#of a character or ship - i guess that's just the way it is??

[cloud-ya]

Sega managed to give Shadow wings AU before I could

[grandline-fics]

Hey, can I get op boys>reaction to a child or anybody else hugging you,the way momonosuke hugged nami. It's okay if you don't want to do it.

DESCRIPTION: Their reaction to a child stealing your attention and affection

WARNINGS: slight insecurities/jealousy I guess but nothing serious

CHARACTERS: Shanks, Luffy

WORDS: 1,564

A/N: Hey there and thank you for sending in this request. I had a lot of fun thinking of how to make this scenario work and decided to just stick with two characters this time. If you want to request any other characters, please do. I hope this was to your liking 😊

*REQUESTS ARE OPEN*

DIRECTORY | PROMPT LIST | KO-FI

————————

SHANKS

It was a sure bet that everyone would naturally go to Shanks. It was a given that he was the most popular member of the crew. He was the Captain after all and any island you stopped at, he just had a way about him that charmed practically everyone in the vicinity. Ordinarily that was the case. Today it was almost the same, apart from one exception to the norm. You had an admirer and Shanks never had a problem with that because you always let them down kindly but firmly, only having eyes for him. This though? This was uncharted territory. You were staring at your clingy admirer with the warmest smile and his eyes narrowed. This was war. 

Abruptly Ben nudged his shoulder and he looked as his right-hand man and closest friend pulled up the stool beside him. Shanks scoffed at Beckman’s unbridled amusement at his Captain’s sulking and very clear displeasure at what he was witnessing. From across the room your laughter drifted up and Shanks’s gaze snapped immediately to you, his glare sharpening. Nothing could be that funny, not without him. “Cap…relax. They’re-”

“A snake. They know exactly what they’re doing.” Shanks muttered, lifting his drink to his mouth as he glared at the snake in question, stealing you from him.

“They’re one, Shanks.” Beck reminded his Captain with his grin broadening. “You aren’t getting insecure because of a baby are you?”

“This food better be worth it.” Shanks grumbled. Stopping here was only because everyone was hungry and wanted to eat and drink together before separating to begin gathering supplies for the next leg of the stretch at sea. When you all entered you were met with a friendly but very stressed woman, trying to manage serving customers while also looking after her son. Her son in question stared with wide eyes at the arrival of the Red Haired Pirates, shy but curious. Then his gaze fell to you and he squirmed in his mother’s hold while stretching to get to you, immediately besotted. 

You had no issue with helping keep the baby entertained since it helped his mother out and meant you could all still get something to eat and drink. As you held the baby close you couldn’t help but smile when the little boy let out a long yawn, using his fist to rub at his eyes. Finally you took a seat on the other side of Shanks and settled in the hopes he’d fall asleep. You finally broke your gaze away from the adorable little face to look at Shanks and Benn. “Isn’t he cute?”

“Yeah, adorable.” Shanks forced out, eyeing his tiny rival with a scowl. “Why don’t you let me take over?”

“I don’t mind, plus he’s falling asleep I don’t want to unsettle him.” You smiled, watching Shanks as he reached his hand out. The baby in your arms, half-asleep eyed Shanks with equal disdain. With an incoherent but very obvious noise of rejection, the baby’s fists latched tightly into your shirt and he nuzzled his head into your chest. “See? He’s comfy.”

Shanks knew better than anyone how comfy it was to lie against you and be wrapped in your arms. His eyes narrowed when the baby threw him one last look- pure smugness, Shanks saw-before he closed his eyes and feel asleep. Seeing the baby drift off and still maintain his vicelike grip on your close made you all but melt. “Shanks, how long are we staying on this island for?”

“We’re leaving as soon as the ship is restocked.” 

“So soon?” You asked in surprise. Ordinarily you all stayed to relax and interact with the locals. Even short stops on islands would be a few days. It had been a long time since Shanks had made a decision like this. “Is everything okay?”

“Yeah just really itching to get back to sea is all. We can’t laze around when we’ve got treasures to find and adventures to have.” You arched an eyebrow at Shanks’ explanation. When he turned his head to grab his drink you looked over his shoulder to throw a questioning look to Beck. Subtly the man dropped his gaze to the baby in your arms and mouthed ‘jealous’ making you grin.

Rolling your eyes at how the most laidback man in the world you decided to fall in love with could be so ridiculous at times. Shifting your chair closer you lay your back against his side and reached up to press a soft peck against his cheek. “Love you, you big baby.”

“Love you too.” Shanks grinned down at you, wrapping his arm around you to hold you closer. “Make sure to say that again though when the little brat wakes up. He needs to know I’m the winner.” 

LUFFY

“Hey you little brat let go of them!”

“Make me!”

“I. Said. Let. Go.”

“Nuh-uh! You’re not the boss of me. Just go away and leave us alone, stupid hat!”

“Stupid hat?!” Luffy repeated with an angry glare, looking to you sharply with wide eyes, silently checking if you heard the added insult to him. It was nearly as bad as the fact some little kid was clinging to you happily with their arms tightly around your neck with no sign of letting go. You could only shrug and smile, it was just a little kid. You’d been the one to save them from an attacking enemy so of course they would be more attached to you than any of the others on the crew. The boy was harmless but Luffy was acting like he was top of the list of people he wanted to beat on his quest to be King of the Pirates. “Say it again brat! I dare you!”

“Stuuuupid haaaat!” The little kid leant further in to Luffy’s face, stretching out the insult with a taunting grin and defiance in his eyes that would have been something Luffy would have respected had it been directed at anyone else. Satisfied, the little boy relaxed back against you and stuck his tongue out at your seething Captain and boyfriend. Luffy snarled and grabbed the child’s ankle, ready to pull them off of you. The boy only let out an overly dramatic squeal and tucked their head under your chin. “No!! Stop him! He’s scaring me!”

“Luffy, c’mon be nice. Please?” You asked settling your hand soothingly over Luffy’s hand to make him stop immediately. This was meant to be a party to celebrate another victory for the crew and for some reason Luffy was getting confrontational with a child instead of enjoying himself and eating all the food on offer. “They’re only doing it because they know it’s annoying you.”

“But-”

“I know, I know.” You spoke softly, lifting your hand from his to affectionately run your fingers along the rim of his hat. “I love your hat, it’s not stupid to me.”

“It’s only stupid because he’s wearing it.” The little boy muttered sourly, turning his head to glare at the fact you were giving Luffy a compliment. “It’d look great on you though.”

“Awww thank you.” You smiled, relieved that they hadn’t been too scared by Luffy. It was no wonder he was acting up, after finally being free from the group of pirates terrorising his home he was finally getting to act like a child again and not have to worry about living in fear from you or the rest of the crew. “I think you’d look cool with a hat like Luffy’s too.”

“He can keep his hat.” You held back your initial urge to laugh but still you grinned when his arms tightened around your neck. “He gets his hat, and I get you!”

“Wh- WHAT?!“ Luffy shouted, the calm you’d managed to evoke with him disappearing faster than the food in the fridge when Sanji’s back was turned. “You can’t have them, they’re mine!”

Once again the shouting picked up and you were stuck between the two, listening to the fight and bicker over you with vicious possessiveness. You were jostled when the little boy moved to perch himself on your back, shouting over your shoulder as Luffy’s arms wrapped around your body so he could get into  the kid’s face as they argued back and forth about who you were going to stay with, not that either of them thought to ask your opinion on that fact. Having no choice you were helpless and just had to stand there as these two equally persistent energies until finally they both tired themselves out and in unison they fell asleep, slumping over but keeping their grips on you as tight as ever. Sighing you managed to drag yourself over to an empty seat and awkwardly sit down despite the hinderances having two people clinging to you brought. 

Eventually the boy’s mother came across your predicament and managed to lift her son off of you, leaving you to just have Luffy hold you possessively but that was something you were used to at night. Alone you smiled at your boyfriend. Yes it was childish of him to take the little boy’s infatuation with you seriously but it was reassuring that if he fought for you this fiercely then it meant you really had nothing to fear if anyone else came sniffing around you. 

——————————————-

TAG LIST (If I’ve missed anyone or if you want to be added just let me know) @3v37773, @tsaaps , @i-am-all-love-puns-and-lazy , @sanemisnonexistenteyebrow , @fiery-captain-spider-santa, @kabloswrld , @atanukileaf , @ane5e , @stuckinthewrongworld , @deathsmajestysworld , @cloudysunset04 , @chillerkiller , @extremely-ashtridic , @decayingpizza , @liesatemyocean , @ace-for-ace , @nerium-lil , @destynelseclipsa , @dreamcastgirl99 , @my-name-is-heartache , @iamn1ya ,  @yunho-leeknow , @hinata7346 , @h0oouwlss , @missrandomdreamer , @sleepykittycx , @ddawn111 , @jaygrl22 , @sylum , @acehyacinth , @resident-cryptid , @treelogirl , @maellem , @its-a-dam-blue-brick , @thulhu , @appalost , @dindjarins1ut , @irumawife , @laidenbreecatchall , @redwolfxx , @jevoislesbrasdemer , @schanwow

[nugatorysheep]

What your favorite SU character says about you but it's just mean as fuck

Steven — How is being a mentally ill, people-pleasing queer going for you? Did your mommy issues and anxiety resolve themselves yet or are you still avoiding therapy?

You either disliked or were neutral about him until he got a neck. You think Future is peak cinema (correct) and can't understand why everyone else hates it. You have a better grasp on this show's characters and themes than most of the people who watched it.

Connie — You were likely the gifted kid in school but a total burn-out now. You either see a lot of yourself in this character (How are those helicopter parents of yours doing? Have you gone no-contact yet?) or you're a normie and boring to sandbox with. Probably both.

You've got a lot of Feelings™️about her and if people don't agree it causes Problems™️. In case no one has told you yet, stop caring what other people think. Your constant virtue signaling to appeal to other normies is a crutch that's just holding you back. It's okay to have fun!!

Stevonnie — You want to fuck this character, though you'd never say that out loud. You like Steven and Connie; maybe you like one more than the other, but you like both at least a little. If you're using them for shipping you're the only person in the entire fandom doing whatever hyper-specific ship you've latched onto.

Rose and or Pink — You really suck as a person! Or you used to suck but you've gotten a lot better and we stan! If you're the former you almost certainly have terrible takes on this show (but not in the way people might think), sorry, I don’t make the rules. Either way, you gotta stop finding ways to bring her back, dawg. She's gone.

Greg — You're a man (positive) and gay as hell. Gentleman on the streets and a fucking freak in the sheets. We stan. Pop off king <3

Garnet — If you headcanon her as acespec she is not actually your favorite, Ruby and Sapphire are your favorite, but you like them both equally so you just say you like Garnet. If you headcanon her as anything else you're definitely shipping her with one of the other gems, probably Pearl or Jasper.

Amethyst — Super chill person. Would be in most people's dream blunt rotation. You're a live and let live kinda guy and I respect that, but you also have no hills you'd die on so you're not the first person anyone goes to if they need serious support. You can get away with misinterpreting this character (on purpose or accidentally) because it's hard to say things about her that most people won't just shrug at and go "yeah that sounds right I guess"

Pearl — You're annoying as hell. You see yourself in this character and that's not a good thing. Your social media presence gives off the same energy as every white woman's Instagram profile. If being a victim was a contest you'd take home the gold.

You think everyone is out to get you. They're not.

You think you're being persecuted. You're not.

Most people who see you from a distance and don't know better think you're alright, so you're probably pretty well-liked in public. The only people you will get along with in close quarters are all walking mean lesbian stereotypes.

Peridot — You're annoying as hell for a different reason. You see yourself in this character too and that is a terrible, terrible thing.

She's your pfp on every website and app that will allow it. Your lifeblood is this fucking character and e v e r y o n e will know it. You're weirdly possessive of her and the hyper specific headcanons you made for her (even if you don't say that) despite every grass-fearing autistic person on the internet projecting onto her, so ironically you don't like other Peridot fans, which always ends up with you sitting alone even on websites with millions of people on them.

90% chance you're a furry, otherkin, therian or think you have DID. You think you're misunderstood, and in some ways you are, but the reality is most people don't speak dog and don't have the time or energy to learn. You need to go outside and learn to speak cat whether you want to or not

Lapis — You don't like Peridot fans or kinnies, which is weirdly in-character. You're the biggest hater but you don't hide it and I can respect that. You think Lapis is a victim, but you're only half right. You would probably fall for propaganda if it was dressed up fancy enough.

Jasper — You want to fuck this character, full stop. There's a 50/50 chance you're chill af or the most insufferable person on the planet. If you're the former you're friends with a lot of people. You float easily from one group to another, but a jack of all trades is a master of none, and you're no one's first pick if they're looking for someone close. You probably hate Lapis and her fans but you should really just let that shit go ngl

Spinel — You need therapy (derogatory) and you're making that everyone else's problem. Despite the clown aesthetic you're not very funny to be around and you should get a better sense of humor. You project onto this character way too hard and it shows in your fandom habits and headcanons, but most of the time that's fine

Like Spinel, you're a little two-faced. Some people pick up on that right away and some don't. The people who do hold you at arms length until you make it clear which clown you'd rather be. You hate it when people ship Spinel with any character besides your favorite pairing, but you'll never say that out loud unless it's a ship the people you're talking to don't like.

Blue Diamond — You're a man (derogatory) or a minor who doesn't actually understand anything about this character yet, and would immediately fall for any and all forms of propaganda

Yellow Diamond — If you think she is wearing a helmet you're a man (derogatory) and you expected things out of SU that were never gonna happen. If you think it's just hair you have a much better grasp on this character than 90% percent of SU's fandom and I'm platonically kissing you on the mouth.

White Diamond — You're a man (derogatory) or an incredibly based and sexy queer.

The Zircons — You like Ace Attorney, or would like it if you haven't played it yet. You're making them kiss sloppy style. UwU

Lars — You probably didn't like him until after he died. You will defend this boy with your fucking life. Also you should just…. go watch Star Trek if you haven't. Seriously what are you doing—

Sadie — You're an oddball. Very lax though. You have complicated feelings about Shep

Peedee — You're a little quirky, a little freaky, but you're too scared to just say that. You desperately need some fun in your life, but the people around you make that difficult. Eventually you'll find the folks that are worth hanging around. See you on the flip side :)

Ronaldo — You're the type of person this character is based on and you take it in stride. If you're shipping him with Lars, you're the only person who's opinion on this character matters.

Kevin — I dunno who hurt you but you have a terrible taste in men. You only have fun in bed if it involves a damn near human rights violation

Mayor Dewey — You're normalbirb

Any other townie — This is a trick question! No one has these as their favorite lmao

[animentality]

I've always harboured a mild dislike for x reader stuff. I never really held it against people because I don't have the time to antagonise them, but it was so upsetting when every time I opened the fandom tag and all I saw were posts and posts and posts of bland x reader stuff that clearly is ooc with no real substance to them at all. So many of the RP blogs seem the same way.

As someone who tries to make analysis posts and art for the same fandom, it is disheartening when I spend hours and hours on an analysis post about a character and it maybe hits 120 notes while an OOC x reader of the same character soars to the thousands. Maybe it's selfish of me to say but I say it anyway.

The fandom is full of youngsters and I never felt comfortable voicing my opinion for the same because it just felt wrong to tell kids to stop existing in communities. But the amount of times I've been put down for shipping characters with each other rather than myself is an honestly surprising number.

Um. I don't really know where I was going with this.

But your post definitely opened my eyes a little bit on even why I dislike x reader so much. It's sinking in a little bit. My hatred for OOC stuff seeps into this, I suppose. So I wanted to say that. Yeah. I agree with you.

Thank you for saying it.

Signed,

A fellow analyser / artist / fanfic writer lmao

— @lunarcloak

I get you, man.

I know self shippers have always existed.

I don't mind them. If that's how you enjoy the media, then fine.

However.

I just don't think that the sudden rise of self shippers over fan analysis and shipping is a good sign.

I think it comes from a lack of media literacy and willingness to actually engage with a piece of fiction. At least shippers and fan analysts actually talk about the world and plot itself.

self shippers imagine themselves dating a character in an au that is completely disconnected from the story, and acting in a way that's not even close to how they are in canon.

which to me is like... you have a creative writing prompt but it's not a story you're actually engaging with. someone showed you a picture of a handsome man and said write a story about how he'd kiss you.

and it's like... ok. there's no crime in just being horny, but... when that's all a fandom is... I don't consider it a fandom, it's just a masturbation fantasy.

I thought the whole point of fiction was to dive into the human experience and try and understand ourselves better. See the perspectives of others. Live vicariously in another person's shoes.

Fan analysis about themes? Perfect. You're thinking. You're feeling. You're articulating. You're growing as a person as you decide what you like or don't like, or try to put together puzzle pieces so that the whole picture makes sense. Shipping? You're imagining scenarios. You're bending canon to fit your interests. You are developing your own ability to write characters, and growing as an artist and a writer.

But self shipping...?

Eh.

You're writing, I guess, but when you reduce yourself to just... idk, some generic girl that Gojo decides is the Bella to his Edward... I mean I'm glad you're happy and all.

But how happy are you

Are you happy at all, or are you frustrated by this aching loneliness deep in your gut that you just don't understand, and it never quite feels whole bc you keep cramming nothing into it.

And it's not the loneliness or the social awkwardness that I'm criticizing here ok, shippers and fan analysts can be just as lonely. I just think that the human relationship to art should be confusion and appreciation.

you should be trying to understand others or yourself.

you can insist well what's so wrong with escapism? why does everything have to be an intellectual exercise?

it doesn't have to be ... but there's a reason people feel so hollow watching marvel movies.

art without substance is consumption. it's a distraction from your own humanity, it is not anything more.

not to you, anyway.

and I don't know.

that's really sad.

I've made so many friends through ships and babbling about canon and gushing about narrative beats.

I feel like I got something out of fandom, if other people force me to see the world in another light. I feel like a story has done its job if it's made me feel something. and it's really done a great job if I feel invested enough to hope two characters smooch.

but self insert?

eh. so you just like the character and think they're hot. that's fine.

not that interesting to talk about either. requires very little analysis on your part.

they just provoke sexual feelings or romantic feelings , which are easiest for you to process, and then you can move on to the next pretty boy you can turn into a Dom.

it irks me, man.

just a tad bit.

[utilitycaster]

I’ve never actually watched a campaign of critical role live, like I first heard of it at the start of c3, didn’t finish campaigns 1 and 2 until episode like 80, and decided to just let c3 finish airing so I could binge. You’ve been in fandom since c2, and I wanted to ask two questions. How does criticism of c3 differ from c2, or even c1? Also, since the fandom has grown and the cast is now much more removed from the fans, do you think if they ever do another long form campaign they’ll try and address some complaints people have had about c3? Or will they just continue to do their own thing? It just feels (to me with no point of comparison) that a lot of people have a lot of valid complaints about c3 and I can’t imagine they’d just ignore all of it, but I could just be naive

Let me answer the ending question first, which is that I do not know how much the cast sees and honestly I wouldn't even blame them for ignoring most commentary during the campaign because I think it's hard to actually run a campaign constantly trying to make the fandom happy. I also have some guesses that the cast has their own doubts that are perhaps less harsh than what many of us have been saying, but are present. Like I can't imagine they missed how rushed the emotional beats of this campaign felt, and how bad this party is at making decisions that feel earned and interesting and don't take them 3 hours, even if they might keep that private. I think the flaws of this campaign are also a bit of a perfect storm, namely, Matt had a very specific plot in mind but ran this campaign with too open a hand, and the cast of characters they played could have used a bit more balance. I mean, I'll admit to being unimpressed by a few of Bells Hells' initial premises compared to other parties, but most actually could have become great if they were in a more character-tailored campaign like the previous two. I think without this goal of creating a big culmination in a hypothetical future campaign, this problem of having ill-suited characters for that type of plot and then pushing development aside in the service of that culmination becomes a nonissue.

Now, fan criticism. This gets tricky, because a lot of criticism, to be blunt, sounds similar on the surface no matter how valid it is. For example, "this ship lacks chemistry and development" is basically a criticism people throw at any ship they dislike. Chemistry is ultimately subjective, or at least impossible to measure in a meaningful way (this is why the But Number Go Up crowd hates when it gets brought up, like, doesn't matter how many fics your ship has if I think the characters are cold fish with each other; I'll never like it) and development is not but requires strong meta to back it up and it's hard to prove a negative.

Shipping aside, though: I think the clincher for me is that people who ended up disliking Campaign 2 any time between the ending of the hiatus or after the finale, were as a rule invested in one very specific outcome: either they quit because their ship didn't happen (including the many, many people who thought Fjord and Jester or Beau and Yasha would break up in the finale, apropos of nothing); in the case of Shadowgast that the ship didn't happen in the way they expected; or they quit because Molly was not resurrected. There was certainly a lot of trepidation going into the finale that not all stories would have a satisfying conclusion (notably Caleb, Yasha, and Fjord, all of whom did get meaningful resolution in the finale) but, at least in my circles, no one was arguing that the Nein as a whole felt robbed and that the campaign did them dirty. You had the weirdass Caduceus stans who failed to understand that his story was precisely what he wanted, or the Caleb Should Have Killed Everyone In The Assembly people, but honestly at least in my recollections a lot of those were secondary to various shipping/Molly complaints and grew out of there as a means to bash the campaign for additional reasons, rather than as a root cause for dissatisfaction themselves. Here, we have people who are ostensibly thrilled with the shipping outcome and the endstate with the gods becoming mortal and who were crowing about that up until the finale announcement at which point they, in their own words, crashed out and suddenly began agreeing with everything this campaign's detractors had said re: lack of character-focused arcs and rushed pacing, and I think that's notable.

I don't feel qualified really to speak about Campaign 1 because I wasn't there, but I think in addition to the violent misogynistic hate which Critical Role obviously did not nor should have listened to and taken as guidance, there was the usual "MY SHIP DIDN'T HAPPEN SO THIS CAMPAIGN IS BAD AND PROBLEMATIC" complaints we saw with Campaign 2.

I guess my point is, getting back to that first paragraph about shipping, you can't go off of the phrasing of criticism; you really do need to take it in context.

[weepingalaxy]

i would like to hear your mossman essay... always looking to appreciate more women (especially the half life women. god bless alyx but i think she's the only one not relegated to an expansion or trapped by Misogynistic Writing)

TAKES A DEEP BREATH. anon youve opened the flood gates with this one i have so so so many thoughts about her. these may not make sense because english is my second language and i have probably some form of dyslexia But. i hope. itll make enough sense to offer something interesting to the table

so. judith mossman. aka the perfect example of learned helplessness and how it makes you look to the past

..i have no idea how to start this in a way that isnt kinda forced so youll have to bare with me okay.

i think the core of judith as a character can be summarized by those guys who look at something in history and say "if i was there i wouldn't have done that, rip to you but im different". there's been a misunderstanding about judith in that she "glorifies" the black mesa incident, when thats never what she does or what i understood alyx's comment about her as? see, judith doesn't say it to gordon in person, only talking about the science of teleportation with him (which i'll get into), it's alyx saying how judith has gone on and on about how it should've been her in the chamber that day.

that's not a "i wish i couldve been the one to cause the incident" or glorifying what the incident did or anything, that's a "if i was there it wouldn't have happened" as frivilous and ridiculous that is to imagine for us, the players, as people who saw what happened. but she didn't see it, all she knows is something happened in the test she applied for, and gordon's at the center of it

i believe judith resents gordon. not only because he took the position she wanted/applied to, but because she blames him for the incident happening in the first place. why else would she believe things would've been different if she was there? the way she talks to him is with this surprise and focus on what eli is going to feel about gordon's arrival, then talking about her own knowledge on the teleportation technology, it feels almost like... what would i call it. showing off? but not by saying "i" or "me", but by saying we. yes it's kleiner's technology, but imagine what they'd do if they knew what we've been doing with entanglement. she's the only one who talks to him about the technology like that, and it's like she's trying to prove she's as capable as him? i guess? especially when she still props up gordon's intelligence and says she's happy they get to work together. she wants to prove even more she could've been the one at the chamber but never saying it outright to his face.

and of course, this resentment is why it's easier for her to work with wallace breen to bring gordon to him. if you had a way to ensure the safety of the people you care about, and it'd require the capture of a man you believe was the catalyst for the end of the world, wouldn't you at least like... consider it?? not to mention the way she acts with breen is very... submissive, like maybe she's been with the combine for a specific reason that he can dangle over her head that makes her unable to go against him. the safety of eli, a way to live somewhat comfortably if her wearing a pristine off-white turtleneck is anything to go by, god knows what else.

augh. sorry my brain's losing steam but like. i need to at least mention: her going after the borealis after she breaks free from combine (and, most of all, breen) control is something i took as not just her trying to find something useful for the resistance, but also like... a way to apologize/make up for what she did? but without asking for forgiveness? she went to the fucking arctic to find one of the most valuable pieces of... tech? ... most valuable artifact? Important Ship, specifically so she can fix everything. and how will it fix things?

the borealis has weird temporal elements that lets you go back in time.

of course the woman who's focused so much on the past and the "what-if"s would go looking for something that would let her fix things in the past

[rubykgrant]

(not putting it in the tags because that makes typing/spacing it out difficult)

I love the versatility/creativity of Pinocchio; the way the general concept gets recreated/retold in multiple ways is always fascinating (even when there are some versions that like, miss their own point? or just tell it really BAD). Two versions that I enjoy in particular, that have their own unique touches, are Pinocchio and the Emperor of the Night (1987), and The Adventures of Pinocchio (1996)

The Emperor of the Night is an animated film that works as an almost-sequel (that winds up re-telling the original plot of the fairytale) to the general established story of Pinocchio, but is a stand-alone story with its own characters. In it, Pinocchio has been a real boy for some time, but after visiting a mysterious circus and being tempted to run away to join it, he finds himself turning back into a puppet (and it is implied that other children who join the circus get turned into puppets as well). There is the implication that by joining the circus you “sell your soul” (or something to that effect), and by doing so you become a puppet of the Emperor. I find that part very interesting; the idea that Pinocchio has been a real boy for some time, but now there is another mysterious force that can take away freedom from children, turning them into puppets. I also like the irony of it (a puppet who became real helping real children who have turned into puppets). This was a movie by Filmation, who also did another sequel/retelling of Snow White (that is a whole OTHER conversation; I love that movie too, and it is adorably bonkers with some wonderfully weird/dark themes). The Emperor was voiced by James Earl Jones (RIP), and seems to be some kind of "devil" character (he has a human-like, unassuming disguise, but a "true form" that is more insidious... with multiple arms, just because I guess)

The Adventures of Pinocchio is a live-action film that retells the well known story of Pinocchio (his creation, his journey through life to figure out how to become “real”). The part of this version that most fascinates me is the “Terra Magica” aspect (every version of Pinocchio has something similar to the Pleasure Island location, where children go to be free and act bad, thus trapping/tricking them somehow). In this version, the area is like a huge amusement park with an old-school vibe, featuring a huge rollercaoster ride. At the height of excitement, where all the children have their mouths open in screams, the coaster blasts through a waterfall. By swallowing the enchanted water, the kids begin to transform. The water seems to change whoever drinks it into something that is symbolic. For the kids, they have been acting like “jackasses”, so they turn into donkeys (the human trickster characters, Volpe and Felinet, get turned into a fox and cat near the end so they now match the characters from the fairytale), and the main antagonist turns into a huge monster. The villain, Lorenzini, previously used Pinocchio in his puppet shows (mistreating Pinocchio by luring him with the glamorous life of show business, and then still treating him like property), and was known for also performing his own tricks of eating spicy peppers, then breathing fire. When one of the donkey-kids kicks him, he doesn't just gulp a mouthful of enchanted water, he becomes completely submerged and then swims out to sea. His "over-dose" combined with his cruel nature means he doesn't just become a regular animal, but colossal creature. The fact that the villain evidently found this mysterious water, and then built a trap for children around it is really amazing; he has been "consuming" other people for his own purposes the entire time, and finally becomes a monster that can devour ships, literally the one who swallows Pinocchio and his Papa

These two themes, Pinocchio rescuing children who have been turned into puppets from a spooky circus, and the cursed water that flows through a sinister amusement park that transforms people who drink it are both just… very captivating to me. There are a LOT of other versions of Pinocchio that have their own fantastic interpretations, and unique aspects, but these are two versions I saw when I was young, so they still stick in my mind

I wish gushing over what you love was more popular than hating on what other people love.

[starrysharks]

yeah boy and doll face

[max-nico]

A moment of acknowledgement for the mutual domestication trope. Just two characters who are absolutely feral and batshit crazy until they're reunited with the other person, and then all of a sudden they're both sweet and gentle like a dog lounging in the sun after a long hard day of doing nothing

[anominous-user]

Double Indemnity, Veritas Ratio and Aventurine

This was originally a part of my compilation post as a short analysis on the Double Indemnity references, linking to this great thread by Manya on Twitter. However, I've recently watched the movie and found that the parallels run much deeper than just the mission name and the light cone itself, plus as the short synopsis I've read online. Since there isn't really an in-depth attempt at an analysis on the film in relation to the way Aventurine and Ratio present themselves throughout Penacony, I thought I'd take a stab at doing just that. I will also be bringing up things from Manya's thread as well as another thread that has some extra points.

Disclaimer that I... don't do analyses very often. Or write, in general — I'm someone who likes to illustrate their thoughts (in the artistic sense) more than write. There's just something about these two that makes me want to rip into them so badly, so here we are. If there's anything you'd like to add or correct me on, feel free to let me know in the replies or reblogs, or asks. This ended up being a rather extensive deep dive into the movie and its influences on the pairing, so please keep that in mind when pressing Read More.

There are two distinct layers on display in Ratio and Aventurine's relationship throughout Penacony, which are references to the two most important relationships in the movie — where they act like they hate/don’t know each other, and where they trust each other.

SPOILER WARNING for the entire movie, by the way. You can watch the film for free here on archive.org, as well as follow along with the screenplay here. I will also be taking dialogue and such from the screenplay, and cite quotes from the original novel in its own dedicated section. SPOILER WARNING for the Cat Among Pigeons Trailblaze mission, as well.

CONTENT WARNING FOR MENTIONS OF SUICIDE. YOU HAVE BEEN WARNED.

To start, Double Indemnity (1944) is a film noir by Billy Wilder (and co-written by Raymond Chandler) based on the novel of the same name by James M. Cain (1927). There are stark differences between the movie adaptation and the original novel which I will get into later on in this post, albeit in a smaller section, as this analysis is mainly focused on the movie adaptation. I will talk about the basics (summaries for the movie and the game, specifically the Penacony mission in tandem with Ratio and Aventurine) before diving into the character and scene parallels, among other things.

—

[THE NAME]

The term "double indemnity" is a clause in which if there’s a case of accidental death of a statistically rare variety, the insurance company has to pay out multiple of the original amount. This excludes deaths by murder, suicide, gross negligence, and natural causes.

The part of the mission in Cat Among Pigeons where Ratio and Aventurine meet with Sunday is named after the movie. And before we get further into things, let's get this part out of the way: The Chinese name used in the mission is the CN title of the movie, so there's no liberties taken with the localization — this makes it clear that it’s a nod to the movie and not localization doing its own thing like with the mission name for Heaven Is A Place On Earth (EN) / This Side of Paradise (人间天堂) (CN).

—

[SUMMARY OF THE 1944 MOVIE]

Here I summarised the important parts that will eventually be relevant in the analysis related to the game.

Insurance salesman Walter Neff, wounded from a gunshot, enters his office and confesses his crime on a dictaphone to his boss Barton Keyes, the claims manager. Much earlier, he had met Phyllis Dietrichson, the wife of Mr. Dietrichson and former nurse. Neff had initially wanted to meet Mr. Dietrichson because of car insurance. Phyllis claims her husband is mean to her and that his life insurance goes to his daughter Lola. With Neff seduced by Phyllis, they eventually brew up a scheme to murder Mr. Dietrichson in such a way that they activate the "double indemnity" clause, and the plan goes off almost perfectly. Initially, the death is labeled a suicide by the president of the company, Norton. 

Keyes finds the whole situation suspicious, and starts to suspect Phyllis may have had an accomplice. The label on the death goes from accidental, to suicide, to then murder. When it’s ruled that the husband had no idea of the accidental policy, the company refuses to pay. Neff befriends Phyllis’ stepdaughter Lola, and after finding out Phyllis may have played a part in the death of her father’s previous wife, Neff begins to fear for Lola and himself, as the life insurance would go all towards her, not Phyllis.

After the plan begins to unravel as a witness is found, it comes out that Lola’s boyfriend Nino Zachette has been visiting Phyllis every night after the murder. Neff goes to confront Phyllis, intending to kill her. Phyllis has her own plans, and ends up shooting him, but is unable to fire any more shots once she realises she did love him. Neff kills her in two shots. Soon after telling Zachette not to go inside the house, Neff drives to his office to record the confession. When Keyes arrives, Neff tells him he will go to Mexico, but he collapses before he could get out of the building.

—

[THE PENACONY MISSION TIMELINE]

I won’t be summarising the entirety of Aventurine and Ratio’s endeavours from the beginning of their relationship to their final conversation in Heaven Is A Place On Earth the same way as I summarised the plot of the movie, so I will instead present a timeline. Bolded parts means they are important and have clear parallels, and texts that are in [brackets] and italics stand for the names of either the light cone, or the mission names.

[Final Victor] Their first meeting. Ratio’s ideals are turned on its head as he finally meets his match.

Several missions happen in-between their first encounter and the Penacony project. They come to grow so close and trusting with each other that they can guess, understand each other’s thoughts, way of thinking and minds even in high stakes missions. Enough to pull off the Prisoner’s Dilemma (Aventurine’s E1) and Stag Hunt Game (Aventurine’s E6) and come out on top.

Aventurine turns towards Ratio for assisting him in the Penacony project. Ratio's involvement in the project is implied to be done without the knowledge of Jade, Topaz, and the IPC in general, as he was only sent to Penacony to represent the Intelligentsia Guild, and the two other Stonehearts never mention Ratio.

Aventurine and Ratio cook up the plan to deceive Sunday before ever setting foot on Penacony. Aventurine does not tell Ratio the entirety of his plan.

Aventurine convinces Topaz and Jade to trust him with their Cornerstones. Aventurine also breaks his own Cornerstone and hides it along with the jade within a bag of gift money.

[The Youth Who Chase Dreams] They enter Penacony in the Reverie Hotel. Aventurine is taken to the side by Sunday and has all his valuables taken, which includes the gift money that contains the broken aventurine stone, the jade, and the case containing the topaz.

Aventurine and Ratio speak in a “private” room about how Aventurine messed up the plan. After faking an argument to the all-seeing eyes of Sunday, Ratio leaves in a huff.

Ratio, wearing his alabaster head, is seen around Golden Hour in the (Dusk) Auction House by March 7th.

[Double Indemnity] Ratio meets up with Sunday and “exposes” Aventurine to him. Sunday buys his “betrayal”, and is now in possession of the topaz and jade. Note that this is in truth Ratio betraying Sunday all along.

Ratio meets up with Aventurine again at the bar. Ratio tells Aventurine Sunday wants to see him again.

They go to Dewlight Pavilion and solve a bunch of puzzles to prove their worth to Sunday.

They meet up with Sunday. Sunday forces Aventurine to tell the truth using his Harmony powers. Ratio cannot watch on. It ends with Aventurine taking the gift money with his Cornerstone.

[Heaven Is A Place On Earth] They are in Golden Hour. Ratio tries to pry Aventurine about his plan, but Aventurine reins him in to stop breaking character. Ratio gives him the Mundanite’s Insight before leaving. This is their final conversation before Aventurine’s grandest death.

Now how exactly does the word “double indemnity” relate to their mission in-game? What is their payout? For the IPC, this would be Penacony itself — Aventurine, as the IPC ambassador, handing in the Jade Cornerstone as well as orchestrating a huge show for everybody to witness his death, means the IPC have a reason to reclaim the former prison frontier. As for Ratio, his payout would be information on Penacony’s Stellaron, although whether or not this was actually something he sought out is debatable. And Aventurine? It’s highly implied that he seeks an audience with Diamond, and breaking the Aventurine Cornerstone is a one way trip to getting into hot water with Diamond. With Aventurine’s self-destructive behaviour, however, it would also make sense to say that death would be his potential payout, had he taken that path in the realm of IX.

Compared to the movie, the timeline happens in reverse and opposite in some aspects. I will get into it later. As for the intended parallels, these are pretty clear and cut:

Veritas Ratio - Walter Neff

Aventurine - Phyllis Dietrichson

Sunday - Mr. Dietrichson

There is one other character who I feel also is represented in Ratio, but I won’t bring them up until later down the line.

For the sake of this analysis, I won’t be exploring Sunday’s parallel to Mr. Dietrichson, as there isn’t much on Dietrichson’s character in the first place in both the movie and the novel. He just kind of exists to be a bastard that is killed off at the halfway point. Plus, the analysis is specifically hyper focused on the other two.

—

[SO, WHAT’S THE PLAN?]

To make things less confusing in the long run whenever I mention the words “scheme” and “plan”, I will be going through the details of Phyllis and Neff’s scheme, and Aventurine and Ratio’s plan respectively. Anything that happens after either pair separate from another isn’t going to be included. Written in a way for the plans to have gone perfectly with no outside problems.

Phyllis and Neff —> Mr. Dietrichson

Goal: Activate the double indemnity clause by killing Mr. Dietrichson and making it look like a freak train accident

Payout: Twice or more of the face value of the life insurance ($100,000)

Main Actor: Walter Neff    |    Accomplice: Phyllis Dietrichson

During the entire time until the payout, Phyllis and Neff have to make sure to any outsiders that they look like complete strangers instead of lovers in an affair.

Step-by-step:

Neff convinces Mr. Dietrichson to sign the policy with the clause without him suspecting foul play, preferably with a third party to act as an alibi. This is done discreetly, making Mr. Dietrichson not read the policy closely and being told to just sign.

Neff and Phyllis talk to each other about small details through the phone (specified to be never at Phyllis’ own house and never when Neff was in his office) and in the marketplace only, to make their meetings look accidental. They shouldn’t be seen nor tracked together, after all.

Phyllis asks Mr. Dietrichson to take the train. She will be the one driving him to the train station.

On the night of the murder, after making sure his alibi is airtight, Neff sneaks into their residence and hides in their car in the second row seating, behind the front row passenger seat. He wears the same colour of clothes as Mr. Dietrichson.

Phyllis and Mr. Dietrichson get inside the car — Phyllis in the driver’s seat and Mr. Dietrichson in the passenger seat. Phyllis drives. On the way to the train station, she makes a detour into an alley. She honks the horn three times.

After the third honk, Neff breaks Mr. Dietrichson’s neck. The body is then hidden in the second row seating under a rug.

They drive to the train station. Phyllis helps Neff, now posing as Mr. Dietrichson, onto the train. The train leaves the station.

Neff makes it to the observation platform of the parlour car and drops onto the train tracks when nobody else is there.

Phyllis is at the dump beside the tracks. She makes the car blink twice as a signal.

The two drag Mr. Dietrichson’s corpse onto the tracks.

They leave.

When Phyllis eventually gets questioned by the insurance company, she pretends she has no idea what they are talking about and eventually storms off.

Phyllis and Neff continue to lay low until the insurance company pays out.

Profit!

Actual Result: The actual murder plan goes almost smoothly, with a bonus of Mr. Dietrichson having broken a leg. But with him not filing a claim for the broken leg, a witness at the observation platform, and Zachette visiting Phyllis every night after the murder, Keyes works out the murder scheme on his own, but pins the blame on Phyllis and Zachette, not Neff.

Now for Aventurine and Ratio. You can skip this section if you understand how deep their act goes, but to those who need a refresher, here’s a thorough explanation:

Aventurine and Ratio —> Sunday

Goal: Collect the aventurine stone without Sunday knowing, ruin the dream (and create the grandest death)

Payout: Penacony for the IPC, information on the Stellaron for Ratio, a meeting with Diamond / death for Aventurine

Main Actor: Aventurine    |    Accomplice: Veritas Ratio

From the moment they step onto Penacony, they are under Sunday’s ever present and watchful eyes. “Privacy” is a foreign word to The Family. They have to act like they don’t like each other’s company the entire time and feed Sunday information through indirect means so that the eventual “betrayal” by Ratio seems truthful to Sunday. Despite what it looks like, they are closer than one would ever think, and Ratio would never sell out a person purely for information.

Step-by-step:

After Sunday takes away the bag of gift money and box, Aventurine and Ratio talk in a room in the Reverie Hotel.

Aventurine establishes the Cornerstones’ importance, and how he lost the gift money and the case containing the Cornerstones to Sunday. Ratio turns to leave, saying “some idiot ruined everything”, meaning the Cornerstones were vital to their plan. (Note that Ratio is not wearing his alabaster head while saying it to said “idiot”.)

Aventurine then proceeds to downplay the importance of the Cornerstones, stating they are “nothing more than a few rocks” and “who cares if they are gone”. This lets Sunday know that something suspicious may be going on for him to act like it’s nothing, and the mention of multiple stones, and leaves him to look up what a Cornerstone is to the Ten Stonehearts of the IPC.

Ratio points out his absurd choice of outfit, mentioning the Attini Peacock and their song.

Ratio implies that without the aventurine stone, he is useless to the IPC. He also establishes that Aventurine is from Sigonia(-IV), and points out the mark on his neck. To Sunday, this means that Aventurine is shackled to the IPC, and how Aventurine may possibly go through extreme lengths to get the stone back, because a death sentence always looms above him.

Aventurine claims Ratio had done his homework on his background, which can be taken that this is their very first time working together. (It isn’t, and it only takes one look to know that Aventurine is an Avgin because of his unique eyes, so this comment does not make sense even in a “sincere” way, a running theme for the interaction.)

Ratio mentions how the true goal is to reclaim Penacony for the IPC, establishing their ulterior motive for attending the banquet.

Ratio asks if Aventurine went to pre-school in Sigonia after saying trust was reliant on cooperation. Aventurine mentions how he didn’t go to school and how he doesn’t have any parents. He even brings up how friends are weapons of the Avgins. This tells Sunday that the Avgins supposedly are good at manipulation and potentially sees Ratio possibly betraying Aventurine due to his carelessness with his “friends”. Sunday would also then research about the Avgins in general (and research about Sigonia-IV comes straight from the Intelligentsia Guild.)

Ratio goes to Dewlight Pavilion in Sunday’s Mansion and exposes a part of Aventurine’s “plan”. When being handed the suitcase, Ratio opens it up due to his apparent high status in the IPC. He tells Sunday that the Cornerstone in the suitcase is a topaz, not an aventurine, and that the real aventurine stone is in the bag of gift money. This is a double betrayal — on Aventurine (who knows) and Sunday (who doesn’t). Note that while Ratio is not officially an IPC member in name — the Intelligentsia Guild (which is run by the IPC head of the Technology Department Yabuli) frequently collaborates with the IPC. Either Aventurine had given him access to the box, or Ratio’s status in general is ambiguous enough for Sunday not to question him further. He then explains parts of Aventurine’s gamble to Sunday in order to sell the betrayal. Note that Ratio does not ever mention Aventurine’s race to Sunday.

Ratio brings Aventurine to Sunday. Aventurine offers help in the investigation of Robin's death, requesting the gift money and the box in return.

Sunday objects to the trade offer. Aventurine then asks for just the bag. A classic car insurance sales tactic. Sunday then interrogates Aventurine, and uses everything Ratio and Aventurine brought up in the Reverie Hotel conversation and their interactions in the Mansion, as well as aspects that Ratio had brought up to Sunday himself.

Aventurine feigns defeat and ignorance enough so that Sunday willingly lets him go with the gift bag. After all is said and done, Aventurine leaves with the gift money, where the Aventurine Cornerstone is stored all along.

Ratio and Aventurine continue to pretend they dislike each other until they go their separate ways for their respective goals and plans. Aventurine would go on to orchestrate his own demise at the hands of Acheron, and Ratio… lurks in the shadows like the owl he is.

Profit!

Actual Result: The plan goes perfectly, even with minor hiccups like Ratio coming close to breaking character several times and Aventurine being sentenced to execution by Sunday.

This is how Sunday uses the information he gathered against Aventurine:

• Sunday going on a tirade about the way Aventurine dresses and how he’s not one to take risks — Ratio’s comment about Aventurine’s outfit being peacock-esque and how he’s “short of a feather or two”. • “Do you own a Cornerstone?” — Ratio talked about the aventurine stone. • “Did you hand over the Cornerstone to The Family when you entered Penacony?” — Aventurine mentioned the box containing the Cornerstones. • “Does the Cornerstone you handed over to The Family belong to you?” — Aventurine specifically pluralized the word Cornerstone and “a bunch of rocks” when talking to Ratio. • “Is your Cornerstone in this room right now?” — The box in the room supposedly contained Aventurine’s own cornerstone, when Aventurine mentioned multiple stones. • “Are you an Avgin from Sigonia?” —Aventurine mentioned that he’s an Avgin, and Ratio brought up Sigonia. • “Do the Avgins have any ability to read, control, and manipulate one’s own or another’s minds?” — Aventurine’s comment on how friends are weapons, as well as Sunday’s own research on the Avgins, leading him to find out about the negative stereotypes associated with them. • “Do you love your family more than yourself?” — His lost parents. “All the Avgins were killed in a massacre. Am I right?” — Based on Sunday’s research into his background. • “Are you your clan’s sole survivor?” — Same as the last point. “Do you hate and wish to destroy this world with your own hands?” — Ratio mentioned the IPC’s goal to regain Penacony, and Aventurine’s whole shtick is “all or nothing”. • “Can you swear that at this very moment, the aventurine stone is safe and sound in this box?” — Repeat.

As seen here, both duos have convoluted plans that involve the deception of one or more parties while also pretending that the relationship between each other isn’t as close as in reality. Unless you knew both of them personally and their histories, there was no way you could tell that they have something else going on. 

On to the next point: Comparing Aventurine and Ratio with Phyllis and Neff.

—

[NEFF & PHYLLIS — RATIO & AVENTURINE]

With the short summaries of the movie and the mission out of the way, let’s look at Phyllis and Neff as characters and how Aventurine and Ratio are similar or opposite to them.

Starting off with Aventurine and Phyllis. Here is where they are the most similar:

Phyllis is blonde and described as a provocative woman. Aventurine is also a blond and eyes Ratio provocatively in the Final Victor light cone.

Phyllis was put under surveillance after Keyes starts figuring out that the so-called accidental death/suicide may have been a murder after all. Similarly, Aventurine was watched by Sunday the entire time in Penacony.

Phyllis never tells Neff how she's seeing another man on the side to possibly kill him too (as well as how she was responsible for the death of her husband‘s previous wife). Aventurine also didn't tell Ratio the entirety of his plan of his own death.

Phyllis puts on a somewhat helpless act at first but is incredibly capable of making things go her way, having everything seemingly wrapped around her finger. Aventurine — even when putting on a facade that masks his true motives — always comes out at the top.

Now the differences between Aventurine and Phyllis:

Phyllis does not care about her family and has no issue with killing her husband, his previous wife, and possibly her daughter Lola. Opposite of that, Aventurine is a family man… with no family left, as well as feeling an insane level of survivor’s guilt.

Really, Phyllis just… does not care at all about anyone but herself and the money. Aventurine, while he uses every trick in the book to get out on top, does care about the way Jade and Topaz had entrusted him with their Cornerstones, in spite of the stones being worth their lives. 

Phyllis also uses other people to her advantage to get what she wants, often behind other people's backs, with the way she treats Neff and Zachette. Aventurine does as well (what with him making deals with the Trailblazer while also making a deal with Black Swan that involves the Trailblazer). The difference here is Phyllis uses her allure deliberately to seduce men while Aventurine simply uses others as pawns while also allowing others to do the same to himself.

Phyllis makes no attempt at compromising the policy when questioned by Norton. Aventurine ends up compromising by only taking the gift money (which is exactly what he needs).

The wig that Barbara Stanwyck (the actress of Phyllis) wore was chosen to make her look as “sleazy” as possible, make her look insincere and a fraud, a manipulator. A sort of cheapness. Aventurine’s flashy peacock-esque outfit can be sort of seen as something similar, except the outfit isn’t cheap.

Moving on to Ratio’s similarities to Neff… There isn’t much to extrapolate here as Ratio is more of a side character in the grand scheme of Penacony, however this is what I’ve figured out.

Neff has dark hair. Ratio has dark purple hair.

Neff almost never refers to Phyllis by her name when speaking with her, only as “baby”. The few times he refers to her as Phyllis or Mrs. Dietrichson is during their first conversations and when he has to act like he doesn’t know her. Ratio never calls Aventurine by his name when he’s around him — only as “gambler”, sometimes “damned” or “dear” (EN-only) gambler. Only in the Aventurine's Keeping Up With Star Rail episode does Ratio repeatedly say his name, and yet he still calls him by monikers like “gambler” or, bafflingly, a “system of chaos devoid of logic”.

Both Neff and Ratio committed two betrayals: Neff on Mr. Dietrichson and Keyes, and Ratio on Sunday and Aventurine. With the former cases it was to reach the end of the trolley line, and with the latter it was on a man who had put his trust in him.

As for the differences…

Neff is described as someone who’s not smart by his peers. Ratio is someone who is repeatedly idolised and put on a pedestal by other people.

Neff is excellent at pretending to not know nor care for Phyllis whenever he speaks about her with Keyes or when he and she are in a place that could land them in hot water (the office, the mansion when there are witnesses). His acting is on the same level as Phyllis. With Ratio it’s… complicated. While he does pull off the hater act well, he straight up isn’t great at pretending not to care about Aventurine’s wellbeing.

Instead of getting his gunshot wound treated in the hospital like a normal person, Neff makes the absolutely brilliant decision of driving to his office and talking to a dictaphone for hours. Needless to say, this is something a medical doctor like Ratio would never do.

Now here's the thing. Though it's very easy to just look at Phyllis and Neff in the movie and go "okay, Aventurine is Phyllis and Ratio is Neff — end of story" and leave it at that, I find that they both take from the two leads in different ways. Let me explain. Beginning with Aventurine and Neff…

Neff is the one who hatches the plan and encourages Phyllis to go through and claim the double indemnity clause in the first place. He is also the key player of his own risky plan, having to fake being the husband to enter the train as well as fake the death. Aventurine puts himself at great risk just by being in Sunday’s presence, and hoping that Sunday wouldn’t figure out that the green stone he had uncovered wasn’t the aventurine stone.

Adding onto the last point, Neff had fantasised about pulling off the perfect murder for a long time — the catalyst was simply him meeting Phyllis. Aventurine presumably sought out Ratio alone for his plan against Sunday.

Neff makes a roulette wheel analogy and talks about a pile of blue and yellow poker chips (the latter in the script only). I don‘t even have to explain why this is relevant here. (Aventurine’s Ultimate features a roulette wheel and the motif is on his belt, thigh strap, and back, too. And of course, Aventurine is all about his chips.)

Neff has certain ways to hide when he’s nervous, which include hiding his hands in his pockets when they were shaking, putting on glasses so people couldn’t see his eyes. Aventurine hides his left hand behind his back when he’s nervous: Future Aventurine says that "they don't know the other hand is below the table, clutching [his] chips for dear life", and in multiple occasions such as the Final Victor LC, his character trailer, and even in his boss form in the overworld you can see that Aventurine hides his left hand behind his back. And he is also seen with his glasses on sometimes.

Neff says a bunch of stuff to make sure that Phyllis acts her part and does not act out of character (i.e. during their interactions at the market), like how Aventurine repeatedly tries to get Ratio back on track from his subpar acting.

Neff is always one step ahead of the game, and the only reason the plan blows up in his face is due to outside forces that he could not have foreseen (a witness, Keyes figuring out the plan, the broken leg). Aventurine meanwhile plays 5D chess and even with the odds against him, he uses everything he can to come out on the top (i. e. getting Acheron to kill him in the dream).

Even after coming home on the night of the murder, Neff still felt that everything could have gone wrong. Aventurine, with his blessed luck, occasionally wavers and fears everything could go wrong whenever he takes a gamble.

Neff was not put under surveillance by Keyes due to him being extensive with his alibi. After witnessing Robin’s death with eyewitnesses at the scene, the Family had accepted Aventurine’s alibi, though he would be under watch from the Bloodhounds according to Ratio.

Neff talks about the entire murder scheme to the dictaphone. Aventurine during Cat Among Pigeons also retells his plan, albeit in a more convoluted manner, what with his future self and all.

Continuing with Ratio and Phyllis, even with their personalities and motivations being quite different, they do have a few commonalities.

Phyllis was a nurse. Ratio is a medical doctor.

Her name is Greek of origin. Veritas Ratio, though his name is Latin, has Greco-Roman influences throughout his entire character.

The very first scene Phyllis appears in has her wearing a bath towel around her torso. Ratio loves to take baths to clear his mind.

Phyllis was instructed by Neff to be at the market every morning at eleven buying things. Ratio is seen in an auction house with his alabaster head on so no one could recognize him.

Phyllis mostly acts as an accomplice to the scheme, being the one to convince her husband to take the train instead. She is also generally seen only when Neff is involved. Ratio plays the same role as well, only really appearing in the story in relation to Aventurine as well as being the accomplice in Aventurine’s own death. Even him standing in the auction house randomly can be explained by the theory that he and Aventurine had attempted to destabilise Penacony’s economy through a pump and dump scheme.

With these pointers out of the way, let’s take a closer look at select scenes from the film and their relation to the mission and the pair. 

—

[THE PHONE CALL — THE REVERIE HOTEL]

Before the murder, there is a scene with a phone call between Phyllis and Neff discussing the plan while Keyes is in the same room as Neff. Neff has to make sure that Keyes doesn’t think of anything of the phone call, so he acts like he’s calling a “Margie”, and says a bunch of stuff that sounds innocent out of context (“Can’t I call you back, ‘Margie’?” “What color did you pick out?” “Navy blue. I like that fine”), but are actually hinting at the real plan all along (the suit that Mr. Dietrichson wears.)

In a roundabout way, the conversation between Ratio and Aventurine in the Reverie Hotel can be seen as the opposite of that scene — with the two talking about their supposed plan out loud on Penacony ground, a place where the Family (and in turn, Sunday) has eyes everywhere. Despite being in a “private” room, they still act like they hate each other while airing out details that really do not make sense to air out if they really did meet the first time in Penacony (which they didn’t — they’ve been on several missions beforehand). It’s almost like they want a secret third person to know what they were doing, instead of trying to be hushed up about it. The TVs in the room that Sunday can look through based on Inherently Unjust Destiny — A Moment Among The Stars, the Bloodhound statue that disappears upon being inspected, the owl clock on the left which side eyes Ratio and Aventurine, all point to that Sunday is watching their every move, listening to every word.

Rewinding back to before the phone call, in one of the encounters at the marketplace where they “accidentally” run into each other, Phyllis talks about how the trip was off. How her husband wouldn’t get on the train, which was vital for their plan, because of a broken leg. All this, while pretending to be strangers by the passersby. You could say that the part where Ratio almost leaves because Aventurine had “ruined the plan” is the opposite of this, as the husband breaking his leg was something they couldn’t account for, while Aventurine “being short of a few feathers” was entirely part of the plan.

—

[QUESTIONING PHYLLIS — THE INTERROGATION]

This section is going to be a little longer as I will cover two scenes in the movie in a more detailed manner — Mr. Dietrichson signing the policy, and Phyllis being questioned — and how they are represented in the Sunday-Aventurine interrogation and the prior conversation between Ratio and Sunday in multitudes of ways.

Going about their plan, Neff has to make sure that Mr. Dietrichson signs the policy with the double indemnity clause without him knowing the details, all the while having Phyllis (and Lola) in the same room. He and Phyllis have to pretend that they don’t know each other, and that this is just the standard accidental insurance process, instead of signing what would be his downfall. To sell it, he gets Mr. Dietrichson to sign two “copies” of the form, except with Mr. Dietrichson’s second signature, he’s duped into signing the accident insurance policy with the respective clause.

You can tie this to how Ratio goes to Sunday in order to “expose” the lie that the suitcase didn’t actually contain the Aventurine Cornerstone, as well as there being more than one Cornerstone involved in the scheme. Ratio must make sure that Sunday truly believes that he dislikes Aventurine’s company, while also making sure that Sunday doesn’t figure out the actual aventurine stone is broken and hidden in the gift bag. The scheme turns out to be successful, as Sunday retrieves the two Cornerstones, but not the aventurine stone, and truly does think that the green stone he has in his possession is the aventurine.

This whole scene with Sunday is also reminiscent of the interrogation scene in the middle of the movie, where Phyllis was questioned by the boss (Norton) who was deducing that Mr. Dietrichson's death was a suicide, not accidental death. Neff, Phyllis, Keyes and Norton were all in the same room, and Neff and Phyllis had to act like they never knew the other. Phyllis acts like she knows nothing about what Norton insinuates about her husband and eventually, Phyllis explodes in anger and storms out the room, even slamming the door. Her act is very believable to any outsider.

Now back to the Ratio and Sunday conversation. One glaring difference between the movie and here is that his acting isn’t great compared to either Phyllis nor Neff. It never was throughout the Penacony mission. He even comes very close to breaking character several times, and is even defending Aventurine in a somewhat aggressive manner during his one-on-one conversation with Sunday, as in he literally tells Sunday to see a shrink. It’s very different from the way he was acting in Herta Space Station — like Ratio cares about Aventurine too much to keep his hands off.

It's also worth pointing out that Neff doesn't speak a word when Phyllis was being interrogated. Similarly, Ratio is silent throughout the entire scene with Sunday and Aventurine, with his only “line” being a “hm”. When Aventurine calls him a wretch to his face, all he does is look to the side. In fact, he can only look at Aventurine when the other isn’t staring back. Almost like him uttering a single word would give them away. Or his acting is terrible when it has to do with Aventurine, as he has no issue doing the same thing in Crown of the Mundane and Divine (Mundane Troubles).

So, Sunday finds out about the Cornerstones and reveals them to Aventurine, and reasons that he cannot give them back to him because Aventurine had lied. Note that in that same scene, Aventurine attempted to use the two murders that had occurred beforehand against Sunday to retrieve his own cornerstone. Similarly, when it was revealed that Mr. Dietrichson did not know about the accident policy and that the so-called “accidental death” was not, in fact, accidental, the insurance company refused to pay out the money.

Unlike the movie, this was all planned, however. The double-crossing by Ratio, the gift money being the only thing required for Aventurine’s real plan. All of it was an act of betrayal against Sunday, in the same manner as the meticulous planning as Mr. Dietrichson’s murder — To sign the policy, get him to take the train, kill him on the way, and to have Neff pose as the husband on the train until the time is right to get off and lay the body on the tracks. A key difference is that they could not have expected their scheme to be busted wide open due to forces outside of their control, while Ratio and Aventurine went straight down the line for the both of them no matter what.

From here on out, we can conclude that the way Ratio and Aventurine present themselves in Penacony to onlookers is in line with Neff and Phyllis.

—

[“GOODBYE, BABY” — FINAL VICTOR]

And now for the (in)famous light cone, Final Victor. The thing that truly kickstarted the Ratio and Aventurine ship in the fanbase, and the partnership between the two in general. It’s a direct reference to the final confrontation between Neff and Phyllis in the movie.

I’ll fire through all the similarities between the two scenes.

During the respective scenes, Aventurine and Phyllis both outsmart their partner one way or the other: Aventurine with his one-sided game of Russian Roulette, and Phyllis hiding her gun underneath the cushions until Neff turned away.

The guns are owned by Phyllis and Aventurine, not Neff and Ratio.

Phyllis couldn’t bring herself to fire any more shots after she realised she truly did love Neff. Ratio could do nothing but watch as Aventurine did what he did — he couldn’t even pull away if the LC animation is anything to go by him struggling as Aventurine firmly keeps the gun to his chest.

Neff says he doesn’t buy (believe) that Phyllis loved him. She then goes “I’m not asking you to buy […]”. The LC description has Aventurine ask Ratio “You don’t believe me?”, while in the LC animation Ratio straight up says “You expect me to believe you?” and Aventurine answering “Why not, doctor/professor?”

The visual composition of the LC and the scene are nearly identical, from the lighting to the posing to the way Aventurine looks at Ratio — Aventurine and Ratio are even wearing different outfits to fit the scene better. The background in the LC is also like the blinders in the movie, just horizontal.

In the shot where Phyllis’ face is more visible, the way she looks at Neff is strikingly like the way provocatively looks at Ratio. Even their eyes have a visible shine — Phyllis’ eyes brightly shining the moment she realised she really fell in love with Neff, and Aventurine having just a little light return to his eyes in that specific moment.

And now the differences!

Neff holds the gun in his right hand. Aventurine makes Ratio hold his gun in his left.

Neff is the one who takes the gun from Phyllis‘ hand. Aventurine is the one who places the gun in Ratio’s hand and fires it.

Three gunshots are fired. In the movie, Phyllis shoots the first shot and Neff the second and third. Aventurine unloads the gun and leaves only one bullet for this game of Russian Roulette. He pulls the trigger three times, but they all turn out to be blanks.

Phyllis does not break her façade of not smiling until the very last moment where she gets shot. Aventurine is smiling the entire time according to the light cone description, whilst in the animation, it’s only when he guides the gun to his chest that he puts it on.

So, you know how Neff meets Phyllis and it all goes off the rails from there. The way Neff goes from a decent guy to willingly involve himself in a murder scheme, having his morals corrupted by Phyllis. His world having been turned upside down the moment he lays eyes on Phyllis in that first meeting. Doesn’t that sound like something that happened with the Final Victor LC? Ratio, a man all about logic and rationality — a scholar with eight PhDs to his name — all of that is flipped on its head the moment Aventurine pulls out his gun in their first meeting and forces Ratio to play a game of Russian roulette with him. Aventurine casually gambles using his own life like it’s nothing and seemingly without fear (barring his hidden left hand). All or nothing — and yet Aventurine comes out alive after three blanks. Poetic, considering there’s a consumable in the game called “All or Nothing” which features a broken chess piece and a poker chip bound together by a tie. The poker chip obviously represents the gambler, but the chess piece specifically stands for Ratio because he plays chess in his character trailer, his Keeping Up With Star Rail episode and his introduction is centred around him playing chess with himself. Plus, the design of the chess piece has golden accents, similar to his own chess set. In the end, Aventurine will always be the final victor.

Furthermore, Neff had deduced that Phyllis wanted to kill her husband and initially wanted no part in it, but in a subsequent visit it was his own idea that they trigger the double indemnity clause for more money. As the movie progresses though, he starts to have his doubts (thanks in part to him befriending Lola) and makes the move to kill Phyllis when everything starts to come to light. It’s strikingly similar to how Ratio initially wanted no part in whatever Aventurine had in mind when they first met, but in the subsequent missions where they were paired up, he willingly goes along with Aventurine's risky plans, and they come to trust each other. Enough so that Aventurine and Ratio can go to Penacony all on their own and put on an act, knowing that nobody in the IPC other than them can enter the Dreamscape. The mutual respect grew over time, instead of burning passionately before quickly fizzling out like in the movie.

Basically, in one scene, three shots (blanks) start a relationship, and in the other, it ends a relationship. In the anan magazine interview with Aventurine, he says himself that “form[ing] an alliance with just one bullet” with Ratio was one of his personal achievements. The moment itself was so impactful for both parties that it was immortalised and turned into a light cone.

—

[THE ENDING — GOLDEN HOUR]

The ending of Double Indemnity that made it into the final cut has Neff continue his confession on the dictaphone until he realised that he wasn’t alone in the room. Keyes had come inside at some point, but none had said a thing, only listening to a dead man speak of his crime. When Neff sees Keyes, they talk for a moment, Neff says he plans on fleeing to Mexico. Keyes does not think he will make it. He tries to leave, only to collapse at the front of the elevator, Keyes following just behind him. Neff attempts to light a cigar but is too weak to do so, so Keyes does it for him.

Parts of the ending can still be attributed to the interrogation scene between Sunday and Aventurine, so I’ll make this quick before moving on to the conversation in Heaven Is A Place On Earth, Ratio and Aventurine’s final conversation together. Once Sunday mentions how quickly Aventurine gave up the suitcase, he inflicts the Harmony’s consecration on him, which forces Aventurine to confess everything that Sunday asks of. In a way, it’s the opposite of what happens in the movie — where Neff willingly tells the truth about the murder to his coworker. Aventurine does not like Sunday, and Neff is close to Keyes. Ratio also does not speak, similarly to how Keyes didn’t speak and stood silently off to the side.

Post-interrogation in Golden Hour, Ratio worriedly prods at Aventurine and asks him about his plan. He then gives him the Mundanite’s Insight with the Doctor’s Advice inside when Aventurine tells him to leave. Throughout Heaven Is A Place On Earth, Aventurine gets weaker and his head starts to buzz, until he falls to the ground before he can hand in the final gems. Similarly, Neff progressively grows weaker as he records his confession. Keyes says he’s going to call a doctor and Neff says he’s planning to go to Mexico. And when Neff collapses near the elevator, they talk one final time and Keyes lights Neff’s cigar as the other was too weak to do so himself.

—

[OPPOSITE TIMELINES AND DEVELOPMENTS]

Remember how I said the way certain events happen in the movie and the game are mostly opposite and reverse of one another? 

The Final Victor LC is the first meeting of Ratio and Aventurine, and Neff killing Phyllis is their final meeting.

Between that first and last meeting between Phyllis and Neff’s whirlwind romance, their relationship becomes strained which ultimately leads to Neff not trusting whatever Phyllis has to say at the end point of the movie. As for Ratio and Aventurine, the exact opposite had happened, to the point where Ratio trusts Aventurine enough to go along with his plans even if they went against his own ideals. The basis of the mission involved Veritas Ratio, whose full name includes the Latin word for “truth”, lying the entire time on Penacony.

Aventurine is sentenced to the gallows by Sunday after his unwilling interrogation. The movie starts and ends with Neff willingly confessing everything to Keyes.

It bears repeating, but I have to make it so clear that the trust between Ratio and Aventurine runs incredibly deep. Being able to predict what your partner says and thinks and plans in a mission as critical as the Penacony project is not something first-time co-workers can pull off flawlessly. All the while having to put on masks that prevent you from speaking sincerely towards one another lest you rat yourselves out. You have no way of contacting outside reinforcements from within Penacony, as the rest of the IPC are barred from entering. To be able to play everybody for fools while said fools believe you yourselves have handed your case on a silver platter requires a lot — trust, knowledge of the other, past experience, and so on. With Phyllis and Neff, the trust they had had been snuffed out when Neff grew closer to Lola and found out what kind of person Phyllis truly was on the inside. Phyllis did not trust nor love Neff enough and was going behind his back to meet with Zachette to possibly take Neff and Lola out. And the whole reason Neff wanted to perpetrate the murder was due to him being initially taken by Phyllis' appearance, which single handedly got the ball rolling on the crime.

Now then, how come trust is one of the defining aspects of Aventurine and Ratio’s relationship, when Phyllis and Neff’s trust eventually lead to both their deaths at the hands of the other? Sure, this can be explained away with the opposite theory, but there’s one other relationship involving Neff which I haven’t brought up in excruciating detail yet. The other side of Ratio and Aventurine’s relationship.

—

[NEFF & KEYES — AVENTURINE & RATIO]

Here is where it gets more interesting — while Phyllis and Neff are at the centre point of the movie, there is another character to whom Neff has a close relationship with — Keyes. It’s also the only relationship with no pretences, at least, until the whole murder thing happened and Neff had to hide his involvement from Keyes. Watching the movie, I couldn't help but feel there was something more to the two than meets the eye. I knew that queer readings of the film existed, but I didn't think too much of them until now. And though Aventurine and Ratio parallel Phyllis and Neff respectively, the fact that they also have traits of their opposite means that it wouldn’t be completely out of the question if parts of their relationship were also influenced by Keyes and Neff on a deeper and personal level. Let me explain.

Keyes and Neff were intimate friends for eleven years and have shown mutual respect and trust towards one another. They understood each other on a level not seen with Phyllis and Neff. Even after hearing Neff confess his crimes through the dictaphone (and eventually standing in the same room while Neff confessed), he still cared for the other man, and stayed with him when Neff collapsed at the front door. The only reason Keyes hadn’t deduced that it was Neff who was behind the murder was because he had his absolute trust in him. Keyes is also Neff’s boss, and they are always seen exchanging playful banter when they are on screen together. Neff even says the words “I love you, too” twice in the movie — first at the beginning and second at the end, as the final line. There’s also the persistent theme of Neff lighting Keyes’ cigarettes (which happens in every scene where they are face-to-face), except in the end where it’s Keyes who lights Neff’s.

Doesn’t that sound familiar? Mutual respect, caring too much about the other person, the immense amount of trust… Ratio says he’s even the manager of the Penacony project (which may or may not be a lie), and despite their banter being laced with them acting as “enemies”, you can tell that in Dewlight Pavilion pre-Sunday confrontation that Aventurine genuinely likes Ratio’s company and believes him to be a reliable person. From the way he acts carefree in his words to the thoughts in his head, as seen in the mission descriptions for Double Indemnity. Their interactions in that specific mission are possibly the closest thing to their normal way of speaking that we get to see on Penacony.

Not to mention, this is the way Neff describes Keyes. He even says (not in the script) “you never fooled me with your song and dance, not for a second.” Apart from the line about the cigar ashes, doesn’t this ring a bell to a certain doctor? “Jerk” with a heart of gold?

After solving the puzzle with the statues, Ratio jokingly offers Aventurine to join the Genius Society. Aventurine then goes "Really? I thought you’ve given up on that already", and then Ratio says it was, in fact, a joke. Solving the puzzle through brute force has Ratio telling Aventurine that the Council of Mundanites (which Ratio himself is a part of) should consider him a member. In the movie, where the scene with the phone call with Neff and Phyllis reiterating details of their plan happens, Keyes actually offered Neff a better job (specifically a desk job, as Keyes’ assistant). The two pairs saw the other as smart, equals, and were invested in each other’s careers one way or another.

Because of all this, the character parallels for this side of the relationship are as follows:

Aventurine - Walter Neff

Veritas Ratio - Barton Keyes

With the way I’ve talked about how Aventurine and Ratio take from both leads in terms, it does fit to say that Aventurine is Neff, and Ratio is Keyes in this layer of their relationship. Since we’re on the topic of Keyes, let me also go through some similarities with him and Ratio specifically.

Keyes says the words “dimwitted amateurs” in his first on-screen conversation with Neff. You can’t have Dr. Ratio without him talking about idiocy in some way.

Keyes almost only appears in the movie in relation to Neff, and barring a single interaction in Neff’s house, is also only seen in the office. Same with Phyllis, Ratio also only ever appears regarding Aventurine.

Keyes genuinely wanted the best for Neff, even offering to celebrate with him when he thought the case truly had been busted wide open by forces when Zachette entered the picture. You could say the same for Ratio, as he hoped that Aventurine wouldn’t dwell on the past according to his response on Aventurine’s Interview, as well as telling him to “stay alive/live on (CN)” and wishing him the best of luck in his Doctor’s Advice note.

Whether or not you believe that there was more going on with Neff and Keyes is up to you, but what matters is that the two were very close. Just like Ratio and Aventurine.

—

[THE ORIGINAL FILM ENDING]

Something that I hadn’t seen brought up is the original ending of Double Indemnity, where Neff is executed in a gas chamber while Keyes watches on, shocked, and afterwards leaves somberly. The ending was taken out because they were worried about the Hays Code, but I felt it was important to bring it up, because in a way, you can kind of see the Sunday interrogation scene as Sunday sending Aventurine to his death in seventeen system hours. And Ratio doesn’t speak at all in that scene, and Keyes doesn’t either according to the script.

Another thing that’s noteworthy is that Wilder himself said “the story was about the two guys” in Conversations with Wilder. The two guys in question are Keyes and Neff.

—

[THE NOVEL]

With the original film ending covered, now it is time to bring up the novel by James M. Cain. I bought the book just to read about the differences between the adaptation and the original source material, and to list a few more similarities and opposites I could gather. For this section alone, due to the changes in the (last) names of certain characters, I will be referring to Walter Huff (Neff in the movie) as Walter, and Mr. Dietrichson as Nirdlinger. The plot is pretty much the same as the movie’s apart from a couple of changes so there isn’t a need to recount everything.

From my two read-throughs of the novel, these are the following passages that stood out to me the most. Starting with Aventurine:

Walter, as a top businessman of the company, knows how to sway a deal and to get what he truly wants with what the other gives him. Aventurine is the same, reliant on his intuition, experience and whatever information he has on the table to claim the win. Him luring out Sparkle in Heaven Is A Place On Earth and his conversation with Acheron in the Nihility is indicative of that.

• "But you sell as many people as I do, you don't go by what they say. You feel it, how the deal is going. And after a while I knew this woman didn't care anything about the Automobile Club. Maybe the husband did, but she didn't. There was something else, and this was nothing but a stall. I figured it would be some kind of a proposition to split the commission, maybe so she could get a ten-spot out of it without the husband knowing. There's plenty of that going on. And I was just wondering what I would say to her." 

Phyllis, like in the movie, had been hiding her true intentions of talking to Walter in their first conversations, always saying things that she didn’t actually mean. In a similar vein, Aventurine consistently says stuff but almost never truly means any of it, which is all part of his façade.

• "And I could feel it again, that she wasn't saying what she meant. It was the same as it was the first afternoon I met her, that there was something else, besides what she was telling me. And I couldn't shake it off, that I had to call it on her."

When discussing the murder plan with Phyllis, Walter makes this comment, kind of like how Aventurine seems to operate in a way where he has a plan, but is ready to improvise and think fast when needed.

• "And then it's one of those things where you've got to watch for your chance, and you can't plan it in advance, and know where you're going to come out to the last decimal point."

Remember the roulette wheel line from the movie? In the novel, the gambling metaphor that Walter makes about the insurance business goes on for two paragraphs, mentioning a gambling wheel, stack of chips, a place with a big casino and the little ivory ball, even about a bet on the table. Walter also talks about how he thinks of tricks at night after being in the business for so long, and how he could game the system. Needless to say, insanely reminiscent of Aventurine.

• "You think I’m nuts? All right, maybe I am. But you spend fifteen years in the business I’m in, and maybe a little better than that, it’s the friend of the widow, the orphan, and the needy in time of trouble? It’s not. It’s the biggest gambling wheel in the world. It don’t look like it, but it is, from the way they figure the percentage on the oo to the look on their face when they cash your chips. You bet that your house will burn down, they bet it won’t, that’s all. What fools you is that you didn’t want your house to burn down when you made the bet, and so you forget it’s a bet. To them, a bet is a bet, and a hedge bet don’t look any different than any other bet. But there comes a time, maybe, when you do want your house to burn down, when the money is worth more than the house. And right there is where the trouble starts." • "Alright, I’m an agent. I’m a croupier in that game. I know all their tricks, I lie awake thinking up tricks, so I’ll be ready for them when they come at me. And then one night I think up a trick, and get to thinking I could crook the wheel myself if I could only put a plant out there to put down my bet." • "I had seen so many houses burned down, so many cars wrecked, so many corpses with blue holes in their temples, so many awful things that people had pulled to crook the wheel, that that stuff didn’t seem real to me anymore. If you don’t understand that, go to Monte Carlo or some other place where there’s a big casino, sit at a table, and watch the face of the man that spins the little ivory ball. After you’ve watched it a while, ask yourself how much he would care if you went out and plugged yourself in the head. His eyes might drop when he heard the shot, but it wouldn’t be from the worry whether you lived or died. It would be to make sure you didn’t leave a bet on the table, that he would have to cash for your estate. No, he wouldn’t care."

Returning home from the murder, Walter attempted to pray, but was unable to do it. Some time passed and after speaking to Phyllis, he prayed. Aventurine presumably hadn’t done the prayer ever since the day of the massacre, and the first time he does it again, he does it with his child self.

• "I went to the dining room and took a drink. I took another drink. I started mumbling to myself, trying to get so I could talk. I had to have something to mumble. I thought of the Lord's Prayer. I mumbled that, a couple of times. I tried to mumble it another time, and couldn't remember how it went." • "That night I did something I hadn’t done in years. I prayed."

Phyllis in the book is much more inclined towards death than her movie version, even thinking of herself as a personification of death. She’s killed ten other people (including infants) prior to the events of the novel. Something to keep in mind as Aventurine had mentioned several times that he attempted to kill himself in the dream, plus his leadup to his “grandest death”. Just like Phyllis, he’s even killed at least a few people before, though the circumstances of that were less on his own volition and more so for the sake of his survival (i.e. the death game in the maze involving the 34 other slaves where he was the winner and another time where he murdered his own master). Instead of Phyllis playing the active role of Death towards everybody else, Aventurine himself dances with Death with every gamble, every time his luck comes into play. Danse Macabre.

• "But there’s something in me, I don’t know what. Maybe I’m crazy. But there’s something in me that loves Death. I think of myself as Death, sometimes." • "Walter, The time has come. For me to meet my bridegroom [Death]. The only one I ever loved."

Moving on to Ratio:

Walter says several times that it’s hard to get along with Keyes, and how he says nice things after getting you all worked up. A hard-headed man to get along with, but damn good at his job. Sound like someone familiar?

• "That would be like Keyes, that even when he wanted to say something nice to you, he had to make you sore first."  • "It makes your head ache to be around him, but he’s the best claim man on the Coast, and he was the one I was afraid of."

Keyes sees Walter as smarter than half the fools in the company. Ratio can only stand the company of Aventurine in regards to the IPC.

• "Walter, I'm not beefing with you. I know you said he ought to be investigated. I've got your memo right here on my desk. That's what I wanted to tell you. If other departments of this company would show half the sense that you show—" • "Oh, he confessed. He's taking a plea tomorrow morning, and that ends it. But my point is, that if you, just by looking at that man, could have your suspicions, why couldn't they—! Oh well, what's the use? I just wanted you to know it."

After going on a rant about the H.S. Nirdlinger case (Phyllis’ husband) and how Norton is doing a horrible job, he ends it by saying that it’s sheer stupidity. “Supreme idiocy”, anybody?

• "You can’t take many body blows like this and last. Holy smoke. Fifty thousand bucks, and all from dumbness. Just sheer, willful, stupidity!"

Phyllis’ former occupation as a nurse is more elaborated on, including her specialization — pulmonary diseases. One of Ratio’s crowning achievements is curing lithogenesis, the “King of Diseases”.

• "She’s one of the best nurses in the city of Los Angeles. […] She’s a nurse, and she specialized in pulmonary diseases. She would know the time of crisis, almost to a minute, as well as any doctor would."

As for the murder scheme, they talk about it a lot more explicitly in the novel. Specifically, Walter mentions how a single person cannot get away with it and that it requires more people to be involved. How everything is known to the party committing the crime, but not the victim. And most importantly: Audacity.

"Say, this is a beauty, if I do say it myself. I didn't spend all this time in the business for nothing, did I? Listen, he knows all about this policy, and yet he don't know a thing about it. He applies for it, in writing, and yet he don't apply for it. He pays me for it with his own check, and yet he don't pay me. He has an accident happen to him and yet he don't have an accident happen to him. He gets on the train, and yet he don't get on it."

"The first is, help. One person can't get away with it, that is unless they're going to admit it and plead the unwritten law or something. It takes more than one. The second is, the time, the place, the way, all known in advance—to us, but not him. The third is, audacity. That's the one that all amateur murderers forget. They know the first two, sometimes, but that third, only a professional knows. There comes a time in any murder when the only thing that can see you through is audacity, and I can't tell you why."

"And if we want to get away with it, we've got to do it the way they do it, […]" "Be bold?" "Be bold. It's the only way."

"I still don't know—what we're going to do." "You'll know. You'll know in plenty of time."

"We were right up with it, the moment of audacity that has to be be part of any successful murder."

It fits the situation that Aventurine and Ratio find themselves in extremely well: For the first point— Aventurine would not be able to get away with simply airing out details by himself, as that would immediately cast suspicion on him. Having another person accompany him who not only isn’t really a part of the IPC in name (as the IPC and The Family have a strenuous relationship) but would probably be able to get closer to Sunday because of that means they can simply bounce off each other without risking as much suspicion with a one-man army. Which is exactly what Ratio and Aventurine do in the conversations they have on Penacony. Secondly — they knew how Sunday operates: as a control freak, he leaves no stone unturned, which is how he became Head of the Oak Family, so their acting required them to give off the impression that a. they hated each other, b. Ratio would go against Aventurine’s wishes and expose him in return for knowledge, c. there were only the two Cornerstones that were hidden. This would give Sunday the illusion of control, and lead to Sunday to lower his guard long enough for Aventurine to take the gift money in the end. The pair knew this in advance, but not Sunday. And thirdly — the plan hinged on a high-level of risk. From breaking the Aventurine Cornerstone, to hoping that Sunday wouldn’t find it in the gift bag, to not telling Ratio what the true plan is (meaning Ratio had to figure it out on his own later on), to Sunday even buying Ratio’s story, it was practically the only way they could go about it. “Charming audacity”, indeed.

An interesting aspect about the novel is that the ending of the novel is divergent from the movie’s final cut and the original ending: Phyllis and Walter commit suicide during a ferry ride to Mexico. The main reason this was changed for the movie was because of the Hays Code, and they wouldn’t allow a double suicide to be screened without reprecussions for criminals. There’s also a bunch of other aspects that differentiate the novel from the movie (no narration-confession as the confession happens in a hospital, less characterization for Keyes and instead a bigger focus on Lola and her boyfriend, the focus on the murderous aspect of Walter and Phyllis’ relationship instead of actual romance, Walter falling in love with Lola (with an unfortunately large age gap attached), etc.)

As for the ending, this wouldn’t even be the first romance media reference related to Aventurine and Ratio where both the leads die, with the other being The Happy Prince and San Junipero (in relation to the EN-only Heaven Is A Place On Earth reference), which I normally would chalk up as a coincidence, though with the opposite line-of-thought I have going on here (and the fact that it’s three out of four media references where the couple die at the end…), I think it’s reasonable to say that Ratio and Aventurine will get that happy ending. Subverting expectations, hopefully.

—

[THE HAYS CODE — LGBT CENSORSHIP IN CHINA]

I’ve brought up the Hays code twice now in the previous two sections, but I haven’t actually explained what exactly it entails.

The Hays Code (also known as the Motion Picture Production Code) is a set of rules and guidelines imposed on all American films from around 1934 to 1968, intended to make films less scandalous, morally acceptable and more “safe” for the general audiences. Some of the “Don’ts” and “Be Carefuls” include but are not limited to…

(Don’t) Pointed profanity

(Don’t) Inference of sex perversion (which includes homosexuality)

(Don’t) Nudity

(Be Careful) Sympathy for criminals

(Be Careful) Use of firearms

(Be Careful) Man and woman in bed together

What does this have to do with a Chinese gacha game released in 2023? If you know a little bit about miHoYo’s past, you would know that pre-censorship laws being upheld to a much stronger and stricter degree, they had no problem showcasing their gay couples in Guns Girl Z (Honkai Gakuen 2/GGZ) and Honkai Impact 3rd, with the main three being Bronya/Seele, Kiana/Mei (admittedly the latter one is a more recent example, from 2023), and Sakura/Kallen. Ever since the Bronya and Seele kiss, censorship in regards to LGBT content ramped up, causing the kiss to be removed on the CN side, and they had to lay low with the way they present two same-sex characters who are meant to be together. They can’t explicitly say that two female or male characters are romantically involved, but they can lace their dynamics with references for those “in the know” — Subtext. Just enough to imply something more but not too much that they get censored to hell and back.

So what I’m getting at is this: The trouble that Double Indemnity had to go through in order to be made while also keeping the dialogue of Phyllis and Neff as flirtatious as they could under the Hays Code among other things is quite similar to the way Ratio and Aventurine are presented as of now. We never see them interact outside of Penacony (at least up until 2.2, when this post was drafted), so we can only infer those interactions specifically until they actually talk without the fear of being found out by Sunday. But, there’s still some small moments scattered here and there, such as when Aventurine goes near Ratio in the Dewlight Pavilion Sandpit, he exclaims that “the view here is breathtaking” (he can only see Ratio’s chest from that distance) and that Ratio could “easily squash [him] with just a pinch”. Ratio then goes “If that is your wish, I will do so without a moment’s hesitation.” Not to mention the (in)famous “Doctor, you’re huge!” quote.

It’s not a coincidence that Ratio and Aventurine have three explicit references to romance media (Double Indemnity, Spellbound, Oscar Wilde’s The Happy Prince), possibly even four if you take the EN-only Heaven Is A Place On Earth as a reference to Black Mirror’s San Junipero. It’s not a coincidence that the storylines or characters of said references parallel the pairing, from surface-level to deep cuts. It’s not a coincidence that the CN voice actors were asked to “tone it down” by the voice director when it came to their chemistry. It’s not a coincidence that Aventurine has only flirted with (three) men throughout Penacony, even referring to a Bloodhound NPC as a “hunk of a man” inside his thoughts, all the while ignoring Himeko and Robin when it came to their looks — women who are known across the cosmos with a myriad of adoring fans. There are so many other so-called “coincidences” related to the two that you could make an iceberg just based on versions 2.0-2.2 as well as content miHoYo themselves have put out on social media. They absolutely knew what they were doing, and were trying to get their point across through subtle means — the extent they went to with the Double Indemnity reference while also keeping it under wraps from a “surface” level point of view is proof of this — the implications are there if you take the time to look for them, and are simply hard to ignore or deny once you do find them.

—

[CONCLUSION]

This was supposed to be short considering the other analyses I’ve seen were also pretty short in comparison, but I couldn’t get the movie out of my head and ended up getting carried away in the brainrot. I hope you could follow along with my line of thinking, even with the absurd length of this post, and the thirty-image limit. I tried to supplement context with some links to videos and wiki pages among other sources wherever I can to get around it.

I will end it with this though — the love in the movie turned out to be fake and a farce, going off track from what was a passionate romance in the beginning because of the murder scheme. Meanwhile, the whole reason why Ratio and Aventurine can pull off whatever they want is because of their immense trust in one another. What was initially shown to be distrust in the Final Victor LC grew into something more, for Ratio, someone who would have never put faith into mere chance and probability before this, put his trust in Aventurine, of all people.

TL;DR — (I get it, it’s over ten thousand words.)

Not only is the relationship between Neff and Phyllis represented in the deception and acting side of Ratio and Aventurine, but the real and trusting side is shown in Neff and Keyes. They have a fascinating, multi-layered dynamic that is extremely fun to pick apart once you realise what’s going on underneath the bickering and “hatred” they display.

Many thanks to Manya again for making the original thread on the movie. I wouldn’t be here comparing the game and movie myself if it weren’t for that.

By the way, I really do believe that Shaoji totally watched this movie at least once and really wanted that Double Indemnity AU for his OCs. I know exactly how it feels.

—

Other points I'd like to mention that didn't fit anywhere else in the main analysis and/or don’t hold much significance, have nothing to do with the Penacony mission, or may even be considered reaching (...if some of the other points weren’t). Just some potentially interesting side bits.

Phyllis honks three times to signal Neff to go for the kill. That, and the three gunshots in the confrontation. Aventurine is all about the number three.

The height difference Aventurine and Ratio have going on is close to Phyllis and Neff’s.

Phyllis had killed her husband’s previous wife and went on to marry Mr. Dietrichson, pretty much taking the wife’s place. Aventurine killed his previous master, and had taken certain attributes from him like his wristwatch and the rings on his hand and the “all or nothing” mantra.

When calling Ratio a wretch (bastard), Aventurine smiles for a moment. This is exclusive to the EN, KR and JP voiceovers, as in CN, he does not smile at all. (Most definitely a quirk from the AI they use for lip syncing, but the smile is something that’s been pointed out quite a few times so I thought I’d mention it here.)

Sunday specifically says in the CN version that he knew of Aventurine's plans the moment Aventurine left the mansion, meaning that he realized he had been played the fool the moment Ratio and Aventurine talked in Golden Hour

In the description for the "All or Nothing" consumable, teenage Aventurine says this specific line: "Temptation is a virtue for mortals, whereas hesitation proves to be a fatal flaw for gamblers." According to Ratio, this is Aventurine's motto - he says as such in Aventurine's Keeping Up With Star Rail episode. Note that in the anan interview he explicitly says he does not have a motto, and yet Ratio in the video says otherwise. They definitely have to know each other for a while for Ratio to even know this.

A big reason why Neff even pulled off the murder scheme in the first place was because he wanted to see if his good friend Keyes could figure it out, the Mundane Troubles Trailblaze Continuance showcases Ratio attempting to teach the Herta Space Station researches a lesson to not trust the Genius society as much as they did.

In Keyes’ first scene he’s exposing a worker for writing a policy on his truck that he claimed had burnt down on its own, when he was the one who burnt it down. Ratio gets into an Ace Attorney-style argument with the Trailblazer in Mundane Troubles.

Neff talks repeatedly about how it won’t be sloppy. Nothing weak. And how it’ll be perfect to Phyllis, and how she’s going to do it and he’s going to help her. Doing it right — “straight down the line”. Beautifully ironic, considering what happens in the movie, and even more ironic as Ratio and Aventurine’s scheme went exactly the way they wanted to in the end. Straight down the line.

[quasi-normalcy]

Let's get into it:

I don't think we really know anything about the backstories of most of the TOS crew other than Kirk (genocide survivor; watched half his crew get killed by a Dikironium cloud creature), Spock (estranged from his family), and a tiny bit about McCoy (divorced, not that that's really "traumatic"). SNW later establishes that Uhura's parents died in a shuttle accident (I think they got that from the novels), but the rest of the crew is a blank slate in terms of backstory.

On TNG: Picard (shitty home life, abusive father, later elaborated on Picard's series into a literal gothic melodrama complete with suicidal mentally ill mom (ugh.)); Riker (mother died young, father was a dick, on his one from age 15); Data (planet destroyed by his brother; abandoned by creators; forgot his early life; went 26 years before he got his first friend. Not really traumatic though, on account no emotions); Worf (family annihilated by Romulans); Troi (domineering mother; dead father; dead older sister she never learned about until adulthood); Crusher (widow; parents killed in childhood; also that whole "generational alien sex ghost" thing we're not supposed to talk about). Geordi, though, explicitly had a good childhood (notwithstanding talk in the writers' room of retconning him to be a literal Rosemary's Baby)

On DS9: Sisko (watched his wife die at Wolf 359; that whole prophetic birth thing (ugh.)); Kira (child soldier during an attempted genocide); Bashir (basically rewritten by his own parents); Quark (everyone loves Moogie, but she is a pretty horrible mother); Odo (medical experiments); O'Brien (war-related PTSD); Dax (repressed serial killer memories); Garak (there's literally an entire novel about how shitty his childhood was)

On Voyager: Janeway (no trauma that I recall); Chakotay (ex-terrorist; I guess his home planet was taken over by Cardassians? They never really say); Torres (abandoned by her father; resentful of her mother; resentful of her own biology and cultural heritage); Paris (shitty father); Neelix (genocide survivor); Seven of Nine (holy shit, just everything that's ever happened to her). I can't recall Tuvok having had anything traumatic in his past, but I very much interpret "Meld" as showing that he's kind of a psychopath at heart and only a razor-thin veneer of logic prevents him from being a serial killer; Harry Kim had a happy childhood, notwithstanding an attempt to give him the "Rosemary's Baby" backstory that the writers had originally intended for Geordi (almost like even in the 90s, the writers couldn't think of how to develop characters without giving them trauma); Kes...had a childhood that lasted, like, a month or two, so it might not count

On Enterprise: Um...yeah, okay, I don't know this one as well. Archer's dad died before his ship could be built, which is...bad, I guess. T'Pol...um, I guess she went to that jazz club one time and it freaked her out. Reed's parents seemed awful in that very "upper-class British" way. Um... Yeah.

On DIS: Burnham's family was killed by Klingons, and then her school on Vulcan by blown up by terrorists, so, you know...trauma two-fer, I guess; Saru was from a species that was being systematically culled before puberty; Tilly's mom was neglectful; um. Book had an abusive dad; Adira saw their lover killed in front of their eyes; Owosekun was disowned by her luddite commune for joining Starfleet. Um. Airiam lost her husband and all her skin in a shuttle accident; Bryce (or maybe Rhys? I don't remember) was in a hurricane as a child; Rayner's planet was occupied by the Breen; probably some of the other bridge bunnies exposited trauma at some point during the fourth season, I don't remember

On Picard: Hoo-boy. Raffi was right about the attack on Mars, but lost her family and developed a drug problem because of her obsessive conspiracy theorizing; Rios had his father figure enact an illegal order and then kill himself in front of him; Elnor had his father figure abandon him (what the fuck, Jean-Luc); Soji's entire life was a lie, except her twin sister (who was killed); Jurati...actually seemed to have a pretty good childhood, but made up for it by having an incredibly traumatic present; Shaw has oodles of survivors guilt over Wolf 359; Jack Crusher, Jr....doesn't actually seem to have had anything particularly bad ever happen to him, but still acts entitled to run around with a giant chip on his shoulder (god I hate him); and then there's added trauma for established characters, like: Picard left Starfleet and bears the weight of the Romulan supernova; Troi and Riker lost their son because of the synth ban (and then, according to season 3, Troi telepathically suppressed Riker's ability to mourn (ugh.)); Seven of Nine was betrayed by her lover and had to mercy kill her adopted son; Crusher...got pregnant and randomly decided that her traumatic backstory was so overwhelming that she simply had no other choice but to keep her son from his father and ghost all of her friends (ugh! ugh! ugh!); something is implied to have happened to Worf, but they never said; Geordi...still doesn't really seem to have a lot of trauma, though the official tie-in materials say that he was in charge of Utopia Planitia when it got bombed. [Okay, so maybe there's a bit too much trauma on this series.]

Lower Decks: Mariner lost her best friend; Rutherford had his entire life deleted by an evil admiral; Shaxs has so much PTSD from the resistance that he'll go spare on anyone who even mentions Bajor; Billups has a shitty mother who keeps trying to trick him into have sex; um...that's kind of it.

Prodigy: They're all child slaves, first of all. On top of this, Dal was sold by his other mother figure (and doesn't even have parents); Rok (had to play the monster in an arena as a small child); Zero (separated from their hivemind; Jankom was an orphan sent off on a sleeper ship; and then woke up before everyone else and had to ditch the sleeper ship; Gwyn was raised to be a weapon by a cruel, domineering father. Murf seems to radiate peace, though.

Strange New Worlds: Pike knows his future is kind of crappy; Una lived her entire life hiding what she was; La'an was bullied for her family connections, and then had her family ate by Gorns; M'Benga, Chapel, and Ortegas have war trauma; and then there's the previously mentioned stuff with Spock and Uhura.

So yeah; going through it, I think that the only clear outliers in terms of trauma are Picard (way too much of it) and Enterprise (not enough).

#1214

Why lit of character in Star Trek Discovery and Star Trek Strange New World have mostly all a traumatic past? Next step: how to make an interesting character without a traumatic childhood or a traumatic past?

[robindaydream]

Movie night with the gfs.

[lemonisntreal]

TONE DEAF :: Rosita and Norman <3

The first in a [hopefully] series of redesign + headcanon posts where I give you my take on a character for my AU

I'm grouping the two together because a] a lot of fluff headcanons I have, they share [because they're literally husband and wife]. And b] if I made an individual post for every single character, I... would go insane. So yeah. A bunch of characters are gonna get clumped together.

[FULL MASTERPOST HERE [yet to be made <3]]

HEADCANONS // BACKSTORY ⬇️

Me and the bad bitch I pulled by being autistic [also autistic]

Both of them are the same age, mid to late thirties.

In terms of general intelligence: Rosita has gifted IQ, while Norman is at genius level.

I know. I know Norman seems kinda dim in the movies. But guys [LMAO]. "I know it looks like there's nothing happening behind those eyes, but...... he can make entire computers!"

He's so smart yet so stupid. He's that kind of character. Like he can do all of this super impressive shit, and is super talented and can do math like BOOM done, but he's also kinda a "deer-in-the-headlights" when it comes to life [I LOVE HIM 👹]

Both of them worked hard and have their college degrees almost completely paid off at this point because of the scholarships they earned.

Rosita has a degree in engineering, Norman's a computer scientist.

They're both in STEM, it's just that Rosita likes to handle more of the mechanical aspects of things while Norman's better with the technical stuff, which I think is cute af.

Yin and Yang <3

This dynamic is just how they are too. How they act. Like for example, Rosita can be very to-the-point-

She's very much a problem solver and will get right to it once she understands what she's doing. Like yeah, she often takes a very methodical approach to it [see the scene where she's got all the papers laid out to try and learn to dance- very new territory for her], but once she learns, she gos all in. And EATS.

Norman's gotta have a plan before doing anything, meanwhile. He has a morning routine that can't be interrupted or else his whole day and mood will be thrown off. He reads through a recipe twice before even starting. That kind of stuff.

He's a lot more hesitant to even try.

A lot of people find Norman boring. But Rosita is enraptured by every word he says, she LOVES his long spiels about hyper-specific [and often mundane] things.

AAAA--

Norman is also a closeted DORK. He ran a tabletop games club in highschool with a couple other of his geeky ass friends [he's still into D&D to this day and has introduced Rosita to the game too]

[she's fun to play with, but super competitive. This goes for ANY game, actually, not just D&D. She'll kinda accidentally turn everything into a "contest" due to her inability to not do her very best] [it's mostly inspirational, not annoying, if that makes sense?]

I also wanna say Norman was in a weird amount of drama that he didn't want to be in at this time. Like all of his friends had falling-outs, and he was just always caught in the middle of it.

He's afraid of confrontation [UNLESS IT'S FOR HIS WIFE] [HE STANDS UP FOR HER RAHHHH] [this is gonna happen when I get to rewriting Sing 2, he's NOT just gonna take Crystal calling his WIFE "mommy pig"]

They're sooo "excuse me, he asked for no pickles"

Norman and Rosita technically met in high school, in Junior year when Norman first moved to Calatonia.

WHICH, he and his family did this because this was a point in time where laws having to do with the rights of animals were VERY flimsy, and Calatonia was one of the first and only safe places at the time-- for Pigs especially, actually.

The 3 Little Pigs is deadass CANON TO SING. So Pigs were/are actually a marginalized species in this universe.

[[during the warring period that I have yet to really talk about, they were often victims of the anarchy and poaching, so stigmas and insults around them still exist to this day]]

[[[[see Jimmy Crystal]]]]

So anyway, they "met" in high school- Norman totally crushed on Rosita from afar whenever he'd catch her in volleyball matches-

Rosita had a major tomboy phase throughout high school, slowly falling out of it during college [still only saves dresses and skirts for special occasions really]

[[Fun fact, Rosita is also sapiosexual [attracted to intelligence] [Roxanne Ritchi ahh] ]]

[[Norman is bi]]

They actually got introduced to eachother and had a proper arc when they went to the same college [which might've been a college in Redshore actually? But I'm not 100% sure on that headcanon. It would line up since Rosita's "wanted to perform in Redshore since she was a little kid" and Redshore is obviously a massive city with a lot of notoriety. Idk though- and it's not really that important to the story anyways]

Norman and Rosita had plans together- they were gonna make it big and live freely. Things were looking up with the lawmakers, who were finally repealing a bunch of nasty stuff that was put in place during the war times. And the two had hope that their dreams could actually be accomplished.

Rosita, who was originally gonna play it safe and become an engineer, was now thinking about attempting to become a performer [which Norman has supported since the beginning, he LOVES her singing, and often tells her that she's "better than some of the people I've heard on TV!"]

But. Life got in the way...

Present day, Norman works in Redshore at Crystal Enterprises. He's the head of some sort of organizational team- not really working on what he loves at this point.

And this is because of their children, who were a very sudden appearance in their lives [which is why we see so much struggle in the chaos at the beginning of the movie in this AU]

Rosita stopped everything, and Norman grabbed the first high-ish paying job he could, spending all his spare time on clocking in overtime hours.

The kids are all adopted, and there's only 6 now: Oldest Caspar [13], twin boys Mickey and Moe [11], middle child Kelly [9], little bro Freddy[8], and Zoey the sweet baby sister [6].

They became foster parents after the death of Rosita's sister [this hc is kinda subject to change, but this is the story rn. I'll specify on this later ☝️]

So Rosita's kinda put her life on hold for these babies. She's such a great mom to them, and they love her and Norman so much

But some of the older kids [Caspar specifically] are kinda in a rough phase since they feel like she resents them [which she doesn't], or that she isn't their "real mom" [which she IS]

This is like an E plot in the story, but definitely's gonna get at least a little bit of focus.

Rosita and Norman's marriage is falling apart just a little bit due to burnout, but it'll get better <3 [I can't do anything tragic to these two they're too sweet]

Norman snuggles up to Rosita in his sleep. Rosita starfishes LMAO

They wake up entangled. This is normal.

"Pig piles" are also a thing- there have been several nights where all six children "had nightmares" and so the family of 8 all slept in the same bed.

Norman has the best bond with the two girls out of all the children. They immediately latched onto him to be their level-headed dad.

Rosita can carry two kids at once easily, and often "relocates" them like this :>

She's probably the strongest out of everyone in the troupe if you don't count the potential Meena has. She solos.

She's constantly taking notes on everyone and everything around her. At the theater, you'll catch her tidying stuff up she spots out of the corner of her vision while you're having a conversation with her [she's still listening]. She knows everyones favorite foods, and allergies, and their preferences in things, etc. She's the most attentive and considerate out of all of them [the mom]

She may have a touch of OCD.

She gives the best hugs.

Rosita is also a FANTASTIC cook [not even a headcanon, I'm pretty sure the entire fandom agrees on this one] and often bakes stuff for her sweet-toothed children [and husband]

This is actually how she initially connected with Caspar, who refused to eat or speak at first when they were all placed with Rosita.

Cinnamon rolls.

Kelly will only eat the frosting off the top, and has ruined an entire pan before by doing this.

Rosita actually isn't the biggest fan of chocolate, small detail.

Idk why she just strikes me as not being an enjoyer.

Loves vanilla though. People are furious when she answers "vanilla" with zero hesitation to the chocolate vs vanilla question.

Norman is kinda a hopeless romantic, or at least really enjoys the aesthetic of it [in a sweet and not shallow way ofc], and goes all out every Valentine's Day: balloons, flowers, the works. He's learned that Rosita prefers strawberries over a box of chocolates, however. Has a tradition of getting a fruit basket for her <3

They also have a tradition from all the way back in college, where they go out to eat at specifically the in-universe equivalent of Olive Garden [which was the fanciest thing they could afford at the time] and eat a shared giant plate of spaghetti.

Norman loves coffee. Insists he likes it black but actually prefers a good 50:50 ratio of creamer and coffee.

Norman is also ☝️ lactose intolerant LMAO

[[or would be, if traditional milk was widely accessible/a thing. I say "lactose intolerant" but what I really mean is he's allergic to most milk substitutes- like nuts and soy [gives him tummy ache, not anaphylaxis] ]]

God, parenthesis are carrying me so hard rn.

Stopping here because I'm tired, but I could go ON about these two omg-

Normita forever rahhhh <3

[celtrist]

I just vented out a whole rant about how aromantisim is treated within Hazbin/helluva. I'm not really sure if I should post it for multiple reasons, one of which being I don't want anyone to feel targeted about it or take it the wrong way (like I honestly dont have beef with Al shippers. Gripes, but no beef as I also ship him on occasion).

There was just a sudden burst of frustration I had with it that I think was in part just came from built up frustration from other things. There's things I'd like to have out there, but I don't really think it'd get far or, again, be just taken the wrong way. I don't see a point in posting if people are gonna ignore it, plus it wouldn't change how things are now. If anyone has any thoughts or are curious let me know, but I don't wanna make anyone feel like shit or put a pointless rant out there no one wanted to see. I also wanna keep rants to a minimum as I know people aren't always into that sort of stuff, especially if you don't follow someone for that and you just get an influx of posts of them complaining. And I still want to keep things relatively light hearted around here, at best maybe just some critiques on things here and there.

It's late, I'm on my phone when I should probably just sleep it off, so sleep it off I will.

[butwhatifidothis]

I guess the ultimate thing that kills CF for me - or at least nudges it away from me saying I definitively like it - is just how much Edelgard is clearly written with the player in mind before she's written with her character in mind.

Because on all of the other routes, there's a power to Edelgard's presence. Even on BE, there's a sense that for as lonely as Edelgard might be, she still ultimately will do whatever it takes for her to get what she wants. Be that be killing her citizens (or otherwise letting them be killed), endangering her friends, assisting in kidnapping people, allowing Byleth to support her only when they have the Sword of the Creator, covering for TWS - no bar is too low for her to limbo under if doing so means she's even a step closer to her goals.

She's manipulative! She's deceitful! She doesn't care for the lives of her people! Even her friends are forfeit if they try to stand in her way! And this happens no matter how close you, the player, get to her, in the case of BE - C+ ain't stoppin' Remire, and going to the coronation ain't stopping the Holy Tomb.

And in the war phase, she is dominating the field. She has the Kingdom completely on the ropes, down to a few houses standing against Imperial rule, and the Alliance is stuck in neutrality - she may not be able to do much to it, but neither can they do anything to her (to say nothing of the Alliance houses who stand with her). She's far from the underdog in this race, and she shows off how threatening she can be.

CF? Her route?

She scweams at scawy rats. She gets embawwassed when you find her dwawings. She's just so wonewy, and she's just so gwad that you chose her. She somehow fails to capture Rhea, or frame Dimitri for regicide, and so now has to deal with that on the Kingdom's side of the war. But that doesn't stop Elly Welly-kins fwom twying to find her pwecious teacher, because you're just so important to her. She cwies and hugs you when you meet her in the Goddess Tower!! Because she missed you so much!!

It's like... Dimitri and Claude certainly show different sides of themselves on their respective routes. It's the whole point! You grow closer to them and thus see how they treat those close to them, as opposed to being the Kinda Neat Teacher they see run along every now and then. But, like... Claude doesn't become a blushing maiden whenever Byleth speaks with him on VW. Dimitri doesn't scream at scary rats and get called cute for it on AM. They don't get Basic Bitch Gap Moe Traits slapped onto them that are only ever shown to the player and only on their routes. Unlike Edelgard.

Dimitri's endearing trait is that he's this big huge dude who can bench-press forests and arm-wrestle god who still wants to learn to sew and who teaches kids to protect themselves and who buys candies for his friends. Claude's endearing trait is that he's this mastermind planner who has contingency and lie and obfuscation as three separate legal government names who still wants everyone to be safe and happy and hold hands and be friends.

Edelgard is strong, confident, and willing to do some of the shittiest things known to man for her goals. Her endearing trait is that her screams are cute. She's shy about her drawings of the player character. She blushes over the player potentially joking about having sex with her per her JPN version of her C support; you know, the one about how Byleth walks in on Edelgard muttering in her sleep from a nightmare about her tortured family? Perfect time to joke about fucking her! Dimitri and Claude's endearments are, well, endearing; Edelgard's are all straight up embarrassing for her.

Hell, even the smaller stuff is affected! Claude's passion for poisons and mushrooms are things he has no qualms about having others know about, despite how weird they are. Dimitri laughing at shitty jokes brings him no personal discomfort or embarrassment, despite just how loudly he laughs at them. They have traits to them that can easily be uwu worthy, and they don't care! Of the lords, only Edelgard does! Because, it feels like, the only way for a strong, resolute female character to come off as approachable is if she's knocked down a few pegs for specifically and only you, the player.

And that sucks ass! I'm sorry, but when I'm playing Edelgard's route I don't want to deal with her hiding herself away in her room for a month IN THE MIDDLE OF HER FUCKING WAR because she's just so embawwassed! It is so fucking insensitive that Edelgard is literally the only lord of the three who can have her trauma openly belittled at any point in the story by Byleth, all to have some cheap cutesy uwu moment about her fear of rats (calling her screaming in fear cute and INSISTING that it's really cute which is just. Fucking ew man)! Why can we fucking mock Edelgard's manner of speech during the MASSACRE OF REMIRE?

This shit doesn't happen to Claude or Dimitri! And saying "oh just don't pick those options then" is bullshit because no equivalent options exist for the male lords! It's piss-boilingly annoying that the second you choose to see things from the strong confident villainous ambitious female lord's perspective you can reduce her down to this bumbling moeblob just for you (sometimes unavoidably!) like!! Dude!

[thanatika]

crazy how viktor can't take a shit without people trying to claim that the shape of it is somehow him trying to brand himself with the talis family crest because being romantically obsessed with jayce is his whole personality now apparently.