#oh yeah I also tag my asks with the tag 'asks'

[the-kr8tor]

I'm sorry about the last one I just got way too excited to express my admiration for your works, I forgot to check!! But I've checked now and I saw The "Imagine if Hobie was prowler" that actually sounds really cool!! I was thinking if you could write something about that, maybe Reader is someone who he cares a lot for but it turns out they're also fighting against each other, (I haven't actually tackled the whole Universe of spiderman so I was genuinely just thinking of Reader as someone with powers TvT) but yeah I got a bit curious about that, I'm not sure if you wrote about that yet since I haven't went in all the master list and hopefully I don't finish it yet cause I'd be left with the deep emptiness (I love all the series so finishing it while it's ongoing would devastate medhdhx) but if you did you can discard my message or if this is too much, that's alright!!

Oh and I'm really happy I didn't make you Uncomfortable it's my first time writing something to a writer and I got anxious TvT I hope you have a great day!!

No worries! You're good! I put my own spin on it, I hope you like it! ❤️

Pairing: Hobie Brown x gn! Reader/ Prowler! Hobie Brown x gn! Reader

Word count: 1k

Tags: No use of Y/N, no specific physical description of the reader, cw blood, cw violence, cw injury, tw death, Prowler! Hobie, Venom! Reader, ANGST.

ʕ⁠·⁠ᴥ⁠·⁠ʔ

The air runs cold, and your breath staggers in your throat. The fighting around you hasn't stopped, nor all the screaming, and bleeding flesh. But everything seems to cease when you see him. The noises deafen, debris and blood stilling in the air— Hobie in all his glory, covered in metal and crimson iron. Hobie, whose face is obscured by steel plates over his familiar face, purple smoke ebbing out of his suit. And yet, despite his rough and intimidating exterior, despite his sharp claws and sharper gaze, your heart still longs for him. He still feels like home.

Home, you haven't thought of it in years, the trees that dance in the wind, soft lavender wandering through the air. And your little house in the middle of the fields you once shared with him. A house that now ceased to exist, burned to ashes, nothing left but dark soot and blackened smoke that seemed endless. Ever burning, flames still snaking along the lavender fields, forever burying your memories with him under the red hungry flames. Those memories still live with you, deep down. You hope it still lives with him. If not, you'd rip it from your heart and hand it to him in your waiting ruby drenched palms.

“H-Hobie?” You ask in a broken tone, even though your soul knows him from where you stand. In between gore soaked bodies, bodies you've ripped and chewed yourself— he stands there motionless. You wonder if he still bears the warmth you used to hold in your arms.

The metal bridge creaks and squeaks, hinges about to give up from the stress of the fighting in its steel embrace. Tethering close to devouring every soul standing on its last life. You've felt the earth collapse years ago. If the ground fell from under you, would you notice?

Hobie doesn't answer, you see his chest rise and fall, gauntlets leaking blood. You don't know if it's his or someone else's, you just know it's not yours. Not yet. Would he hurt you?

You stand there, all worn out, arms bleeding and throbbing, legs trembling from the sheer pain. And yet, your eyes never leave his own mechanical mask, as if you can see the worry behind the steel curtains.

He stands there, heart ripped out, still beating atop the bodies laid out in front of him. He stands there, but he should walk towards you, run towards you and hold you. Hold you like he once had in that lavender field he once called home, hold you as if he didn't lose you all those years ago.

To live in his delusion, to never leave from the haze of the past. He longs for it, to stay where he once held you.

But the blackened tendrils coming out of your wounds is the one that he's fighting against. It curls around you, wrapping you in its mass. White eyes in place of your own that he sees in his dreams, sharp claws and lolling tongue— he doesn't see you anymore. Can't see you underneath the obsidian flesh of his enemy. He wonders if it's still you under it.

With a gutteral screech from the large mouth of the alien mass inhabiting your body, he takes his guitar from his back to pluck its strings. The noise could kill you, or it could liberate you. So he decides, and he plays.

The sound reverberates around the bridge, the creaking pauses for a moment, replaced by the ear piercing shrieks from the venoms. Hobie sees you crumble to your knees, tentacles of black slime ripped apart at the seams.

Your face is revealed under the mass, contorted into pain, the light in your eyes slowly fading as the creature feeds on your very being. Your nails dig into the slimy flesh, desperately trying to rip it out from your body. Eyes meeting with Hobie's, you nod for him to continue despite the blood spilling from your ears.

With bated breath, he strums again. More shrieking, more screaming, flesh torn apart, teeth chattering above the sound. His eyes never leave from your suffering as tears prick from his eyes. Grief snakes along his stomach up to his chest, pressing hard on his heart.

“Again!” You yell, ripping and gnawing at the agony filled venom. He follows, another strum, and another, one by one, venoms leave their hosts, and one by one, the bridge's wires collapse. But your own demon doesn't yield, it clings to you like a babe, holding onto you like a lifeline.

“C’mon!” Hobie stalks closer, plucking his strings over and over again despite your screams that would haunt his dreams. The venom wraps around you in its cold embrace, your own screams stifled with its arm over your mouth, choking you. “No!”

The bridge crumbles, someone tries to yank him away and take him to safety. But he shrugs them off, even if it means his own death.

“Hobie!” You manage to yell, “run!” It has you in a chokehold, dark veins ebbing from its touch towards your skin. It's killing you with it. Swallowing you in darkness, drowning you.

He abandons his guitar to dig you out of the mass. He rips out a chunk but it's immediately replaced and healed. Your muffled breaths can still be heard from under, he doesn't leave you. He won't leave you to die in the arms of the thing that took you from him.

Claws cutting and tearing, he heaves, breath stuck in his lungs. Yanking his helmet off, you see his face from the last pinprick of light. You wish there was a smile on his face instead of the desperation and fear. Still, you wished for home and you got it.

He pleads, and he calls for you, and his face is the last thing you saw before you fell into the suffocating depths.

The bridge collapses from under his feet, and he falls with you, holding onto you, plunging into the icy tides below. In the water, venom dissolves into nothingness, and he could finally hold you again as he joins you on the other side.

[dootznbootz]

Can i be honest. I don't get it when people try to use Antigone as a feminist icon or something, or that "She literally died because she didn't listen to man! That's just like us!" Because it's not and we're not living in the 16th century.

And these people are acting like Creon wouldn't have killed her if he was a man. Or that Creon wouldn't have killed her if he was a woman. Like guys, I'm sorry but "Girlboss" feminism is soo annoying.

I saw a post where it's like "Greek mythology male characters: 'He seems chill... Oh he's being a douche to women. Female Greek mythology characters: 'She seem cool... Oh she's getting revenge on the men that wronged her. She's so cool!!"

And in the tags they were hating on Ody for killing the slave girl and calling Medea an icon. Even though Medea killed her two young children just because she was salty at Jason... double standards at their finest, people

Real.

Also people better be mad at Penelope as well if they're mad at Odysseus for the slave girls. She hated them just as much.

Wise Penelope heard his words and rebuked Melantho, saying: “You can be sure, you bold and brazen bitch, that I have seen your shameless acts. You’ll wipe away the stain with your own head. You clearly know full well, because you heard me say it—I’m planning to ask this stranger in my halls some questions about my husband, since I feel such grief.”

(Book 19, Johnston)

People just literally turn a blind eye when the woman also does violence against other women. (Same with Clytemnestra. like sure, she killed Agamemnon but she also screwed up her kids. (one a girl so a lot of these "girlboss" types ideals are contradictory))

And it's really really tough enjoying Medea only to see people "girlboss" her. I love the play. It made me feel so many things but NONE of them were GOOD feelings.

Old meme from a post I made a while back but it sums up my feelings lol.

I think it weirdly comes from this awful wave of "I hate children. Horrible beings. Hope they suffer. etc.etc." bullshit and the girlboss wave :'(

Also um, yeah, Creon would've killed ANYONE who would have buried Polyneices. I've always seen Antigone more as a story of honoring family and a family's love for one another, not so much of a "feminist story". As Creon is like, the opposite of Antigone in how he does not wish to honor his family no matter what and will even have family killed for honoring family.

I weirdly think there's this phenomenon of people seeing stories/myths that simply have women in them, especially if they are "center stage" and then decide that they're feminist regardless of the context.

Like I guess you could say that these stories simply having complex and driven women is feminist (I mean...moreso than most booktok/modern YA novels ;~; where many female leads are very...bland imo) which is very sad that feminism is just the bare minimum of "Hey a woman is a person who is complex."

But it's also like, these women and their meaningful and HUMAN stories are LOST because they're just painted as "girlboss".

I think Antigone would be more like "I mean...I was just trying to bury my brother because I care about him and didn't want to see him left to rot. I would have done it no matter WHAT told me not to." and less about "YASSSS queen SLAY!" shit.

[lemotmo]

I'm not sure how you feel about getting these anymore but I thought this was hilarious so wanted to share for you at least to read even if you don't want to post. 😊

Q. I really was trying to hold onto the belief that the show wasn't going to make Eddie gay but it's really hard to see what other storyline is possible given those latest Ryan interviews. I would love to say gay or not the show would just keep Buck and Eddie as platonic best friends but there is zero chance of the show not pairing them together. They really did just use my man as filler until they were ready to tell the Eddie story. That's so gross.

A. Well, anon that's the point of a plot device. Their only reason for being is to move a larger story forward. By definition their filler characters. They have no individual significance or purpose. Their purpose is the story they're being used in. I've been telling you this for months now. Many of us have. He was never going to be anything more than a plot device. The show wasn't subtle about it either. It's been pretty much a connect the dots picture of plot device usage. Go back and watch his scenes in season 7 with this new found realization and I promise it will not be hard to see. And I agree, especially with the context the latest Ryan interviews gave, there's really not any other story it could be. He also confirmed they're not turning him into the new Bobby, and he's not siding with Gerard. So it was nice of him to debunk the latest round of ridiculous takes during the interview. If I could offer you a suggestion though I would encourage you to give the story a chance. If you pay attention to Eddie, and not your fandom people telling you to hate him, you will like him. After all there's a reason you all tried to hijack his entire backstory and history for Tommy. Let yourself enjoy the character those things actually belong too. Let yourself enjoy the actual story.

Oh Nonny! I feel joyous and happy whenever I get another of these posts in my ask box. While I'm asking people to not ask Ali any questions through my blog, I'm still perfectly happy posting her asks here. 😋

Especially since, for most of us, this is the only way to read Ali's posts and we do love her posts very much. So don't hesitate to drop something in my ask box. The only things I don't post about are the direct posts about the BT fandom, but Ali has told me she isn't replying to those posts anymore anyway, so that eliminates that problem.

As for the ask itself...

Yeah, so many of us have been saying this since day one. Tommy was only ever there to help Buck out of that closet. He was never really meant to be anything more than that. Sure, the change of the storyline because of the early renewal, gave Tommy some more time on the show, but that's where it ends.

So yeah, going back to rewatch the previous seasons, knowing what you know now? It will change the way you see Eddie and Eddie and Buck's friendship and maybe you'll find some joy in them. Just let it happen.

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[lara-cairncross]

OKAY. SO. I just looked through the entire fairy au tag..I apologize for all the notifs .... bUT that being said, because I just looked at everything, I don't think any of this has been discussed much, so I have a few questions!! (This is actually a really long ask I apologize for that as well)

Do the turtles give gifts to April? I know there was talk about Donnie making like tiny versions of what he thinks are his own ideas and inventions for April to use, but do the other turtles ever make anything for her? I noticed like a vine kind of looking ring that she had in the size comparison with Leo, and I was wondering if that was given by one of the turtles, or if she already had it just because she would definitely make herself a little ring out of like flower stems or whatever. ALSO. ACTUALLY. It looks similar to what Mikey has around his arms and legs, sooooo ??? (And is that bracelet she has, also in that drawing, possibly from one of the turtles as well ?)

And, does she ever make anything for the turtles? AND AND AND does she ever make anything with the turtles? I feel like she would make things with Mikey, like jewelry and stuff idk

OH AND ALSO. I'm curious about Donnie's glasses. Because they are clearly different than Bobble's with the water drops, are Donnie's like glass or something? Like actual lenses or whatever?? Aaaand did he somehow make them himself, while not being able to see very well before making them, or did someone else help him with that? And how did he get the materials for them?

I realized I'm extra curious about Donnie (and his glasses specifically help-) and extra EXTRA curious about April's interactions with the turtles.... I'm wondering if you have any ideas about the kinds of stuff they do together? Whether just April and one of the turtles, or all five of them together, or any combination?

Anyway yeah that's it for now. I really really really really love this au and I will probably come back and ask more questions because RHAHWWSUWHSWHHSHWNWKEZJEJHRHEHFHGEGS they're my favourite silly goofy little guys fr!!!!

AHSHSHFHE PLEASE DONT APOLOGIZE FOR THE NOTIFS OR THE QUESTIONS !!! getting spammed makes me feel so loved mwah <3 I know this ask is from a while ago, but I remember seeing you all over my "activity" tab :DDD

Yes, the turtles all give gifts to April! she has SO many little trinkets laying around her cabin from the fairy boys, bc she never throws any of them out,,, even if a lot of them are kinda useless to her lmao (looking at Donnie's "inventions" for this one). The little flower stem ring around her finger is just something she made for herself (probably after one of the boys taught her, I'm thinking Mikey?), but the bracelet was intended to be a gift from Leo :D he finds all kinds of pretty rocks/gems/lost things around Neverland when he's making deliveries and finding materials and stuff. April gets a lot of old jewelry and seashells and things from Leo! Raph tends to give her little things that his animals have shed (pretty scales and feathers, maybe the occasional antler or talon?), and Mikey will just. Fill her house with flowers. And not, like, cut flowers-- just CLUMPS of dirt and roots all over April's counters. All the boys will help him do it too, and April feels too bad to tell them to stop HAH

2. Most of what April "makes" for the turtles is just various human dishes that they want to try! She gets a bunch of weird snacks for them too-- like, can you imagine a fairy trying a Taki for the first time? A SOUR PATCH KID??? Donnie drinks one single drop of hot sauce and dies immediately lmao. She doesn't really make them gifts, but she'll buy Donnie whatever cool human materials she thinks he can make something out of (more on that later--), and she'll get specific video games and phone apps and movies that she thinks the boys will like!! And maybe the occasional bigger gift, like a stuffed animal for Rose :) ALSO YES she would totally make flower crowns and rings and stuff with Mikey!! gotta do smth with all the flowers he's dumping in her living room rip

3. FUN FACT ABOUT DONNIES GLASSES (I've been waiting for someone to ask about this--): He started off with glasses/goggles that were similar to Bobble's water-drop ones!!! He only figured out to make glasses with actual lenses once he met April, and got to study HER glasses! His own glasses are made of, like, cheap magnifying lenses April bought him, and he cut them down to size :DD The metal on his goggles/shell/glasses is all also stuff that April bought for him-- probably like, wire of different sizes. She gets him a lot of human materials to play around with hehe

4. Group activities with the boys + April can be anything, really. Her family's cabin is kinda in the middle of nowhere, and April is a city girl at heart, so sometimes the boys will force her to go hiking or exploring in the woods with them :D She hated it at first, but as time goes on, she gets more used to the bugs and the wildlife and everything-- especially since Raph and Leo will do their best to scout out routes beforehand so she doesn't get freaked out by anything. Movie nights are also really common! So are video games, to an extent? But it takes basically all four turtles to maneuver one X-box controller, so it's a little more rare lmao. April definitely wins 90% of the time.

5. As for individual activities-- those are also a bit more rare. The two boys April interacts with one-on-one (or two-on-one) the most are Leo and Mikey, since they're usually the least busy, and Leo can fast-fly them to April's cabin and back really quickly. Typically though, Leo doesn't go to the cabin unless all five of them are available to meet up!

(...although Leo starts bringing Mikey more often once Mikey loses his job. teehee.)

AHHEHFHER THANK YOU FOR ASKING SO MANY QUESTIONS!!!!! I loveeeeee getting to worldbuild a bit :DDD I STILL CANT BELIEVE PEOPLE ARE INTERESTED IN THIS LIKE THATS CRAZY TO ME LMAO

let me know if you have any more questions! thanks bby <3

[jujutsubaby]

after hours (part 10)

☆ pairing: satoru gojo x afab!reader ☆ summary: studying at the library is sooo fucking stressful. especially when your final is next week. gojo promises to help you study, but you guys get into other shenanigans instead... ☆ tags: modern au, babysitting au, academia au, threesome au ☆ warnings: oral sex (m! receiving and f! receiving), eating it from the back, exhibitionism, choking (on dick) ☆ a/n: HI GUYS SORRY IVE BEEN SOOO MIA work is crazy (it’s beating my ass) and life is so hectic (also beating my ass). i’ve been trying to have a hot girl summer but i assure u i’ve been nonstop thinking of one shots and new plot points for my fics and new ones too so once the seasonal depression kicks in it’s gonna be over for everyone ! ok enjoy :3 sowwee it took so long once again!! 🙏 ☆ wc: 6.7k+ 🖤🤍 series masterlist 🤍🖤

if there was a time in the past when you said the hong kong coffee milk tea you had been drinking did nothing to keep you awake, you sincerely take it back. your brain felt it first, halfway through sipping on the matcha oatmilk latte satoru had brought for you. and then came the uncontrollable leg shaking and the pounding in your head that could only be satiated if you continued to drink from your matcha, although now that wasn’t doing much either. 

you snuck a quick look at satoru, who was initially banally transcribing his notes onto his cheat sheet for the final, now animatedly talking through bell’s theorem to nanami and haibara and you (before you zoned out). haibara was rapid fire questioning satoru’s mini-lecture, talking a mile a minute as he tapped his pencil at an unnatural pace on the desk. you look over at nanami, who’s staring at satoru with a thousand yard, wide eyed stare, and realize you all were caffeinated beyond recovery. 

the pounding in your head got louder and louder, until it drowned out the noises satoru and haibara. water. you need water. your mouth is too dry. you make eye contact with nanami, and as if he read your mind, he wordlessly reaches into his backpack and hands you his blue hydroflask. you take a swig. and then another. and then you’re chugging the entire bottle like your life depends on it (you think it does in a way). 

the pounding in your head fades just as you empty his water bottle. your vice grip on it turns your fingers white and you try to pay attention to what satoru is lecturing about. 

“see, the thing about heisenberg’s uncertainty principle is that the more localized the momentum-space wavefunction is, the more likely the particle is found in those values, which by the way, are just fourier transforms of each other…”

what the fuck? uncertainty principle? fourier transforms? those weren’t on the final last time you checked. you quickly pull out your study guide and try to find any mentions of whatever satoru was talking about. you find bell’s theorem (wasn’t he just talking about that? how did he switch topics so fast, and so randomly for that matter?), but no mentions of heisenberg. you turn back to satoru and realize he’s just talking nonsense quantum facts from the top of his head, regardless if it was even part of the class (perhaps as a result of being too wired from the triple shot latte he’s been sipping on). 

oh, you need to stop this before everyone gets confused. “satoru, wait, is this even on the final?” if he heard you, he doesn’t let you know, as he continues on his monologue without missing a beat, now talking about quantum computing and turing tests. those aren’t even remotely related to the class you guys are studying for! “satoru! stop talking, jesus fuckin’ christ, dude!” you shake his shoulder, jolting him back to reality as he stops talking and looks over at you confused. 

“what? why? did you have a question about what i was saying?”

“yeah, what the fuck? none of that is on the final, what are you even talking about? how do you know, like, all these random physics facts from the top of your head?!” you ask incredulously. 

satoru shrugs and looks at you like you’re the weird one for questioning him. “you don’t?”

“not everyone studied applied physics in undergrad and graduated summa cum laude, gojo-sensei,” haibara quipped, still writing down some notes from satoru’s monologue in his notebook. you quickly swat his hand away from writing down any more. 

“stop writing what he just said haibara! it’s gonna confuse you when you’re actually studying for the final.” you frown, leaning over to move his notebook away from him. 

“what is it do you think we’re doing right now, y/n, if not ‘actually studying for the final’?” nanami says, emphasizing what you had just said. when was the last time he blinked? 

“none of us studying right now because we got too fuckin’ wired from the coffee. where did you guys get this battery acid anyway?” you say, taking another sip from your matcha, against your own will. 

“philz…” satoru says. 

you scoff. “philz?! and you got a triple shot there? how are you alive right now? how are all of you alive right now? why the fuck would you get coffee from philz and not riko’s like usual?!”

“i’m not feeling alive.” haibara chimes. 

“i’ve been having an out of body experience for the last thirty minutes,” nanami informs, too calmly for your liking, if you’re being honest. 

“suguru told me if he saw my face at riko’s today, he would poison me in my sleep.” satoru says, running his hands through his hair in slight frustration. his legs are restless and so are yours. 

“okay, well, it doesn’t matter now because we are never gonna feel normal again. this is our life. anyway, i think we need a break.” everyone nods their heads. “m’gonna go on a walk around the library and fill up your water bottle, nanamin. anyone wanna join?” you get up from your chair and wordlessly, satoru gets up to accompany you. 

as you two exit the study room, the change of scenery allows your eyes to adjust to reality and your brain to think of something other than physics, which unfortunately is the deal you made with satoru before walking into the study room and getting wired beyond repair. you decide that while you’re not opposed to blowing him right now, you’re not bringing it up until he does. you look over your shoulder and see satoru following silently behind you and you lead him to a corner of the library, where the water refill stations and bathrooms were. 

as you’re filling up nanami’s water bottle, satoru breaks the silence. “should we be worried about nanami and his…umm…out of body experience?”

“aww, you care about nanami, don’t you?” you coo, giving satoru a sly smile. 

“if you’re trying to insinuate that i’m in love with him, then you’re right, i am. why else would i secretly stick on post-its with penises on the back of his notebook?”

“you’re the one doing that?!” you turn your head to satoru to shake it disapprovingly and sigh. “he’s been haunted by those wretched things for weeks, satoru! he’s been thinking some girl’s been sexually harassing him!”

you watch him cackle with laughter and shoot him a dirty look. “stop laughing, satoru!” you say, but you’re a hypocrite because you’re also laughing at the situation. “promise me you’ll– shit!” the water overflows from the water bottle as you pour the excess out and seal the cap on. 

“c’mere,” satoru says, leading you somewhere deeper into the library. 

“anyway, i don’t think we need to worry about nanamin,” you say as you turn the corner and enter a narrow aisle. “i think he just needs to drink water and touch grass or talk to someone that isn’t you.”

“yeah, maybe…” satoru says, as he leads you to another random book aisle, clearly no longer paying attention to you. 

“hey, where are we? what are we doing here?” you take a look around at the books around you. greek mythologies? “why are we in the greek–”

your question is cut off by satoru’s lips crashing into yours and his arms pulling you flush against his chest. satoru leans down to your height and tightens his grip on your hips. caught off guard, it takes you a moment to register what was happening before you leaned into the kiss, deepening with opening your mouth and letting his tongue in. the kiss is urgent, hurried, clandestine – stolen in an empty library corridor in the greek mythology section, of all places. aphrodite would be delighted, you think. 

you take great pains to not moan into satoru’s mouth in the quiet of the library, but a stifled sigh sneaks out regardless. you feel satoru’s hands slide down to your ass and squeeze, as you use the hand that’s not holding the hydroflask to run your fingers through his undercut, earning a muffled groan from him. he leans down further and lifts you up slightly so that he can shove his legs between yours and move your hips on them. the friction of your clothed core meeting his knee catches you off guard as you drop the hydroflask. it clatters on the ceramic tiled floor of the library and echoes loudly across the library floor. 

shit. shit. satoru and you immediately break off the kiss the second the sound rings and you quickly scramble to grab it before it starts rolling to where people are within view. “shit, shit, shit!” you whisper frantically as you fumble to get the water bottle. your face is hot and the pounding in your head is back, begging you for more caffeine. your heart feels like it’s about to go into cardiac arrest for the same reason, but the fact that you were secretly kissing your best friend did not help. 

“jesus fuckin’ christ, why are those things so fucking loud,” satoru says, his eyes scanning the neighboring aisles to see if anyone was there. 

“why did you knee my clit?” you challenge back in a hushed whisper as you set the hydroflask down on the floor. 

“well i had this insane idea that you would like it.” satoru mumbles. you have no interest in arguing with him any further, figuring the best way to beat the pounding in your head was to grab satoru’s sweatshirt and pull him closer to you and continue. with both hands free, you’re able to kiss him and grip his hair to deepen the kiss again. 

this time, satoru slowly moves his hands down to your ass and pulls you right against his rock hard bulge of his own arousal. you sigh deeply at the contact, and buck your hips towards his erection, but missing due to the awkward angle. satoru breaks off the kiss in favor of littering your neck with soft butterfly kisses. 

“you know, i do recall someone saying they’d blow me in the library…” satoru says in between kisses. his lips feel the soft vibration of your groan and he chuckles against it. “you don’t have to, by the way, if you don’t want to. i don’t wanna–”

“what if want to?” you ask innocently, flashing your eyes at him coquettishly as you push him back and use the hair tie on your wrist to quickly tie your hair back. you slowly sink to your knees. don’t think about how hard the tiled floors are here and just focus on giving him insane head so he cums fast and you get back on your feet. you feel a bit bad thinking that, because you do really want to give him head, but also you’re a woman in your late 20s suffering from joint pain, which was embarrassing in itself. 

you push your thoughts of your knee pain on the ceramic tiles aside and start to palm his hard erection through his pants. satoru holds back a groan and throws his head back and holds your wrist and moves it to his belt. you undo it effortlessly, and pull down his pants and underwear, unveiling his well endowed erection in front of you. fuck, it’s so huge. 

your hand grips him lightly as you lick a long stripe from the base to the pink tip of his shaft. at the top, you give him a small kiss before your mouth slowly envelopes it, licking it so as to lubricate your mouth for deepthroating him. you slowly go down on him further and further, until you feel him at the back of your throat, before you start bobbing your head back and forth. satoru hisses under his breath as you full take him in and start sucking him off rhythmically. 

you feel his hand reach the back of your head and grip your ponytail, helping you control the pace to his liking. the warmth of your mouth and skillful maneuvers of your tongue are sending satoru faster to the edge than he’d like to admit, and he grits his teeth to keep himself from spilling within minutes of you starting the blowjob he’d been thinking about since you mentioned it. 

“fuuuck, just like that…” satoru hums deeply. the tip of his cock bullies the back of your thorat, causing your mouth to gag and clench on him. “damn, you love this shit don’t you? deepthroating me in the library where anyone can walk in? where anyone can see how much of a desperate slut you are?”

satoru’s dirty words turn you on more than expected, especially knowing anyone could hear him. you feel yourself getting soaked thinking about the potential chance at someone watching you. what if it was toji? wait, what? how did that thought make you even more wet? thankfully, your moans are muffled by your mouth engulfing him. satoru increases his pace, and starts to fuck your face relentlessly, chasing his high. 

just as you were choking on his member, satoru abruptly stilled his movements inside your mouth. your eyes widen, hearing muffled movements nearby and try to remove yourself from his cock, but satoru keeps your head firmly on him via the vice grip on your ponytail, which was slowly coming apart. the muted sounds slowly got quieter and quieter, until they were gone completely, at which point satoru resumed his mouth fucking. 

“i bet if i felt you right now, you’d be dripping,” satoru whispers breathily. you whine against him, knowing he’s right – your panties are completely ruined. satoru swears under his breath, and you feel his thrusts get sloppier as you feel his cock pulsating as he gets closer to his climax. you help him reach it by using a hand to lightly cup his balls, a trick you learned from an ex-boyfriend of yours, which turns out to be successful. 

“f-fuck, gonna cum in your mouth, yeah?” satoru asks, and you moan in response, vibrating against him. you feel hot ropes of cum shoot down your throat. for the second time today, you don’t let a single drop go to waste. you swallow his cum clean, and lick one last stripe across his cock, as you let him go with a lewd pop. 

 you wipe off some spit on the back of your hand as satoru makes himself decent while catching his breath as fast as possible, leaning against the bookshelf to do so. satoru reaches out his hands lazily to help you get up from your knees on the hard floors, which crack while you stand up. he pulls you closer to his chest as he leans on the library bookshelf, and leans forward to kiss your mouth. you kiss him back briefly before pulling away and checking your phone. “shit, we should go, people might notice that we’ve been gone for way too long…”

satoru rolls his eyes as you grab his hand and lead him down the various aisles he took you through, dropping it only when you caught sight of some students nearby. you cross your arms as you think of how you blew two guys in one day which is not only a new feat for you, but also, kind of annoying that you didn’t get anything in return both times, even though you understood why toji couldn’t. 

“somethin’ troubling you, baby girl?” satoru asks, nudging your shoulder.  

“oh, what? no, why would you ask that?”

“because you blew me like a minute ago and you’re completely silent. and your arms are crossed and your eyebrows are doing that thing they do when you’re annoy–”

“oh my god, okay i get it!” you say with exasperation, not wanting to hear him characterize you this accurately. “and yeah, whatever, i guess i’m a little miffed, but it’s not a big deal.”

“did i do something wrong?” you hear a hint of genuine concern in his voice. 

“oh my god, satoru, no, of course not…it’s just…” you feel the heat rise to your cheeks. all of a sudden, you’re feeling shy and meeting satoru’s eyes is a pain so you keep them downcast and cross your arms to your chest even tighter in an effort to self-sooth. 

“if it’s embarrassing then i’m sorry, you have to tell me or else i’m gonna be so fuckin’ annoying about it.”

“you’re already so fuckin’ annoying about everything, first of all. and fine, if you must know…” you find the courage to turn your head up to him. “i blew like two guys today including you and do you know how many times i got the favor returned? zero. ZERO!” you felt petulant voicing your concerns this wantonly. 

just as you expected, a shit eating grin forms on satoru’s face. “well, why didn’t you say so? you know i’d be more than happy to help that disparity for you.” hearing him tease you about eating you out has you more hot and bothered than you’d like to admit. 

“promise?”

“promise. once we get the fuck outta here, my mouth is yours, baby girl.” 

“don’t call me that!” you say, grinning as you both approach the table where you left shoko to study on her own. you are surprised to see utahime sitting next to her whispering something in her ear, and shoko shaking in silent laughter. 

“oh my god, this bitch…” you say under your breath as you stride towards her desk. so rich of her to tell everyone to shut up when utahime is allowed to say all the jokes in the world. utahime notices you first and her face brightens as she gives you an enthusiastic wave, only for her face to immediately sour when she spots satoru right behind you. 

“you can at least pretend you’re excited to see me ‘hime,” teases satoru. 

“do not call me that.” utahime seethes before turning her attention back to shoko and you. 

“what? you can giggle all you want with utahime but not with us?” you tease shoko. 

she rolls her eyes. “i’m on my break, dumbass, look!” she turns on her laptop to show you the 15 minute break timer that has long since elapsed. you look over at utahime and ask her what brings her back to thel library. 

“ugh, literally only because shoko is here. otherwise, i’d never step foot back at this place after graduating.” utahime frowns. you remember how you and shoko attended utahime’s graduation ceremony for education master’s last year, which was mostly you and shoko trying to figure out discreetly if utahime was into girls. 

the four of you hover around the table and speak in whispered voices and muted laughter, slowly losing track of the volume of your voices. eventually, at some point, everyone is speaking in normal talking voices in the quiet library, all while being blissfully unaware of the dirty pointed looks being given to you guys. 

“gojo, what the fuck kinda coffee did you get me, also? me and utahime have been sharing it and we are forreal tweaking off of this,” shoko complains, shaking the empty coffee cup. 

“it was philz.” you answer for satoru. utahime and shoko’s eyes widen in disbelief. 

“are you trying to murder us?! why didn’t you go to riko’s?!” utahime yells, in a higher than normal level voice. 

“i literally cannot have this conversation again,” satoru says, closing his eyes and rubbing his temples. 

your conversation is interrupted by a short stocky man, who you infer to be a library monitor wearing an official looking university sweater vest. “you folks are way too loud. we’ve gotten multiple complaints about the noise levels on this floor. this is your first and last warning, or you all are out.” he says sternly. 

“wait, sorr–”

“no excuses, ma’am. just please be silent from now onwards, or there will be consequences.” he interrupts you curtly before walking away from the table. the four of you don’t speak, until satoru breaks the silence.

“why’s his voice like that? so nasally?” he said the last part as nasally as possible, mocking the library monitor.  

“you’re so mean!” utahime says as you cover your mouth so she doesn’t see you wordlessly laughing at the admittedly mean imitation. 

“who’s so mean?” you turn to see haibara returning to the table with nanami behind him. 

“obviously it’s gojo.” nanami says without missing a beat. he eyes his water bottle in your hand and you give it back to him. “why did you guys take so long to get water? our reservation elapsed, so i guess we’re here now.”

heat rushes to your face and you feel like a deer caught in headlights. you’re too stunned to feel relieved that nanami’s eyes are looking less bloodshot and more normal. “oh uhh, we were just…”

“we did a lap around the library, nanamin. had to blow off some steam after all that physics, ya know?” satoru says, putting emphasis on that word. if you weren’t with everyone, you would’ve kicked him hard. 

nanami cocks an eyebrow in confusion while haibara doesn’t have a single thought behind his eyes as he readily accepts satoru’s answer. “oh wait! guess what we found while packing our shit up from the study room,” haibara says excitedly. 

“haibara, i really don’t wanna–” nanami starts. 

“we found another penis post-it note inside his textbook. how about that?” haibara says with much amusement. 

“oh my god! no way! do you still think it’s the mysterious girl from physics lab?” shoko says, eyes widening and voice slowly rising. haibara nods excitedly, and you shoot a dirty look at satoru from the corner of your eye, only to see him relishing the conversation. 

“yeah, there is this girl who always wants to partner up with nanamin-chan during lab. it’s gotta be her.” satoru shamelessly fans the flames of a wildfire of his own making. 

nanami pulls out a chair and buries his face in his arms, but the blush creeping up to his cheeks did not go unnoticed by anyone. “or, radical idea, it’s some girl sexually harassing me.” his mumbles. 

“okay, pack it up fellas. i said there’ll be no second warning, so all of you, OUT!” the library monitor takes all of you by surprise as none of you see him coming. “the next time i catch all of you talking loudly at this library results in suspension for the rest of the semester!” he says as you all quietly grab your stuff and leave the library wordlessly. he follows you guys until you’re outside in the crisp evening air and concrete steps of the library entrance. 

once he leaves, you allow yourself to freak out. “oh my god, are we gonna get suspended?! they can’t suspend us for this, right? god, i should’ve known you bitches couldn’t shut the fu–”

“jesus christ, y/n, chill. they just say that shit to scare you. this is like my fifth time getting kicked out of this library.” satoru says nonplussed, hands in his pockets as he leisurely descends down the stairs as the rest of you follow him. 

“thanks though for throwing us under the bus like that, y/n,” shoko says, rolling her eyes.

“is no one going to bring up why gojo is getting kicked out of libraries this much?” utahime asks. 

none of you answer, mostly because no one wants to know the answer to it. satoru’s smug smile is planted permanently on his face as he winks at utahime, and she gags. “anyway, what’s everyone doing? should we get dinner together?” haibara asks warmly, zipping up his jacket. everyone looks at each other and agrees. 

“oooh, let’s go to that new thai place downtown!” you suggest, pulling up your phone to look at the hours. 

“i’m down, let’s pick up suguru on the way. he’s at riko’s.” satoru responds, his information on suguru’s whereabouts earns a “ooohhh” from everyone. 

“he’s still there?! oh my god, he’s in love with that girl…” shoko says. 

the six of you take a walk to riko’s cafe, which is slowly closing up for the night. usually, you wouldn’t walk into a place if it was just five minutes before closing time, like you are now, but you figure it’s a special exception since one of your best friends is crushing on the owner. the lot of you inconspicuously make your way outside the cafe glass walls, trying to catch suguru and riko…doing what? you’re not entirely sure but shoko said something about seeing suguru in his “natural habitat”, and all of you agreed (you blame the caffeine). 

you crouch down and peer into the cafe to see suguru helping riko wipe down tables and stack up chairs (basically anything that requires heavy lifting). damn…that’s cute. may be love really is worth it. your breath hitches in your throat and you jaw goes slack when you see suguru lean in close to riko and kiss her tenderly. you, shoko, and utahime exchange glances with each other with wide eyes and you hear nanami say something about how we are invading suguru’s privacy. the trance this intimate and now stolen moment is broken as satoru bangs his hands against the wall loudly, scaring the lot of you and suguru and riko inside. suguru looks absolutely flummoxed, while riko immediately steps away from him and pretends to inspect something in the barista area. 

you hear satoru yelling through the glass. “open the door, lovebiiiirrdss!” he jiggles the door a couple times to open it but it’s locked. suguru comes closer to open the door and he looks like he’s going to summon curses to obliterate him, and frankly everyone else. 

“man, fuck you. what did i say? why are you here?” suguru says immediately after opening the door to satoru. he gives a disappointing stare to nanami and you. “honestly, i expected better from both of you.” 

nanami tries to defend himself with little to no avail while you focus on making it up to him by talking about thai food. “sorry, sugu, but let us make it up to you. dinner at that new thai place?”

“can riko come?”

“no!” utahime says out of nowhere. it’s silent for five seconds. “i’m just kidding, hehe. of course she can come!” she says sweetly. shoko is the only one who laughs. utahime’s timing in jokes were always questionable but at least she’s really pretty. 

suguru finishes putting up the last few chairs and goes to the back to let riko know about dinner plans. he and her disappear to the break room, and appear three minutes later with their bags and coat. they meet you outside and you notice suguru’s feet are restless, and his hands can’t find a proper place to rest. 

“you good, suguru?” you ask. 

“y-yeah, all good”, he says, pushing his bangs back. 

riko giggle. “he had one too many cups of coffee today.” him, too? “don’t blame him though, they were on the house.”

“oh, okay, great, so we’re all wired as fuck right now.” shoko remarks, as she puts an arm around utahime. 

“you guys got coffee? when? i didn’t see you guys stop by for anything?” riko questions, thinking back to customers that stopped by today. 

everyone is silent, not wanting to embarrass suguru for the second time in ten minutes. “uh, well…” you start. “satoru got us the coffees today!” you say, passing the ball to his court. his problem now. 

satoru shoots you daggers, not feeling fond of being put on the spot to come up with a quick lie. “oh, yeah. uh, i got it from…philz. because…”

“because you hate me and want me to die?” riko says without missing a beat. 

“because, uh…the barista…on main street…i’m sleeping with her. that’s it. my bad, riko-chan.” you don’t know what’s more shocking: the fact that you can’t tell if he’s lying or the fact that riko believes him so easily. 

riko thankfully drops the subject and everyone moves on to different topics, from haibara asking satoru more information about the hot philz barista and utahime sharing amusing events from teaching high schoolers this week. the group of you bask in the crisp and cool evening air as you walk leisurely to the thai place downtown, which was a nice walk away. once you guys arrive, you are met with the sunday night dinner line, which is awful to say the least. your heart deflates knowing you won’t be able to try this place and you and haibara start to look at other places for dinner before riko interrupts the both of you. 

“oh, don’t worry about it. i can get us in, gimme a minute.” she says, before squeezing past a bunch of people waiting in front and greeting the server at the front. the server seems to call someone over from inside the restaurant, and a middle aged man with salt and pepper hair and prominent laugh lines comes out, and his eyes light up when he sees riko. 

riko laughs and gives him a quick hug and starts talking to him about something and then gestures over to you and your friends. after a while of standing awkwardly, riko finally looks over at your group and motions you all to follow her. as you step into the restaurant, you’re met with romantic low lighting, roses as a centerpiece of every table, and various trinkets related to thai culture hanging on the wall and shelves. the place reminds you of somewhere your parents would take you to as a child after getting good grades in class, and it leaves you feeling nostalgic. 

you’re led to a corner of the restaurant where a waiter was quickly pulling two tables together to hold your party. “right this way,” the man says, extending his hand out to the table that was being set up in front of you. 

“thank you so much for having us during a busy night,” nanami says, bowing his head slightly in respect. 

the man laughs heartily. “oh, anything for riko-chan over here. we business owners gotta stay together, anyway. welcome!” you take a seat on the booth side of the two tables, with shoko sitting next to you and satoru taking the seat directly in front of you. “please let me know if there's anything you need during your dinner. my name is joseph!” you take a quick look at his name tag and as expected, see a silver tag engraved with “JOSEPH J” with his ownership title under it. what a sweet old man. 

your thoughts are interrupted by a slightly painful kick under the table to your shin. without looking down, you know in your soul who kicked you, and his stupid ocean eyes are looking directly at you as he mumbles a quick sorry. you waste no time in kicking him back, but earning no response in return. this begins a long game of footsies underneath the table between you and satoru. while trying to keep up with the conversation at the table, your short legs struggle to reach his, and you keep missing his feet. on the other hand, satoru easily dodges your feet and playfully kicks yours under the table (what is he? twelve years old?). 

you’re responding to something suguru and utahime said, when satoru uses his legs to spread your legs forcefully apart. you stutter in the middle of your sentence before gaining your composure back, and you feel the heat rise to your face. satoru’s foot inches closer and closer to your inner thigh, and you quickly finish your sentence, before taking large sips of your water. shoko gives you a look, internally asking if you were good to which you wave her off. 

“uh, i think i’m gonna use the bathroom, be right back,” you say, abruptly getting out of your seat and beelining to the restroom. you don’t actually need to use it, but you need to catch your breath after how easily satoru spread you apart and toyed with you under the table. you rinse your mouth with the tap water and fix your hair in the mirror when you hear a rap at the door. 

you open it and are met with satoru barging inside and locking the door. 

“satoru what are you–” you’re interrupted for the second time today with his lips as he kisses you deeply, his tongue immediately asking for access and you granting it too easily. “w-what are you d-doing~” you say in between sharp breaths and satoru kisses your neck and grips your ass hard. 

“didn’t you say you needed to cum? i’m helping you out,” he says as he feverishly leaves kisses all over your neck and brings his hands up to the hem of your sweater. he deftly slips his hands under your sweater and it takes everything in you to hold back a gasp has his fingers trace every part of your torso and eventually creepy up to your covered breasts. once his hands brush past your erect nipples, you let out a soft moan, inaudible in any normal circumstance, but satoru hears the vibrations through the lips attached to your neck. you can feel him smirking against your neck as he doesn’t let up with his small pecks. the last thing you want to do is give him the satisfaction of making a noise in the bathroom, but your resolve is short lived. 

satoru’s hands abruptly leave your chest, and make their way down to the buttons of your jeans. he fumbles with the zipper and you use the opportunity to run your fingers through his hair and leave small kisses on his temples. something about him taking you in the bathroom turns you on immensely, and the only way you can stop yourself from grinding against the air is to keep your mouth preoccupied. 

“y’gotta stop squirming, baby,” satoru says through ragged breaths, “can’t get these goddamn pants off you when your hips are grinding against my touch.” you feel a blush creep up to your face. you didn’t even know you were doing that. you thought you were actively keeping your hips stilled. 

“i am keeping still,” you whine. “if it’s a skill issue then just say that.” you tease, and egging him on works because once the zipper gets unstuck, your jeans practically fall down your ankles. you bend down to try to get them off completely without having to take off your shoes (you wouldn’t be caught dead in a public bathroom, even a nice one like this,  without your shoes), but satoru already has something else in mind. 

he spins you around and bends you over the granite counter, your cheeks burning from the shock of coldness of the stone. you breath is jagged as you feel satoru hook his finger to your panties and pull it down, feebly pooling by your ankles. you feel exposed as he hugs the mold of your ass and spreads it apart, but even you can’t help but feel your wetness drip down your inner thigh. you feel satoru’s hard-on press against you, and you try to will the fabric between the two of you to disappear so you could feel his length teasing your entrance.  fuck, there’s no getting out of this. do you even want to get out of this? not really…

“s-stop, satoru, we-we have t-to go b-back,” you protest, even though your legs betray you by spreading wider in anticipation of what will happen. 

“yeah, that’s why you’re practically dripping right now, right?” satoru says, his voice slightly strained. he kneels so he’s eye level to your dripping wet pussy and entrance. his mouth practically waters in anticipation of tasting you for the first time – something he’s been dying to taste since…god he doesn’t even know how long he’s been wanting this. 

he wastes no time plunging his tongue as deep as it can go inside your entrance, and he moans at the taste of you. at the same time, your eyes roll back in the pleasure of it all, your moans no longer being held back. using both hands to hold your hips in place and spread you apart, satoru continues his assault on your pussy, not leaving any part untouched by his tongue. you feel yourself out of breath already, and pushing back against his face, trying to feel the friction on your clit. 

satoru seems to catch on, and releases his hold on your hips with one hand and snakes it around you. his fingers find their way to your clit, as if he’s had the path memorized in the back of his hand. he starts rubbing your swollen bundle of nerves, earning breathless moans from you. he already came earlier today, but the sight your legs splayed our and pussy exposed in front of him is enough to make him burst just as hard. 

“fuck, feelin’ you clench against my tongue, baby,” satoru says, still drawing small circles on your clit. “gonna cum? this is what you’ve wanted for so long, haven’t you?” 

he’s teasing you now, and it’s sickening how that edges you on even more. your pussy clenches harder as his tongue re-enters you, and you know you’re going to spill any minute. the coil tightens inside your lower stomach, and you feel the familiar build up about to burst inside you. 

“nghh~ sa-satoru haaa~” you say in between breaths. “m’gonna cum…” 

“normally i’d make you beg but you’ve been such a good little girl for me today,” he says, maintaining the relentless pace of bullying your bundle of nerves. his tongue returns back into you, just in time for the coil to release inside you, and you clench uncontrollable against his mouth. your legs shake as satoru continues his ministrations until he senses you’re out of breath. 

your face feels damp as you try to catch your breath from the orgasm that ripped through your body. satoru stands up and leans against your bent over body, his breath on your skin tingle. he gives you a quick peck on the back of your neck, before you feel his hard-on against your opening. 

“a-are you gonna fuck me, now?” you ask in between breaths. you’re not sure if you could even take him in your fucked out state, but you weren’t raised a quitter. 

satoru chuckles softly against your neck before standing up straight. “i’d fuckin’ love to, but you look really roughed up. don’t wanna let people get the wrong idea here…” he teases, and your head immediately shoots up to look at the state of your appearance. 

your hair is shooting in all different directions, baby hairs and all. your eye makeup is slightly smudged, mascara creating slight racoon eyes. you gasp at how quickly and carelessly you allowed yourself to get this fucked out, all from getting eaten out. “satoru! what the fuck did you do?!” you exclaim, feebly trying to lift yourself off the counter. 

satoru helps you up but frowns. “the fuck did i do?”

you frantically try to smooth your hair down back to it’s original state, but the flyaways still remain, and the humidity of your activities in the bathroom is slowly adding to the frizziness of it. fuck, you’re so screwed. “you…you bent me over! and…” you struggle to find the words to accuse him with. you know it’s not his fault or yours, but you need someone to blame right now. 

“and what? gave you head? and then the best orgasm of your life?” he smirks, watching you as you put your pants back on. 

“don’t flatter yourself. that was nowhere near the best orgasm i’ve ever had.” you say, making eye contact with him through the mirror, as you wet a paper towel and skillfully try to remove any evidence of running mascara from your face. 

satoru raises his eyebrows. “damn, really? guess i just have to keep on giving them to you until one of them is.”

your heart practically leaps out of your chest, and you feel another familiar wetness pool down in your panties just thinking about what this could possibly entail for you.

[notveevee]

NOT ANYWHERE

megumi x reader smau | prev | masterlist | next

cp 10: prolly not

——————————————————————————

when toge woke up late, again. “he should probably stop streaming so much” is the advice yuta gave to toge although he did NOT take it. but now he has 20 minutes until he has to be at class. ☹️

he arrives 2 minutes late, internally thanking yuta for reminding him to do his homework last night. i mean, he did it.. but most of the answers were copied offline.

yuji sits next to him again. and almost immediately starts a conversation with him, maybe maki was right.. he is loud. toge sinks deeper into turtle neck and closes his eyes hoping he would get the hint to talk to him later.

he doesnt, whatever…… i guess i actually have to talk to him. toge listens to whatever he was saying and it sounds like he is trying to find out if he is a streamer or not. “so.. i was on… Twitch.. the other day.. ever heard of it..?” yuji says. “yeah. arent you a streamer” toge replies, hopefully he didnt sound too mean.

yujis eyes widen slightly as his voice goes down to a whisper “WHAT HOW DID YOU KNOW” yuji whispers. “my friend watches your streams” yuji makes a quiet “oh” … “are they also a streamer” yuji asks. “mhm” toge replies

“we should stream together sometime!” yuji excitedly says. “oh, i dont know if one of my friends would be… thrilled… to meet you”

“whatttt…. why nott”

“i dunno, shes been weird lately” toge laughs slightly

“mmhm”

they both go back to their notes

at the last 5 minutes of class they resume their conversation on streaming, “we really should, it would be good for our accounts” yuji says with a smile

“i could probably get 2/3 of my friends to come. one might be a little harder” toge says

“do you want my number so we can plan it ?”

“sure. its xxx-xxx-xxxx” toge says

“thanks!” yuji walks off when the class ends

——————————————————————————

——————————————————————————

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spongebob pfp!!!

i do have a test on monday 😭😭

i got a 98 on my science test guys!! (clap)

heh!!

so smarttt!!

maki keeps auto correcting to maki

OH IT DOESNT DO IT THAT TIME THO.

MAKING

toge did NOT listen to maki.

btw i do nkt proofread anythin i write, you can probaly tell tho.

MY PHONE IS SO GLICTHY

AHHHHHHHHHHHH

no i didnt spell prolly wrong 🌀🌀

your telling me a shrimp fried this rice

when yuji said theyre he was talking about maki, he doesnt know anything about her yet

taglist (10/20) ask to be added

@frogtits1 @megumisdivinedogs @asparkofapricity @satoryaa @starmaiya11 @1ndee @tuna-toes @loriisheart @kurtcobaingirlie @city-of-lovers

if you werent tagged then idk… sorry…..

[milkbreadtoast]

idk how i want to draw him yet and not ready to make a srs attempt but here's a bad kdj phone doodle lol🚶🏻

[buqbite]

part 1 (on VA and being better than humans)

part 2 (on welt and being just a human)

[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.

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[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.

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[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.

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[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.

[kagooleo]

johto’s champion and chronicler for the deity of the ilex shrine, it’s lyra!🌿

this one took me a while due to trying out different techniques (studying a Lot of art nouveau) and making a couple changes to her outfit (the details help), but I’d like to think she’s learned a lot in her journey and wanted to reflect her experience more in her champion fit

her specialty would be in fairy types and her meganium’s divergent evolution is grass/fairy 🧚🪷

and a bonus w/ the johto gang after the photoshoot!

[luck-of-the-drawings]

"I think this is the most inhuman; and human, that I've ever felt.." MUCH CAN HAPPEN IN A YEAR. IN FIVE YEARS. A DECADE. imagine how much can happen in a century. just ONE (1). How will you grow? what phases do you find? even in 5 years, you will find patterns.

[spider-man-2o99]

individual stills of miguel Scampering on all fours and showing off his more distinct individual movement style (that he has because of his spider-man's Similar-but-still-distinctly-Weird-and-unique powers as compared to the more-graceful Others) so that i don't have 2 keep rewinding the clip(s) to see it. im REALLY excited to see him scuttling and skittering all over the place in the film just like he does in the comics-- and, like, seriously, Miguel Specifically being just. made Massive for some reason in his atsv design will never NOT be funny to me hes SO freakin Bouncy why did they Do That.

don't be Weird on my post or i'll kill you for real

[vynnyal]

Turns out Sunlit Trail isn't quite done just yet, so after all that they just send you to a dead end 😂

[marblerose-rue]

click for better quality!

are you gonna start climbing, or what? / needletail

[dustykneed]

Hello! Random whipper snipper! Share a WIP of your work!

ooh, with pleasure. six the musical araleyn fanart? in the year 2k24? more likely than you think xDD

i realize this looks finished, but technically i'm still deciding whether to add a background or not lol. still, for the sake of sharing a proper WIP, here's a line or two from an araleyn brainworm WIP that i started reworking yesterday (mild tw for religious guilt and period-typical internalized homophobia from aragon's pov):

She remembers sharing her bed with Anne at Henry's behest, remembers the nights of tossing and turning and trying not to think about Anne asleep next to her-- remembers waking up to dark hair spilling across her pillow and the press of blood-warm bosoms against her own, softer than sin, as hot as the Devil, remembers lying still as death, mouthing prayers into the heat of Anne's neck like an act of penance.

[nyatbinary-81]

@vulpixisananimal sifstem art jumpscare!! more specifically i got bored and decided to mess around with sif and mal's outfits.