional pin cushion.

There remains to be a single thing Kabru could name that made him fall in love with you.

Kindness is much too bland of a trait. And you wanted the wellbeing of others, but that’s something Kabru expects from people. You are pretty, but that’s no reason to daydream about buying a house together. Perhaps it was a combination of all three that mixed lethally well with how much time you spent together.

That, with how detrimental party romances are to group fallouts, maybe made you more desirable? Could that be it?

You were a new, fascinating person he couldn’t pick apart as soon as he gazed upon you, and you knew exactly how to swerve his expectations. You loved listening to him mutter about the interlocked nature of humans: one man cheating on his wife in Kahka Brud undoing a port in Melini. But you stepped away from interpersonal Island gossip. You could rattle out seven variations of man-eating plants but couldn’t stand to even look upon the vegetation without grimacing.

Approachable with a thin smile and batting lashes, beautiful and quiet. Very quiet. You hardly ask anything of others. It should make you seem ominous or menacing, but no part of him feels endangered by you.

Kabru always felt so comfortable around you that, despite knowing his other party members longer, he found you the easiest to converse with. Before he could realize himself, you’d crawled over so many emotional walls without letting him bypass a single one of your own.

You’re his worst nightmare, he craves you more than oxygen.

Year 513

The tavern door opens with an outrageous squeal. If the mood were different, then you would probably make a humorous remark about the aged hinges. But the mood isn’t different. Things are tense and he just wants to go home now.

Even twinkling stars blink away to avoid giving his humiliation anymore attention. Moonlight rudely oozes over you both, though, reminding him how much he prefers the sun. The moon always seems to follow him when he’s whirled in his worst turmoil.

You step into the tavern first, holding the cranky door open for him. He’d thank you like the upstanding young man his mother raised… if only the mood were different.

Silently, Kabru trails behind you, cheeks blistering hot and palms moist, with his head bent. You two make it back to the table circled by your party, sans Daya due to a more pressing engagement with her fiance. Rin’s perma-scowl cracks briefly into blatant shock at his slouch before schooling herself into re-wrinkling her face. Confusion curling into the folds of her glabella.

“What happened?”

Per usual, you answer for Kabru, “Nothing.”

“Nothing?” anger seems to flash briefly over her for a moment, a spasm so minute only Kabru can spot it, “Really?”

He’s not surprised she’s upset about him, shamefully, trying to woo you during a night out with the party. What surprises him is that her anger is solely directed at you.

At least until you nod firmly, “Nothing happened, Rin.”

Then pity laxes her irritation, she spares Kabru a flicker of eye contact before mumbling an ‘okay’. She ends up remaining largely silent for the rest of the night, only extending responses when directly prompted.

What else surprises him is the ease with which you lie. Something happened, just not how he wanted it to play out.

Maybe he didn’t notice because of his drowned mood, but Kabru swears you didn’t exhibit any of your usual tells when you spoke.

(the fact he harps on your physical tells will make him so mad he cries later tonight)

Year 515

“He’s going to burn their ear off, I’m telling you…” Marcille grumbles.

“I think it's cute,” Falin grins.

“Of course, you do,” Marcille sighs, though smiling fondly at the girl while scritching around her plumage. Falin chirps happily and nuzzles into Marcille’s shoulder, “He’s your brother, you never think he’s as weird as he is.”

Kabru speaks boldly, which he knows is unlike himself but he’s so eager to show that he knows you more than them that he cannot stop himself, “They can bond over the monster talk, at least.”

“Are they even into monsters?”

“Kind of?” he backtracks, realizing that he isn’t sure how to answer her question, “They hate monsters, but they know a lot.”

“Good on you for finding someone like that, then,” Marcille shrugs, “They might actually have a good marriage.”

Kabru tenses, even though he shouldn’t (because he knows why you’re here, so he can’t exactly get depressed when other people bring it up), “Yeah. They will.”

“For a while, I thought you’d marry my brother,” Falin says suddenly. Eyes sharp on Kabru’s figure.

Marcille guffaws, “Why would you say that?”

She shrugs before letting her eyes relax to their usual serene state, “They get along well. And Laios likes him. Laios doesn’t usually like people.”

“I guess you have a point,” Marcille waves a figurative flag before gesturing to the room around them, “But we’re not planning their wedding.”

“Yeah…” Falin sighs like she’s the one most disappointed.

Kabru says nothing, only returning to the list of ale and wine suppliers eager to vend for the upcoming royal wedding. His eyes skim names he’s heard various reviews for, but his brain takes none of them in. Rather, he’s fixated on what Falin said.

She could see it?

Could they have gotten married?

If Kabru forgot you completely, or even better never met you, could it be him stepping up to the altar? Would Laios have him?

Laios doesn’t usually like people. but in crowded meetings, it's solely Kabru that Laios searches for. And it’s the sight of Kabru that makes Laios sigh in relief. And it’s the sound of Kabru’s voice that Laios waits for before delivering a response.

At dinner, back when they ate together before you monopolized mealtimes, Laios always ensured Kabru had twice his fill before calling it a night.

(“Even though we’re not fighting in a dungeon anymore, I still think you should retain your strength.”

“You sound like you just like watching me eat.”

“Maybe that, too. You have a nice mouth.”

Kabru never responded to that, too petrified over the implications. Now he thinks he probably should have, maybe it would have meant he’d be marrying a king.)

Falin was right in that Laios doesn’t take to people easily, and he’s sure that’s all she meant. But Kabru knows that her statement is a criminal oversimplification of Laios.

Laios likes people so much he’s gone on potentially endless, potentially fruitless, endeavors for them. Laios likes people so much he makes them harpy eggs because they seem minorly interested in monster cuisine. Laios likes people so much he makes sure they’re treated with the utmost dignity. Laios loves people, and suddenly the thought of you becoming one of those select people is getting harder to grieve.

Laios’ love is not limited, but now Kabru’s forced to come to terms with the fact that Laios’ romantic love for him is--

“So, did you pick yet?” Marcille and Falin are swatching fabrics from the cushy loveseat of the main library, “I’ve heard of a roach outbreak in Smisson’s breweries, so I hope you didn’t get attached.”

Kabru jolts upright and shakes his head, saying the first dumb thing he can think of, “I heard of that, too.”

Falin giggles, “He’s the one that told you about it, Marcille.”

“Huh? You’re kidding!” a furious blush overtakes the elf, “I’m sorry, I don’t know how I forgot that!”

Kabru shakes his head again, swallowing roughly, “It’s fine.”

Really, it’s all fine.

Year 513

“Everyone wanted to be here,” Kabru chuckles quietly, as if raising his voice could somehow wake the entire Island.

“I’m sure,” there’s no hint of sarcasm in your voice, “They were with me late last night, so… I didn’t really expect anyone to see me off,” you giggle softly, a hollow sound he doesn’t take very kindly, “I’m surprised you made it.”

“It’s the least I could do after everything you gave the party,” with no decorum he scratches the back of his neck, and avoids looking you in the face, “It’ll be harder in the dungeon without you.”

“I believe in you.”

His breath hitches. He looks at you. A barely-there smile and tired eyes. It may be the most honest he’s seen you. He’s tempted to ask how you meant that ‘you’, but doesn’t.

He doesn’t even speak until you’re boarded -- until he’s forced to raise his voice so you can hear him over a bustling crew and fellow passengers.

“If I send letters, will you read them?” Kabru silences you before you can open your mouth, “Will you respond?”

Then, you’re smiling wider, and your eyes are tight with joy. It isn’t the usual siren cant of droopy lids, it’s pure elation. You’re laughing at his question, shoulders bouncing gleefully. You’re nodding. You speak between chortles, as if he asked you what color the sky was.

“Of course, I will!”

You look more beautiful than he’s ever seen you before.

“Okay, I’ll write you, then.”

“You better!”

Your ship rocks as it sets off from the dock, but you don’t disappear beneath the ridge. In fact, you almost hang over it, torso flattening against wood and nails digging for purchase as you wave.

Kabru waves back. He runs down the dock like a fool, barely catching himself from tumbling into the lapping ocean.

“Bye, Kabru!” you’re still smiling, bathed in soft orange and soothing yellow -- your voice grows distant over crashing waves, “I’ll miss you!”

He keeps waving. He waves and he waves and he doesn’t stop until your ship is behind the horizon. Only then does his hand fall to his side, eyes sopping wet and chest squeezing.

He feels pathetic.

He misses you already.

Year 515

Days prior this morning, the grand hall was cleared out -- pews replaced the needlessly long cherry oak dining table. Flowers plotted in tall carved vases with white lace and silk choking the necks, a velvet track from the altar through open doors to the courtyard. People from across the continents were invented, diplomats to friendly nobles to acquaintances Laios does not remember to true friends to your father and brother and Falin.

(“You don’t want to invite your parents?” Kabru re-evaluates his list of guests, “Seems uncouth, no?”

“What do I care?” Laios’ legs are splayed, thighs pressing against either side of the gold throne, “A wedding is meant to be happy, why would I need people I don’t like there?” he knocks a fist back into Kabru’s chest, letting his knuckles linger over the man’s heart only as long as he can say, “I have you, and my betrothed, and my friends. Really, that’s all I need.”

“It’d be rude to- ”

“I get it,” Laios’ hand falls back onto his armrest, fingertips skimming the rounded metal edge, “This is why I’m leaving it to you, I trust you.”)

Out of all the tedious preparation, dressing Laios was the most tragic in that the king hated everything the handmaids and servants stuffed him in. Countless hours were wasted before they begged Kabru to help, only then did the king settle:

No crown, terminally unsurprising, since Laios abhorred the weight and feel of it on his head. Rather, he would adorn himself with that dreadful Winged Lion’s pelt, and a vermillion cotehardie reaching mid-thigh with gold trim. Leather belt tethered around his waist gave the fabric shape whilst holding up loose britches. Daggered teeth of various beasts lined his neck, which Kabru was privy to each and every complaint over the sensory nightmare they provided. He’s sure as soon as Laios can, he’ll be tearing the necklace off.

Dressing himself, regardless of Laios’ multiple emphatic encouragements, was a similar exercise in disaster:

It felt massively inappropriate to wear something so shiny and attractive as gold on another man’s wedding night, even as Laios insisted Kabru wear whatever he pleased. Still, Kabru chose silver earrings and accents. Sparkling and flattering, yes, but nothing so bold. He did splurge with a sapphire blue kirtie that made his eyes shine brighter, and a simple chain of pearls. He felt attractive, and joyous.

Joyous for tonight. Joyous for a wedding! Yes, simply so ecstatic for tonight’s marriage.

Truthfully, Kabru is so overjoyed for his king, he really could just fucking die.

From joy. And happiness.

Because what makes it even better is how you look happy. Actually happy. No low gaze or siren simper, just pure, carefree merriment as you link hands with Laios. Reciting vows from a flushed, teary-eyed Marcille. Neither of you has that gleam or honeydew sparkle of pure love, but Kabru is good at his job: zero doubt swims in his mind that you two will be a pair truly enamored with each other.

His misery must be unfiltered in the back of the grand hall, far behind the rest of the wedding party, because Rin’s dark eyes are piercing through the side of his skull. She’s frowning up at him, arms folded.

She murmurs, “You should’ve said something.”

Kabru grins at her sardonically, “I should’ve broken up their engagement? You didn’t even like us interacting when they were in our party.”

“That’s- !” her cheeks stain red, an annoyed huff rattling her whole body, “They never told you why they rejected you, right?”

Kabru’s silence is answer enough. It’s also more unsettling to Rin than any dungeon monster she’d encountered.

“They knew that I wanted you,” Rin clears her throat, embarrassment trying to choke her into silence, but she overcomes it for the sake of her friend, “So, out of respect, you were refused and never told why.”

Kabru loves Rin, as a sister. He loves her so much he’d kill for her, because she’s like his sister. He loves her so so so much that he cannot even be mad at her, because part of him always considered her somewhat to blame for your rejection of him.

For an agonizing, silent few seconds, Kabru just stares down at her with those crystalline eyes. Blinking himself from his stupor, Kabru asks the dumbest question he could think of, “Did they want to say yes?”

Rin’s frown deepens, forehead wrinkling, “Is that something you really want to know?”

Laios is a terrible kisser, and out of respect you cover your mouths with a hand as he maps out your lips with eyes clenched. Kabru told him not to close his eyes too early, and naturally Laios did not listen. Thankfully you’re there, hiding Laios’ possible humiliation with one hand and guiding him with your other on his jaw.

“No,” Kabru sighs, “Not really.”

That’s the biggest lie he might’ve ever told Rin.

Still she pats his back sympathetically, even laying her head against his shoulder.

Celebration begins, food laid free for grabbing and wine flowing like water -- especially into Kabru’s gaping maw. It's sour on his tongue, but as far as he’s seen it's him alone that scrunches his face and shakes out his hair at the taste, which only has him feeling crazier.

.

.

.

“Isn’t this foul?” Kabru scoffs, slumped over one of the many strewn tables in the general ballroom, cramped posture making him seem smaller. Ordinarily this is embarrassing. Ordinarily he’s not drunk.

“I don’t notice anything,” Chilchuck swigs from the clear chalice in his hand.

Marcille takes a civilized sip for herself, unspoken concern that their friend’s taste in alcohol is not utmost dependable, “I don’t notice anything either.”

Kabru swirls his wine, staring into the dark spiral and wondering if a bug of some type sensed his grim mood and decided to drown itself and poison his cup.

“I’m going to get a new drink, then,” Kabru rises, bidding the pair well as he guns for the barrels of frothy ale.

People cheer and clack maizers, spilling various toxic cures onto the floor making his shoes stick with loud clicks. Something he doesn’t bother with knowing Laios will seek him out once the stains are discovered.

Laios, Laios, Laios: speaking of.

Kabru’s gaze floats across the party to find his king, who is staring off with hands fidgeting in the drape of his Winged Lion’s pelt as your father speaks. An unfortunate sight, one he’s itching to rectify when a lengthy gown flows into his vision.

Dashing and soft and yours.

Sage fabric glides along the floor, intricately sewn floral trim skittering along the ground. Flowers of lace and yarn decorate the bust and sleeves, even a crown of colorful buds blooms atop your head. Rings of gold link around your fingers. Hair swept away to unveil your face, coiled and braided with, unbelievably, more flowers dancing between the tresses. Faint lavender and tangerine lingers around you in a hypnotizing haze, culling lovestruck head-turns of men and women with your every step.

“Your husband’s alone with your father.”

“They’ll come out alive, or we’ll hear them killing each other,” you pull out a seat at the longest central table and gesture to the chair directly beside you, “Sit. We never got to properly catch up.”

Kabru sees you have wine. He suddenly craves the sour grape flavor (maybe all he was missing was the sensation of licking it off your lips). From what he remembers, Laios was holding wine as well. Kabru considers stretching out to steal a second taste.

Although, sugary enough is the sound of your voice, suddenly his fresh mug of ale is entirely forgotten.

“Kabru?”

You’re so pretty, Kabru could tear his eyes out now and not miss a single greater sight. Especially when you’re -again- bathed in the pouring gold sunlight through grand windows, tranquil beside him at the long table. As if there isn’t a single other spot you prefer, you sit right next to him with a chalice of the worst wine he’s ever had.

“Hey, Kabru…”

His hands shake with the need to hold you. Chest raging with his uncontrollable heartbeat. His head hurts with the knowledge that there really isn’t a place he prefers more than by you (even if he’s forced to drink alcohol so foul it's comparable to sewage).

“Kabru,” your touch startles him, pout and knitted brows capturing his whole attention, “You’re not even listening to me!” you laugh, shaking off his incompetence so easily it makes him want to thank you with a kiss, “Are you drunk?”

“Huh?” he lowers his head into his hands, “Yes,” he lies to you, “Yes, that must be it.”

“Poor thing, I thought you were better at holding your liquor.”

“Your memory is fading…”

“Oh, well, suppose me and the king will have to tuck you in. Make sure you get to bed safely without bumping into anything expensive.”

Kabru gags, pushing himself up from his seat and dashing towards the nearest bathroom to empty the contents of his stomach (wine, mead, beer, and beer’s good brother ale).

Tears sting his eyes, snot beginning to leak from his nose as he spits into the toilet bowl. You and the king. The king and you. You and Laios: married. Perfect union. And Kabru did it all to himself. He wanted so desperately to drink himself under the table to forget, and you just had to go reminding him.

You are the worst person he’s ever met, and so is Laios! Your commitment to respect is disgusting, and Laios’ trust in him is an absolute travesty. You two should just hurry up and keel over instead of shoving your romance in Kabru’s face; and if either of you ever thanks him for setting you up then he’ll gut you both that very instant.

Laios and you are terrible, awful, no good devils -- and he wants you both so bad he’s vomiting in the bathroom on your wedding night.

Maybe he can send you both off on a honeymoon? Yes, yes. And while you’re away, he’ll drown in responsibility by day and pretty faces by night. Upon your return, he’ll have forgotten he was ever smitten.

No, who is he kidding? That would be a pointless venture.

You’d be so giddy to tell Kabru allllll about your trip while Laios would show off trinkets he picked up with that charming smile, Kabru would fall right back here. Puking and crying. He should just resign totally. Rot away in bed and die so he never has to see either of you again.

How cowardly.

How unbecoming.

Kabru could kick himself.

Rin was in his position more or less (...less, though, definitely less) and still had the nerve to face him every day for years. She didn’t run away, and she didn’t make her party suffer because of her feelings -- so how could Kabru extend the kingdom’s wellbeing over his? Without him, Laios would socially drown with a village chief’s firstborn as a life preserver.

You’re smart and well-versed in reading others, but you’re not Kabru for God’s sake. You can’t apply half of what you know, not to mention you don’t even care to learn.

Wiping off his mouth and flushing the toilet, Kabru stumbles toward the doorway with a prayer in his pocket to find water soon.

Returning to the chipper scene, Kabru can instantaneously spot Laios flagging him down, with his spare hand curved into the base of your spine.

He dodges you both and retires to bed. Lightheaded and miserable, he’s asleep quickly.

Then, suddenly, he’s not.

.

.

.

He’s outside Laios’ room.

Did his feet carry him here subconsciously? How pathetic…

Kabru is fully prepared to turn back and amble to his room when there’s a sound from the other side of the door. A sharp gasp and whine, then your giggling, and Laios’ voice pleading for you to be nice to him. More murmuring, then a soft moan. A lofty sigh.

Song of a consummation.

Foolishly, Kabru hadn’t thought that your sex life was something he’d have to encounter directly. And despite knowing he should step away, if not out of honor then at least to preserve his own heart, Kabru’s curiosity bolts him to the floor.

He’s never seen Laios fuck.

He’s never seen you fuck, either.

He feels compelled to study -- how does your subdued front mesh with Laios’ eager hands? Which of you takes control? With his bigger size and more powerful title, one would assume Laios, but Kabru bets it's you. Will you make him wait? Would he dive between your thighs with fervor? How will the lip stain your ladies painted you with look slathered across Laios’ pale skin?

Despite knowing what it says about his character, Kabru stays. On some level to get it through to himself that you two are together and off-limits; and on a deeper, truer level because he’s sick in the head.

As was the plan anyway, until a booming, “Hey!” echoes from down the dim hall. A guardsman fast approaching from his patrol route. Kabru’s face is hidden by the dark, figure easily mistaken for a passing servant. But even if the guard could recognize him, would it matter?

What reason does the royal advisor have for lingering outside his king’s chambers so late into the night?

Lies fly through Kabru’s brain as the guard bristles closer, none of them plausible. Finally, the idea of killing this man cycles through his mind, and he reconciles with the fact that must be his only option to avoid an obscenity charge.

“Oh, you came!” a soft hand lands between Kabru’s shoulder blades, voice floating past him and to the guard now two feet away, “Thank you for your faithful service, but don’t concern yourself with him. Our king summoned him,” your laugh soothes Kabru’s tensed muscles, “I wasn’t sure he’d make it because of the hour.”

Kabru stares at you, not bothering to hide his confused, jaw-hanging stare as the guard retreats to his typical patrol.

A thin silk robe drapes over you, loosely tied at the waist and exposing much of your chest.

“I never took you for a pervert, Kabru,” such a mellow voice makes even your scalding accusation sound sweet. You whirr him around by the arm and lug him into yours and Laios’ newly shared room. All proprieties trapped outside but trepidation slithers through, lodging in his gullet.

Laios lays on the bed, exposed completely. Tousled sheets bunched between his hands and under his thighs. Cheeks flushed redder than the head of his cock, hard and slapped against his stomach. Wide spread thighs and heaving chest bountiful eye candy.

“How’d you know it was him?” Laios sounds devastatingly breathless, eyes low and ruby lips swollen.

“Hunch,” you answer plainly, petting down Kabru’s arm until your fingers lace with his.

Kabru murmurs your name, wide eyed. You knew?

Of course, you knew. How could he have thought anything else? Your calm nature about the whole ordeal solidifies that you must’ve known for a long while. Longer than him, even. When would you have figured it out?

“He’s beautiful,” you perch your chin on Kabru’s shoulder, cooing into his ear, “You were always so focused on his face, you’ve never gotten to see anything beneath his clothes, have you?”

Oh, right. The very first day you got here, obviously.

Laios rolls his head from one shoulder to the other, brows pinching in frustration, heated gaze straying from Kabru to you, “He’s going to touch me, right?”

“Depends,” your hands skim up Kabru’s spine, nudging him forward, “Kabru, do you want to touch your king?” one arm glides around his front, fingers toying with the band of his trousers, “And myself?”

“Uhhh…” can he be honest with himself? Can he lay himself bare before not one, but two people? Two people he’s interested in above all else. Heat laps from the barrel of his chest, scorching from cheeks to ears to forehead as sweat beads along his hairline and the back of his neck.

“I asked a question. I need a response.”

Laios’ cock twitches against his abdomen, throat croaking around desire.

“Yes,” Kabru exhales, heavy, barbed, and thorny, cutting him up inside until he’s too weak to stand. Sinking onto the mattress by his knees, “I will.”

Laios’ eyes flick from Kabru’s face down to his weepy erection.

He wants Laios in his mouth. Wants the warmth slapping his tongue, burrowing towards the cinch of his throat. He wants to grope the bulge his king forces through his neck and feel your hands buried in his dark hair. The latter need is fulfilled, your fingers combing through dark curls to push him into your husband’s crotch.

“What a pretty mouth, Kabru, you love to run it,” you climb onto the bed beside him, holding Laios steady by the base, “Try something new, hm?”

“New is- ”

“Try it, Kabru. Now,” regardless of the choppy demand, your voice remains dulcet. Pillowy and fluffy. He could melt into your sound.

His tongue lolls to slather the underside of Laios’ cock with hot saliva, enveloping the man in his mouth. Cheeks hollowing and lashes batting wetly up at the king, crimson deepening on Laios’ face. Behind him, the mattress dips and shakes, Laios’ eyes jumping from baby blues to over Kabru’s back, hips jerking against his chin.

Your hand lifts from inky hair, curls slipping between your fingers in vain attempts to tether you against his skull. Now both your palms run up Laios’ chest as you mold against his side. Your thighs spread around one of his arms and robe nowhere to be found, painted lips smear rouge up Laios’ neck and cheek before you claim his lips.

One of Laios’ hands cradles Kabru’s head, not rudely pushing nor wrangling his hair, just an affectionate reminder of whose cock is in his throat. Meanwhile, the hand between your thighs crooks towards your heat, middle finger ringing your clit -- earning a jump and heave from you.

Laios coaxes Kabru off, winded as he requests, “Can you two kiss? Please?”

Kabru gives the king no time to abjure before he’s spearing you with attention, not that you’re more patient; hurriedly cupping his cheeks and legs spreading to welcome him between. Sat up enough to give Laios a proper view, Kabru fondles your ass as you happily cram your lips to his. He wonders if your lip stain wipes off on him as well. He hopes it does.

“So beautiful,” Laios muses stroking his cock, casually flicking his wrist and thumbing the head, as you reach for Kabru’s.

Kabru’s lips sear down your neck, urged to bite. He does not.

“Soft, right?” Laios lays his head against your shoulder, poking obnoxiously into Kabru’s space (not that he minds), “Still sweet with wine.”

You taste better than the fucking wine.

Does Laios?

Your lips curl, drifting away just to whisper against his lips, “Would you like to kiss the king?”

“Can I?”

Before you can reaffirm, Laios snatches Kabru by the chin to kiss him.

Laios is not sweet like wine, he tastes like beer and salt and iron from a raw lip, and yet Kabru cannot drink him down fast enough.

Hands, big and calloused and sweltering, brand Kabru’s hips -- spinning him around to face the door as you unwork the man’s nightshirt. Tossing the flowy cloth aside, you press a final kiss to Kabru’s lips, before laying out beneath him.

Kabru’s eyes hone on the honeydew slick glossing your slit, hands scrambling for perch on your bracketing thighs as Laios’ settle on his ass. Anticipation builds and flows out of his mouth, rich and thick and in the form of a lashing tongue. Broad and cozy, Kabru sweeps up your cunt, thumbs parting you for the purest taste. Audible sighs fan over your pelvis in time with Laios burying his spit-slick fingers into Kabru’s hole.

A groan vibrates through your hips, Kabru’s electric eyes flashing over the quiver in your thighs as you grind onto his nose. Both hands knotting through his hair.

Fingers prod inside you, curling toward your stomach before scissoring apart just to noisily slurp out leaking wetness.

Burly hands rearrange Kabru again, manhandling him until he’s got his back against Laios’ chest with legs thrown out across the bed. Exhilaration surges through Kabru’s whole body, extremities jittering and whines dribbling down his lips. Slowly, he’s lowered onto Laios’ cock with teeny rasps inspiring you to grab him by the shoulders. Again, sweet lips meet his, but he realizes the ploy quickly: torturous pleasure rips through his gut as you push him back to prime for riding.

Laios’ hand finds your chest, tweaking your nipple while snapping his hips up. Pounding into Kabru’s clenching hole in time that you sink down on the poor man.

Over Kabru’s shoulder, you and Laios swap spit with noisy kisses and if he weren’t sweating ecstasy then maybe he’d find the power to be embarrassed over his desperation to join. Regardless of getting his brains ground into mush by your combined, incessant pistoning, Kabru finds himself giddy to be involved further.

You’re purposeful and elegant; excruciating, tantalizing bounces with nails digging into the meat of Kabru’s chest. As if you could easily tear him apart, only dangling in front of him like a carrot-drawn-horse.

Laios is frantic and overwhelming; hips unrelenting and thick muscled arms belting Kabru against him. Skin clapping skin, moist with sweat, and fat rippling from the impacts of Laios’ fucking. Each thrust into Kabru sends him rocketing further inside you; bulging deep, deep in your squelching cunt.

Contrasting in all ways -- your hands pet and scratch while Laios’ anchor and tug, you moan and mewl while Laios groans and growls. When you’re not kissing your husband you impress downy lips upon Kabru’s chest while Laios tears bruises from his neck with full teeth.

Passion swells each suck and stroke and pap, pap, pap until Kabru’s bursting from the inside out. He keens, body tensing.

“Breathe,” Laios huffs into his ear, voice low and crackling, “Breathe, it feels better when you don’t tighten up.”

Kabru heeds, blowing hot air across your bare chest as he cums, and you coo, “Good boy.”

A slush of your combined juices cascades, soaking and matting Kabru’s pubes. Wetting his and Laios’ balls. Three hard rams and Laios is spilling inside Kabru as well. Pants and gulps echoing around the room.

Reclining against the headboard, Laios slowly pulls your exhausted body off Kabru before slipping his cock out of the man. Each of you is fully aware the hygienic option is to wash yourselves, change the sheets, and maybe even comb through messy heads of hair.

None of you do, though.

Laios, grinning bright and alluring as the sun, has an arm nestled around both you and Kabru to keep you flush against his sides. Your head finds a pillow in your husband’s chest, Kabru copying the motion. Swamped exhales pass between yours and Kabru’s blissed out faces, but only measured breaths pull a serene rise and fall from Laios. Drool even leaks from the corner of Kabru’s mouth, he groans in disgust but can’t manage the strength to wipe it away. Neither can you, exhaustion poisoning you from the knees up.

A careful thumb dabs the spittal away, only to grossly end up smearing it across Kabru’s shoulder when Laios replaces his hand on the man’s bare arm.

“How…” Kabru shudders for breath, “Why…” his eyes flutter drowsily, “Not tired…?”

“I didn’t do much,” Laios reasons (whether he genuinely thinks that or is bluffing, nobody can be sure), voice low as he notices you’re beginning to drift asleep, “Wore yourselves out, though.”

“Still…” Kabru huffs defiantly, yawning against the moist valley between Laios’ pecs, “I… more stamina…”

“Ass,” you drowsily pitch in, eyes closed and lashes stark against your cheeks.

“Ass?” Laios looks down at Kabru.

“Ass,” Kabru yawns again, now capable of slurring full sentences together with his breath sufficiently caught, “First time taking it in the ass. Probably took more out of me than I expected…”

“You should’ve said something,” Laios lours, “Even monsters like Orcs that have sex for pleasure stretch their partners more than I did. It helps prevent tearing. I wish I could’ve seen more mating rituals before getting cursed.”

“You could read more…”

Kabru’s too tired to negate your yawn of a suggestion. He doesn’t need to before Laios mutters again, seconds away from passing out altogether,

“I’ve read about them a lot, I just wanted to see it for myself.”

Year 515. Some days later.

Laios suddenly turns in his throne, angling his body towards Kabru, “You think I can make polyamorous marriage legal?”

“Why?” Kabru’s sure he knows exactly where the king’s head is, he just wants to hear the man say it.

Sticking out his thumb, index, and middle finger, Laios scrunches the digits towards his palm twice, “Aren’t we all getting married?”

“You’ll have to ask your real spouse about that first.”

“I did.”

“Huh?!” that makes Kabru’s heart explode, blood and meat blowing through his orifices. Teasing Laios is easy now that he more clearly understands the man’s motives, but you?

You’re intimidating even after he’s been inside you, he doesn’t know how Laios can so casually ask you something like that (he does though, it’s due to Laios’ many loose screws).

“I already asked about us marrying you.”

“And…?”

“They thought it was a good idea!” Laios shakes off, as if Kabru should have just known you would go along with your husband’s insanity, “So, can I legalize it?”

“Probably,” Kabru settles a hand over his chest, hoping to calm his racing heart (or what remains, anyway), “I’ll look into it.”

“Yay! Thank you!”

~~~

kabru miserablism POV my beloved

beast laios and fae reader and treasure kabru imagery makes me so hard

[habken]

Izuku and Katsuki Hospital Comic - Thoughts and Process

I wanted to talk about the process and my thoughts while making this comic! Cause it was A Lot of planning and I feel like talking about how I went about it could maybe be helpful for other people who wanna make comics too ?

Also I just like talking and I've had So Many thoughts about it over the last few months, I just need to get them all out lol

everything is under the cut (it's Very Long) ↓↓↓

Initial Thoughts

I started planning the comic in January, around the time the chapter with the second user's plan to transfer ofa to shigaraki came out. I remember feeling so anxious and sad seeing how devastated Deku was to lose the 'gift' that All Might had passed to him :'((

It made me start thinking about what it would be like to not only go from having all this insane power at your fingertips back to nothing, but also how it would feel to lose the vestiges, which had been his advisers, yapping in his ear and keeping him company for months. How it would feel to go from constantly having people looking over your shoulder back to silence.

Then I thought about what that would mean for his and Bakugou's relationship, which has developed so much over the series. How Bakugou would feel about Deku no longer having ofa, how the two of them would wrestle with old feelings now that Deku would be quirkless again. Bakugou having to face the kid he bullied and Deku going back to a state where the world saw him as "useless" with dreams too big for somebody without a quirk.

I feel like sometimes it's not really taken into account how Deku's past affects him in the present, and that goes for in the actual series as well. Considering he's the main character, it's funny that we never really get too much of a peak inside his mind lol, especially not recently, which is most likely intentional, but I digress.

What I really wanted to do for this comic was circle back to Deku's question to All Might at the start of the series, "can I become a hero without a quirk" because while yes, deku can be a hero, he had to get a quirk to do so. So what happens now that he no longer has it? After all of Bakugou and Deku's development, would Bakugou's opinion on deku pursuing his dreams while quirkless change?

I really didn't want that answer to be no. I didn't want to believe that Deku would have to give up and "be realistic" again, it just didn't feel right for that to be the answer after 400 chapters.

So I wanted to make something that would encapsulate those thoughts! And I felt like the best way to fully get that out was through a scene in the aftermath of the battle, the two of them in the hospital with nothing to do but talk about their feelings.

It was important to me that the doubts they both felt about the future were stomped out, and for there to be reassurance that things between them wouldn't snap back to how it was before UA. That Deku could still reach his dreams even if they did become harder to obtain.

I also felt like narratively it would be a good parallel if Bakugou were to lose something tied to his power too, and with his arm being so bad off in canon, I thought it made sense that there was a chance he could lose it forever.

So it's like they're both coming out of the final battle worse off with huge losses, but no matter what, they're going to fight to achieve their dreams, and they're going to do it side by side :')

At its core, it’s very self indulgent lmao, I didn’t think that we’d get something that sappy and gross in canon (😳) so I wanted to make something for myself :')

Planning

So then I made a first draft!

When I’m making bigger comics, thumbnails are super helpful! They help me see the full picture of what it could look like, and let me change things without putting in too much commitment. So most of the drawings are loose, but occasionally I’ll put in a little extra detail into things that I want to make sure are included in the final work.

There’s three main things I consider when thumbnailing for comics; expression, composition, and dialogue. Each of these things have a huge influence on each other, so keeping them all in mind when roughing out your drawings is important!

How it usually works is I play out the scene in my head like a movie and roughly come up with dialogue, then I draw characters and expressions based on that dialogue and the visions I had. Simultaneously I plan out approximately where those drawings will go/how much space they'll take up and finally, I add in the dialogue and move things around as needed so everything fits nice together.

Having the dialogue there in the draft lets me know around how big the speech bubbles are gonna be which is a massive help when figuring out paneling. It lets me plan around the bubbles and make sure nothing is too squished!

General tips:

Something I learnt from storyboarding is that establishing a setting for your scene at the start is really important! Most of my comics will start with a long shot or include one early on for this reason. It’s good for making sure readers aren’t confused on where everything is taking place!

Having a variety of shots is good for keeping your story engaging! This comic has a lot of closeups, but I tried to add variety where I could and used a lot of different angles to keep things entertaining even if there isn't that much going on

Final thoughts on this draft:

At this stage, the ending was really different from the final version I ended up with. It was a lot more focused on Bakugou's losses too and the vibe was kinda "well we're both nerfed now but that's chill we can still be heroes." I axed most of that cause I thought it was dumb and wasn’t really the conclusion I wanted lol

After the rough draft, I started sketching everything out and adding in panels based on the composition from the og thumbnails. I also changed the dialogue as I went, focusing on making it sound more natural and easy to read.

This is where the nuances in movement and expression became a bit more refined and speech bubbles where better planned out.

At this stage, establishing clarity and imagining how readers are going to move their eye along the page is really important. Comics are generally read left to right, but you can’t just assume people are going to automatically read it in the order you want, which is why panels and speech bubble locations are so important.

Tips:

A general rule is that along with going from left to right, speech bubbles should be in descending order. This can be broken a bit, but it’s important to remember that the rule is there in the first place for clarity's sake. So if you do plan on breaking it, make sure it's not at the sacrifice of legibility. The human eye is lazy and will jump to whatever seems most logical, so planning things out in a confusing manner is going to make your comic hard to read!

This is another thing I picked up from storyboarding, but keeping in mind the 180° rule is good for clarity as well! In the simplest of terms, if you have two characters in a scene, it’s good to keep character A on one side and character B on the other, and not switch those sides willy-nilly, otherwise it can get confusing. This isn't as important in comics as it is in film/television, but I still like keeping it in mind.

Final thoughts:

I hated the original ending but I couldn't exactly figure out how I wanted it to go, and I was too busy at that point to dedicate the time I needed towards it, so it stayed as these four panels for while :’)

During the period I stopped working on it, Deku lost his arms which had me panicking lmao, so much of the comic was devoted to his emotions and body language, specifically in his hands. I just went "am I gonna have to redo everything? Do I give him prosthetics?" and I was fully ready to rework the entire thing but Eri came in clutch for Deku (and me) <3

After Deku started getting hurt, I didn't really like the idea of him being discharged and sitting with a still injured Katsuki, and wanted it to be clear that they were both still in the hospital, so I had to axe poor Deku's "hospital gown" shirt for actual hospital garb </3

At some point during april-ish, I finally added in a new beginning and end, which took the comic from four pages to seven. I felt like the new parts added a lot more levity and humour which were needed, and I think it helped make Izuku and Katsuki feel closer than before.

For these pages, I skipped the thumbnail stage and jumped straight into full page stuff, which felt easier because they were kind of just add-ons.

Something I specifically liked were the first two panels in the last page. Fun fact, but a few days after I sketched those out, horikoshi released that art of to two of them smiling together and I went !! That's the vibe I wanted !! Me and Horikoshi are on the same wavelength! That was a good day lmao.

At this point, though, while new parts added a lot more to the story and brought it closer to the vibe I wanted, they also messed with the tone and overall pacing and it ended up feeling really off. Deku was now doing this weird 180 from being super sad and upset to then immediately joking around and goofing off with no acknowledgement of anything Katsuki was saying, which had been fine enough when it was just 4 panels, but very off-putting once I made the comic longer

...So I decided to add even more panels :')

I went back to my original ideas, and part of what I wanted to get across originally was the doubts about Izuku's future from here on out, and the worry that things would go back to how they were before he got ofa. I realized those initial things which had fueled the comic were no longer really part of it, and I wanted to change that.

When I thought up the idea of visuals surrounding their middle school selves, I felt so smart LMAO. I think it ended up being the thing that brought the entire comic together.

Izuku reverting back to that anxious, unconfident state, spiralling into himself, and mumbling out all his insecurities, including his fears about losing Katsuki's friendship (and yet still somehow more worried about Katsuki's feelings than his own). And in turn, Katsuki remembering and seeing Izuku as that kid again, and his own fears of becoming a bully once more.

It better explored what I wanted to originally get across and delved more into their feelings, so that the jokes and levity at the end felt like they were earned, rather than being a rapid shift in tone.

(The only other thing that changed was the some of the panels in the first page. I changed up the speech bubbles and got rid of a panel so it would be less cramped and easier to read.)

At this point, I was still having trouble figuring out how to tie everything in and segway pages 6-7 into the ending organically, so it sat like this for around a month.

Then chapter 423 released and the battle was over and I realized how little time I actually had to get the comic out. I knew that the next chapter could possibly make my entire comic obsolete, so I hauled ass :D

These were the final plans before I cleaned everything up! I changed around some of the panels to make the story flow better, I figured out how to tie everything in, and I finalized the dialogue!

At this point all the panelling was redone because I wanted more space in between them. Before, it felt really cramped and I think adding in more breathing room made it feel slightly less overwhelming for readers.

The biggest changes from the previous draft:

First, obviously, I finished the middle school stuff and figured out how to get from one part to the next. This was the hardest part of the planning, but I ended up deciding that Deku would spiral, Bakugou would kind of bring him out of that, they'd hug and then Bakugou would reassure him. I also included motifs relating to their childhood to be reminiscent of The Apology, and Katsuki's thoughts going back to them sharing the special All Might cards, them at the lake, etc. As if this was another healing moment for each part of them; their current selves, their MS selves, and their childhood selves too

I then changed some of the panels in the first page. I switched the direction of the diagonal line in the first few panels because I thought it made it more clear which way to start reading and made the comic flow better.

In the fourth page, I added a panel after Deku starts crying, because I felt like it worked better with the dialogue, and brought in more of Katsuki's POV into the story

The sixth page doesn't really look different, but there was a lot of resizing going on panel-wise. The bottom panel doesn't take up as much space and the panels up top are a little bigger

The final big change was the eighth page. I added in an extra panel and changed up a lot of expressions/dialogue so there was more of a natural transition between the heartfelt moments and the two goofing off

I then made some final changes and drawover notes before I started a week of cleanup and colouring!

Cleanup/Colouring Stage

Cleaning up my sketches usually just means duplicating the layer, putting the original layer at 5% opacity and.. cleaning it until it looks nice lol. It's the easiest way for me to work because I hate doing lineart.

This is what my sketch vs final usually looks like. The biggest change was adding in bandages into all the drawings lol.

For speech bubbles, I drew them all by hand, created a flat colour layer underneath in white, duplicated that and filled it in with black and shifted it with the transformation tool to make a drop shadow effect.

It took me two days to colour the whole thing :')

Usually when I colour, I work in a pretty painterly way, but I thought flats/cell shading would be a lot faster for this. I was right but it still took Very Long.

The smartest thing I did was put colour swatches of each colour I was using on a separate layer above everything else so I could easily use the eyedropper and get the right colour without having to reference them from another page. It was a big time saver!

I colour all on a single layer so I don't have progress photos to show, but for each drawing, I roughly added in all the colours in the approximate locations they'd be, and once I did that for every single panel, I went back and cleaned them up one by one.

And that's that! After colouring was done, I added my signature, posted it, and took the nap of the century.

Final, Final Thoughts

I worked... Very Hard to get the comic out before leaks night and even if it was just a few hours, I'm so glad I was able to do it cause when I saw the actual chapter I lost my mindddd

I feel like as the comic progressed, Katsuki's feelings took a backseat and if I was to redo it, I'd probably put a bit more emphasis on that than I did in the final version. I feel like his ~inner turmoil~ didn't fully come through the way I wanted it to. I didn't want it to be an immediate acceptance — I wanted the fact that he was struggling with his past to be evident too — but with the focus being so heavily on Izuku, Katsuki's inner thoughts get a bit lost which is too bad </3 Good thing is Horikoshi had the exact opposite idea as me, so it all worked out :D

I'm really proud of how the comic turned out, and I'm so happy to have gotten such a positive response to it! Thank you for reading if you got this far and thank you for reading my silly self-indulgent hospital comic :)

[contact-guy]

i think my fav thing about watson's sketchbook is how detailed it is, do you have any favorite little details you've put into the comics? :0 love ur work btw, hope you have a good day!!

Watson grabbing Holmes's leg to look at the dog bite scars after hearing the story of Victor Trevor made me smile to draw because it is the kind of thing you do when you're in a honeymoon stage and suddenly have casual physical access to someone you've known a long time. and he's probably been wondering but knew that Holmes rarely discusses his past, so didn't want to ask.

I also loved writing Holmes's letter to Watson and putting in the details of his edits and strikethroughs; it's a labored-over draft, and not something he would actually send. Had Watson not discovered it, thee final version would have been WAY drier and colder. So it's this glimpse into a part of his mind and heart that he doesn't show and would not have shown on purpose, and Watson kind of had to...be a bit clever in his own way, prove himself, to get access to it.

[the-cat-and-the-birdie]

So With Spider-Punk: Arms Race #2 right around the corner: .......I'm gonna say it

Hobie's New Design is Bad.

Incredibly bad. Like 'leave it in the drafts homie' bad. Fuck it, I'm about to start using words I ain't even know I knew - this shit is EGREGIOUS.

It ain't cute.

It's bad. It's ugly, bro. His hair is serving Coral Reef And I'm tired of pretending it's not.

And it feels SO subtly anti-black.

[A very SHORT essay where I basically say: Oh hell naw]

For one I feel like they're stripping Hobie's black features. Or toning them down a LOT.

Even if we aren't counting the blue eyes they gave in him in Issue One.

Now, over time Hobie's looked many different ways - but throughout his runs his features were 100% supposed to be interpreted as black.

And while his newer comic runs tone that down a bit, it still looks natural.

And his hair has ALWAYS been natural. So much so that it's one of the defining features of movie Hobie as well.

This.... Isn't that. Not only has his natural hair been shaved and died, but it was done into a style made to DIRECTLY ripoff an already popular WHITE character - Gwen Stacy.

And once again, BLUE EYES???

And it's so bizarre!!!! Cause his design hasn't changed, but it REALLY HAS!! LIKE LOOK-

This is supposed to be the same guy, making the same expression. This is not the same fucking guy.

They have the same brow shape and lip shape and nose, but that's not the same fucking guy and I can't articulate why.

Looking at his profile highlights this way more, especially when putting him next to Movie Hobie.

Notice how ALL of Comic!Hobie's features are RAZOR sharp?

Whereas, Movie!Hobie's features, his features are actually fairly soft.

His nose and lips are curved and soft - even his pronounced brow bone is still curved, DESPITE him having a sharper face shape than Comic!Hobie.

That's because Movie Hobie has Black People Features.

Comic Hobie DOESN'T.

I wish I was joking when I say -

I feel like they're genuinely using Johnny Storms model and coloring it brown.

It's just... too bad not too be.

This redesign is atrocious. It's worse than the Attack on Titan manga.

And from what we can tell - this is a HOBIE SPECIFIC problem. Riri Williams - IronHeart - looks FINE.

Not to be dramatic, but this is very much a disappointment. It's honestly impressive how they managed to fumble the design bag SO EASILY.

Marvel Comics only leases Hobie Brown character to Sony. Hobie is still their IP - they can plunder his SONY design as much as they like, so long as it looks reasonably Not Identical.

And still they decided to do a 180, tone down his black features, unnatural his hair, and give him blue eyes.

Marvel. Pack it up. You're chopped.

[gam3-b01]

winter

pairing(s): jeon wonwoo x reader

genre(s): angst

wc: ~1.3k

warnings: suggestive content (hankypanky related activities), just sad hours in general, minors dni just to be safe

(a/n: my first post on this blog, this was one of my earliest drafts and i needed to get it out of my system ahahsjdnd. the way some people might know who i am because i used the term hanky panky is concerning but also hilarious, if you see this i love you bro sorry for angst hours i stayed up too late to make sane decisions sorry i had to. song inspo for this fic is winter by two feet)

It's not a thing, right? This hasn't happened before.

But the familiarity with which you look up at him from under the covers slaps Wonwoo in the face before he has the time to process the content haziness clouding your eyes. His tense frame relaxes involuntarily, and he slips in beside you but not before checking your bare skin for any bruises he might have accidently left after almost soldering you to the mattress barely ten minutes ago. As he slips an arm around your middle and you tell him without any kindness whatsoever that his hands are way too cold for you (and that he should probably get checked for anaemia because, and he quotes, "even hell freezing over generates more fucking warmth than you do"), he realises he has to stop lying to himself and acknowledge the fact that realistically, this has actually definitely happened before.

This exact night, every single frame of it, happened last year. And the year before that. And the year before that one? No, the both of you were still together back then. Probably. What year was three years ago? Time was always a muddy, comically abstract concept when it came to each other for the both of you.

Maybe it would be easier for him to count the years winter to winter. Because when Wonwoo visits his hometown at the beginning of every December, a series of events occur. He sets his bags down at his place and spends the first week in radio silence recuperating with his family, ignoring the 20 odd messages he gets from Mingyu about his dog and updates (read: gossip) from their shared workplace. The next week usually is spent catching up with old friends mostly out of obligation, and the third week is occupied by Christmas. The fourth-ish week is when all of his friends asking about you begins to get to his head. By around the 28th of December, he's sick of lying awake in his childhood bed, staring at the ceiling as he tries to forget things that should never have happened in the first place. Eventually he sits up, runs a hand through his hair, puts on his glasses, and spritzes on something that you liked to call "sandalwood crack" before shrugging on his jacket and heading out.

Where to though? He pretends to think for a while before giving up. And when he steps into the bar after paying for his cab, he is never, ever surprised or secretly relieved when he spots you sitting in the stool furthest away from the air conditioning. You look wasted, but the soda cans strewn about you indicate otherwise. You've stopped drinking after the breakup. You're doing well with sobriety. He opens with that like the asshole he is, and you have the decency to cuss at him like a sailor and pass him a stool as you say something vaguely self-depreciating as a joke about the near-alcoholism you contracted back then. He opts for silence. And you ask him to take it easy despite him having opened the fire. Ever tolerant. Like the gentle undercurrents of a river (not like you didn't have a temper on you, you just tended to be nice when you saw him after long periods of time. Was it because you missed him? The mere thought had him shrivelling up a little inside). Wasn't he supposed to be the water sign between you both? He remembers the natal chart phase you had when you were nineteen, which reminds him you were his best friend of nine years before the both of you stopped talking. He expertly shoves that piece of information away before it tries to hurt him one more time.

(...What kind of best friend asks, no, begs him to leave and never contact them again? Maybe the kind whose best friend actually proceeded to do exactly that without ever putting up a fight? Fuck.)

Things somehow, without fail, end up leading you both to the nearest motel when one of you ends up saying something incredibly reckless and all the other person can do is gape hopelessly, words murdered in cold blood right when they were about to be bailed out from their throat. The rest of a night is a senseless, irresponsible blur, and then?

The rough part begins.

One of you is going to leave in the next thirty minutes if Wonwoo's doing his gut arithmetic right. He wished he sucked at math sometimes, he really did.

However, he blinks a bit. Something feels off, something feels different. You're not leaving (is it his turn this time..?). Instead, you're turning around, eyes vulnerable and still blown a little wide as you touch his hair with a flavour of fondness he could not imitate even if he tried his damndest to.

He freezes for only a second before his lips seek yours out of habit. He truly loathes the way he groans at how much it affects him, but what else is he supposed to do when he knows you're trying to hold back that little sound you make when you get desperate for him? He's almost willing to let you take the lead because he feels like his system is going into overdrive, willing to let you finally ruin whatever's left of him, but sanity prevails by a hanging thread as he takes back control from you with a firm hand on your jaw. His grip is gentle unlike earlier, and despite knowing you like it when he's mean to you, his eyes shine with something completely different when he breaks the kiss for a moment to take in everything he can about you right now and burn this anomaly into his memory.

(Because what else will he be ever be able to think of on every single cold, miserable night for many years to come after that look you gave him before he kissed you? That look that made it look like you still loved him, why did you have to do that?)

You're staring at him like you've been burned, and he's trying his absolute best not to flinch away when he sees raw, unabashed hurt begin to filter through your soft irises.

"Don't look at me like that." You start.

"Like what?"

"Like you-", you gulp nervously, eyes quickly losing the content sheen radiating off of you earlier.

"-like you actually want me or something."

Externally, the tenderness in his eyes is instantly replaced by whatever the fuck he usually looks like, but internally, he's trying his best not to scream. Your words are unfair, cruel even. How can the one person who knows him like the back of their hand not grasp the one fundamental truth that makes up his very core?

The alarm system inside his head built just for you tells him you feel sick, just like he does. He knows you've gleaned that much as well, and makes no effort to stop you as you slip out of the bed with the sheets hugging your chest in one fluid motion.

"I feel so sick, Wonwoo."

"I know."

Your heart is as tangled up as his is, and no matter how many times the both of you manage to land into each other's arms, neither of you seem to be capable of unravelling the other without tearing everything apart.

He watches you collect yourself before turning to him, face stone cold, with eyes that now look foreign to him as you deliver the parthian shot.

"I think that I should go."

[genericpuff]

i had a post in the works talking about some of my personal life shit and the things i'm looking to do with rekindled this year to help make personal life shit easier aaand then i fell asleep for a nap and when i woke up Rachel announced that LO was ending in less than 10 episodes ??

sooo yeah i'm officially saving that post for later, because LO is officially ending, with an actual end date. It does mean that it's not ending at the start of Spring like my initial prediction, which is a bummer (because that would have been really cool LMAOOO) but it does mean it gets to go on long enough to resolve the current plot arc. As for every other plotline in the story... yeah, those aren't getting wrapped up, at least not in any way that could be satisfying.

For over the last year LO has been a series of "wait seriously???" and this is yet another, though it's kind of different this time. We knew the end was coming and practically begging for Rachel to pick an end date because for many, following along with this comic has become a Sisyphean task week after week. It's bittersweet in a way, but . . . I also kinda don't feel anything? Maybe it's just my 'tism, maybe it's just the fact that I'm so tired of following this series, but I just... don't feel joy, but I don't feel dread. It's ending and that's that. As all things come and go in life, some day there won't be any more LO, and that day is May 11th.

I will miss the weekly readalongs that I would do with pals, the memes we'd make out of the new material, but I don't think I'm going to miss the comic and everything it said and did. At this point reading LO feels like watching a horse struggle to breathe and you're just begging the farmer to put it out of its misery, but the farmer thinks "No no, it'll be fine! It'll get back up in no time!" and it's like... no, it desperately needs to be put to rest 💀

I still have my two drafts stowed away, both on opposing sides of the fence depending on how LO turns out-

-and now we finally have an end date on when those essays will be written.

I don't know how I feel yet about it ending. These are complicated feelings to sort through regarding a comic that's basically been my life for the last few years, even before I turned into a critic of it. I'm just glad there's a light at the end of the tunnel. And I'm glad even my "love to hate it" energy has been waning on it the past few weeks anyways so that the end of it all can feel as painless as possible LOL Don't get me wrong, there will still be plenty to discuss after the comic, I don't think the antiLO/ULO community will just disappear into a puff of smoke as soon as LO is over, but I think a lot of us are also equally relieved that the comic made it this easy to stop reading and that it now has an end point.

And most of all, I'm hoping that whatever ending the comic brings, even if it just winds up being the S2 finale all over again for the critics, is still satisfying for the fans who have stuck around with it this long. The people who have loved this comic through it all at least deserve a proper send-off and I really hope Rachel gives it to them.

As for me... I'm not going anywhere, but it's been nice to stuff the overflowing clothes of LO back into its drawer within my brain. I want to make room for other drawers, other things, other pieces of work that will undoubtedly bring me more joy and entertainment. I don't know what yet, but it's nice to know the drawers aren't overflowing anymore.

And that's all I'm gonna say on that.

[akanemnon]

How do you draw this comic?? I'm realy curious because its just so good!

That might need a little more explaining. It's a long read, so please proceed under the cut.

Basically, since I like to plan things way in advance, these comics follow a strict script (that is already finished). Only on occasion do I add an additional comic inbetween, but only in order to make things a little more clear if I notice there is some confusion going around and stuff. I work in Clip Studio Paint for all my comics and art in general.

Naturally I start out with the sketch. The script is written in such a way that I can easily put together the overall panel layout. This right here is how the sketch of the latest comic looks like:

Typically I like to keep my sketches super clean that they almost count as lineart. This one ended up a bit messier than my usual ones. It might've been the second draft, since I always go over my sketches three times. They typically start out looking like this (oh hey a sneak peek!)

2. I add the dialoge and organize the text boxes in the earliest sketching phase. That way it's easiest to figure out the best text flow.

3. Next is foreground lineart. I like using a pixelated brush for crispy lines and ink the whole characters once using different brush sizes for details and such. And at the end I go over them one final time for the outside lines to make each character pop a little more.

4. The flat colors speak for themself I guess.

5. Same procedure for the background.

6. Most of the heavy lifting is done by the shading and coloring the inked lines. It adds to the ambiance and makes the foreground characters pop.

7. Last step is the rendering phase. This is basically where I do the shading on the characters, add highlights and color the inside lines. It's what ties everything together.

8. (Optional) I do this for specific lighting to set a certain mood, where I put a gradient mask over the colors for added effect. Notice the difference?

So yeah. That's how I do these comics. Hope this was a comprehensive enough read haha...

[jojo-schmo]

hi jojo! im just wondering but ive been wanting to make a comic for a little while but im not too sure where to start 😅. i really love your style of art and your forgotten land roleswap, and i was wondering if you had any tips for beginners?

Hello, hello! Thank you for enjoying my Forgotten Land Roleswap comic, it means a lot! <3

I'm very honored that people have been asking me for tips and advice. All of this is coming from a hobbyist who draws these comics purely for fun outside of my regular day job. Some of my methods would probably deal psychic damage to a professional, LOL. But I'm more than happy to share some things I've personally learned! :)

First of all, the book, "Understanding Comics" by Scott McCloud ROCKS. It literally gave me a new dimension to understand the medium of comics and how it presents ideas and emotions to readers! And I haven't even had the chance to finish it all the way! I'm very happy I own a copy and I recommend having one of your own if you can, but it's archived here if you want to read it :D

I also like analyzing other comics and thinking about how they get information across to me as a reader. It's helped me learn more effective ways to visually tell a story, like what to include in a frame, how zooming in or out affects the feeling from the panel, maybe building a scene by focusing on other stuff if someone is talking a lot... etc.

ANYWAYS-! Some other tips I've learned through my personal experience-

I had to overcome a lot of negative self-talk in order to tackle a huge comic project like this and stay committed. I was a pretty severe self-deprecator for most of my life so far, and getting help has allowed me to catch myself when I'm slipping back into those habits, look in the mirror, and go, "NO, JOJO! You pour your heart into what you make and that is a wonderful thing! You are appreciated and loved and you deserve to have fun making something you are passionate about!!" Some examples of the negative self-talk I catch myself in....

"I'm a noob at writing and making a story interesting... What's the point of even trying?"

When it comes to starting a project, whether it's 2 pages or 2000 pages, is to just jump in and start! It's okay to be a little insecure or nervous about your technical art skills, writing skills, etc... But writing a "bad" scene is better than no scene- because you can always edit a "bad" scene down the line, but what can you do with nothing? Nothing!! I also put "bad" in quotation marks because I am trying to use that term less, and instead call them "early drafts." or "works in progress."

The first Roleswap scene I fleshed-out was the first Bandee boss fight, in May 2022. I made this drawing on an impulse, getting my ideas down on the page without thinking about the technical stuff like comic panel borders. I consider it like a "pilot episode" almost, haha. The final project is going to be very different from how things play out here. But it got me interested in the concept and excited to see where I could take it, and I made the decision to commit to an entire game plot's worth of AU comics!!

Also, what's the point in trying you ask? The point is to have fun! Making a fan comic in my free time means I don't have restrictions like deadlines, nobody's telling me what I can and can't write, and I can make the story as long or as short as I want! I have full control, which means the world I'm writing is all mine to create! Yes, with a fan comic there is a pre-established world with existing characters. But a universe like Kirby has enough open-ended concepts for people to take basic concepts in the world and take them to whole new levels! I think that's why there are so many amazing fan interpretations of Kirby characters and OCs. The rules are so vague, you can just make up your own a lot of the time!! And it's a wonderful exercise to learn skills for someday building an original world with all original characters from scratch! Magical!!!

"I'm not good enough to make a comic. I don't understand perspective or color and other stuff. Anything I make will look bad.

I once read a two panel comic on here. I can't find it anymore but I remember most of it. First panel showed the artist looking at what they're drawing on their tablet, looking defeated and sad. "Man, I don't even know how to draw this....."The next panel was like them smiling and shrugging, I think rainbows and sparkles were coming out of their tablet, ".....I GUESS I'LL JUST HAVE TO DRAW IT SHITTY!! :D "

IF ANYONE KNOWS THIS COMIC I'M REFERENCING, PLEASE TELL ME AND I'LL LINK IT!!! Because it permanently and positively changed my brain chemistry.

No kidding, making the decision to just do my best even if it's not perfect, helped me a LOT. I was always waiting to "reach a certain level" to tackle a huge project because I felt like I'd never do it justice at my current state. Except I had been telling myself that kind of stuff for years and I still didn't start any projects!!

So the day I said, "Oh well! If I draw backgrounds shitty, then it is what it is! I'll learn from it and draw the next background a little better," Was the day I could commit fully to the project. I'll keep studying how to draw them better for my own benefit, but I won't let my skill issues stop me from even trying!

And for my limited confidence in full-color art, I solved that by making the comic in black and white with no-to-minimal shading lolol. Because I can only address one skill issue at a time before it takes me 25 years to finish this HAHAHA.

It saves a BUNCH of time to work with skill issues rather than against them! Because at least experience is gained in other ways, and who knows, maybe that new knowledge will help address the skill issues someday! So identifying your personal skill issues and deciding which one to try to grow stronger, and which one to work around, could help with big projects!

"Nobody will read this. I'm going to put months or years of my life into a dumb little thing nobody will even care about."

Learning how to draw for my own enjoyment instead of somebody else's was one of the biggest breakthroughs I ever made. Enjoying the feeling of being challenged artistically and just doing my best, even if it's not technically perfect, is the reason why I was even able to start this!

And just because someone doesn't directly like, comment or whatever on a post doesn't mean nobody saw it! I used to get really down on myself for the lack of engagement on my art on other websites.

I was a lurker for pretty much my entire teenage years and never posted my own stuff or commented much. But that didn't take away the fact that I really enjoyed the things I saw online. Those positive feelings were real to me, even when I didn't know how to articulate it in words. Granted, I grew up into a Words of Affirmation main, and I use words to tell people the positive things I think about them as much as I can! But I know not everyone prefers words to express themselves. So I think about the people that I don't know enjoy my work- that just because I don't see it doesn't mean I didn't make a positive impact on someone by sharing my stories.

THIS IS GETTING LONG-- UHHH, STORY TIPS!!

If you work best on technology, start building the story in a Notes app, or a Google Doc! If you work best with pen and paper, start a notebook and rearrange stuff as you need to!

Or if you're chaotic like me, a mix of tech and paper!! I bought a notebook with ring binding so I can remove and rearrange pages of drafts as much as I wanted to! Like here's two very rough concept pages of one Chapter 1 scene made months apart.

I'd say planning out the biggest basic plot points and then filling in between as I went was most helpful! I also have separate notes for character motivations, important story-changing events, etc... So I can have my own reference when I'm writing new scenes!

Okay this was a lot, sorry about the yapping! Hopefully it helps even a tiny bit. If you have any specific questions I'm happy to talk about my experience in the creation process! Or elaborate on anything I said above.

And finally, because I'm not a professional there are probably plenty of other tactics that could work better for some people. My ADHD probably doesn't help with the chaos of my process either, HAHA. But thank you for reading this far and enjoying the peek into the rainbow glitter and soap bubbles that inhabit the right side of my brain, heehee.

[notjustjavierpena]

Is Sebastian Peña born yet? I need more husband!javier!

Visit (Drabble)

Series Masterpost | Main Masterpost | Support a disabled creator

A/N: Yes, omg, Sebastian is born. He’s a little sweet virgo baby with big brown eyes and soft hair on his head. Javier is actually picking up the children while you sleep so they can say hello to their new baby brother!!!

Pairing: Javier Peña x f!reader (no y/n)

Word count: 700

Tags: Soft soft soft, children are cute menaces, newborn babies are small, fluff and love, hospitals, postpartum

Visit

There’s an open window in your hospital room which creates a late summer draft when someone enters through the door. Lucas bounces in and is just about to say something. From the look on his face, a look of excitement at seeing his mother, you can tell that the volume of his voice will be too loud for what your exhausted body can handle, so you instinctively hold a finger up to your lips, “Shh, easy, mijo. Baby’s sleeping.”

“Hi Mom,” he says quietly but with the biggest grin on his face. He still half-runs to your side but you choose not to comment on it because he sports the same enthusiasm as his father, “Is the baby he—“

Lucas’ eyes widen when he spots the tiny human that’s resting on its stomach on your chest. He animatedly looks from his little brother to you, “Mom!”

“Lucas,” you shush him again, “I know you’re excited, but I need you to be quiet, okay?”

“Okay,” he looks apologetic, hands curling around the metal bed’s railing. He pushes down on it to stand on his toes, watching curiously as Sebastian searches around your sweat-slicked skin with his tiny hands.

Javier enters a little after his son with Inés resting on his arm, catching your eyes and mouthing a ‘hey momma’ whilst Inés talks loudly. She is as wild and unpredictable as she is at home, but Javier manages to quiet her down - right until he puts her down on the floor. 

Her sandals make a racket of noise when she bounds across the linoleum flooring, and you immediately put a hand on your newborn’s back to soothe the little flinch he does. It’s not her fault; she’s just happy to see her baby brother, even more so to see her mother. You’re usually not away from your kids this long. 

Lucas turns to his little sister before either you or Javier can say anything. He tries to look important, “Shhh! Inés! The baby’s sleeping.”

Whilst you share a look with your husband, Inés clasps her hands over her mouth, voice muffled comically as she speaks, “Sorry!” 

You chuckle softly and Sebastian hiccups at the sound. 

Javier walks up to crouch down to your daughter, peeling her hands away and holding them in his own, “We have to be quiet and calm around the baby, mija. He has little ears that can’t handle big noises like you can… Would you like to say hello?”

Inés nods slowly. Javier stands upright again then walks to your bed with Inés’ tiny hand in his own, and he lifts her up to sit on his hip once again so she can have a proper look at the baby. 

“He’s so tiny!” She exclaims and earns another shhh from her father.

“Yeah, and you’ve been just as teeny tiny,” you say, letting a curious Lucas hold out his hand to stroke it down Sebastian's back and bump yours in the process. He is so gentle that tears well up in your eyes. There is so much love in your whole body.

“Nooo,” Inés giggles at your postulate. She shakes her head, her whole body wriggling so Javier has to readjust her. 

“Actually,” he says, bouncing her a little to distract her from seeing you cry even if it’s out of happiness, “I think you were even tinier!”

“Papá! That’s silly,” she’s on the verge of squealing from laughter, but Javier is too busy looking at you. He smiles so gently at the picturesque view of his family before him. All of you together in such a beautiful moment. It just makes sense.

Lucas is too busy marveling at the soft hairs on the top of Sebastian’s head to notice your happy tears. It’s been a while since he last saw a baby, and you aren’t even sure if he remembers when his sister was born. 

“You’re so good, Lucas,” you make sure to praise, quickly wiping away tears before he looks up at your face, “You’ll be babysitting in no time.”

“I can do that?” His face lights up.

“Can I babysit too?” Inés joins.

“No, I’m the oldest,” he argues.

You lean your head back against the pillow with a tired smile in Javier’s direction as he makes a compromise between the two. He winks at you when he notices, and you close your eyes and just listen.

This is it. 

.

.

If you would like to follow my writing then go follow @notjustjavierpena-fics and turn on notifications 💖❤️

[maxwellatoms]

Would you trust ANY Korean studio for hand-drawn animation today? I ask because, when The Powerpuff Girls came back in 2016, I noticed how slow and stiff the Korean animation was. Since then, most Burbank cartoons animated in Korea, namely Cartoon Network shows, have been like that — mostly on 2s & with less inbetweening. Look at any Digital eMation episode of Victor and Valentino or Samurai Jack Season 5; do they animate as loosely and smoothly as Digital eMation episodes of Billy & Mandy do?

Sure I would. It would all depend on the studio and the circumstances. There are good studios and bad studios, and either of those will treat your show differently based on their perception of how valuable it is to their client. In the early 2000s Rough Draft was a top-notch studio. One of the reasons I switched over to eMation from Rough Draft was that I felt like Rough Draft was putting all of its resources into making Samurai Jack look beautiful, and we were still calling retakes on three year old issues. I knew we weren't a priority to Rough Draft, and I knew that stemmed from Cartoon Network's negotiations with them, so my griping was only going to get us so far. It seemed to me that I needed a studio that was smaller and scrappier like we were. We were putting in a lot of work on our end to make cool stuff and it wasn't ending up on the screen, so we needed people who were just as hungry on the back-end, and eMation stepped up.

There's also the fact, though, that animation itself has changed a lot in the last fifteen years. Powerpuff Girls and Samurai Jack's animation always seemed to have an air of "motion comics" to it. And frankly, that's part of what I love about it. It was all a throwback to the old UPA cartoons, which were built on strong, clear poses and made for the cost equivalent of a turkey dinner. Likewise, CN storyboard artists usually had around four weeks to write and draw their boards on paper, so there just wasn't time to take the effort to do anything too complex. It was all about snapping between those 300-ish storyboard drawings and momentarily savoring them for their humor and design mastery. Now we have tons of digital tools that make the basics of animation a lot more accessible to everyone, and have changed the entire studio pipeline. Things just won't look like they used to because nobody makes them that way anymore.

When I've had to choose an overseas animation studio, the network's production arm usually gives me one or three choices and tells me that's all there is. Deals have already been made. (Sometimes they make you pick two to save on costs, which (IMO) usually results in two studios that are less functional than any one of them would have been.) The studios usually have reels, so that gives you a basic idea of what they can do. You can (hopefully) find some other show creators who have worked with the studios and get an honest review. It's an important enough decision that it's worth whatever research you can put into it. Even over good bones, an ill-fitting skin can ruin the mood.

The most important thing to remember, I think, is that it's your job and your crew's job to make animating the show as easy as possible. Really, it's everyone's job to make the next person in line's job as simple as they can. Ideally, there shouldn't be a lot of questions because the materials you sent down the chain are clear.

So... yeah. I'd still trust Korean studios as much as I'd trust any overseas or domestic animation studio. You get out of them what you put into them by feeding them money and your own labor. It's quite possible that the shows you mentioned didn't do enough of either.

I imagine the overseas studios are hurting right now, so who knows what that landscape is even going to look like in a few years.

As with every step of the process making a TV show, you just sort of have to weigh your options and find the path.

Hmm. That got long.

[aluhnim]

Hello!! When you start a comic, how do you go about deciding your panelling layouts?? If this is too big of an ask for covid brain, how about your favorite song of the moment / a song that really inspires you?? I hope you feel better soon!

I was searching around for an old write up I did for some Original Character Tournament folks who were interested in my thoughts on panels and layouts. To try and answer your question, I go off of vibe now that I’ve made a LOT of comics. However, as much as it doesn’t seem like it at times, I do typically stay as “conventional” as possible to make sure my readers are still following the plot. I make a lot of adjustments along the way. Smarter layouts allow me to draw less, and drawing less is better for me in the long run! It’ll allow me to put more time in other places of the comic.

Anyway, here’s my write up back in the day that’ll hopefully answer some comic drafting questions!

More conventional paneling is a necessary stepping stone because you know your reader won’t get lost and the structure will have you more focused on flow and pacing. It seems remarkably easy to do comics with more “static” or traditional panel layouts but they work for a reason. There’s no real need to break out of something that works, unless you want to! Breaking out of the structure can really add some OOMPH to your important pages.

Some tips, note that these have been my preferences and some definitions don’t quite match their descriptors.

Bleed

I consider open panels or panels that stretch out beyond the edge of the page to be considered bleeds. They’re simple ways to make you feel like your not just sticking within your margins and making your page feel less static without much extra effort. Manga does this quite often, and Western American comics, especially during action packed moments or large splashes.

Some examples of things bleeds can do:

- They can also be used as transitions between pages (first panel bleeding in, last panel bleeding out).

- They can be used to interrupt or add a beat to a moment. Although the example below is mostly bleeds, you can see the one full panel at the bottom stands out because it’s not like the others. A subtle beat.

- They can also just be used to extend a panel to make it bigger. That seems obvious, but larger panels do make people spend a bit more time on them, regardless if there is text or not. Though, “more time” means probably several milliseconds or even a few seconds more than usual.

- Collaging with a bleed is a really great way to think beyond panels and open the space. You will be spending more time thinking of how much you can cram in along with the flow of how your text is going to lead through a series of images.

- Removing panel borders can really open a space and allow for more room without having to go above and beyond the ideas of comics and panels. (sorry, gale galligan is just good)

Gutters

The space between panels is almost just as important as the panel itself. That’s where readers and inferring actions and time. You can only control so much of what the reader is doing between their eye shifting between panels, which is why composition within panels and clarity are so important.

Gutters can also be played with! A simple example is changing your gutters from white to all black. It can be a subtle shift in time, a transition to a new space.

Even the amount of space between panels leaves an idea of time! I think webtoons/manhwa really work well with the gutter space, leaving you to physically scroll and feel the effects of time passing with the amount of empty space you encounter.

It’s important to understand that the gutter has a lot more to do with reader imagination, and your goal is to have them understand that the next panel is somehow plausible.

THIS SCENE EMFIELDS DID IS VERY FUCKING GOOD. TIME, SPACE, GO OOOOOOFFFF KING

Panels themselves can be a part story!

This one is a difficult thing to write for, since I feel like there isn’t many examples out there. There are very structural examples of panels out there, like Watchman. While the 9 panel grid was intentional, it also was likely the only way to deal with Alan Moore’s script effectively without missing details. The panels themselves don’t ENHANCE the story, but a means to an end.

But it’s also an incredibly good example of how conventional comics paneling can still be effective, especially when you start breaking that mold just a little bit.

But then you have comics like M. Dean’s “Baby fat”. Where the comic paneling itself never strays from its original structure, but is indicative of the story itself, representing tiles, mirrors, patterns.

Or Robert Hunter’s “The New Ghost” which he uses circular motifs and has circular panels representing the telescopes sight line.

Predicting Reader Navigation

These are my rules of thumb when doing general sight reading panel by panel.

1. Text is what people gravitate to first. It’s the context needed to approach the next panel.

2. Faces are next, this provides context to what the subject is feeling.

3. Familiar people/animals/objects and SFX.

4. Everything else!

This is an example of sight reading notes I gave to my friend Holocene when we were collaborating.

[fumifooms]

i know you aren't really into marcille/laios any longer, but since you went looking online for dungeon meshi doujins, did you happen to find any other marcille/laios ones? (funnily enough at the convention i was at a couple weeks back they had like five, but they were extremely over-exaggerated and personally i prefer my fan content relatively in character...)

Ok first of all: Yeah listen laimar doesn’t have a grip on me anymore but I still quite enjoy it! Just more passively… Altho I do have an analysis that focuses a lot on the importance they hold to each other in my early stage wips drafts, and listen in canon I do think they’re queerplatonic flavored, call me an ot3 qpr truther because Laios Marcille and Falin have a something going on and it transcends being put into a box. But hey hey I reblog laimar artworks I bought that recent doujin I put laimar fics in my -checks- 106 pages long to-read list… Also I have like 5 pages of fanfic prompts for them I may or may not get to writing. Though yeah I do feel bad whenever I notice people following after liking all my laimar posts haha

Sadly to get to the meat of the topic, not really… I don’t go to cons for lack of opportunity so whatever I find is through online. The one I got is The Fourth Basement Floor, it has an english ver and seems so so very in character I can’t wait to get it! Otherwise I’ve looked on Otakurepublic & Doujinrepublic since I use their services for merch from Japan, warning if you click on the link, there are 18+ ones and covers can be pretty explicit. I don’t remember any other laimar one except the one nsfw one I think, but on the plus side there are a lot of gen no ships doujins. I’m bothered because looking back I feel like the catalogue of doujins was wider when I looked all those months ago and it feels like I’m forgetting something hmm… I wish I could help more, but yeah 😔 Pixiv has many laimar comics up (in japanese) if that sates the hunger any

As consolation since I’m already here, why not show some of my laimar things laying around gathering dust I’m fond of. Don’t look if you don’t want to be spoiled for fics I may or may not write I guess? All down below is just laimar prompts

I spoke about some various ones and esp my timeline where she gets him into Daltian Clan here. "Laios… I was wondering, because you enjoy fantasy stories right? I was wondering if you’d like to give my favorite book series a go… It has monsters!" I love love love post-canon laimar where he gets the habit of chewing on her hair because he’s stimming and hungry. Like a goat.

Laios goes to Marcille for love advice.  "You like someone?! Do I know them?" She eagerly asked. "Erm… Yes…?" // Post-canon. He’s so nervous and puts his foot in his mouth n lets things slip out that he thought would give him away. (Comic) "You like someone??! What are they like? Who are they?" And he’s like "Well… She’s a half-elf." He’s like shit she’ll probably know right away. And she goes still. "I’ve never met another half-elf!! We’re so rare! You’re saying you met one and didn’t tell me???!" She’s shaking him. And then she goes still again, contempt drawing on her face. "Wait… Are you asking me for advice because I’m a half-elf?" Laios runs with it "Yes!! And because you’re so savvy with romance and what people like…? If, uh, if you were a half-elf, what would you like to get as a gift? What sort of confession would you want?" "… You saved it there. Okay so since I’m so knowledgeable on romance, tell me what is she like?" "-describes Marcille-" She nods, smug yet oblivious. "Aah I can already tell we’d be great friends. Good taste." (then Thinking bubble with him giving her flowers at a restaurant "Did you know roses are edible and used in recipes", candlelit dinner, or wait maybe the most romantic is cooking together alone at home, chocolate! It’s expensive though… Wait I’m king now!)

Lil comic, Laios wakes up snuggled against Marcille’s back then promptly falls off the bed. The noise makes Marcille wake up and she’s like omg are u ok?? Laios is so sweaty and panicked and in denial about her being special to him.  She explains, disgruntled at the memory "Izutsumi is bunking in with Chilchuck again, they’re taking the whole bedrolls." Pause. "Sorry, I should have told you, but you like sleeping with Izutsumi too so I figured…" She looked sheepish. "Between you and Senshi, I much prefer sleeping with you. It feels sort of nostalgic, like a sleepover, no?" He relaxes and gets in the bed again, smiling. "But… We’ve never had a sleepover?" She chuckles "I guess not. I must be getting that impression because of Falin…" And the air between them is warm yet bittersweet now, as she smiles like that and his eyes and smile cloud over. The earlier instinctive reluctance to touch is gone now. She snuggles into his arms and is like "Hug me?" "Okay." And he does, wraps his arms around her and tucks his chin over her head.

Post canon, marcille takes him to a squid restaurant. Cute lighthearted hehe. He sulks "If there are any parasites in this I will ban squid from this kingdom or so help me…"

Short post canon fluff marcille pov about laios gaining weight n becoming chubby. She used to dream of chiseled abs and angular elves, laios in every way, shape and form is so far from the beauty standards she idealized so. And yet… She loves how soft sleeping against him is, how much there’s more of him for her to hug and nuzzle her face in. She loves seeing him and seeing someone strong, who isn’t malnourished or underweight, someone healthy with color in their skin. An healthy appetite. He used to look more like a rectangle, severe and strict, but now he looked rounder, and seeing him smile at her always made her feel like that roundness suited him. She smiled back, and melted thinking about how her boyfriend was the sweetest in the world. ^I still wanna do this one really bad. Sometimes a fic premise comes from nowhere and puts you in a chokehold and you must finish it to obtain catharsis

Short oneshot about laios musing about Marcille’s smile, how important it is to him in subtle ways etc: Ends with Laios being like wait there’s something off (succubus). Then he grabbed her throat. Or smth

Laios seeing her dungeon like "this is so wrong Marcille you can’t run a dungeon for shit" and also "WHAT ARE THESE HORRORS OF MONSTERS NOO THEY CAN’T BE EFFECTIVE LIKE THAT"

Dinner for two: Very warm. Marcille and Laios are meeting up and cooking a dinner just for them both, no one else is there. They’re being so domestic and it’s light. Laios pauses at some point, doing the dishes, saying… I’ve always worried, thinking doing things like these would remind me of my parents.

Laios doesn’t know what to do when he realizes he actually *likes* likes Marcille, so he avoids her. Everyone notices and is disapproving of him.

Her mana acts up and she shares her dream with someone, kinda like with Izutsumi. Listen the premise could be smutty but I think it’d be more fun if they just hanged out n were silly, like the nightmares chapter without the nightmare

Laimar pining but from the view of Chilchuck, his love hatred sensing a storm brewing. The giggling, the looks. Ugh! It reminded him of himself and his wife when they were young and newly dating.

I love Laios and Izu being worsties so. Laios sees izutsumi rubbing her scent on marcille’s clothes and gets possessive. Maybe Golden Kingdom maybe something else I have no clue but Laios being ridiculous and cheek rubbing or something <3

I might want to do an AU where Laios gets into werebeast ring fighting, before canon and the split happens after he deserts the military. So he’s alone, has nothing going for him and stumbles into that sphere and gets werebeast tattoos done. It doesn’t make him happier at all and fighting sucks actually, but it brings money and he likes being a beast and being cheered by a crowd aka illusion of being liked, and money brings food and eating is the privilege of the living etc etc. So then when he goes to check on Falin at the academy it’s a big AU where he has a whole other reputation and look to him, and when he meets izutsumi their relationship is different and aaaaaa… He’s freeer in this au, lets himself be animalistic and weird, even though ofc the arc is him letting himself be more human as well and connecting with humans, through talking and infodumping n shit. Oh I went off but the laimar is because it’s inspired by cool laimar art here (warning tho it’s an art dump with toudencest also 😔) but werewolf Laios laimar AUs… A lotta fun stuff there idk idk

[cupcakeslushie]

sorry for nagging you but i wanted to ask if you have some tips on making comics. I’ve trying making many comics but i always lose motivation and can’t seem to get past even the first panel sometimes.

I did make a pretty long post here, with some advice for starting out! But that’s more technical I guess, and it sounds like maybe you’re looking for some motivational advice? So in addition to that post, I’d say…

Don’t look at these panels where you’re stuck as failures. Look at them, instead, as first drafts!! Keep the early planning stages loose, so it doesn’t feel like an arrow to the heart if you have to make changes. Many artists need to see their thoughts collected somewhere before they can refine things and move on to the next stage. Another big thing is learning to be okay with throwing those drafts away when they become more of a roadblock than a step towards that awesome, final version you’ve got knocking around in your head.

I can’t tell you how many times I’ve spent an hour plotting the composition of a panel…or maybe I’ve gotten too focused on the little details of a character’s expression, but the rest of the shot has just….idk died. I’ll copy and paste what I did like, and delete what’s not working or I’ll completely start over, no fuss. Wipe my hands of it and refuse to look at it as a failure. If I drew it once, I can draw it again! Practice isn’t time wasted, it’s time invested into growing! Drawing is drawing!

It’s always good to look back at your work, so you can see your improvement, but only focusing on your unfinished pieces might be doing more harm than good.

And maybe, you don’t have to draw a full 10 page comic from the get go! Try experimenting with shorter form comics! You can tell quite a number of stories in just a few panels! Learning the ins and outs of something new is a lot easier to accomplish when it’s done in smaller increments. That way you can have that feeling of success more often and it’ll motivate you into not giving up!

When I started EW, I was doing parts in like, one or two pages! Because I was still nailing down the comic techniques I wanted to employ. I was gathering brushes and learning how and when to use them! Learning how to create compositions that worked around dialogue bubbles! All the boring parts of comic creating lol. But then, the more comfortable I became with those techniques, the less time they took, and I could really go wild with the creative aspect! Now my updates are much longer!

It’s just a process. But at some point, all the advice and resources in the world can only help so much. You have to be willing to put in the time!

I’d say it’s kinda similar advice they give when you start working out. When you’re first starting, and you try to do more than your body is comfortable with, you’ll be in a lot of pain and won’t want to continue. It’s easy to give up if you’re not seeing results and you feel like you’re wasting your time. But if you start in a reasonable place, and let yourself learn as you go, then you can gain good habits and it’ll get easier!

And only then, when it’s easy, that’s when you challenge yourself! Not when you’re already struggling with just starting! Or it won’t be fun and all of your drive will disappear!

And that’s really what you’re doing this all for, right? For fun!

[strange0-0storm]

hello! hope im not disturbing or anything- just wanted to ask, do you know how to make an SMG4 oc??? couse I've made ones before but they never made it to my server (like- they never became actual OC's), and they never looked officila even in the slightest.

also, NEW FAN!! I've seen your channel just today but im intrigued by the 888 thingy and Smg7 and 8 (i think its 7 and 8-)

sorry for the long message and have a good day/night

YOU'RE NOT DISTURBING ME NOT AT ALL! (IM SORRY IM LATE TOO THIS It's been in my drafts due to my whole procreate sitch)

For my ocs SMG8 and SMG7, I pretty much looked at SMG4 and SMG3 for reference‼️

Ugh these pathetic men, LORD. But that's just for like my SMGs. I used the style of the models to make my own separate style for like SMG4 characters. I tried too make my characters LOOK like they'd be seen as a model.

As for making them fully, I added different character elements for their personalities and built off of that.

First SMG8 I knew I wanted him too be based around MUSIC, and I originally based him more off of me in appearance. He still kept the curly hair, that both SMG8 and SMG7 share because I have curly hair.

But I settled on an eccentric funky villian man.

For SMG7 I knew I wanted him too be the complete opposite of SMG8, originally he was gonna be a timid, shy character, but then I settled on the angry, easily annoyed character. I knew I wanted him too be more reserved, enjoying the activities of reading and writing.

I built their appearance off of their personalities, SMG8 being a crazy all over the place funky character ended him with the split multicolor outfit, while SMG7 was left with a semetrical, neatly put together outfit too show his more serious and organized personality

THIS IS JUST MY PROCESS IN DESIGNING THESE CHARACTERS.

And I just built their character after they got created, more SMG8 right now due too his comic "The Arrival" under the tag #smg8's arrival

I've been building SMG7 a lot in the background, and I plan to make a comic for him as well once I finish up The Arrival

AND ACTUALLY. FUN FACT IM NOT A NEW FAN, I just haven't been into SMG4 for about 4 years, I just got back into it 2 months ago.

I've been watching sinceeee the Freddy's Spaghettiria video, sooo 9 years ago DAMN

I never made fanart till now though, I mean I PROBABLY did, but I was like 7-8 years old and no one wants too see THAT. AHHAHSHS

But ANYWAYS IM SO GLAD TOO HEAR THAT SMG8 AND SMG7 PEAKED YOUR INTREST as well as 8's night club The 888 HEHEHHE ALSO THIS LET ME RAMBLE SOME AHSHHE