#i went in thinking it was a romance

[alliwantistowearcomfypants]

I fucking love that young royals really highlights the fact that no one can fix you but you. They have Wille and Simon trying to work around the horrible things going on together, and it doesn't really work because the biggest problem is that Wille is suffering so much under what the are trying to push through. At the beginning of s3 they have the "as long as I have you" kind of mentality and we see how quickly that falls apart. Having each other is not enough, and it shouldn't be. Wille needs to leave the life that is destroying him. Having simon in that life made it better, but it still was not enough. Simon recognizes that at the end of s3e5. Wille thought that all he needed was Simon because he has been so horribly mistreated by every adult in his life that the moment he is shown some unconditional love, he clings to it. Because, let me remind you, this kid is 17 years old. The ending is so incredibly impactful because Wille is finally choosing himself and his happiness. Not Simon's, not his moms. His. And that is beautiful.

[musubiki]

balor 🥰

[coldzonkprofessorturtle]

The art of the sleeping sapphic

[renonv]

okay but like the way you draw him and write him, roma has kind of perfect dad energy so now I'm picturing an au where he adopts a broke college student or smth lmao

ANONNN YOU DOG YOU POSSESSED ME and for the past few days I’ve been thinking and rotating this in my head… Romano adopting a broke college student au…. WORD VOMIT AHEAD HELP:

An 18 year old Elise who just lost everything as soon as she arrived in Rome, is about to give up and somehow go home, only to have her life change as a 30 something year old Romano tripped over her while taking out trash from the family restaurant he co-runs with his brother (who lately has been too busy w his personal life to truly help him!!).

After, Romano offers Elise to stay in Feliciano’s old room, and a job as a server at the restaurant. She happily agrees to stay until she gets back up on her feet.

The only thing is… Elise is not broke 😭 at this moment of time, yes she is, but she’s actually a recent runaway… she comes from a very wealthy Swiss family that only consists of her loving, yet overly protective brother. She wanted to experience life, and in order to do so, she had to run away because asking Basch didn’t work out 🤼‍♂️ many times

So now Elise’s adventure truly begins as she finally gets to live out a normal life, working her first job, making friends, and learning important life lessons from her new dad Mr. Romano (as he also learns a few new things from her as well 🫵)

Oh, and the entire time she’s in Rome, she unknowingly has to avoid being found by a team of private investigators that her Brother hired to find her (they are doing a shit job) ((having her phone stolen really saved her)).

[vaguely-concerned]

having seen at least the rough outlines of all the romances now I have to say that I think emmrich's is probably objectively the best in terms of coherence and completeness of story arc (with the understanding that ultimately the 'best' romance is whichever one makes YOUR heart sing anyway so objectivity is a silly thing to claim that way, it just felt like it's the arc with the most well-paced focused content and the least dangling threads)... but lucanis' is my favourite haha. just. the whole kneeling before your beloved full of reverence but without any of the distance that usually implies??? his complete undramatic certainty and calm in every scene with rook after this, having spent the whole game caught between fear and longing???? mr. lives in a pantry but it says nothing about my psyche don't worry about it it's purely for tactical reasons that I keep myself contained in a small dark room not entirely unlike a cell, love among the parsnips -- finally coming to rook in their room and it's so comfortable and comforting???? after all the times rook supports and comforts him through the game he's finally able to return the same to them when they need it while being so calm and steady and it's so fucking sweet and feels so effortless and with no price attached?????? he basically assigns himself the role of your bodyguard and he WILL stab a god over it??????????????? the turn to protector (which was in his heart all along longing to get out and find a place) of it all????? he sounds like he's found himself unexpectedly stumbling into such a soul-lightening state of revelatory existential relief, full on 'you only have to let the soft animal of your body love what it loves' mary oliver style, and he goes and he shares that with rook and protectively envelops them in it when they're hurting??????????????????????????? hello for the maker's sake hello can anyone hear me?????

[jrreigns]

Letters from the Other Side

The sea washes over the sides of the steamship, taking with it the algae stuck to it. You almost hope the waves can take you with it, the nerves getting the better of you as you leant over the rail. Come see me, you read the letter over and over again, your stomach fluttering, I want to see you.

CW: Post-war Levi x fem!reader, civilian!reader

A/N: Some post-war Levi goodness after the angst I’ve posted this past month. ~2.5k words of fluff and romance. If this does well, I’ll probably write the super romantic smut next.

Credit to @cafekitsune for the dividers!

Three years after the Rumbling and things were starting to return to a sense of normalcy in the Stohess district. At least as normal as things can get when the twisted mentality of the Yeagerists and their seizing control of the military dominated the news. Your mother and father tell you not to worry, but you’ve been worried ever since the walls disappeared and the Survey Corps regiment disbanded.

Or rather, you have only really been worried over a single person, the man with the raven locks and the dull gray eyes, dull eyes that glittered when you spoke to him. You were still a woman, and a woman has intuition for those sorts of things like attraction, and Captain Levi couldn’t help how flustered he got whenever he saw you. Your father was the owner of a blacksmith company, and you often bumped into Levi along with Commander Smith several times a month.

Humanity’s strongest, you’d think in awe, where you had imagined a big brute, now you saw the man for what he was.

Why’d he come along was always unknown to you, but as your father and the commander spoke privately in another room, you offered small conversation and tea while he waited. Where small talk began, somehow a deep appreciation for the other bloomed, and the visits began to feel like the visits of the suitors that bombarded your home on occasion. He’d gift you single flowers, it’s all I can afford, he’d say meagerly. You’d thank him with a kiss on the cheek each and every time. And each and every time a ferocious tinge of red would adorn his face.

The timing never seemed to be right with either of you, it always seemed like when one was ready to take the leap, the other had other obligations waiting. Wait for me, were his selfish last words to you and you nodded your head as you gave him a final good-bye.

It had already been three years. You were already on the cusp of giving up.

It had been a nice breezy morning when you received his first letter. The unfamiliar stamps had caught both you and your parents off-guard, but nonetheless they gave you the privacy to open it. There, in the small garden of your home, tears welled up in your eyes as you skimmed through it.

It was a letter from Captain Levi.

Or rather Levi, just Levi, as the letter so said. I have told them to stop calling me captain, but these brats never learn. You giggled inwardly at his words, tears welling up in your eyes. You read it one more time, much slower this time, familiarizing yourself with his handwriting, the slant in his letters, his signature, everything. You familiarized yourself with the names Gabi and Falco, children you did not know but instantly loved with the way they cared for Levi.

At the very bottom, a hopeful wish that you will respond, signed next to his name.

Of course you will.

Your father stood confused as you gathered parchment and a pen to write, finding it odd that his moody daughter was suddenly so lively. Perhaps it’s the engagement, he thought, and let you be.

Your ring twinkled under the summer sun, and yet nothing has caused more glee than the very letter you were responding to. You wrote about the situation in Paradis, you wrote about the kindness of the queen, and you wrote about how business was booming for your father, despite the war having been over. The thought saddened you, but you quickly sign the letter and add a note that you excitedly await his next letter.

It’s not that you fail to mention your engagement, rather some deep part of you didn’t want to mention it. Your betrothed was a good man, hand picked by your father, you had accepted to keep his worries at bay that you wouldn’t end up husbandless and with no children.

How quickly Levi’s letters can have you questioning your familiar duties.

We restored some of the land ruined by the war, Levi writes, many foreigners are starting to settle here again.

You can’t help the sense of admiration that fills you up. It filled you up when he’d visit with the commander, and it still filled you up now. A military man, you wonder if he’s still as strong as when you met him. Humanity’s strongest, you wondered if he still thought about you and the flowers he’d gift you.

I’d like to visit it one day, you write, perhaps a change of scenery would be nice. All this yeagerist talk has me going mad.

I’d like to visit you one day, you will yourself to write, but you don’t. You had been lovestruck years ago, perhaps the captain no longer harbored the same feelings. Perhaps the captain has found someone new, perhaps the captain has married.

Sadness consumes you. After all, you were just friends back then, right?

You trash your letter and write a plainer one instead. It hadn’t even reached half a page when you sealed it, wrote his address on the front of it and set it aside for the postman to pickup tomorrow.

“Honey,” you can hear your mother call, “James is here to see you.” You force your best smile to greet your husband-to-be.

It’s weeks before the next letter arrives. The pretty orange and red tree leaves were beginning to fall, a cozy chill running through the district. Your wedding preparations were already underway when the postman calls out to you, a single letter in his hands, the stamps it bore already familiar to you.

More talk of restoration, recovery, Gabi and Falco’s shenanigans, when finally you reach the last bit of the letter. I don’t mean to bother you, Levi writes, your last letter felt abrasive. I understand if things have changed. Everything has changed.

You wonder what goes through Levi’s mind when he writes to you.

No, things have not changed. Things still felt the same, at least they did to you. Still, you couldn’t ignore your engagement anymore as you saw your mother debate through wedding ribbons in the distance and you finally will yourself to write and tell him the news.

I’m engaged, it feels awful to write it, my engagement is a long one, though, and so I’m sorry if the letter was short. I must’ve been busy.

You write of other things, of the rising tension amongst good folks like your family who didn’t want to fuel another war, and the yeagerists. You write of how the talks of peace by the ambassadors (who you found out were actually part of the same regiment as him) were falling on deaf ears.

I’d like to see you, you finally write, I’d like to see what the other side looks like.

You add the last bit in a final moment of hesitation, sign your name and set it aside, a deep breath falling from your lips.

��You’re changing the wedding date again, and to a later date might I add,” your father bellows out to you.

“Father, please,” you reply, exasperated, trying to escape the dining room and into your own, a new letter in hand, “I will get married in time, what’s the rush?”

“The rush is that you’re not young anymore, I beg you to reconsider.”

You shut the door behind you, shaky fingers coming to pry the letter open. You force yourself to read slowly, absorbing every single inked word coming from Levi’s fingertips.

You skip his polished words of annoying governmental policies being implemented on his side and go straight to the heart of the letter, his real response to you.

Congratulations on your engagement, he begins, I’m surprised you haven’t even married yet.

That? That is what he has to say? You scoff, a slight irritation blooming.

I don’t look like before—I’ve lost an eye and my right hand is destroyed, his letter continues, I look awful.

I’m not humanity’s strongest anymore.

You don’t know why these words strike you deeply. Years and a great distance separate you from what Levi is or was for that matter, yet it isn’t Levi’s exterior that ever affected you in the first place. It was the small talks and the small gifts, it was his tinged cheeks and his intrepid way of speaking around your people who have only seen the refined things in life.

You could never look awful to me, you write in your response, a wave of heat flaring up on your cheeks, you’re just trying to get me not to go.

Levi’s letters continue well into the deeper part of winter, the leaves have long since fallen, snow beginning to gather amongst the branches. The winters where he lived were harsh, and he writes of how they were causing the ache in his knee to worsen. You spend some of your money to send him some ointment you purchased from a local medic.

He writes to you of how the snow reminds him of when the Survey Corps would serve hot chocolate on the off chance. You send him chocolate you bargain off a local vendor.

The signs of Levi’s homesickness don’t escape you, even if he doesn’t admit it.

I could send you Stohess’s entire stock of goods if I can, you respond to his letters of thanks.

What would I do with all that, he responds to yours, breaking you into a fit of silent laughter.

I’ve missed your awful humor, you write casually. You wonder if you should trash this letter and begin a new one, but you don’t. I’ve missed you, you finish writing.

The budding roses in your garden remind you of your predicament.

“As much as I respect you,” James begins, “I won’t accept any other change to the wedding. If you won’t marry me then I’ll find someone who will.”

You comprehend his irritation, even if you don’t fully understand it.

He leaves you on your garden bench, exiting through the gate, just in time for the postman to arrive. Your feelings don’t subside, in fact they linger as you read Levi’s next letter.

Upon opening it, nervousness hits you as you see just how short the letter is. Policy change, annoying policy change.

The ambassadors have told me that postage to Paradis will be barred soon. Your eyes widen. Despite the nice spring breeze, your body suddenly feels so cold.

If I don’t hear from you again, I wanted to wish you a happy marriage. Your eyes well with tears, but it’s his next words that move you.

Unless you change your mind. Come see me. I want to see you. Just as you’re about to trash the envelope, a small flower catches your eye. It was dried up and rather lonely, but you hold it close to you as small tears slip down your cheeks.

The next morning, you try to give the postman your next letter but he just shakes his head in response.

“Apologies ma’am, the military has ordered a full stop for all international mail.” You thank him anyway, despite how distraught you feel.

Your wedding is within two weeks. The white dress in the corner of your room haunts you. Although lace with spring flowers were added to match the season, it only made it look like the kind of dress you wore on your deathbed.

There was no more rescheduling your wedding date, there were no more letters to look forward to, you could only look over the last letter, his final request.

You longed for Levi. Did he long for you?

Come see me, I want to see you.

Despite the spring air, a heat that resembled summer humidity burned through you.

“It’s a one way trip if you decide to head to the other side,” the hefty man tells you, “military has barred all incoming and outgoing mail, I wouldn’t be surprised if they bar incoming ships soon.”

This was it, the point of no return. You had written your last letter addressed to your parents—an apology for doing what you are doing. No, your heart hasn’t seized its rampant beating since Levi’s last letter. You need to see him.

You board without much of a glance back.

For days, sea sickness threaten to put a damper on your good (albeit nervous) mood, your only fuel the letters stored in your small suitcase, rereading them every night as the darkness of the ocean tormented you.

Finally, the crewmen announce that you will be arriving in the morning. The sun was setting off in the horizon—you clutched his last letter as you take a brief moment to absorb this feeling of resilience that surged through you. You’d get to see Levi soon, you’ve waited enough. Here, near the rails of the ship, you long for him, nerves filling your stomach.

The sea washes over the sides of the steamship, taking with it the algae stuck to it. You almost hope the waves can take you with it, the nerves getting the better of you as leant over the rail. Come see me, you read the letter over and over again, your stomach fluttering. I want to see you.

Past the plethora of persons disembarking, past the many political volunteers ushering about far-off dreams of peace that were unachievable, you navigate through unknown territory in an effort to find him. Fingers pointed, people spoke foreign directions as they glanced at the address on your envelope. It has all brought you here.

Face to face with a young girl, too young to be married.

“Ah—sorry,” you begin, “I was told Levi Ackerman lived here.”

“Yeah he does,” she begins suspiciously, “I’ll get him.” The door closes again and already you feel out of your element. Perhaps this was a mistake, you wish the ground can swallow you whole. Peering eyes look at you through a nearby window, ones that belonged to the young girl who just spoke to you, and another who you haven’t met.

“That’s her? No way,” you can hear them say. Suddenly the door opens, and dull gray eyes that bore a hint of annoyance soften and make way for a familiar glitter that reminded you of simpler times.

“Levi.”

He whispers your name, suddenly hiding his maimed hand, trying to get you to see his good side, the side with his working eye. But you don’t see that. You see the man who gifted you flowers, you see the man whose cheeks you once kissed.

You will yourself to move and you do, grabbing the hand behind him and crashing into him in an embrace. Levi’s face is red, and he glances at the window to see Gabi and Falco gawking at them. He waves them off annoyingly and they give him a thumbs-up as they pull away.

Hands come to wrap around you, lips kissing your forehead.

“You came,” he whispers into your hair.

“Of course.”

[hairmetal666]

Eddie's supposed to be writing. The guys, they all agreed they'd each come to practice armed with two whole new songs they could pick from to add to their set list at the Hideout. And he's got his pen, and he's got his most recent trusty Composition Book, and all his lyrics are fucking bullshit about golden tanned skin and honeyed eyes and tracing constellations in freckles and moles, pathetic lines about being twisted in bed sheets, and the hopeless love he found himself in.

For the fifth time in an hour, he rips out the offending page, crunches it into a tight ball, and throws it across the room.

He can't write about Steve Harrington for the rest of his life; spend his nights aching for the boy who established himself as a fixture in Eddie's life and then just disappeared.

The worst of it--the very worst--is that Eddie knew better. Steve was never his, not in any real way, no matter how many times they fucked. He's Steve Harrington. Straightest guy in Hawkins. Popular. Rich. Whole fucking life laid out for him on a silver platter. And Eddie fell for him. It's the Munson curse, he supposes; always wanting what you can't have.

It started the way these things usually do, "got any weed?" and "come back to my place, Harrington" and "I got this stupid job at the mall, meet me there?" and lying "hey, guys, can't make band practice, gotta help Uncle Wayne" and "Munson, I really want--can I kiss you?"

In every other fantasy Eddie's ever had, it ends there. Steve gets his kiss and they never see each other again. But Steve Harrington--he's full of surprises. It catches Eddie off guard, makes him want, makes him trust. Because it's not just kisses. It's hands and mouths and "anything you want, Eddie. Let me make you feel good."

Maybe it wouldn't have hit so hard--maybe Eddie could've stopped from falling--if Steve hadn't been so good. Bitchy, sure, but genuine and kind. Had this whole gaggle of junior high kids he babysat, like what the fuck. Would hang out with Wayne and shoot the shit about whatever sports nonsense was on tv. Harrington never was as mean, as spoiled, as superficial as Eddie suspected.

Then Starcourt. That's when it all changes. Steve stops coming around then, in the aftermath. It hurts, but Eddie tells himself it's for the best. Now, he knows it would have been.

Two weeks with no contact, and Steve shows up at his door in the middle of the night. Eddie winces at the healing bruises and cuts on his face, can't imagine how much worse they were to start. He steps aside, lets Steve in, plans to say that he can't be whatever they are anymore.

Steve kisses him. It's a hot, needy thing, wild with teeth and tongue, nothing like before. Eddie is helpless to it, helpless to the way Steve grinds against him, already hard. He should slow it down, check-in that Steve is in the right headspace for this, but Steve is moaning low in his throat and Eddie can't think.

They're in Eddie's bed and Steve says, "fuck me, Eddie?" and Eddie says "are you sure" because he can't stop himself. Steve rolls his eyes (beautifuly bitchy), says, "I need to feel you inside me, baby."

How can Eddie say no?

Eddie's never done this before, but it doesn't matter. It's everything--Steve is everything--he could ask for.

The next morning, he expects Steve to be gone. Thinks they'll never see each other again. But he finds Steve in the kitchen, in his boxers and Eddie's Iron Maiden shirt, making eggs and talking to Wayne like it's the most normal thing in the world.

The next month and a half are the best of Eddie's life. He and Steve spend more time together than they do apart. Nights at Eddie's trailer, in Eddie's bed. Days lounging at the Harrington pool and driving around the nothing that surrounds Hawkins. Sometimes they'll stop in the middle of nowhere, climb on top of the van, and just--be. Steve takes his shirt off, and Eddie traces their names in the sun-soaked freckles, thinking maybe he really gets to have this, have Steve.

It ends as quickly as it started. One morning in September, Steve is cupping Eddie's neck, pulling him in for a goodbye kiss, saying, "sorry, baby, gotta get home for my parents. I'll see you later tonight, yeah?"

Except Eddie doesn't. Eddie doesn't see Steve that night, or the night after, or the night after that. He stops coming around and all Eddie is left with is a broken heart and these piss poor excuses for songs.

He rips out the latest page, waxing lyrical about the wonders of August, and time slipping away, and the boy he'll never forget. Crumples it into a ball and bats it into a pile of junk accumulated in the corner of his room.

Eddie needs a break.

He flies into the living room, snatches up his keys from the floor by the coffee table, and flees his house and all those memories of Steve. It's not like he has anywhere specific to go, so he drives around town, with his windows down and his music up.

His tires screech as he rounds the corner to the video store and arcade. He's not planning on stopping, but honestly, maybe a few rounds of Space Invaders is exactly what he needs.

The van hasn't even come to a stop in the parking spot when his eyes fall on Steve Harrington. He's standing in the middle of the parking lot surrounded by a gang of kids (including some of Eddie's new little sheepies) and Robin Buckley. Steve wears a sunny yellow sweatshirt, tight jeans, and his hair is perfectly coifed, falling in an elegant wave. His hands are on his hips, mouth and brows pinched stern. He's gorgeous, perfect.

It's an assault, an attack, Eddie's entire body shakes as the months they spent together crash over him. He has the van in reverse before he consciously thinks to do so, flooring it out of the space hard enough to burn rubber.

The noise, the speed, it draws the entire group's attention to him.

His eyes meet Steve's.

Time stops and so does he, idling in the middle of the parking lot. For a second, one moment in time, Steve's face falls. His mouth loses that grumpy pinch, his eyebrows drop, his beauty transformed by grief, by fucking longing.

Steve takes a step forward, and Eddie hits the gas, van screaming out of the parking lot. He watches the group shrink in his rearview mirror, sure that he imagined the sorrow in Steve's face, anyway.

They're nothing to each other.

Never were.

By popular request: Part Two

[ricketybonesandricketyhands]

[laffytale]

really stupid idea lol, bill and his exes

characters in order: jhelesbraum, ford, howling void, romancipina, fiddleford, and random polyamorous cult dedicated to bill cipher

[spacedlexi]

"sounds nice... having a partner"

[rinbylin]

圣人有情而无累

dihua + 情 | 莲花楼 mysterious lotus casebook

[nonbinarygerard]

starting a still life of my boy zone tshirt in oil paint

[turtleblogatlast]

Don’t think I ever quite said what my LGBTQ+ headcanons are for the boys, so these are my current thoughts! Always changing of course but this is what I feel most strongly right now.

[ironunderstands]

Double Indemnity, Spellbound and how a retroactive plot twist kicked the communities ass (which also has some VERY interesting implications for Aventio)

I had a very enlightening conversation on TikTok about the nature of these two romance/thrillers, and while unfortunately, I have no idea how to watch them, the plot synopses I’ve seen and analysis other people have made have caused me to come to this conclusion/interpretation of these references:

On the first viewing of the Double Indemnity questline, the reference to the DI movie is meant to be played straight, with Aventurine and Ratio being just as doomed to fail as they are in the movie, and their relationship as equally as toxic and fake.

On second viewing, it’s the complete opposite, and the track (and other movie reference) you receive at the end, Spellbound, proves it.

Let’s start with Double Indemnity.

Also disclaimer I’m gonna be over simplifying the plot/themes of these movies because a) both are singular references, DI is only referenced in the name of the quest itself and Spellbound is only referenced in a track you receive once you complete DI, and references this small probably aren’t meant to be anything more than a fun Easter egg for those who notice it b) this is hoyoverse they aren’t clever enough for that anyways c) the nature of references isn’t going to be having everything be the exact same anyways, so I’m just going to go with the overall interpretation of DI + Spellbound/their impact, picking the stuff which aligns with the actual plot of the DI quest, I don’t care what happens in one frame at 30:01.56 minutes in and neither do the writers

Anyways, how does the Double Indemnity reference on the first viewing seem?

On our first play through of the Double Indemnity quest, we are made to believe that Dr. Ratio and Aventurine do not trust each other, but they are begrudgingly working together for the sake of stealing Penacony for the IPC. Then, Aventurine makes it seem as if he wishes to use the singer Robin’s- also the sister of Sunday, the head of the Oak Family and the one they are negotiating with- death as a means to pressure Sunday into forking over some of the Family’s secrets, which Aventurine will then use against him in future negotiations.

With this setup, the Double Indemnity reference is a solemn warning- Aventurine and Ratio will fail.

You see, in the movie, Phyllis Dietrechson intends to kill her husband in order to earn the money from the Double Indemnity clause (which is a real legal thing btw!), roping in one Walter Neff when he falls for her. However, their relationship isn’t stable and in the end, Walter betrays Phyllis, ratting her out to the investigator Keyes, ultimately meaning they don’t earn the DI clause, also killing Phyllis in the process.

Hopefully you can already see where I’m going with this, but it’s time to draw some fun parallels.

Sunday is Keyes, Ratio is Walter, Aventurine is Phyliss and Robin is Phyliss’s husband.

Although Aventurine a) isn’t married to Robin and b) he didn’t actually kill her, he is the one who witnessed her “death” and in the first viewing of the Double Indemnity quest, we are made to believe he intends to profit off of it, although this time the payout isn’t money: it’s Penacony.

To do this, he enlists the help of Ratio- albeit not seducing him, but still convincing him to help nonetheless- and together they go to meet Sunday for negotiations.

However, Ratio “betrayed” Aventurine, ratting him out to Sunday behind his back and informing him of his plan, which mirrors how Walter confesses to Keyes. This results in Aventurine being sentenced to death, much like how Phyllis dies by Walter’s hand, Aventurine seems like he will die by Ratio’s, calling him a wretch before slinking off.

And there you go, their partnership is as doomed as the one in the movie, failing because their trust + love didn’t hold up till the end, a devious foreshadowing.

At least, that’s how it seems on the first playthrough.

Because Aventurine and Ratio’s plan SUCCEEDS.

And on the second viewing, knowing that the betrayal is fake, you realize they succeed because they do the one thing the people in DI (and I’ll get to Spellbound) DONT do- they actually TRUST each other.

Ratio and Aventurine’s plot is a success. And it’s because they deliberately made it seem like they were doing a Double Indemnity plot. Like they were going to make the same mistakes as the characters in the movie. Sunday falls for the false appearance hook, line and sinker, and that’s his downfall.

They win because they TRUST each other, you can even say because they actually LOVE each other, unlike the characters in the movie, where it’s more list than anything else. Walter and Phyllis don’t make it together to the end but Ratio and Aventurine DO, and they get to continue on with their lives because of it. The reference to Double Indemnity in this quest is genius because it works both before and after you learn the retroactive twist of Penacony. It makes you believe Aventurine + Ratio are doomed to fail, and it makes you realize they were always going to succeed, expertly dawning the false appearances Sunday expects from them, becoming literal actors playing out the roles of two people who will fall short due to their selfishness. Sunday believes he’s seen this film before which is why he BUYS IT, and god it’s just beautiful looking back on it. He thinks he’s Keyes about to uncover a dastardly plot to profit off his sisters death, and in turn he paints Ratio and Aventurine with the identities of those he believes would do such a thing, which they do their best to play into. Ugh it’s amazing.

And now, for Spellbound.

You receive this track after completing Double Indemnity, containing the description above.

Now, this is a reference to Spellbound, another one of Hitchcock’s films.

The main characters in this one are Dr. Anthony Edwards, a man suffering from amnesia, and Dr. Constance Peterson, a psychoanalyst who he was meant to replace, who discovers a dark secret about Edward’s while they fall for one another; he’s an imposter. He believes he killed the real Dr. Edward’s, but she thinks he’s just suffering from a guilt complex. Fake Edward’s goes missing, and the real Edward’s assistant arrived and informs them that he’s missing. She finds Fake Edward again, living under the pseudonym John Brown, and although he tries to leave, she convinces him to stay, telling him that with the help of her mentor, psychoanalysis can help recover his lost memories.

Through an incredibly complicated psychoanalysis of dream, Constance begins to uncover the truth- learning the person who believes himself to be Dr. Edward’s (and is using the pseudonym John Brown) is actually a man named John Ballantyne. Ballantyne accidentally caused the death of his younger brother in the past, resulting in his deep guilt, as well as recalling the location where the real Edwards died- skiing off a cliff to his death. With his memories, they find the body, but it has a bullet wound, so Ballantyne is taken into custody.

However, her boss, Dr. Murchison lets it slip that he actually used to know (and didn’t like) Dr. Edwards, and through another complicated sequence gets him to confess his guilt and ultimately kill himself, which frees Ballantyne, ending the movie with the two going on a honeymoon.

So, what does this mean in the context of the quest line?

Well, let’s say Ballantyne and Constance are representative of Ratio and Aventurine respectively.

“Every psychoanalyst must first have someone else diagnose them.”

If we read Aventurine as the psychoanalyst (Constance) and Ratio as the diagnoser/doctor (Ballantyne), it reveals an interesting interpretation.

That being that they knew the truth from the start/ they had already succeeded.

Or in other words, unlike in Double Indemnity, in Spellbound, they actually succeed.

In the film, Constance is the one doing the diagnosing, the one trying to figure out the truth, and you can see that in Aventurine pretending he’s trying to find out the truth behind Robin’s death. However, in the DI quest, it’s the opposite. Ratio’s as Ballantyne is the one doing the diagnosing for the psychoanalysist, Constance, or rather, Aventurine.

To diagnose someone, you must be very familiar with them, or at the very least the ailment plaguing them, and Ratio he knows Aventurine through and through at the start, and what plagues him (his own sense of meaninglessness) unlike the protagonists in Spellbound who despite falling for one another quickly, don’t begin being intimately familiar with one another.

In this way, they have already succeeded. Aventurine and Ratio already know one another, and while they might not know the reason behind Robin’s death, that was never what they were searching for in the beginning, meaning they effectively can skip through all the drama (aka the ups and downs of Spellbound, finding out the truth behind Robin’s/Edwards’ death), and reach their happy ending- a honeymoon; or in DI’s case, Aventurine attaining his cornerstone, and fulfilling his end of the plan.

Interestingly, Aventurine slots into the role of Ballantyne and Ratio as Constance equally well, with the phone call Constance makes to save Ballantyne being reminiscent of the note Ratio makes to save Aventurine, as well as Aventurine being the replacement, or in the sense, the one to find the truth about Robin.

Personally, I think Aventurine and Ratio are reminiscent of both the main leads in Spellbound, which is why it’s complicated to discern the meaning of the reference. Oh how I wish I knew what the original Chinese description for this was (if you do please tell me 🙏).

Is it just meant to signify them being in love? Is it meant to signify that they will succeed, due to how well they know each other? Is it both, which is what the inclusion of Double Indemnity (the movie) suggests?

Either way, it adds onto the already present idea that the trust between Aventurine and Ratio is what allowed them to succeed in Penacony, and that’s not just something expressed by these movie references.

Think Aventurines Eidolons: Stag Hunt Game and Prisoner’s Dilemma, both of which are game theories about trust. Or how Aventurine says that Ratio knows him best, or how Ratio entrusts Aventurine with close secrets of his, like him being the “Genius” of the council of Mundanites.

“Do you trust me?” “That depends on you.”

These are 2 lines in their 2.0 conversation that really stick out to me. Ratio will always offer his trust so long as Aventurine can prove himself worthy of it, and as we have seen, Aventurine always delivers, proving himself long before Penacony in the Final Victor lightcone, albeit in his weird homoerotic way.

Therefore Ratio will always trust him.

And because of that, they win.

Now whether you take the deep trust between them to be romantic or platonic, or infer the literal honeymoon at the end of Spellbound to mean something for Aventio, either way the feeling absolutely there, and it’s crucial for an understanding of their relationship.

Also damn, the retroactive plot twist fucking slaps.

[lunarharp]

What led to this (orufrey comic, cw an uncomfortable/creepy scene)

[michi-chelle]

these might be the cutest towas ever. sorry i don’t make the rules.