#part of me really wants to make this a comic

[roscgcld]

hear me out🙏 frenemies to lovers with fratboy!sukuna that has rumors about him being some sort of sex god meanwhile hes a virgin, demisexual, and has the fattest crush on reader but of course readers too dense to notice so one day at a frat party maybe he does something that makes reader realize

RYOMEN SUKUNA || fratboy!au

note: *slams hand on table* i love it - give me 20 of those.

pronouns: afab, but really it's gender neutral for the most part

disclaimer: since I am in Europe, it's not underaged drinking - but do not that there is drinking/flat-party-esk vibes? (idk, don't know mich about frats hahaha)

ryomen sukuna masterlist |  buy me a coffee?  

college is daunting

but while college is for studies, it is also known for the parties

now obviously there was no requirement for you to drink to have fun, but it definitely helps - and with you being roomed with a very energetic group of housemates, on the odd day they catch you outside of your room, you are being dragged to a house party

and like any college, there is the most popular 'party animal' - and for your college, that is ryomen sukuna

riding on a football scholarship, and having been bid on by almost all the frat houses, sukuna was known to be the life of the party; being able to charm a wall if you left him in front of one long enough

There were endless rumours about which 'lucky' girl he slept with that week, what parties he was going to for the week, and the new drink combos he came up with

basically whatever he touched, turned into gold

and even if you wanted to avoid him, you physically can't - not when you two are in the same course and shared almost all of your classes together

it was hard to ignore the constant whispers in the crowded lecture hall you two share; half of these people aren't even in your degree, but they are hogging up all the seats

so unless you go in early, you are not getting the good seats

and it just had to be your luck that the only few seats that were free were right in front of sukuna's; which was at the very front of the classroom

that already annoys you, and it doesn't help that sukuna seems to take annoying you as a part of his to-do list

not only does he make sure to go out of his way to do any group project (which to be fair, bar from being hard to organise group meetings with him, he does his share of the work), he seems to always seek you out in any of your shared lectures

not only did it mean you had the glaring eyes of at least 10 people on you, but you could also hear the whispers and the somewhat passive-aggressive interactions with a few of your classmates

it also came with a lot of people trying to become your 'friend', as it seemed from the outside that you and sukuna are close friends

and because of this, you had tried to ignore sukuna for the most part - you weren't mean or cold, you were just cordial

but that seemed to not have deterred him; as he would run up to you after lectures or invite himself into your conversations with your roommates and friends

it is because of his persistence that it led to you two having somewhat of a friendship - where you found out that behind his outgoing and sometimes borderline arrogant personality, he was somewhat of a nerd who enjoys video games and comics, and goes home often to visit 'the brat' (aka, his baby brother)

your sudden closeness to the 'king of the campus' however meant attention - which meant personal invites to massive house parties

you were not much of a party person. sure, you enjoyed a good drink or two, but you prefer to stay in on the weekend

however, as if god hates you, the invite to this party was on a name basis - and guess whose name was printed on the invitation in big, bold letters?

so that is how you found yourself being shoved into your bathroom with an outfit that your roommate had found in your closet; with promises that she will be doing your makeup once you walk out

not long after you found yourself being welcomed into sukuna's frat house; where your friends immediately started to drag you around to see who had actually been invited

and if like magic, sukuna seemed to have spotted you from wherever he was and made his way towards you

"well look at what the cat's dragged in?" he called out to you teasingly with a smirk

you greeted him back, and you thought that was that - but he just seems to...follow you everywhere?

from you finding your friends (you made him open all your bottles), bringing you to meet his frat brothers and other friends, butting into your conversations with random people

it was like having a very clingy cat following you like a shadow

you have no idea why he does that so much; it was as if he was trying to scare everyone away and keep your attention entirely on him

eventually, though your friends got to drag you away to play some games that were being held, and that was how you found yourself in a circle of people playing suck and blow; where you pass the card to the next person with your lips. and if the card falls you had to take a drink

after you guys changed your seats, you found yourself sitting between two men; since it had to be girl-boy-girl

you don't know who the guy is by your left, but you are aware of the man on your right; you two shared the same classes and so wave or nod at each other when you make eye contact

and even though you can't see him, you can feel sakuna's eyes on you from behind you. which both reassures you, but also made your hair stand on the edge

soon though the game started, and your attention was soon occupied with the game as the card started to make its rounds around the table

the first few rounds were fun to watch; since the card only went past 3 to 4 people before it fell on the ground, with the two people laughing when they kissed before taking a sip from their drink

it took a while for you to get your first try of the game, and you managed to hand the card over to the next person perfectly, but it was when the second time the card returned to you that it fell a few seconds just before the other man got into position

it all happened in slow motion; one moment you were staring wide-eyed at the man beside you as he got closer to your face, and the next thing you knew a warm hand was pressed up against your lips and you were pulled into a solid mass

"don't even think about it, punk."

the group around you erupted in teasing cheers as you felt your face warm up from embarrassment; your eyes looking up at sukuna to see him giving the poor man a lethal look. his other hand gripping so tightly onto his bottle that you feared he was going to break it

before you can do anything though you are hoisted off your seat and lead off; spluttering through your shock as you try to catch up behind sakuna

eventually, you two came to a stop in a room, and it took you a few seconds to realise that you were in sukuna's room. who was staring down at you with an unreadable look on his face. "um-"

"just how dense are you ?"

you aren't really sure what he meant by that, and he must have seen the confusion on your face as he just rolled his eyes in annoyance

"you do know i like you, right? I've been trying to tell you for months now."

you didn't know what to say - so all you did was blink up at the frustrated man and slowly shook your head in response. you genuinely had no idea at all

"..i am in love with an idiot."

wanna read more?  >   ryomen sukuna masterlist |  buy me a coffee?

© roscgcld — all rights reserved to me, rose, the author and creator of these works. do not repost/translate/claim my work as yours on any platform

[artslovergirl]

art & patrick at mark rebellato academy

[headcanons]

notes: i really enjoyed writing this because i just genuinely adore these characters and this movie so much. there's so many interesting little details and nuances there that i could just talk about forever and ever. i truly hope i did them justice here lol (also writing this made me jealous of people that are good at writing character analysis' and thinkpieces bc wow it is hard!) but yeah enjoy!

wordcount: 3.4k

they met at age 12 during their first day at the mark rebellato academy in their now shared room. 

when art came in with a duffel bag (that looked comically big next to his scrawny kid body) patrick was already sitting on the bed he had claimed(the right side next to the door) all by himself, his parents didn't have a very tearful nor long goodbye as they sent their son off to boarding school.

in contrast art’s mom and grandma seemed keen to embarrass him in front of his new roommate with their cooing and hugging him goodbye. 

it wasn't even like his mom and him were really all that close though. she just seemed to want to squeeze in all the moments of a loving mother-son relationship into the small segments of time she actually spent with him.

the goodbye hug and small ruffle of his hair from his grandma felt a little more genuine. embarrassing all the same as he could feel the other dark haired boy try not to crack up at the display.

"mom. please." he pleaded with her as she gave him a kiss on the cheek. "i’m sorry, artie, but i need to make up for all the time i'm gonna miss with you!" yeah, he bets.

a few minutes later and a tear or two from his mother they did finally leave him be. as soon as he heard the door shut though, the awkward silence enveloping the room almost made him miss them. 

he threw his duffel bag on the left bed and sat down on the edge. he fidgeted with his bottom lip, a nervous habit he's had for as long as he could remember. 

the brunette boy shifted on the bed so he was now facing him. his mouth pulled into a toothy grin "so you're...artie?" 

art groaned and hid his head in his hands, slumped over his knees. "no, that's..just my moms nickname for me. sorry you had to see that." he says in a squeaky broken voice which didn't help the embarrassment he was already feeling.

the other boy just brushed right past all that and said "i’m patrick." and then as an afterthought, "zweig."

"uh." art leaned back up, still avoiding his gaze. it was weirdly intense. "yeah, i’m..art. um, donaldson." he said the last part like it was a question almost.

patrick began to swing his legs a little. it was clear to him that art was the quiet type even if they had just exchanged a few words so far, but luckily patrick didn't mind talking. it was something his father always hated about him. he almost talked enough for both of them which after a little while finally seemed to break the ice of art's shy exterior. 

art didnt know what he thought about patrick yet. he was pretty..confident that was for sure. even a little arrogant, maybe. art scolded himself internally for being so judgemental. it was quality he hated about himself, but seemingly couldn’t get rid of.

despite all of that he had to admit that patrick was easy to talk to. there was never an uncomfortable gap in conversation with him. which art liked since those kinds of things made him want to crawl out of his skin sometimes.

that first night he spent staying up with patrick, slowly realizing how much they had in common while simultaneously being complete opposites, is one of his fondest memories and probably always will be. he never experienced another connection that felt anything even close to that.

their room wasn't too small but with the way patrick would just constantly toss his clothes wherever he pleased it seemed a lot smaller. 

it's not like art was insanely neat or anything, he was still a teenage boy. patrick was just exceptionally messy.

"patrick, this shit is so gross, i told you to use the hamper." 

patrick groaned, "youre such a neatfreak, fuck off." 

at that response a pair of dirty boxers were thrown at his head, courtesy of art. "i don't want to see or smell your worn underwear. that doesn't make me a neatfreak." 

patrick just tossed it back in art’s direction, to which the blonde quickly scurried out of the way to dodge it like his life depended on it. 

"you know if tennis doesn't work out for you, you'll make a good housewife." patrick grinned mockingly.

“ha-ha.” art just rolled his eyes, stuck up his middle finger and let the door slam behind him with his racket bag slung over his shoulder. 

trying to get patrick to do anything was like trying to teach a cat to do a trick without any treats. borderline impossible. so by age 15 art finally gave up.

...until he realized a year later that patrick would clean his side of the room whenever they had a girl over so..

yeah, sometimes he did lie and tell patrick that a girl was coming over just so he would clean his side of the room. 

you can judge him all you want but you never had to room with patrick zweig

 and after the third time that trick stopped working anyway. art was never a good liar. or maybe patrick could just call his bullshit way too easily.

they didn't fight too often, it was more like they constantly got into little tiffs

except for that time where it got so out of hand that they duct-taped a line dividing their rooms into two sides. (i know this is giving sitcom i'm sorry but tell me i'm wrong)

eventually they kind of forgot what they even fought about in the first place but they were too lazy to take the tape off of the carpet, so it just stayed on there for like 2 years till it peeled off.

like i mentioned in my other post these two were BITCHES

they would def talk shit all the time. they were not even trying to be secret about it tbh. (see: them staring at anna crying at tashi's party)

they sat in the bleachers watching one of their classmates play a practice match

“dude, look at that forehand. it sucks.” art muttered. patrick nodded, “i know. no way she’ll even make it through the semester.” “i’ll be surprised if she makes it through this match without fracturing her wrist.” patrick snickered at art’s comment.

actual mean girls LMAO

and to be fair, they were fucking amazing at tennis, especially when they played together

so it's not like anyone could necessarily insult them back

but it also wasn't bullying or anything

they were just judgy and loved to talk shit

art had some decorum about it or felt bad about it sometimes. not patrick though. 

man has no shame. never did. as art so lovingly puts it “the part of his brain that feels shame withered away a long time ago.”

art wore glasses from ages 12 till 14 

he then switched to contact lenses because patrick said girls dont like guys with glasses and that they make him look nerdy

they weren't allowed to have any sort of electronics like computers or flip phones at the academy. not even mp3 players. 

now obviously patrick completely ignored that rule. he had like three flip phones under his bed in case his actual one ever got taken (it did)

he also smuggled in 2 mp3 players (one was for art, patrick is so kind… he did charge him 4 dollars for it though. that rich asshole. lmao)

honestly i would like to insert here what i think they would have listened to but..i was like..a baby when they wouldve been at the academy so..feel free to drop your music headcanons in the reblogs or comments 

they were only allowed one weekly call to their families from the communal landline.

neither patrick nor art were very fond of these calls so even though they weren't supposed to they would always go into the phone room together.

patricks mother always insisted on speaking in german with her son. he thought she only did it because it made her feel more connected to his father’s side of the family. not like it would fix their fucked up marriage though. 

“nein, mama, ich habe mein deutsch nicht vergessen.” (no, mom, i havent forgotten my german) he sighs. art sits on the floor next to him and flicks a rubber band at him. “ja, verstanden. ja, ich weiß.” (yes, understood. yes, i know.) he rolls his eyes. 

art understood a few of the basic words since patrick taught him some german after art asked how to correctly pronounce his last name. 

“..bis nächste woche. tschüss.” (talk to you next week. bye.) he hung up. his mom said i love you but he knew she didn't mean it so he didn't say it back. 

patrick groaned and stretched out his legs that were seemingly getting longer by the day (art secretly prayed for a growth spurt that would make him taller than patrick. right now he was still pretty short for a guy his age.) 

he handed the phone to art. “she always talks so much. it's like i'm not even on the other line.” patrick scowls. art just nodded. he knew that by now.

art called his grandma but his dad picked up instead. it was okay. talking to his dad felt a little like talking to some distant uncle that he only saw once a year, “how's it going, champ?” “good.” “great.” that kinda stuff

the phone call lasted 5 minutes. he stood up and hung the phone back on the receiver. 

“wanna smoke?” patrick asked already reaching for the two loose cigarettes stuffed into his jean shorts pocket.

art nodded. he didn't really like smoking, and he kind of only did it because patrick did. and whenever he did, all he could think about was how bad for him it was. 

he was always pretty conscious about that kinda stuff, it was a little drilled into him by his dad who was the most adamant about art becoming a tennis player since he used to be one when he was younger.

so sugar and fats (basically anything that tasted good) were pretty much banned in the donaldson household 

which kind of resulted in art subconsciously believing that anything that brought him joy or pleasure must be inherently bad for him or followed by a feeling of guilt and shame to make up for it.

needless to say art wasn't the best at indulging. he was a little jealous of how patrick never seemed to have any issue with that sort of thing.

patrick didn't care about maintaining a good diet or depriving himself of life's pleasures for the sake of tennis. he took what he wanted like life owed it to him. 

maybe that's why he smoked with patrick. to try and be more like him?

also because it gave him a nice sense of rebellion.

most things he did with patrick gave him that feeling.

at the academy they were the definition of ‘not sold separately’

if you saw one the other wasn't far behind

its not like they didn't have other friends. they did. they were pretty popular actually

but none of those friendships were anything like what art and patrick had.

especially when playing doubles.

it felt like they could communicate telepathically 

patrick knew when art was going for the ball before the other team even served and vice versa.

tennis felt different when they were playing together. better.

and it felt so easy, it felt like nothing they needed to work on. their friendship was the same. it was so easy, so natural.

after about a year or so of being friends they started being in sync. literally.

they cross their legs at the same time, they pick up their rackets at the same time, they adjust their forehand grip at the same time, they walk at the same pace, they sit down the same etc etc you get it

also that isn't really a headcanon, like this is canon in the movie. and it makes me SICK that they were still in sync in 2019. after not talking for 12 years. shut up that’s some soulmate shit

now let's talk about something else that is canon…the pushed together beds.

yes!

now, i think patrick is a person that is pretty open with his body in general in terms of like being physically affectionate. or just being physical. 

i don't know if art is, i think he's a little more reserved. (repressed if you will! i will!)

but patrick touching him so casually does fill a little tiny (gaping) void in him that yearns for touch.

he is a professional yearner as we all know

and patrick never had an issue satisfying those yearnings for him. (i think we saw that in the fact that patrick taught art how to jerk off ok next topic)

patrick would sling his arm around his shoulder, lay his long legs over arts lap, ruffle arts curls (“stop that, you're messing them up.” “no, i'm not they always look like this”),he would barge into their room after practice flopping his tall sweaty body on top of art to annoy him.

they were very physically affectionate it was just all under the guise of shoving and tripping each other and just general teenage boy roughhousing shenanigans. that counts as a love language to me ok!

art got used to patrick touching him very quick and even reciprocated sometimes 

also i do think that sometimes patrick would smack art’s ass as a joke. lol. (that's inspired by that video of the two doubles players doing that…do you guys know what i’m talking about)

OK SO!

the beds.

they were 16. patrick suggested it. “these beds are too fucking small.” he complained, laying on his staring at the smoke detector that he had covered with a shower cap so it wouldnt detect the smoke from his cigarettes. 

and to be fair…yeah. patrick stood at 1,80 cm right now and his feet were hanging over the edge of the bed.

art looked up from his book which he was only reading to impress a girl he had a crush on. patrick had told him to just pretend he read it but art said that was disingenuous and he wanted to know what she liked and why she liked it. 

“you know what we should do? we should push our beds together.” patrick sat up, grinning like he just had the best idea ever. 

arts features twisted up in thought. “isn't that a little close?” 

“nah, why, we still have our own beds. just more space.” patrick shrugged.

he glanced at their beds. “uhhh…i guess we can do that. the beds are a little cramped. although is that even allowed?” art began fidgeting with his lip like he usually did when he was in thought.

but patrick was already in the process of shoving his bed next to arts after which he let himself fall onto the two beds in a starfish position, with his gangly limbs almost stretching to every corner of the beds. “oh. great. and i’ll just curl up at the foot of the bed then?” art gave patrick a deadpan stare. 

“up to you.” patrick grinned in that specific way that really irked art. 

patrick did make some space for him once they actually went to sleep that night

even now they were two opposites making a whole

patrick always ran cold so he hogged all the blankets and art always ran hot so he immediately kicked them off of him as soon as he fell asleep 

that only made this new pushed together beds thing even better for patrick because he now got to have his own blanket AND steal arts every night

i wouldn't say they cuddled necessarily? i think it was more just like the regular amount of physical touching that happens when you sleep in the same bed

which is still pretty intimate to me idk about you guys

like their legs kind of thrown over each others, art’s arm occasionally draped over patricks chest (or literally on his face. art denies every time that he does it on purpose but patrick KNOWS he does it to annoy him. he knows.) 

one time art had a nightmare of being trapped under a rock only to wake up and find out that somehow patrick had rolled over in the middle of the night and was now laying COMPLETELY on top of art. right before he was about to push him off (because he was making art actively suffocate) patrick rolled over again and fell out of bed. he didn't even wake up from that. genuinely just slept on the floor that night. freak of nature that guy.

also patrick for sure twitches like a dog in his sleep

and i think it used to wake art up because he's a pretty light sleeper but eventually he just got used to it lol

when art went to stanford he never finished the last bite of anything he ate because he was so used to patrick being next to him and just stealing the last bite.

patrick really really wanted to get his ears pierced when he was 15. 

so naturally he asked art to do it for him.

you know…like how they did it in the parent trap. which if you asked them is a movie that they definitely haven't seen. ( but they did see it and art cried at the twins reuniting with their parents, oops.)

unfortunately for patrick art was very very squeamish with needles at that age (i think that mellowed down the older he got but he still refused to look whenever he got vaccinations or anything like that.) 

so now it was midnight, they were in their room sitting on the floor and arguing

“dude, just do it, stop being such a wuss. you're not even the one getting pierced.” patrick groaned, he had numbed his earlobe with ice but he could already feel a little bit of the feeling return to it, that's how long they had been sitting there with art squirming around because he hated even looking at the sewing needle.  

“that's worse though because i have to look at the needle going in your ear!” art argued

“ well, i can't do it myself.” patrick replied.

...

“are you wearing my shirt?” art squinted at him

“stop trying to change the subject.” 

“i told you to stop stealing my clothes. i don't want to do laundry that often.”

“can you focus?” patrick groaned

“dude.. okay, fine. just give me a second.” art took a deep breath.

“oh. my god. you're not performing open heart surgery.” 

“shut the fuck up.”

“you shut the fuck up.” 

and what do you know that response got art to get over his fear of needles for a second and stab that thing right through his best friends ear 

the little high pitched yelp patrick let out in surprise at that is something art didn't let him forget about for like two weeks after

it took about another hour for art to pierce patricks second ear and eventually they managed but then like a week later patrick forgot to put his earrings in and the piercings immediately grew shut

so all that drama was for nothing!

i think art has always kind of been the type of guy to want domesticity. 

i already posted about this somewhere but i kind of came to that conclusion because patrick said “he wants to spend time with his family” to tashi in the alley scene

patrick hadn’t spoken to art for like a decade at that point

and you could say it's a good guess but NO! 

patrick knows art like the back of his hand and patrick knows that art has always wanted a family and how much it probably kills him to miss out on time with them due to his career at that point in time (also just throwing this out there i think art always wanted to have a daughter more than a son, like that just makes sense to me. maybe bc i think his own relationship with his dad is so distant? idk!)

so yeah

also the sauna scene where patrick says that marriage isn't what he was for 

(to me) also implies that he is the opposite of art who was meant for marriage

anyway do i think that art shared his wishes for a family and marriage in the future with patrick? yes

do i think patrick jokingly made art promise to make him his best man? yeah

and furthermore do i think about the fact that patrick then had to read about arts wedding in some tabloid years later? yep!

i’m sure i could think of more in the future but that's all i've got for now! i hope this was coherent enough to enjoy because it’s not as proofread as my fics usually are lol! i just wanted to get these thoughts out there

if some of these seem familiar it might be because i took some of these from my twt!

i also have some more headcanons floating around on my tumblr that i didn't include here if you want to find those, or not, i'm not your mom! 

[persisting]

oh, absolutely. and i think we have a ton of agency as fans to create the exact version of these characters that we want based on the huge amount of writing that’s been done about them! i’m all for people picking and choosing what they want for their own personal versions of things. i think mainly for me, where the issue of “is this the puppet or the puppet master talking/acting” can come up negatively is in the posts people make wherein the poster wants to convey that they feel their chosen ideas about the characters are the “real ones.”

a lot of people really enjoy explaining dick or jason or whoever’s “real” characterization (myself included!) to an audience. the problem is that these explanations are always going to be personal to the writer of the post based on what parts of canon they personally want to vibe with and which parts they don’t. is jason secretly a natural redhead with an acrobat background? that’s been canon. does dick have a living aunt who stays at the manor with everyone? that’s also been canon. would dick angrily deny that bruce is his “father?” he’s done that on the page. would he instead directly call him “dad?” he’s done that too. does tim still have a spleen in some universe? who knows!

so mostly i think a lot of fans need reminding that sometimes your fav did the thing because the writer wanted them to, and it’s valid for other fans to see that behavior as “out of character” (because often, based on the character’s previous behavior, it kind of is.) it’s also valid to like what the writer had them say and to feel like it IS in character (hey, sometimes the writer is course correcting back to a previous characterization, or something similar.) but we all have to live with the fact that, for example, while fan 1 thinks it’s very in character for dick to angrily want to “get out from under bruce’s shadow,” fan 2 can think it’s OUT of character because of the fact that it was an editorial mandate for him to go and lead his own team and be in other books aside from batman. it’s frustrating for all of us, i think, to talk about some aspect we love or hate in a character here, and to then have someone else come along with a bunch of comic frames from various continuities to explain how you’re wrong.

i just think it’s good for the fandom overall to try to keep in mind that this is a tremendously fragmented space, and that there’s a difference between “he would/would not say that” and “he did/didn’t say it, but it seems like he did/didn’t say it for reasons outside of his usual feelings or perspectives.” this isn’t to say that i totally frown on, like, gentle fanon correction where it’s doable, or that i think talking about all the wild canons that have existed is bad or anything. i just think people get VERY assertive about things that are personal preferences in these characters, and i’ve had people insist that i “must” accept character takes that are still just personal interpretations, and it gets old. it’s definitely a fine line between fanon and “canon” sometimes, but i think people focus down too hard on what’s the “correct” canon sometimes. there are absolutely core qualities of these characters i think most of us agree on as “real,” but a lot of the window dressing is more complicated than that, and it doesn’t always exist because it was a natural path for the character at the time.

something i keep wanting to articulate about comics fandom, and characterization of comics characters, but i never quite feel like i have the right wording: sometimes a comic book character does something because the author wanted them to.

like, it’s things like two male characters being physically violent with each other when they’re emotional, or a character leaving their previous status quo for a new one, and similar stuff. batman and nightwing get physically violent with each other several times because frankly cis male writers often consider violence to be the ultimate form of male emotional outlet, whether it really would or would not be those particular characters’ actual reactions. nightwing wanted to “get out from under batman’s shadow” because editorial wanted him to so they could run him as a main hero instead of a sidekick. it’s things like that.

i think a lot of the endless essays and arguments about “correct characterizations” that circle back to “here on the page you can see the character saying/doing that very thing” are often hollow and kind of inept with this awareness that some character actions are directly invented by writer and editorial desire. of course nightwing “canonically” said this kind of dopey and contradictory thing about himself - his current writer specifically has an agenda to write him that way. of course suddenly batman will talk about how jason todd was “always violent” (he wasn’t) and “angry” (also factually untrue) because editorial wants the character to have a specific foundation for his current all over the place behavior.

like, sometimes these essays come off like you forget there are big white cis male hands up these guys asses at almost all times. sometimes they do things because it’s what they’d do. but sometimes they do things because a nerdy comic guy with intense daddy issues is making them say and do it. you’ve got to learn to separate that a bit before you publish your big screed about how dick/jason/bruce/tim is stupid/evil/abusive/annoying on their own terms, because so often the behaviors you’re mad at them for aren’t really natural character arcs and movements, they’re clumsy behind the scenes puppet fumbling. you have to learn the difference on your own.

[hyenafu]

I know this might seem like a bit of a random question, but what are some criticisms of Slightly Damned you can't stand, and what are some you think are at least somewhat valid? I only ask because I do have a few problems with the comic (not really gonna go into here because I don't want to come off as too critical obviously) but I feel like some of the more noteworthy ones have been too long established to just change it altogether, and the best one can do is make something better from its foundation (which I must say, you've done a really good job at ^^)

The complaints that I think are the most unfair are by bigots who think my comic is only getting more inclusive because I'm pandering to wokeness or whatever. These people are also the most likely to misgender me and have no idea what they're talking about. They just can't stand the bare minimum of gay and are often hypocritical, using fallacies as the basis of their arguments. It's tempting to want to argue back, but when has that ever worked on the internet? I think the most valid complaint is that the pacing of the comic is too slow. Sure. Not much I can do about that one. My comic alone doesn't pay all my bills. If I focus exclusively on work, I get depressed, so I have to goof off sometimes. I'm just one person. I don't have a team. I'm doing the best I can already. Another valid complaint is that people don't like my blend of humor and drama. Sometimes readers find it inappropriate or jarring. It's valid because I recognize it as a difference of opinion and understand why they feel that way. But I don't care. I like my weird mix of goofy faces and drama. I sometimes make jokes during periods of great stress in real life. I love all the wacky faces and over-the-top cartoon action among dire circumstances in comics like One Piece and Usagi Yojimbo. Like, it's just my style, man I don't seek out unsolicited advice about my comic. Some people may think that's snobbish of me, but the truth is, very little of what you find that way is actually valuable.

"And as to those critics, she said that she’s managed to do something that might make us all better off- she doesn’t read the comment sections. In perhaps the most roundabout poignant part of the talk, she likened receiving feedback about her work as being like consuming food. She would take a pie from someone she knew and trusted but compared taking unsolicited barbs from strangers as “licking a handle on the subway.” She used to pay very close attention to that kind of critique because she felt that it somehow would make her a better creator but ultimately decided that it was only toxic." - I HAVE SEEN OLIVIA JAIMES, THE CARTOONIST BEHIND THE NEW NANCY, by Rocko Jerome (2018)

Besides the outright hateful sentiments, a lot of unsolicited criticism can be categorized as "I don't like this story because it didn't do what I wanted it to do." Which is fine. I do the same thing when I try to process stories and talk to my friends about them.

But I don't get in the author's face to tell them I think they did a bad job. At the end of the day, no matter how crap I think someone's story might be, I'm not psychic. I don't really know if they did exactly what they set out to do. For example, people have never stopped giving me crap about the death of certain characters. But their whining has only made my convictions stronger. I don't like when other stories don't take deaths seriously, with a real sense of permanence and grief that is not easily solved. To someone else, seeing that character be alive might have solved all sorts of problems they had-- but that's not my story. I've had someone tell me that the focus on Buwaro and Kieri's mushy romance is too distracting to the main story. I don't think that person knew that a large part of why I started making this comic in the first place was as a vehicle for my OTP. I also want to make said vehicle entertaining and worthwhile. If I didn't succeed for that person, that's fine. But don't tell me that half the reason I made the comic is distracting from it. What do they know about what I want? What do you really know about what the author wanted to achieve? That isn't to say that my comic is immune to scrutiny. Of course it has problems; every story has problems, depending on your perspective and the basis by which it's getting judged. I've solicited and received thoughtful criticism and helpful advice from teachers, my advisor, my friends, and from reading/watching tutorials. Some I agreed with, others I chose to ignore. Sometimes it just took a while for me to come around. I hope I never stop learning and improving. Like you said, I have to keep working with the foundation I already set. But I don't feel trapped by it; my creativity is being challenged in new ways. I have a lot of playing pieces and now I get to see what kinds of connections I can make between them with my older, more experienced (both good and bad) mind. Since Slightly Damned is a story serialized over a long period of time, a certain amount of it is made up as I go along. I do have plans and goals, of course, but I'm also discovering this world alongside my readers.

[twist-dg]

Suit & Tie - HS Discord Monthly Prompt

[xxplastic-cubexx]

Marvel Meow (2021), Nao Fuji | Professor X and Magneto

Bonus:

[seventeenlovesthree]

@taikouvember Day 6 - Light: "Fanwork from the past that you are particularly proud of"

I had reblogged this comic for 2022's Taikouvember already and I felt like it would be pretty fitting for the theme of "shedding light" on older art I am still fond of. Because even though my art style as changed and developed through the years, this comic from 2021 is still very dear to my heart. Not only do I still like the way I portrayed the characters here - their epilogue designs have grown on me more than I initially thought -, but I also still love the theme. This is exactly what I wish for them to happen and so this one was also the inspiration for my "Hope" entry from yesterday (namely making Taichi work in Koushirou's company)...

Overall, I do wish to witness Taichi's healing process; I want him to find his way again, to get on track in terms of his career, finding joy in what he is striving for; I want to watch him reunite with Agumon because he has found his own personal balance; and, last but not least, even if it doesn't necessarily have to be through a romantic lense, I want Koushirou to be part of his life. I'm still very proud of my romantic framing here though, the panel distribution... And I really hope I can reproduce this feeling for them again.

Happy “Taishirou is not gonna be canon tomorrow day”, everyone! No, seriously, this “Let Taichi Yagami find happiness (3 times within 5 minutes)” idea has been floating around in my head for the past few days and I simply couldn’t stop thinking about it, so… 

The premise is the following: There has been a theory about Kizuna going around that implies that the bond between a human and their Digimon partner only breaks if the human loses touch with themselves and stops valuing their relationship for the sake of “being an adult”. As of Kizuna, Taichi had been almost completely disconnected from his “past self”, the majority of his friends, his partner and had absolutely no idea what he wanted to do. So instead, he acted all tough and, apparently, how an “adult was supposed to behave”, isolating himself, buried in his depressive state without confiding in anyone, while rejecting Agumon.

For Taichi to reunite with Agumon/Koromon, several things had to happen (in my opinion, let this take place round about ~2011/12): 

1.) He had to reconnect with his friends and learn to ask for help: This is represented here by him quitting the part-time job he absolutely wasn’t happy with to work at Koushirou’s company instead, also asking him to proof-read his final thesis. Not to mention that he’s likely to have made efforts to reconnect with some of the other Chosen Children as well at this point.

2.) He had to figure out what he really wanted to spend his life doing: The title of his thesis is “In Regards To The Coexistence Between Humanity and Digimon”, which indicates that he has embraced the fact that his relationship to Digimon and the Digital World is a vital part of who he is, a part he simply cannot get rid of without denying his true self.

3.) Figuring out other things about himself: He’s still struggling with insecurities, but that’s part of life and we all will never stop developing. It takes curiosity to learn - but it takes courage to unlearn. Between getting a new haircut, opening up and trying to discover and accept his own feelings, gathering the courage to actually act on them, Taichi Yagami is on a pretty good way. 

So now he has gained confirmation that his thesis turned out amazing, he just got himself a boyfriend and also reunited with his Digimon partner. Absolute jackpot. 🧡

[poorly-drawn-mdzs]

Thank you all for an incredible 500 days of love and support. I offer you: answers to questions that no one has asked.

(As always, more can be found in the tags <3)

[anominous-user]

Double Indemnity, Veritas Ratio and Aventurine

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

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

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

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

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

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

—

[THE NAME]

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

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

—

[SUMMARY OF THE 1944 MOVIE]

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

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

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

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

—

[THE PENACONY MISSION TIMELINE]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Veritas Ratio - Walter Neff

Aventurine - Phyllis Dietrichson

Sunday - Mr. Dietrichson

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

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

—

[SO, WHAT’S THE PLAN?]

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

Phyllis and Neff —> Mr. Dietrichson

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

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

Main Actor: Walter Neff    |    Accomplice: Phyllis Dietrichson

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

Step-by-step:

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

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

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

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

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

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

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

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

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

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

They leave.

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

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

Profit!

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

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

Aventurine and Ratio —> Sunday

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

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

Main Actor: Aventurine    |    Accomplice: Veritas Ratio

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

Step-by-step:

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

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

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

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

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

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

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

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

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

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

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

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

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

Profit!

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

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

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

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

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

—

[NEFF & PHYLLIS — RATIO & AVENTURINE]

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

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

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

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

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

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

Now the differences between Aventurine and Phyllis:

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

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

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

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

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

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

Neff has dark hair. Ratio has dark purple hair.

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

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

As for the differences…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Phyllis was a nurse. Ratio is a medical doctor.

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

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

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

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

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

—

[THE PHONE CALL — THE REVERIE HOTEL]

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

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

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

—

[QUESTIONING PHYLLIS — THE INTERROGATION]

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

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

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

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

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

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

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

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

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

—

[“GOODBYE, BABY” — FINAL VICTOR]

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

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

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

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

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

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

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

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

And now the differences!

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

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

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

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

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

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

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

—

[THE ENDING — GOLDEN HOUR]

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

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

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

—

[OPPOSITE TIMELINES AND DEVELOPMENTS]

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

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

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

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

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

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

—

[NEFF & KEYES — AVENTURINE & RATIO]

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

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

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

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

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

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

Aventurine - Walter Neff

Veritas Ratio - Barton Keyes

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

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

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

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

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

—

[THE ORIGINAL FILM ENDING]

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

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

—

[THE NOVEL]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Moving on to Ratio:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—

[THE HAYS CODE — LGBT CENSORSHIP IN CHINA]

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

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

(Don’t) Pointed profanity

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

(Don’t) Nudity

(Be Careful) Sympathy for criminals

(Be Careful) Use of firearms

(Be Careful) Man and woman in bed together

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

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

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

—

[CONCLUSION]

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

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

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

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

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

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

—

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

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

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

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

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

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

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

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

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

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

[theswedishpajas]

Based on my favorite gif lately

[natequarter]

#i havent read krikkitmen but lungbarrow was what i thought of when reading this post #like all the stuff with the massive furniture and the size of the house? like im not doubting the 80s special effects at all but that seems #like the sort f thing that would have been expensive & very difficult to film #as well as not having the nuance of character's thoughts you can fit in a novel #lots of the edas are like this as well #like bodysnatchers they spend quite a while on a ship thats kind of. fleshy. that then dies on them. they couldnt put that on tv #or even books hwere major character are aliens of quite different physionomy (is that the word?) where either building a costume or cgi-ing #one in would be impractical to impossible or not look that good #side not also : scherzo couldnt work well in anything But audio #like a novel would work but its an entirely different & much more visceral (ha) in just audio form

yeah, makes me think of some of the author's notes in lungbarrow:

I doubt the scene later on where the Doctor "surfs" on a runaway table could ever have been realised properly in studio, but that was the start of the House's character evolution. And the book allowed me to give full range to that. There are certainly elements of Beauty And The Beast here - not just the Disney version, but the ravishing Cocteau film before it.

[...]

The original TV storyline was a three-parter set exclusively inside the House of Lungbarrow, just as Ghost Light never ventured outside Gabriel Chase. It was a Seventh Doctor and Ace story, so none of the other companions in the book - Leela, Romana or the K9s - appeared. Chris Cwej is in the book by proxy as the Doctor's current companion, and a lot of his story was originally designated to Ace. The parts of the story set at the Capitol are only in the novel - the expanded book version was an excuse for plenty of political intrigue and conspiracy theory (at the time, we were all in the depths of X-Files mania.)

[...]

Innocet's fate in the original TV storyline was quite different. She was crushed whilst saving the Doctor's life, when the room in which he was trapped was ground to dust by the enraged House. And that was where she stopped. It wouldn't have been fair to the actress to have resurrected her in another persona for the last half episode.

every medium has constraints (for example very few comic artists can draw paul mcgann's face), but those constraints go beyond budget: they go on to the very tone and structure of the story, and its plot. i don't think that's a bad thing! i imagine a story like blink would be significantly less compelling if it weren't playing on the conventions of the visual medium as it is. it can be really interesting. but hoo boy, i would not want to watch That Scene in gallifrey: pandora in a visual medium. audios are great for extremely visceral and disturbing scenes that would just make me feel ill if televised.

doctor who in prose/audio/comic format really does allow you something special that you just can't get in the tv show, especially with a limited budget: the ability to do whaever the fuck you want, without the restraints of "that would be physically impossible in real life". especially prose! it sounds contradictory but i really think you can get jawdropping visuals and complex worldbuilding in prose that are impossible on television due to the inevitable limits of what you can actually do onscreen and what you have time to do vs the complete lack of limits of the human imahination

[imaybe5tupid]

Why bother? (Why bother?) It's gonna hurt me. (It's gonna hurt me.) It's gonna kill when- (Why bother!) -You desert me! (Gonna hurt me!)

Set after Nightmare. Laios is reminiscing and contemplating.

[stil-lindigo]

the candle.

a comic about rediscovering passion and recovering from burnout.

creative notes:

[caffetato-the-caffeinated-potato]

[amanitacurses]

Names

1 2 3

[grif-hawaiian-rolls]

something about trust

Writing below the cut!

“How… does it feel?” Locus asked haltingly. Lopez shrugged. “<Weird. But I expected that.>” Locus hummed, his brow furrowed like he was lost in thought as he scanned Lopez’s face. Lopez grabbed Locus’ wrists, bringing his hands to his throat.  “What are you--?” “<One way to test it. Take my head off.>” Locus’ eyes widened, his expression turning panicked. He tried to pull his hands away, but Lopez held him steady. “<You are the only person strong enough,>” Lopez said firmly, giving the other no room to balk any further. “<If this synthskin doesn’t fix the problem, I want to know now, not later.>” Lopez could feel the way Locus’s hands shifted, his fingers flexing as he fought some internal debate. Lopez couldn’t read his mind, but the flicker of those marble grey eyes was telling as Locus looked at his hands around Lopez’s throat, then to his face and then back again and again. “<It doesn’t hurt, if that’s what all this fuss is about.>” Not strictly true, having his head removed wasn’t exactly a pleasant feeling. But better to do it now, with some degree of control, than in the middle of a fight or an accident. The sensation of feeling everywhere his skin touched was strange though, the normally very localized sensors spread out across the surface of the synthskin. Was this how humans felt things all the time? No wonder they were so easily distracted. Neither of them moved. “You’re certain?” Locus asked finally, his voice little more than a whisper. Lopez raised an eyebrow and let himself grin just a little at being able to convey the sentiment properly. Maybe there were some advantages to the synthskin after all. “<I wouldn’t have said it if I wasn’t.>” A nod, then the pressure. Lopez knew Locus was strong, for a human, but the feeling of his hands tightening around his neck and pulling at his jaw, the base of his metal skull…  His head didn’t budge, and the pressure eased. Lopez clicked his tongue, releasing Locus’ wrists. “<Good. That is one problem fixed, at least.>”