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twentyfivemiceinatrenchcoat · 7 months

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you are somebody that i want to keep ; satoru gojo

synopsis; you aren't sure what you have with satoru gojo, but you know that it’s good.

word count; 6.7k

contents; satoru gojo/reader, gn!reader, colleagues to friends to something unlabelled, you love each other though!!, fluff, hurt/comfort, very very soft, reader falls first but gojo falls harder, both of u are afraid of intimacy lol, a lil angsty if u squint, satoru gojo cherishing u for ~7k words straight <33

a/n; basically just a collection of moments between you and gojo throughout the years <33 (a significant amount of time has passed between each part!!) hes an emotionally repressed loser but i love him and he is smitten w u.

in the soft luminescence of daybreak, your kitchen looks something like a dream.

tainted with a hazy sunshine, simmering with warm colours and pleasant scents, it almost seems to sparkle in the peripheral of your vision. brimming with that feeling of home, a home you’ve broken your bones building, desperate to shape it into something safe — and you think you’ve done a pretty good job.

it’s soothing, comforting, all of these sensations. bleeding into each other like smudges of paint on a canvas; hyacinths blooming by the windowsill, espresso-flavored steam wafting up to the roof, soft meows stemming from the cats by your feet. absolute bliss.

indulging in a peace yet to be shattered by the strain of the working world, you rub the sleep from beneath your weary eyes. blinking and yawning like a drowsy child.

beyond the translucent glass of your windows, glimmering with the light of a sun soon to rise, the world is painted pink and indigo — save for that one hint of gold, a streak of honey slathered across the surface of the sky. fluffy clouds drift through the chilly air, melting in the wake of a new day, and you think they look a little like tufts of cotton candy. soft enough to sink your teeth into, if only the glass wasn’t in the way. keeping the cold out.

it’s a new day. a pleasant morning, sitting comfortably on the brink of dawn, before the city has a chance to rouse from its slumber.

a kind of solitude you so rarely get to bask in.

a false solitude, really. because, for once, there’s another human being in your home — one you don’t know nearly as well as you’d like, for him to be fast asleep on your couch, cheek smushed against the leather. snoring softly.

satoru gojo.

like this, he looks very… human. vulnerable. hair just slightly tousled, from tossing and turning on your not-so-comfortable couch, blindfold only covering one of his eyes and close to slipping off entirely. his expression has melted into one of something vaguely resembling relaxation, as close to unguarded as you assume he can physically get.

even in his sleep, he looks a little stiff. not entirely at peace; like a stray cat sleeping under the hood of a car.

(you’re curious. fascinated, maybe, by the loneliness that clings to the strongest person in the universe. by the paradoxical innocence of his grin.)

honestly, everything from last night is kind of a blur. you remember accompanying the strongest sorcerer on a mission, one long enough to leave you completely and utterly spent, fatigue nestled deep into your bones. remember gojo getting a sudden migraine, so earth-shattering that you thought he was going to keel over and throw up in the middle of the street.

then you remember bringing him back home with you. very hesitantly, only after he begrudgingly accepted the fact that he didn’t have much of a choice. because you were fucking exhausted, and so was he, and your apartment happened to be conveniently close. you remember him practically passing out on your couch, still somehow managing to crack a bad joke you can’t recall, while you went to collapse into the comfort of your bed.

and now you’re here. dyed in half-transparent sunbeams, caffeine bubbling in your veins, gazing at your sleeping coworker from your spot by the kitchen table. waiting for the world to open its weary eyes.

it’s still early. some part of you expects him to sleep a while longer, but you can’t say you’re particularly surprised when gojo begins to stir.

a splotch of sunshine splatters across your living room window, staining the floorboards, falling over the contours of his pretty face. in the light, he looks positively holy; white lashes, pale skin, plump lips. like a goddess.

when he opens his eyes, it’s even worse. a single iris cracked open, pooling with unbridled brilliance. eyes so blue they seem to cut through the stillness of the air.

(— and the world wakes up.)

a little groan slips from his lips, barely audible. with groggy movements, he brings a hand up to his face, obscuring the grating light of the sun flitting in. you think you can almost see the gears of his mind turn, as he takes notice of his surroundings, remembering what transpired just hours before.

faster than you thought, he regains some semblance of composure. huffing under his breath, as he forces himself into a sitting position.

it feels a little wrong, to see the closest thing this world has to a god act so human. be so human. morning-fatigued, just like you, wearing droopy eyelids and a soft, sleepy pout. a little disheveled. groggy with lost dreams.

when his gaze meets yours, you can’t control the breath that hitches pitifully in the back of your throat. a meek skip of your heartbeat, like you just saw something you shouldn’t have. oops.

gojo cracks a grin.

“.. watchin’ me sleep?” he calls out, cheeky. paired with a drowsy yawn. composed, unbothered, but there’s something almost performative about it, something you’re sure you’d miss if he wasn’t still in the process of collecting himself.

“good morning,” is all you offer him. ignoring his teasing remark. he doesn’t push it, to your surprise. “sleep well?”

a hum. absentminded, jovial. one of his large hands goes to adjust his blindfold, the other to fluff up his hair. kicking off the blanket you just barely had the energy to throw over him last night. your fluffiest one, warm enough to protect him from the chill gnawing at the windows. hopefully.

“like a log,” he quips, stretching idly, muscles straining under his baggy uniform. they must be sore, after that mission. or maybe he’s above such things.

choosing not to comment on his obvious lie, you put your lips against the ceramic of your cup. sipping from the bitter brew, a tinge of hazelnut on your tongue. letting him gather his bearings without you scrutinizing him. a little favor, one liar to another.

“thanks for letting me crash,” he grins, lazy. toothy. stumbling to his feet with a low groan, gaze flitting around the room — looking for the exit. “i’ll get outta your hair,” he mutters, and you raise a brow.

“not staying for breakfast?”

gojo stills. your question rings out, bouncing off the walls of the kitchen, into the living room.

his smile twitches, ever so slightly, in what you think must be surprise. then it’s back to normal; like putting on a mask, not allowing a sliver of weakness to slip through the cracks. he exhales a raspy chuckle, a sound that flows through the air and crawls down your spine.

”generous, aren’t you?” he hums, voice rich with amusement. dappling sunlight licks at the white locks of his hair.

you shrug. “i wouldn’t mind the company.”

the words climb up the walls of your throat, a little reckless, eager to catch a glimpse of the miracle before you. satoru gojo, framed by the simplicity of your home — somewhat hard to let go of. sunkissed skin, restless hands. a little out of tune. shifting from foot to foot, eager to get away.

(a little like a frightened fawn, you amuse yourself by thinking. he’s really more like the fox who scared it.)

you think he must be bit uncomfortable. forced to spend the night in a coworker’s apartment, one he doesn't even know that well, one he probably doesn’t have any intention of getting to know. still trying to politely excuse himself. persistent, stubborn.

maybe he didn’t expect this. maybe he was convinced he could sneak away, before you had a chance to wake up. maybe he thought you’d be all too eager to let him leave, and never speak of this again. maybe he’s not used to being wanted.

“ha… i’m flattered, believe me, but —“

“what do you usually eat?” you ask. cutting him off, gently, tapping your fingertips against the edge of the table. “for breakfast, i mean. i’ll whip something up.”

a chuckle slips from his lips. you can’t put your finger on it, but something about it bothers you. “really, there’s —“

“if you’re worried about inconveniencing me, don’t be.” you pause, unsure of what to say. but the words end up spilling out of your throat, oddly honest. ”it’s been a while since i had the chance to make breakfast for someone else.”

it’s strange, really, how intent you are on seeing this through. how much effort you’re putting into making him stay. you barely even know him. actually, you don’t know him at all — all you know is that his smile makes you happy and his strength makes you envious. that you aren’t afraid of him, even though you probably should be.

something about him just feels safe.

“i’m pretty good at making pancakes,” you hum, a small smile playing at your lips. polite, jovial. pale light flits in through the window and slips into its curve. ”do you want some? before we go to work.”

(something in his fingers twitch, when you say that tiny word; pancakes. a little tell. you just barely catch it, before it sputters out. before he reels it back in.)

a moment passes. slow, drawn out, a rubber band bound to snap.

gojo stands there, a very subtle contemplation etched into his features. behind him, your cats begin to scratch at the couch, but you don’t scold them. just waiting for something to happen. beyond the glass of your windows, the sun unfurls in the sky, stretching its arms to envelop the world.

he grins, suddenly. soft light reflecting off the white of his teeth. cocky, composed. not quite performative, a little more natural.

“well, if you insist.”

he strolls over to your side, just a tiny bit sluggish, lazy steps and comically long limbs. he must still be tired. but he takes a seat, right across from you, plopping down on the chair with an effortless air of confidence. lighthearted, leaning his elbows on the table, crossing his legs under it. comfortable. settling into his role.

you’re pleasantly surprised.

“how would you like them?” you ask, and you think some of your excitement may have spilled out with the question. if it did, gojo doesn’t comment on it. ”your pancakes.”

“with chocolate chips, please!” he shoots you a sweet smile. “and whipped cream on top.”

so demanding. for some reason, it makes the corners of your lips quirk up. kinda like a bratty younger brother.

“got it.”

the smell of dark chocolate hangs heavy in the air as you get to work, shuffling around the open space. all while gojo waits, patiently, tapping his foot under the table and staring out the window. leaning his jaw on the heel of his palm. listening to the humming of nightingales on the branches of the apple tree down on the ground, and the buzz of your old radio.

the kitchen fills with motion, sounds, smells. life. splotches of sunlight, crinkled cartons of orange juice. the clinking of plates. two tired adults, seated at the same table, indulging in a fleeting peace and the promise of something new. something almost concrete.

a small, precious moment. enough to make your fascination shift into something you know must be fondness. or close to it.

gojo grins at you, mouth full of pancakes, eagerly telling you about something the kids did last week. wolfing them down, chocolate smeared over his bottom lip. you laugh, and suddenly the world feels a little safer than it should. a little more intact.

you wonder what it means. where it’s going to lead. this feeling of something wonderful beginning, something you couldn’t stop if you wanted to.

a budding connection.

the city lays blanketed beneath a layer of thick snow. blurry pale dots dancing in the wind, obscuring the sky, frost engulfing every building in a bone chilling hug.

with a slight shiver, you dig your hands into the comfort of your pockets, seeking the fleeting warmth you find. admiring the frozen landscape before you, the hustle and bustle of people going about their day. the saffron light of the lamp posts, the glittering snow by your feet, the skeletal apricot trees and their bare branches. this monochrome city you find yourself in.

gojo exhales. strolling cheerily down the street, in tandem with you, a frosty breath to your left that scatters and melts into the open air. it smells minty.

today, he’s wearing black shades — like he usually is when you meet outside of work. it’s kind of nice. when you angle your face a certain way, you can almost see the blue pooling in his eyes, the white of his eyelashes.

he’s beautiful. he always has been. but like this, you think his beauty is simply unfair, highlighted by the winter wonderland you find yourselves in. mesmerizing, the red flush of his cheeks, how he hums along to some jolly tune playing from a little corner store further down the street. all bundled up, in a stylish overcoat and a nice scarf, untouched by the snowflakes fluttering about.

protected by his infinity, always. the silly god you call a friend.

he looks content, despite the cold that keeps nipping at your bare skin, smiling widely. blabbing on about the movie you’re about to watch, how he saw it back in high school but never thought it’d get a remake. how his friend thought it sucked but that friend always had bad taste so his opinion is irrelevant. how he has faith that you’ll like it.

(cute.)

distracted by the pretty man so close by, close enough to touch, you don’t look ahead. maybe just a little bit entranced. which would be fine, if you didn’t happen to be walking on the right side of the street —

crashing straight into a lamp post.

”owch!”

it’s sudden. and it’s a harsh collision, enough to leave your nose stinging, an ache that makes you whine. cursing under your breath as you take a couple steps back, hands reaching for the part of your face that took the brunt of the hit.

and gosh, is this embarrassing. you dance on the edge of death for a living, and here you are — whining over walking into a fucking lamp post. because you were too enamored by the beauty of your own coworker to pay attention to your surroundings.

a coworker who is currently looking at you, silently. having failed to warn you in time, stuck in his own memories, caught up in his in-depth, spoiler-filled review of a movie he’s been waiting to watch all week.

for a moment, all he does is blink. long eyelashes fluttering, like a dove flapping its wings.

then he starts laughing.

scratch that — gojo is downright cackling, thoroughly amused by your clumsy mishap, like he just saw the funniest thing in the world. laughter ringing out into the cold air, white breaths to compliment the red of your burning ears.

asshole.

with a harsh furrow of your brows, you attempt to look angry; but before long, your lips are curling up. infected by his joy. a soft punch to his shoulder is all you manage, biting back a little puff of laughter. you’re embarrassed.

(so embarrassed you don’t even notice how he puts his infinity down.)

”don’t laugh, you piece of shit!” you hiss, grinning even still, flushing and trying to ignore the curious glances you get from passersby. ”it really hurt!”

but gojo doesn’t stop. doesn’t even attempt to. you think he just grew even more amused, if anything, practically bending over from how hard he’s laughing — clutching his stomach.

”sorry, sorry — ’m just…” he tries to speak, taking deep breaths in between bursts of giggles. ”how the hell — how’d you —”

he stops trying. laughing, again.

and it’s a genuine laugh. a little wolfish, spilling out from his pretty parted lips, showing off his sharp teeth. from the very bottom of his gut, clear and bright, deep and infectious. melodic. shades close to slipping off the bridge of his nose, eyes tearing up behind them. trying to collect himself, muffled giggles turning to soft vapour in the cold air. dimples visible on his rosy cheeks.

and suddenly you can't think, can't speak, can only look at him and wonder how a human can be so very beautiful. how it’s metaphysically possible. like a crushed cluster of stars was given human form, a body of celestial light.

he looks so young, like this. a millenia younger, no weight on those broad shoulders, no immovable wall to separate you both. he looks like one of the guys you used to hang out with in middle school, running through corridors and play fighting and holding back shared laughter in the library. before the bite of the world left a mark in your skin.

he looks like himself. like someone pulled the mask off, and all that’s left is the human. none of the godhood he was saddled with at birth.

while you’re busy staring, gojo finally finds his composure again. wiping at his glassy eyes, a chuckle slipping out here and there. distracted by the breathtaking sight, you begin to forget the sting of your collision — until you feel something warm trickle down your chilled skin.

searching for it with the pads of your fingers, you feel a trail of wetness beneath your nose. and when you bring them down, to get a look, all you see is red.

”ah.”

gojo moves closer. maybe just a little alarmed, by the blood dripping from your nose, staining the white of the snow beneath your feet. a chilling contrast, one you’re frighteningly used to. it’s almost comforting. blood on your skin, that sting of pain clogging up your nose, enough for you to get lost in. colours melting together, memories rising to the surface —

when suddenly, something touches your cheek.

one large hand goes to keep your jaw in place, gentle. smooth leather, sneaking under your chin, lifting your face up ever so slightly. warmth trickles from his fingertips through the fabric, and you can smell a hint of his perfume. strawberries and vanilla.

gojo looks at you fondly. wiping the blood from your nose, smudging his expensive gloves. from this angle, you can see his eyes, a blue shimmer in an evening painted white and gray — the sole flicker of colour in this monochrome city. they’re crinkled at the edges.

he looks awfully amused.

(you stay still, not breathing, like any slight motion could have him pulling away.)

”careful,” he croons. so low you barely hear it, almost a purr. the word has a soft underbelly, something you don’t need to dissect to feel.

a sentiment that seems to simmer in the air around you, drifting past the little corner store, a dog tied to a lamp post, your reddened cheeks. past the blue of his eyes, a peripheral that stretches to cover the city before you. words too heavy to speak aloud.

stay safe for me, silly.

then he’s letting go. sudden, the bite of the air replacing his hand. it lingers on your skin, like a memory, like the ghost of a memory. but it’s there. strawberries and vanilla, leather and warmth. something kind. warm.

and it stays there, even as gojo takes a step forward, no longer facing you. walking confidently, the wind bending around his tall stature. long legs and large steps, leaving an imprint in the snow for you to follow. a northern star.

he turns his head, and grins. hair tousled by the breeze, white locks glittering with snowflakes. ”you coming? it’s starting soon.”

a moment passes.

”or do you need me to call shoko?”

you puff out a breathy laugh, at that, stumbling forward. reaching up to wipe more of the blood sticking to your skin. sniffling, but smiling, teeth peeking out between your lips.

”yeah, yeah,” a roll of your eyes. ”’m right behind you.”

gojo’s eyes crinkle, disappearing behind his shades when he straightens his back and raises his head. moving forward, while you follow; his back turned to you, snowy hair melting into the white all around you. like something out of a painting.

with a pep in step, you catch up to him. eager to hear more of his voice, his memories. still basking in the warmth of his hand on your jaw.

a touch from the untouchable.

gojo’s lying on your couch.

he usually is, to be fair, so it shouldn’t be surprising. kicking his legs up, watching tv — or sleeping, snoring loudly, like the couch belongs to him. like your home belongs to him. like he pays rent, and doesn’t just laze around and devour all the sweets in your kitchen cabinets.

(he’s there so often that you’re starting to wonder if you should give him a copy of your keys, or something. but you have a feeling that’d be just a smidge too intimate for him to ever accept.)

this time, however, gojo is doing neither of those things.

he’s on your couch, but he isn’t manspreading, or draping himself over the leather with a lazy grin. he doesn’t have that air of effortless confidence. and it’s palpable, in the air, the open space, enough that you can feel it. an itch on your skin, a lump in your throat. you could practically feel it as soon as you walked through the door.

he isn’t wearing his blindfold, or his shades. he isn’t even smiling. and gojo is always, always smiling.

you think he might be having a rough day.

even the cats are noticing that something’s off. jumping up in his lap, trying to comfort him, brushing against his legs. purring, when he cradles them close — always so gentle with them. hands petting down their backs, softly, the same hands he uses to rip out the throats of curses and curse users alike.

then they mewl and run away. and for once you wish they wouldn’t, wish they could keep clinging to him like they always do. just to make him feel better. right now, in the state he’s in, you wouldn’t even mind gojo’s usual smug declarations of how does it feel to know they like their papa best?

you can’t help but feel unsure of yourself. gojo isn’t doing anything, and he isn’t saying anything. he’s just lying there, on his back, eyes closed. letting the darkness of the room engulf him. drowning in his own thoughts.

he must know that you’re there. he must have heard you come in. but he isn’t saying anything, and you wonder if that means he wants you to leave him alone.

you’re reminded of that one morning. when he woke up on your couch, and looked more human than you’d ever seen him. how you wanted to avert your eyes, how wrong it felt to see a god rouse from its slumber.

(but you know better now.)

hesitantly, you begin to inch closer, step by step. quiet, floorboards barely creaking beneath your weight. tentative, as you settle down on the couch. brushing against the infinity between you.

gojo’s eyes flicker open. like an old tape beginning to play. they still shine with that same brilliance, they always do, but now you think they look just a little dull. a little red.

a moment passes. agonizingly slow.

before you can properly think it through, you’ve done it. almost on instinct, jumping the gun before he has the chance to cover everything up with jokes and laughter. opening your arms; a silent invitation.

gojo only stares.

his gaze moves down to your outstretched arms, and then up to your face. your pursed lips, nervous eyes, worried crease between your brows. one second passes. two, five. you stop counting.

for a moment, you’re almost certain that he’s about to get up and leave. that he’ll flash you a smile that doesn't reach his eyes, walk out the door and then never return. like you flew too close to the sun, just another icarus too mesmerized by the glow of his grin to notice your melting wings. like you stepped over the fragile line that separates his bones from yours, his heartbeat from your greedy hands.

— but then he sluggishly gets into a sitting position, and doesn't look at you.

when gojo collapses into your embrace, you’re so surprised that you almost forget how to breathe. almost forget your own name, forget whose home you’re in, why your arms are wrapped around a pale man. all you can think of is how warm he feels, how he’s like a weighted blanket against you. how he trusts you enough to come so very close.

cheek pressed against your chest, arms loose around your waist. no infinity, no barriers. just a single touch shared between two damaged human beings.

a brief inhale gives you the composure that you need. air flowing into your lungs, your brain, as you settle into a comfortable position. no words leave your lips; you just continue to hold him, one hand on his back, testing the waters. letting him hear the echo of your heartbeat. unsure, the both of you, but something about this feels right. close to right. almost there.

gojo is stiff. when you strain your ears, you hear a sharp intake of breath, and a full body shiver courses through him. a tremble of his spine. like he’s itching to run, like he doesn’t quite know where to put his hands. so painfully unused to a proper embrace.

(a little like a frightened fawn.)

a tender something unfurls within your chest, and you feel almost devoured by the fondness rooting itself into your beating heart. delicate, as you begin to brush away his tousled bangs, leaning close. pressing a kiss to his forehead, glistening with sweat. letting your lips linger on his skin.

he’s pale, shining in the bleak moonlight cast from the translucent curtains of your living room windows. pale like a ghost. and there are dark crescents beneath his dull eyes.

nightmares, you surmise. they haunt him too, don’t they? of course they do.

eyes brimming with emotion, you gaze at him; quiet as a mouse, closing his eyes. leaning into your touch, ever so slightly, breathing out a sigh tinged with pure exhaustion. and a certain realization washes over you, akin to a tidal wave, sudden and inevitable. so obvious it’s funny.

you’re not a god at all, are you?

a coo slips from your lips. barely a sound, more like a soothing breath. warm against his cold skin.

you’re just like everyone else. just as fragile.

one of your thumbs goes to smooth over the puffy skin beneath his eyes. so, so gentle. like one wrong touch could have him crumbling into little grains of stardust, spilling out over the worn leather of your couch.

there are so many things you wish you could say to him. so many things you’ll never be able to say, because you’re afraid that if you give him too much it’ll scare him off. like love could burn him if it were to leak out too fervently. like it’s burned him before.

so you don’t say anything. but you think it, you repeat it inside your mind like a prayer, and some part of you thinks that’s enough. i’ve got you — a whisper that you don't dare to voice.

one gojo still manages to hear, somehow, if the way he tugs you closer and snuggles into your neck is anything to go by. a shaky exhale brushing against your collarbone.

(if you feel something wet touch the skin of your shoulder, you don’t mention it.)

you simply hold him, and don’t even think the thought of letting go. even though it takes him hours just to fall asleep, hours you spend anxiously wondering if he’ll change his mind and pull away. but he doesn't leave, even though his body may want him to, and that's enough, and you don’t let go. not even once. he stays cradled to your chest the same way you’d hold a tiny puppy, something fragile. something you need to handle with care.

and when his heartbeat finally mellows out, when you hear little barely audible snores flow from his lips, you finally begin to relax. melting into the couch beneath you, watching him get the rest he deserves. praying that any nightmares of his will be given to you instead.

sleep comes, eventually, to the both of you. tangled up on the couch, him on top of you, comforted by the flutter of each other’s heartbeat. by the warmth of another human being. safe in each other’s arms.

(the next morning, through hazy sunshine and the clinking of coffee cups, he teasingly tells you that just satoru is fine.)

it’s barely daybreak when satoru wakes you up.

a rude awakening, to say the least. he pulls out all the stops, intent on not letting you sleep even a second longer; poking at your cheek, pinching them when that doesn’t work. tickling you, blowing cold air into your ear, flopping down on top of you like a big dog. anything to rouse you from your deep slumber.

and he just will not give it up. no matter how hard you try to ignore him, no matter how many times you swat him away with your duvet pillow or turn to bury your face into the sheets. that’s how satoru always is, how he’s always been, how he hopefully always will be — an absolute pain. one you wouldn’t trade for anything else in the world.

so, when he starts whining for you to just wake up already, voice tinged with a sadness that tugs at your heartstrings, you find yourself opening your tired eyes. all while he murmurs on and on about something unintelligible, still trying to bribe you.

”i’ll make you coffee, okay? just get up. c’moooon.”

”… what time is it, satoru?” is all you mutter, voice leaving your lips in a raspy, disgruntled fashion. stirring a little at the promise of coffee.

he cracks a grin. ”don’t worry about it! just come with me.”

despite your grumpy attitude, and the ungodly hour at which satoru shakes you awake, you find yourself letting him scoop you up and set you down on the kitchen counter. placing a hot cup of coffee in your hands, made just the way you like it, before grinning mischievously in a way that has you feeling ill at ease.

and ten minutes later, you find yourself on top of a hill. overlooking the woods, and a big lake below you, no city lights visible no matter where you turn — god knows where he’s taken you, but it’s pretty.

breathtaking, even. all frost and wildlife and peace, sweet solitude, tiny flowers blooming on the patches of grass around you. a murder of crows takes flight in the distance, scattering into the indigo of the sky.

gojo grins, boyish and bright, excited breaths turning into vapour as he speaks. awfully proud of himself.

”i can’t take you on vacation, but —”

he drags you with him, arm looped around your own, plopping down on the ground. not before taking off his jacket, to cover the ground beneath you. grass tickles the skin of your palms, as you comfortably spread your legs, making sure to sit as close to him as possible.

and your heart softens a little.

because he’s mentioned it, before; how it’d be nice to go on a road trip, someday, just the two of you. all around the world, wherever the wind takes you. basking in that feeling of freedom. it’s no more than a fever dream, though, with how busy satoru is, the responsibilities you both shoulder.

so this’ll have to do. that’s probably what he’s thinking.

”the sun’ll rise soon. it’ll be pretty, i promise,” he beams, so close that you feel his warm breath on your skin. that you can see the dimples on his cheeks, his barely visible freckles.

”oh, so that’s why you woke me up so early.”

his smile widens. ”nice, right? i wanted to surprise you. d’you like it?”

a smile blooms on your lips, in tandem with his, honeyed and content. indulgent. gojo looks at it, and immediately knows your answer.

”yeah. it’s really pretty out here,” you face forward, taking a deep breath, fresh morning air entering your lungs. cool and crisp, stirring your sleepy mind. ”kinda nostalgic.”

satoru hums, and follows your lead. looking ahead, admiring the beauty of an empty world.

the big lake looks like a mirror, from here, glittering in the peripheral of your vision. the sun licks at the frozen sky, not quite breaking through, not entirely ready to rise — but it paints everything a rusty gold and you can almost feel spring shining through, taste it on your tongue, that promise of something better, something more concrete. a warmth you don’t have to question.

a warmth that’ll stay with you for a long time to come.

it takes about ten seconds for the man by your side to start speaking, again, shattering the peaceful silence. but you don’t mind. his voice is nice, a mellow melody to your morning-fatigued brain.

side by side, you wait for the sun to rise. sharing hushed whispers and laughter, like two kids having a sleepover. like nothing exists but the space that cocoons you, wraps you up in a nostalgia so palpable the entire world feels like a fond memory.

(it makes you feel a millenia younger.)

satoru giggles like a child, telling you about something shoko said, or something megumi did, and you don’t miss a single word that spills from his glossy lips. hanging on to every word he’s willing to give to you.

he looks so unbothered, like this. eyes crinkling, humming some tune you don’t recognize, like a little nightingale ready to take flight into the skies.

you part your lips, admiring his features. every patch of skin you can see. words making themselves manifest, hungry to see inside his brain, to know more about him. a fascination that’s never quite left you — though now you think it may be better described as love. ”hey, satoru?”

at the sound of his name, he turns to you. the weight of his eyes feels so light, like this. those blessed eyes staring into yours. he tilts his head, a smile playing at his lips. ”mm?”

”if you could go anywhere you wanted, where would you be right now?”

satoru blinks.

he looks at you, a mild surprise flitting through the lines of his face, as he takes you in. measures the weight of your words.

then he smiles, again. lopsided, almost a smirk, rich with amusement. a hum buzzes in his throat, like a butterfly itching to break out.

”.. you teasing me?”

a huff fills the air. ”it’s a genuine question!” you insist, moving your leg to nudge his own. ”c’mon. anywhere in the world. i’m just curious.”

another hum. he narrows his eyes, playfully, biting at the inside of his cheek to hold back a chuckle when that makes you grumble. pouting softly, tilting your head. he’s amused, you can tell.

but he closes his eyes, lashes fluttering, glimmering with morning dew. and you can tell he’s taking you seriously. tasting the question on his tongue.

something shines in his eyes, when he opens them again; crinkling at the corners, soft lines of crows’ feet. you can almost see that burst of aquamarine, breaking through the black glass of his shades. like the laws of physics can’t contain it. and he smiles, as always, a smile so beautiful you wish you could live on the curve of his lips. flimsy, no teeth peeking out, no dimples to admire. but sweet. slathered with honey, as sincere as can be.

his voice comes out a little raspy, tainted with a tinge of fatigue, a smokey residue that sticks to the walls of his throat. but it's genuine, like he just woke up, like he's too sleepy to be dishonest. like every word he says can be no more or less than the absolute truth.

and when he turns to face you, tilting his head enough for you to see that shade of blue you love so dearly, his eyes shine with an honestly so palpable you feel like you’re being devoured.

satoru parts his lips.

”right next to you.”

a moment passes. silent, endless, no sound to be heard but the beating of your own heart.

at last, the sun breaks through that layer of frost, peeking up from the boundary of the world — and the morning begins to thaw. streaks of sunlight cascade down the contours of his handsome face, painting him a mellow gold, and it’s almost enough to distract you from the warmth of his hand finding yours.

for a moment, satoru looks unsure. smile shifting in the light, into something slightly stiff, and you know that means he's nervous. silent, as he wets his glossy lips. pink tongue tasting strawberry chapstick.

then he’s leaning forward.

it’s chaste, the kiss he plants on your forehead, soft as the flutter of a butterfly’s wings. but it lingers, even after he’s pulled back — a warmth on your skin. a silent declaration.

he doesn't have to say anything. when you look up at him you can see the red flush of his ears, and when you strain your ears you can hear all those unspoken whispers. the sentiment neither of you will ever have to say out loud, because you know. it’s there. and it means everything.

and you know that for as long as you live, you’ll both have this. one single thread of normalcy, in your unorthodox existences, one single glimmer of something almost entirely good. something that heals, something that isn’t a blessing and a curse all in one. something soft to the touch.

there’s no need to find the right words for it. there never was.

”kinda looks like melted ice cream.”

the words pull you out of your stupor. satoru’s looking at the sky, and you follow his gaze, watching the sunrise in tandem with him.

it’s beautiful. soft clouds melting into pinks and oranges, dappling sunbeams lapping at the trees, a saffron shade washing over the empty world in front of you. a world that may not be so empty, after all, because you hear crows in the distance, and someone’s fishing by the lake, and you think you spot a squirrel in the tree closest to you.

and you have someone, right next to you, right by your side. someone who won’t ever leave.

sometimes, loving satoru gojo feels a little like strolling on the edge of a cliff. like one wrong step could have you tumbling down, a mess of broken bones and unspoken words. but if you do stumble and fall — you know he’ll be waiting at the bottom of the precipice. arms outstretched, wearing that same innocent grin, ready to hoist you both back up.

so you know it’ll be fine.

swallowing down a bout of fresh laughter, like a flower unfurling in your chest, petals brushing against your ribcage, you give in. opting to bask in the moment, in his presence.

”yeah,” you puff out a chuckle, head slumping against satoru’s shoulder. he makes a little noise of approval, and your grin grows. ”it does.”

he doesn’t say anything. smiling, wordlessly, admiring the way the sun kisses up your collarbone. lighting up your face. and you bask in his warmth, how right it feels to be tucked into his side. how safe he feels, even now. how safe you make him feel.

you look at the man to your left, and he looks back at you, and that wonderful unnamed something unfurls inside your chest again. and, without having to speak it aloud, you know it will continue to do so.

many, many years later, he’ll still be satoru, and you’ll still be you. the distance between you will be what it always was; breachable.

and that will be enough.

#someone sedate me i giggled while writing this. im so in love w this stupid weasel #this is rly just my attempt at writing a more canon-aligned gojo and the kinda-sorta relationship i could see him having in canon #i firmly believe that he’d feel most at peace w a love that sits somewhere right between platonic n romantic !!#”me n the bestie <3” (selfie of u wearing matching rings)#its the kinda love that u dont need to label bc its just There. its just love !! a love that comes easy #im happy w how this particular gojo turned out i think!! :'3 hes my lil baby #in other news hes so bambi coded ☹️ i need to nurse him back to health #listen to capable of love by pinkpantheress btw its so gojo to me #jjk x reader #jjk #gojo satoru #gojo satoru x reader #jjk fluff #gojo x reader #gojo x you #gojo x y/n #jjk x you #jjk x y/n #jjk x gender neutral reader #gojo fluff #jujutsu kaisen #gojo satoru x you #gojo satoru x y/n #jujutsu kaisen x reader

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anominous-user · 19 days

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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.

#honkai star rail #double indemnity #veritas ratio #aventurine #golden ratio #ratiorine #an attempt at analysis by one a-u #relationship analysis #you know what‚ i guess i can tag the other names of this ship #aventio #raturine #you could make a fucking tierlist of these names #um‚ dynamics (yk what i mean) dont really matter here in the analysis just fyi if youre wondering its general enough #also if you're wondering about the compilation thread - its not done. it'll take a while (a long while.)#this post was so long it was initially just a tumblr draft that i then put into google docs. and it ended up being over 2k+ words long #is this a research paper‚ thesis‚ or essay? who knows! this just started as just a short analysis after watching the movie on may 5 #final word count according to docs (excluding alt text): 13013 - 43 pages with formatting #i wish i could have added more images to this‚ 10k words vs 30 images really is not doing me any favours…#plus‚ i hit the character limit for alt text for one of the images.#if you see me mixing up british and american spelling‚ you probably have!#oh yeah. if any of the links happen to break at some point. do tell. i have everything backed up #there also may be multiple links strung together‚ just so you know.#I link videos using the EN and CN voiceovers. Just keep that in mind if the jump between two languages seems sudden.#I had to copy and paste this thing from the original tumblr draft onto a new post because tumblr wouldn't let me edit the old one anymore.#Feels just like when I was finalising my song comic…#(Note: I had to do this three times.)#I started this at May 5 as a way to pass the time before 2.2. You can probably tell how that turned out.#Did you know there is a limit to the amount of links you can add to a single tumblr post? It's 100. I hit that limit as well.#So if you want context for some of these parts... just ask.#I'm gonna stop here before I hit the tag limit (30) as well LMAOO (never mind I just did.)

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