#but then the dialogue started writing itself and well

[anominous-user]

Double Indemnity, Veritas Ratio and Aventurine

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

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

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

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

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

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

—

[THE NAME]

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

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

—

[SUMMARY OF THE 1944 MOVIE]

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

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

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

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

—

[THE PENACONY MISSION TIMELINE]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Veritas Ratio - Walter Neff

Aventurine - Phyllis Dietrichson

Sunday - Mr. Dietrichson

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

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

—

[SO, WHAT’S THE PLAN?]

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

Phyllis and Neff —> Mr. Dietrichson

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

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

Main Actor: Walter Neff    |    Accomplice: Phyllis Dietrichson

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

Step-by-step:

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

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

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

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

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

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

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

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

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

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

They leave.

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

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

Profit!

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

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

Aventurine and Ratio —> Sunday

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

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

Main Actor: Aventurine    |    Accomplice: Veritas Ratio

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

Step-by-step:

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

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

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

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

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

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

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

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

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

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

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

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

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

Profit!

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

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

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

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

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

—

[NEFF & PHYLLIS — RATIO & AVENTURINE]

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

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

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

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

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

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

Now the differences between Aventurine and Phyllis:

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

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

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

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

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

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

Neff has dark hair. Ratio has dark purple hair.

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

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

As for the differences…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Phyllis was a nurse. Ratio is a medical doctor.

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

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

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

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

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

—

[THE PHONE CALL — THE REVERIE HOTEL]

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

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

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

—

[QUESTIONING PHYLLIS — THE INTERROGATION]

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

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

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

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

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

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

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

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

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

—

[“GOODBYE, BABY” — FINAL VICTOR]

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

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

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

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

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

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

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

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

And now the differences!

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

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

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

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

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

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

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

—

[THE ENDING — GOLDEN HOUR]

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

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

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

—

[OPPOSITE TIMELINES AND DEVELOPMENTS]

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

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

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

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

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

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

—

[NEFF & KEYES — AVENTURINE & RATIO]

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

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

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

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

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

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

Aventurine - Walter Neff

Veritas Ratio - Barton Keyes

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

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

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

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

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

—

[THE ORIGINAL FILM ENDING]

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

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

—

[THE NOVEL]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Moving on to Ratio:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—

[THE HAYS CODE — LGBT CENSORSHIP IN CHINA]

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

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

(Don’t) Pointed profanity

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

(Don’t) Nudity

(Be Careful) Sympathy for criminals

(Be Careful) Use of firearms

(Be Careful) Man and woman in bed together

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

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

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

—

[CONCLUSION]

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

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

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

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

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

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

—

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

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

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

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

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

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

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

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

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

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

[madelynhimegami]

To my knowledge, you like Puyo Puyo! But what do you enjoy most about it?

Honestly, it might be easier to explain my intoduction to the series. Ideally we'll get there in the end either way. You ever seen one of those "What I Played/What I Expected/What I Got" memes? My story is pretty much like one of those.

I don't remember when I started learning bits and pieces about it, or when Dr. Robotnik's Mean Bean Machine went from being itself to a Puyo game in a trenchcoat in my mind. But by mid 2017 I knew the aforementioned (I called the CPZ boss in Sonic Mania a Puyo boss on twitter when I played it), recognized Carbuncle, recognized Draco Centauros (thanks to a friend who is still a big fan of her), and had heard that there was some sort of story to it, but didn't know a lot of details.

Then in September of 2017, a friend of mine mentioned that he had been playing Puyo Puyo Tetris lately as his go-to "pick up and play" sort of game. I looked it up in the eshop, saw it was cheap, and thought a pick-up-and-play game was what I needed and bought it. Not that I knew shit about playing Puyo well, but I at least had some basic competency at Tetris to balance things out.

And hey, at least the story mode would be a good way to learn! So I dove in to the story and started playing.

I was expecting the story to be inconseqential to my enjoyment of the game. Something either generic or corny, with characters that ranged from "tolerable" to "painful anime cliche."

The thing that knocked me on my ass almost immediately was that the writing was actually funny, made better with the English cast's fantastic delivery.

Those are all from just the story's first chapter! The first one is from the prologue! The other two are from the third scene (couting dialogue before and after a round of gameplay together as one scene)! And it kept going!

For the record, even though I was picky with what to include, and stitching lines from the same scenes together, I still had almost fifty (50) funny moments I wanted to drop out of context, in a game with a rough total of two hours of story material collected to write this post. And then I had to narrow it down further just so I wouldn't hit the image limit too quickly.

Was it a little corny and awkward at points? Sure. Several voice actors had to grow into their roles. Plus, the impression I always had from the script-- an impression that's only gotten stronger the more I learn about this series and then come back to this game-- is that someone on the development team was not expecting this to be all that successful overseas. And not for no reason, since Puyo Puyo's tried to get its foot in the door in the west several times by this point. But the end result of this lack of faith was a localization team that tried very hard to make this game stand on its own merits with as little understanding of the games that had come before as possible. Which, honestly I think they did a pretty dang good job of! Especially since it didn't shy away from the hard-hitting stuff when it came. Which I'm going to intentionally leave even further out of context so as to not give away all of it.

There was also this line here, which was what first clued me in that the writing's quality wasn't an accident, that the writer is actually thinking all this stuff through:

Fun fact, the only people you will see in your dreams are people you have seen while you're awake. The parts of the brain responsible for dreams can't make up new faces, or throw together composites of preeviously-known ones. Hence, this question, which does in fact get answered in the next scene, in a way that made me go, "Ohhh, that's really smart, actually!"

But yeah. That was just this one game. It took me a few more years before I tried other games that had been translated, fan or otherwise, but the more I've played and the more I learn about these characters and their worlds, the more engrossed I get. It's a hyperfixation now. It seems like there's always something new I'm learning about it, but it's not overwhelming, it just feels like I'm knowing a good friend better and better. The modern artstyle is deceptively simple and very endearing, and so many of the characters are interesting and fun. And the current writer is just so galaxy-brained, I'm not even kidding.

The characters in the Puyo Puyo series are all morons. They're all crazy. But at the end of the day, they care about each other, no matter how little they want to admit it. And they all have their own theming to the magic they use. It's a lot of fun. From your standard-fair RPG spells, to cosmic forces, to math terms,

I can't recommend this series enough, no matter what your skill level with puzzle games is! There's something in it for everyone.

Unless you're looking for genuinely evil characters, I guess. Like, there are characters that are intimidating or sinister or threatening, but almost none of them are actually evil. Fraid the closest to that this series has is a(n as-of-now) gender-ambiguous Elon Musk with better hair in the Japan-excusive gacha game.

Further reading from the author (that isn't already on their tumblr):

[1]

[2]

[3]

[applebyss-snakybite]

Here's more of that Sonic fate swap AU of mine. Is swaped Fate au a good abreviation for this? (I really need to come up with a title for this au, yikes)

Nevertheless, since I started things wrong with the villains as an introduction, I'm going to present the main hero: Amy Rose. Amy Rose swapped with Sonic. Now, I know there's a lot of concepts like that with her, but here's my take on it. I've decided to do the character explanation in a way more similar to a fanfiction, I think it makes it more fun to read than just me rambling. And, I think I'm going to write it a little bit as if it was a comic series... you'll see. I hope you'll enjoy this format (if you're even interested) because I think I want to stick with it :

PART 1: Amy Rose

When Amy was a young hedgehog, she was so energetic that her parents bought her a big squeaky hammer so she could have something to spend her energy on, while also allowing them to have a moment of peace from her. Amy really wanted her parents to buy her that hammer, and she ended up loving that hammer to an almost obsessive amount. She practiced several fighting techniques with it to the point that squeaky hammer became more than just a toy. Despite becoming so skilled with the squeaky hammer, she had yet to practice fighting with a real hammer. Nonetheless, fighting and sports became her passion. Once she reached the age of twelve, she became more independent and would explore the hills around her small village by herself.

That was when she encountered her first big conflict she ever needed to face by herself. She found two meanies who were bullying a six years old rabbit girl: Cream. Amy didn't know why they were bullying her, but she fought off the bullies, and Cream is forever thankful for her help. Cream has a creative mind, and she likes to tinker. She has a strong relationship with Chao that help her gather the resources for her art project and also help with the tinkering itself. When she saw Amy fight off the bullies with her toy hammer, she was inspired to build her a better, no, a real one with the help of the Chao. Amy's new hammer was made of wood, painted a pink and yellow, and was far more solid, thus dangerous. Amy and Cream became best friends after this event.

Amy was certain she was going to live the rest of her life in the village she was born in. It wouldn't have minded her if only there were any interesting boys around. It wasn't because she was tomboy-ish that it meant she wasn't interested in finding a lover. She would share her dreams about building a family to Cream, and the two would play house together with the Chao on a daily basis in Cream's secret Chao Garden. Taking care of Cream and the Chao quickly became Amy's favourite thing to do, and the two of them promised to always be there for each other. Cream said she was going to follow Amy wherever she would go. Cream became Amy's little sister at that point, and no one could separate them.

However, one day, the whole world turned around and completely changed the course of Amy's life. On another normal visit to Cream's secret Chao Garden. She noticed Cream at the entrance of it, panicking. The Chao had disappeared, and before she could say more, someone suddenly appeared from seemingly nowhere and kidnapped her. They were swift and fast. But, despite how agile they were, Amy wouldn't back down: her first adventure began here.

But, what or who could be that dark blur that caught Cream?

More will be told in the next part. :>

(Oh gosh, I told myself I wasn't going to do fanfictions on there.... well, each part is planned to be a rather short story without much dialogues, so that's fine.)

[youngpettyqueen]

"I’m sorry—" "No, don’t be sorry. It’s not your fault" for houlihawk 👀

this. got away from me a bit in terms of length but the dialogue started writing itself so who can blame me

The rain has softened from a vicious downpour to a peaceful pattering, the sound filling the empty OR. Hawkeye tries to focus on that and not on what's to come, looking away as Margaret takes a swab soaked with alcohol to the cut in his palm, sliced just underneath his fingers.

The calming pitter-patter of the rain is, unfortunately, not enough of a distraction. He still hisses sharply the second the alcohol touches the wound, clenching and unclenching his free fist a few times to fight the urge to jerk his injured hand out of Margaret's grasp.

"Sorry," Margaret winces, even as she continues to dab at the bloody cut and he continues to whine, "Sorry, I'm sorry-"

"No-" Hawkeye cuts in before she can get another apology in, "No, don't be sorry. It's not your fault,” She doesn’t look up at him, her eyes fixed stubbornly on the task at hand, her mouth set in a deep scowl. That makes a little red flag go a-waving in his head, so he tries, “You do know it wasn’t your fault, right?”

“Of course it was my fault,” Margaret’s tone bites as it comes out, though he can tell the harshness isn’t directed at him, “I’m the one who stabbed you.”

“Stabbed?” Hawkeye echoes incredulously, “Woah, woah, pump the brakes, Margaret. I know I’m being a big baby about it, but let’s not get dramatic. This is a nick!” He exclaims, gesturing at the cut with his free hand for emphasis, “It’s really not that bad! I could still operate with it, remember?” It hurt like a bitch to do so, of course, but he keeps that tidbit to himself, “It’ll be a funny story in a few days, I promise.” 

Margaret shakes her head, still refusing to meet his eyes. “Don’t try to make me feel better, not when I made a stupid mistake like this,” She says, scrubbing a bit harder at the blood that had managed to dry in the lines of his palm, “I could’ve seriously hurt you, and why?” She asks, and then, not waiting for an answer, supplies, “Because I couldn’t keep myself under control.”

“C’mon, Margaret, don’t be so hard on yourself,” Hawkeye pleads, “It was the perfect storm. Literally. The perfect storm to take out our generator, make it so dark you couldn't see properly, and then scare you half to death with thunder so loud you'd think we were being bombed. Half the OR jumped out of their skin, it could’ve happened to anybody!” He insists, “You just happened to be giving me a scalpel and my hand just happened to be within slicing range,” She glares at him and he winces, “Ok, sorry, not my best choice of words. But you get my point- it was an accident.” He presses.

Margaret inspects her work for a moment, examining the cleaned wound. “It won’t need stitches,” She tells him, completely avoiding everything he just said, “But I still need to dress it. Hold still.” She advises, looking away to rummage through his medical bag, which sits between them on the operating table.

“Margaret,” He says. When she doesn’t reply, he tries again, “Margaret.” 

“What?” Margaret shoots another glare at him as she opens a dressing pad, “There’s no excuse for it! What kind of nurse hurts her doctor because she can’t handle a little thunder? What kind of-“ She folds the dressing around the wound and presses it in place a bit harder than necessary, drawing another painful hiss out of him, “Sorry! Sorry,” She’s quick to relax her grip, “I don’t know what’s gotten into me, I’m such a mess…” 

“It’s alright,” Hawkeye reassures her. She doesn’t look convinced, quickly looking away from him and grabbing out a roll of bandages, “But to answer your question, I know exactly what kind of nurse does that,” Her eyes flick to him, unsure, and he tells her, “The human kind.”

Margaret rolls her eyes. "Don't even try that with me, Hawkeye," She turns her attention back to his hand as she starts to wrap. “I should be better than that.”

Hawkeye raises a brow at her. “Better than human?” He asks.

“Yes,” She snips, then quickly corrects, “No. I..." She sighs, her hands coming to a pause, "I don’t know.”

It’s Hawkeye’s turn to frown. “This is really bothering you, isn’t it?” She doesn’t answer. He leans forward into her space, tapping his knee against hers, “What’s going on? Talk to me.” He invites.

"Everything's fine." Margaret replies, automatic.

Hawkeye ducks down, trying to angle himself under her to force the eye contact. "Try again." He prompts.

Margaret closes her eyes, then sighs heavily. "Fine," She meets his eyes at last, “I wouldn’t let what happened today fly if it was one of my nurses who did it. So, I can’t let it fly for me,” She admits, “I’m supposed to be setting an example for them. What kind of example am I setting when I can’t control myself over some thunder? What kind of example will I be setting if this happens during shelling?” She resumes wrapping his injured hand, looping the bandage around his wrist a few times, “I should be able to just… power through. Get over it.” She insists.

Hawkeye can understand where she’s coming from. The weights on their shoulders are different, but similar enough in some ways that he can really feel for her here. He knows how it feels to need to set an example. He knows how it feels when he can’t meet the standard he’s set. He knows how it feels to need to get over something that can’t be gotten over. He knows fear.

But he also knows that the soft, relating approach he would usually employ won’t work with her. She doesn't respond to softness, not when she's feeling like this. The best way to get through to her is to be blunt, direct.

So he asks, “Would you tell me to just get over my claustrophobia?”

Margaret’s eyes snap up to his face again. Her brow furrows in confusion. “What?”

“My claustrophobia,” Hawkeye repeats, “You know, the thing that made it so I couldn’t stay in a cave for more than a few seconds. The totally irrational fear that if the place I’m in is small enough, it’ll just run out of air. Would you tell me to just get over that?” He asks.

“Of course not.” Margaret’s reply is immediate, she looks almost offended at the question.

“Alright,” Hawkeye leans in a bit more, “Then why do you think you ‘just need’ to get over your fear of loud noises?” 

She stares at him for a moment. “Because…” She starts, but trails off, “Because… well, because…” A couple more attempts bear nothing. She looks back at his hand, “That’s different.”

He’s not letting her off that easily. “How so?”

“It just is.” She replies stubbornly.

“Explain it to me.” He challenges.

Margaret opens her mouth. Closes it. Then she sighs. “Alright, I see your point,” She concedes, “I suppose I’m being a bit unfair on myself.”

“Only a bit,” Hawkeye agrees, unable to help a little smirk. That quickly softens as he continues, “The only example you’re setting for the nurses is that you’re as human as they are. Because like it or not, Margaret, you’re only human. They won’t think any less of you for that. I know I don’t,” He taps his knee against hers again, this time playfully, “In fact, I think it’s one of your best features.” He cracks, trying to inject some levity.

Margaret considers him for a moment, her eyes searching his face. Then that frown of hers finally softens, her shoulder visibly relaxing as some tension leaves her body. “Thank you, Hawkeye,” She murmurs. She looks down at his hand as she finishes wrapping, holding it gently in both of her own, “I… I am sorry, though. Really.” She adds.

Hawkeye raises a wry brow at her. “It’s gonna be no fun to use this to extort you if you keep acting like a kicked puppy about it,” He informs her. When that doesn’t get a smile on her face, he continues, “It’s fine, Margaret. Really. You did worse to me with the whip that one-“

Her eyes immediately widen like saucers. "Hawkeye!" She hisses, scandalized, quickly looking around the empty OR as if someone might pop up from the shadows to catch them.

Hawkeye laughs, unable to help himself at the sight of the red quickly colouring her cheeks. "Sorry, sorry," He says, even though he's not really sorry at all, “But really- I'm fine. Like I said, it’ll be a funny story a few days from now. And I promise to only use it to get attention from you once per day. Cross my heart,” He crosses his hand over his heart with a teasing grin, “Wouldn’t want to worry you, after all. Even if you fussing over me like this is kinda sweet.” He admits.

Margaret harrumphs, sitting back with a frown, but it quickly becomes obvious she's fighting a smile and losing. "I'm not sweet." She tells him.

"Mm," Hawkeye hums, "Course not, that's why you're still holding my hand," He holds it up to demonstrate, as both her hands follow where they're looped around his wrist, "Kiss it better?" He requests, just to be cheeky.

Margaret raises a brow at him. Then she rolls her eyes, shaking her head as that fond smile he's been trying to draw out finally graces her face. "I bet you think you're cute." She says.

"I'm adorable," He agrees, "C'mon, one little kiss. You know boo-boos can't get better without kisses." He waves his injured hand a little for emphasis.

"Is that your professional opinion, doctor?" She asks. At his eager nod, she giggles quietly, "Alright, alright," And then she brings his hand up to press a quick, delicate kiss to his palm, "There. All better." She says as she lowers his hand back down, covering it with both of her own. 

“Think I could convince you to give me one of those right here?” Hawkeye asks, pointing at his lips. 

Margaret smiles oh-so-sweetly at him. “Not unless you’ve got an injury that needs attention.” She replies. 

“Gimme two minutes to find Charles, I bet I can get him to punch me in the mouth.” He presses.

Margaret laughs, a proper laugh this time. Bright against the gloomy backdrop of the rain outside. "You're ridiculous!" She cackles.

Hawkeye just smiles. "Yeah." He agrees. He's already won his victory- her sunbeam smile, warm and glowing and all too easy to bask in.

[kashilascorner]

my conclusion after finishing the witcher season 2 is that they had a very clear storyline which is overall ok but the writing (especially on an episode basis) is weak at best

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[fairyhaos]

How To Fucking Write: a guide by fairyhaos

[masterlist]

this post details:

DIALOGUING INTERESTINGLY

hi gays and gals! the first post on starting and pacing a story did really well, so "how to fucking write" is back, with yet more advice and tips for everyone ^^ please feel free to let me know if there's something you want me talk about, because i'll be more than willing to see if i can help. also a reminder that i have a taglist for this series as well, and please reblog if you find this helpful :)

# - HOW TO DIALOGUE.

.. bullet point one : grammar

okay guys, as a native english speaker, i'll be the first to tell you that this language fucking sucks in terms of its grammar, but when it comes to dialogue, understanding how it works even to some extent will help you branch out and vary the way you write dialogue, which makes it so much more interesting.

with dialogue tags (said, asked, etc) if the punctuation mark in the dialogue is not a ! or ? then it should be a comma.

example : [junhui + castle]

as you can see in the first line, a comma is used rather than a full stop, because the sentence hasn't been finished yet. there's a dialogue tag, ('you correct'), that comes after it. and since the pronoun 'you' isn't a proper noun (i.e. a name) then it shouldn't be capitalised, because, again, the sentence hasn't been finished.

with action tags however, (he smiled, he stood up, etc) then it should be a full stop.

example : [i just made one up bc i don't use this a lot lmao]

"I disagree." He stood up, and walked over to close the door. "This isn't safe. You shouldn't go alone."

and now, since there is a full stop, it indicates that the speech is a sentence all by itself. that means the next word ('He') ought to be capitalised.

but the key part when grammar-ing dialogue in order to make it interesting depends on where you put the action and grammar tags.

if you constantly have lines that are just:

"dialogue," he said.

"dialogue," she said.

"dialogue but a bit longer," he said.

... then it can get repetitive, and annoying. by varying your dialogue structure, it can create more interesting dialogue.

example : [minghao + password]

there's a variety of dialogue and action tags being used with each line of dialogue, preventing everything from sounding too repetitive.

the first line starts with a normal sentence, and an action tag. the second is a standalone line of dialogue with no tags. the second has the action tag in the middle of the dialogue. and the last has a dialogue tag in the middle of the dialogue.

by varying the ways in which you write your dialogue, it makes everything a lot more interesting.

.. bullet point two : verbs and adverbs

the easiest way to make dialogue interesting, though, is to use fancy words.

this can be by replacing 'said' with a range of other dialogue tags (see this really comprehensive list for a whole variety of different words), but i'd advise against overusing these. 'said' is your friend! it's the invisible dialogue tag, helps your reader read through your dialogue in comfort, but of course, if you wanna add a nuanced way of describing the dialogue, then replacing 'said' is the easiest way to make your dialogue interesting.

but don't overuse these. for me, i'd focus on action tags and adverbs.

use interesting adverbs that add description to how a character is saying something can go miles. and using action tags that break through what could have been a long section of characters just talking? it helps so much.

i'd recommend having onelook thesaurus open as you write. you don't have to type in just words: phrases, the overall vibes of the word you're thinking of, all of that can be typed into the thesaurus and they'll provide you with pretty good results each time.

it also really helps when you've forgotten a word and can only remember vague bits of what the word should feel like.

.. bullet point three : voices

the best way, however, is ultimately to create a character. write a personality for them, bring them to life, think about the way in which they would talk and then put that down onto paper.

it's difficult, perhaps the most difficult to do, because it's also so tricky to advise someone on how to do this. it's all about the character you want to create, the personality you envision for them, and the only person who can fully write that is you.

however, i would find a few 'ticks' of theirs and use them as indicators in your writing.

for example, in my seoksoo long fic, seokmin's tick is that he always "chirps" what he's saying. and beams. a lot. this identifies his character, makes him unique(ish), and establishes his personality and differs him to the other characters.

but ultimately, it comes down to word choices, when you're writing a character voice.

like, your character describing something with elegant, floral language vs them going "this is so pretty". or perhaps making them stumble over their words when they're panicked vs them simply just going silent when they're flustered.

it's about being specific. about making choices with your words that would have english teachers analyse and unpick your writing, hundreds of years later.

(even if it's fanfic. especially if it's fanfic: because who knows how many fans may join your fandom in the next few years?)

... and that's it ! if anyone has anything else they want advice on (how to structure, how to write dialogue, how to plan etc) then just shoot me an ask, because i'd love to help however i can :)

tagging (comment/send ask to be added!): @selenicives @stqrrgirle @weird-bookworm @eternalgyu @blue-jisungs (tough luck guys btw but youre gonna be tagged in this entire series ehehehe)

[funnyoldworld-isnt-it]

There are so many posts about the weirdness around Nina and Maggie, but the thing that has always bothered me the most is that both of them know Aziraphale but neither one of them seems to know Crowley. Like, at ALL. Not even by sight. Which doesn’t make any sense. For the last four years, Crowley has basically been unemployed and homeless (this sentence made me so sad to type). He has had literally NOTHING to do except hang out at Aziraphale’s bookshop. And the vibe at the beginning of s2 is that he’s there a LOT. Like, multiple times per week (“we both get plenty of use out of it, don’t we”). When Aziraphale calls him in the first episode, he says “2 minutes” the way you tell your spouse how long until you’re home from the grocery store, especially if you were on your way home already.

The dialogue goes to great lengths to highlight that Nina and Maggie SHOULD know Crowley, which just heightens the weirdness of it. When they're at the pub, Crowley asks Aziraphale, “What’s wrong with the cafe?” (implying they usually go to the cafe), but Aziraphale made a point of introducing Crowley to Nina in the first episode. And Nina makes a point of saying to Maggie that she always remembers “the regulars," but she doesn't seem to remember Crowley. Of course, she immediately notices both Jim and Muriel outside the bookshop, so she's clearly paying attention to what's happening in the neighborhood and it seems like she couldn't have failed to spot him coming and going all the time.

And Maggie's situation is even weirder. Her whole back story is that she basically grew up IN the bookshop because her grandmother’s record store was essentially in a corner of the bookshop. And yet, when Maggie and Nina see Crowley on the street right before the lightning strike, Nina says, “Do you see that bloke? Six shots of espresso and he's smoking,” and Maggie responds, “I think that man was just struck by lightning.” Which is something you say about someone you’ve never laid eyes on before. She didn’t say, “Oh, that’s Mr. Fell’s friend,” or “I’ve seen him around. He stops by Mr. Fell’s shop a lot.” And then when he comes back, "It's him. The one who was just struck by lightning. The six shots of espresso." Again, no flash of recognition of anything before the current day. This happens immediately after she's just told Nina about knowing Aziraphale since she was little. It’s just weird. Why build a back story that would put her in extremely close proximity to Crowley LITERALLY her entire life and then write dialogue that makes it clear she's never laid eyes on him before?

You could maybe think, well they're just so used to having to hide...but then I asked myself: Does it make sense that the day that you find out there is an extremely dangerous, existence-threatening problem hiding out in your ineffable husband's bookshop is also the day that you would decide to STOP keeping a low profile and start wandering the streets with abandon, introducing yourself to all the local shopkeepers, and ferrying large plants into and out of said bookshop? No. No, it does not.

In any other show, you could assume that the writers just didn’t think about it very carefully. But, given the layers and layers of meaning and symbolism baked into every detail of this show, from the dialogue, to the costuming, the set design, lighting, blocking, etc., and the way that the story folds back on itself again and again, it just feels significant.

[skaruresonic]

The common rebuttal to "this reads like fanfic (derogatory)" is "read better fanfic," which is true in certain cases, but on the other hand, there is some grain of truth to the idea that you can tell when someone's primary mode of literary analysis is fanfic instead of... well... literally anything else. It's okay to like or even prefer fanfic, but if you want to take your craft seriously you also need to read books, dude. Published books will teach you a lot of stuff fanfic doesn't, like proper dialogue formatting and how to introduce your reader to unfamiliar characters. Even the crappiest book (well, if it's not After or 50 Shades, which started off as fanfic to begin with lol) will have been subjected to some sort of editing process to ensure at least the appearance of proper grammar. That's not a guarantee with your average fanfic, and hence why you can't always take all your writing cues from fanfic because it's "so much better" than commercially published original fiction or whatever. Frankly, fic writers tend to peddle some absolutist and downright bad takes sometimes. "Said is dead" is a terrible rule, though not because said is invisible and a perfectly serviceable tag; that's just part of it. Dialogue tags are a garnish, not a main dish that can be swapped out for more ostentatious words. If your characters murmur and mutter instead of simply saying stuff, your readers are going to wonder why nobody speaks up. "'I'm explaining some very plot-important shit right now lol,' she elaborated," likewise, is a form of telling. Instead of letting the reader extrapolate that "she elaborated" via the contents of the dialogue itself, you're telling them what to think about it. And that's why it's distracting: your authorial hand is showing. Writing is an act of camouflage. You, as the writer, need to make your presence as invisible as possible so as to not intrude on the reader's suspension of disbelief. That's the driving reason behind "show, don't tell." And overall, everyone could stand to cut down on the frequency of their dialogue tags anyway. Not every exchange needs "he said" or "she whispered" attached as long as you establish who is doing the talking before the exchange. Some people will complain of confusion if you go on for too long without a dialogue tag, and that definitely is a risk, but at some point you also need to resist the temptation of holding the reader's hand. If they can't follow a conversation between two people, chances are they weren't meeting you halfway and paying that much attention in the first place. In fact, you don't even necessarily need action beats in between every piece of dialogue, as Tumblr writing advice posts will often suggest as a fix. Pruning things often cleans them up just fine.

Another fanfic-influenced trend in writing is, I guess, beige prose? A heavy focus on internal narration with lots of telling. It's not a style I can concretely describe, but every time I click on a non-mutual's writing, I feel like it always has, like. This "samey" voice to it. There's no real attempt to experiment and use unique or provocative language, or even imagery half the time. It's almost a dry recital of narration that doesn't leave much room for subtext. I see this style most often in fanfic where you can meander and wax poetic about how the characters feel without ever really getting around to the plot. And it's like. DO something.

Other tells that the author is taking their cues from fanfic mores rather than books: >>too much minute description of eyes, especially their color and their movement >>doesn't leave much room for subtext (has a character speak their every thought aloud instead of letting the reader infer what they're thinking via action or implication) >>too much stage action ("X looked at Y. Y moved to push their seat in. X took a deep breath and stepped toward Y with a determined look on his face. 'We need to talk,' he said.") >>tells instead of shows, even when the example is about showing instead of telling ("he clenched his teeth in agony" instead of just "he clenched his teeth") >>has improper dialogue tag formatting, especially with putting full stops where there should be commas ("'Lol and lmao.' she said" instead of "'Lol and lmao,' she said." This one drives me up a wall) >>uses too many dialogue tags >>"em dashes, semi-colons and commas, my beloved" - I get the appeal but full stops are your friends. Too much alternate punctuation makes your writing seem stilted and choppy. >>"he's all tousled brown hair and hard muscle" and "she's all smiles and long legs." This turn of phrase is so cliche, it drives me up a wall. Find less trite ways of describing your characters pls. >>"X released a breath he didn't know he'd been holding" >>every fucking Hot Guy ever is described as lean and sinewy >>sobbing. why is everyone sobbing. some restraint, pls >>Tumblr in general tends to think a truism counts as good writing if you make the most melodramatic statement possible (bonus: if it's written in a faux-archaic way), garnish it with a hint of egotism, and toss in allusions to the Christian God, afterlife, or death. ("I will stare God in the face and walk backwards into hell," "What is a god to a nonbeliever?") It's indicative of emotional immaturity imo, that every emotional truth need be expressed That Intensely in order to resonate with people. >>pushes the "Oh." moment as the pinnacle of Romantic Epiphany >>Therapy Speak dialogue. why is this emotionally constipated forty-something man who drinks himself stupid every morning to escape gruesome war memories speaking about his trauma like a clinical psychologist >>"this well-established kuudere should Show More Emoshun. I want him to break down crying on his love interest's shoulder from all his repressed trauma" - I am begging u. stop >>"why don't the characters just talk to each other?" "why can't we have healthy relationships?" I don't know, maybe because fiction is not supposed to be a model for reality and perfect communication makes for boring drama?

>>improperly using actions as dialogue tags ("'Looks like we're going hunting,' he grinned") >>why is everyone muttering and murmuring. speak up >>too many adverbs, especially "weakly" and "shakily." use stronger verbs. ("trembled" instead of "shook weakly") >>too many epithets ("the younger man" or "the brunette detective") >>too many filter words ("he felt," "she thought," "I remembered")

>>no, Tumblr, first-person POV is not the devil; you're just using way too many filter words (see above) and not enough sentence variation to make it flow well enough. First-person POV is an actually pretty good POV (not just for unreliable and self-aware narrators) if you know what you're doing and a lot of fun crafting an engaging character voice. Tumblr's hatred of first-person baffles me, and all I can think is you would only hate it if your only frame of reference was, like, My Immortal. Have you tried reading A Book? First-person POV is just another tool in your toolbox, and like all tools, it can be used properly or improperly. But it's not inherently a marker of bad writing. The disdain surrounding it strikes me as about as sensical as making fun of the concept of characters. Oh, your work has characters in it? Ew, I automatically click off a fic if it has characters in it. like what.

[ofallthingsnasty]

capture kill

Pairing: M!Werewolf x F!Reader x M!Werewolf Tags:  teratophilia, yandere, dead dove: do not eat, noncon, abduction, (attempted) forced impregnation, creampies, chubby reader Word count: 3.8k Summary:  Two men are secretly fighting over you.

Unfortunately, you’re about to find out.

Note: This started out as some dialogue that popped into my head and it was a lot of fun to write out the dynamic between these two OCs! Please read the tags properly and enjoy. Requests are open!

You smell before you feel.

The air is ripe with motor oil and wood, just like your family's little shack during summer evenings. An almost musky note lies underneath, mixed with something metallic, rusty - old equipment, maybe? It’s quiet, the only thing you can hear is your own breathing, deep and constant. There is the occasional creak from the boards, expanding and moving against each other in the heat. The wall you're propped up against is hard but warm from the sun - it’s not a comfortable position and the moment you realize it, a familiar ache settles itself in your lower back, clearly a sign that you’ve spent a long time sitting like this.

Did you fall asleep hiding behind one of the shelves with a book in hand, enjoying a lazy summer evening? 

It wouldn’t be the first time: The shack is the only place where you can truly be all by yourself - without any disruptions from your family, without anyone asking for you, without any chatter and the constant clatter of dishes or the static of the tv. You’ve always liked to hole up right here, seated on a cushion and with some snacks in hand. You’ve spent many quaint evenings like this, forgetting the world around you.

There is only one problem: You don't live anywhere near your parents' house anymore. 

And you’re pretty sure that you were just enjoying your favorite iced drink at the cozy little café around the corner. The thought shocks you from the very last bits of sleep.

It’s dim around you. You can barely make out the rest of your body while an unnatural drowsiness still clings to your eyes - it seems to sit right on top of your lids, weighing down on them like a ton of bricks. You feel so incredibly groggy, as though you’d die if you didn’t fall back asleep this second. A small part of you fights against the feeling - it’s too easy, you think, to just simply give up. Something is off, something terrible churns your stomach around nothing but air.

Rolling up your head, you blink at the ceiling. 

Green eyes peer back at you, big and apologetic. They're lined by silvery-white fur, between them a muzzle. Too high above you to be a dog, too broad. The thing is bipedal - more bear in body than canine, with disgustingly big paws that look like they could rip you limb from limb. It eyes you with something akin to curiosity, intelligence clear as day in its gaze.

You blink again, brain trying to catch up with your eyes.

And then it speaks. Awful, garbled words. “I’m so sorry, darling.”

You can’t help but scream.

Or at least you try to, because your mouth won’t open. Your lips are held together by something hard and sticky - duct tape, your mind numbly supplies as if it’s of dire importance.

The thing looks stunned - panicked, even, as far as you can tell from its eyes widening at your muffled protests and your head wildly swinging around.

“Yeah, yeah you’re sorry”, another voice cuts in, only making you thrash around harder. “We get it, you’re trying to save the romantic atmosphere or some shit.”

It comes from the corner of the shack, where a shadowy mass stands, postured leisurely against the wall. It is dark - but there is no doubt that it looks just like the wolf-man in front of you. You feel like you’re hallucinating. As if being abducted wasn’t something out of your worst nightmares already - these animals are so bizarre, your poor brain doesn’t know what to do with all of this information.

“Well, how do you expect me to go about it?”, the one in front of you hisses back, eyes not leaving you for a second.

“It definitely helped the whole fighting thing, dumbass”, the other thing snickers and the wolf-man growls at the mocking tone. “I told you we should have just done the deed when she was out cold.”

The sentence confirms all of your worst fears. You whimper against your makeshift gag, trying to suppress tears. The thing gives you what you think is supposed to be a sympathetic look but it only looks ghoulish on its canine face.

“That’s barbaric”, it says, voice thick with disgust. “Yeah, and this right here is the height of chivalry and romance”, the dark one chortles. “As always, you’re a fucking hoot.”

“Shut up.”

“Well- I’m sure, the missus would like an explanation. So quit yapping and do your little monologue, will you?” “Fuck you.”

It gives the other an irrated look and then takes a step forward. You flinch away from it, only to meet the wall behind you. An attempt at raising your hands in defense is foiled thick rope binding them together - you can only cower behind your forearms, fingers swiping, gripping wildly through the air with what you hope is enough to keep it at bay. The wolf-man looks almost sad at your motion but doesn’t back off - those giant paws wrap themselves around your shoulder with surprising gentleness as it crouches down, completely disregard your attempts at scratching it. The thing holds your gaze with big, sad eyes and takes a stuttering breath. It seems to want to say something but isn’t able to - and the fingers on your shoulder tighten themselves into the fabric of your shirt.

Then it says your name- and chokes up. “I can’t-”, it grits out. “I can’t say it-” “You’ve been preparing your shitty talk all the way up here, grow some fucking balls.”

It whines in response, the sound high and miserable. “She’s going to hate me for this.”

“Oh my god, shut up, Evan!”, the dark one snarls again. “She’s gonna hate you either way, believe me.” Evan. The name rings a faint bell even in your panic-ridden brain. Evan. The baker from your favorite little shop a few minutes down - who has the same green eyes to match this thing. A couple years younger than you and so very sweet like the pastries he bakes - you can hardly believe he is this monster. But clear as day, in front of your own two eyes, the wolf responds to his name and has his eyes - even his blond hair sort of matches its coat, if you squint. You thrash in Evan’s grasp, thoughts rushing through your head. You feel like you’re dreaming and dying at the same time - that thing can’t possibly be a human - and this situation can’t be real, either. It’s all too much, too fast. You’re starting to feel faint.

“I-”

“Fine. I’ll do it myself, cuck.” The other steps forward and you get a better look at him, even through the black and green spots that are sprinkled all over your vision - his dark fur is peppered with silvery streaks, his muzzle turning white from age. One of his canines is chipped and makes him look roughed up, makes him look scarier than he already is.

"You see, sweetheart - me and Evan over here are quite… interested in you. Tried to settle this issue for weeks. But then our alpha stepped in and came up with", he waves his paw around as if to show you something, "this."

"And now we're gonna fuck you and see which one knocks you up first, hm?"

You lose it. Whimpering against the duct tape, you throw your legs around, desperate to fight them off. Some animalistic part of your brain supplies you with the thought that just trying to scream no, no, no against your gag might make them spare you, might make them go away. But Evan doesn’t let up, he keeps his hands on you, heavy and warm.

"You scared her, fucking asshole!", he snarls, teeth bared and fur raised.

“She wasn't gonna like this either way, boy. Some woo-woo words and a little sap won't make her fall for you immediately.”

You thrash around helplessly, efforts futile against the monster holding you down.

"You had the chance to ask her out every damn day when she took her pretty little face to your shop. And didn’t you follow her home sometimes?”, the other one snickers, clearly delighted in picking on his mate.

It makes you stop dead in your tracks and you look at Evan with wide eyes, scared. 

The darker one laughs. “Would you look at that. Did I tattle?”

By now Evan’s claws are buried in your shoulder. It hurts, even through the cotton of your t-shirt. Not even your whimpered protest seems to reach him. He looks positively murderous. “See, loverboy over here isn’t as innocent as he’d like you to think. Nasty little creeper, that one.”

“Shut up, Bill-”, Evan grits out.

Bill. Such a mundane name for a monster like him. Unlike Evan, it doesn’t ring a bell - but you’re sure he is a local just like the young bakery worker.

“That's enough”, Bill says, voice suddenly full of authority. “You’re only making this worse for her, boy.” The paw on your shoulder trembles. “At least let me go first.” His voice is nothing more than a whimper now, more reminiscent of a sad child than a fully grown man grotesquely stretched into the body of a wolf. He sounds absolutely pathetic like this and you’d pity him in any other situation.

Bill laughs, deep and ugly. It’s an almost dry chuckle that gets gradually louder. The atmosphere shifts to something more dangerous, more serious - gone is the playful teasing, now it sounds like he’s ready to rip Evan’s throat out with his bared fangs.

“I am your elder. I get to go first.”

Evan doesn’t respond. He just stares at your lap with an indecipherable expression.

“You hear me, boy? Hugh said this was the way to settle things. Trying to question your alpha?” The threat in his voice is clear. Evan finally opens his mouth. “No.”

“Good. Very good.”

He finally lets go of your shoulder and steps aside. Bill doesn’t waste any more time - you’re grabbed by your ankled and roughly pulled onto floor, helplessly flailing your bound hands through the air. He’s on you almost immediately, caging your head in with two thick arms. You can only stare up at him with pleading eyes, trying to beg him to stop with your expression alone.

“Sh, princess”, he says, almost gentle. He bows his head down and nudges the crown of your head. “I can play nice with you, you know? I just don’t like that little cuck over there”

His words do little to calm you. 

Whimpering against the tape, you let tears spill freely. You just want to be home, in your bed - just anywhere but not here. “It’s okay”, he murmurs and licks them away with his rough tongue. “You’ll be fine. You’re a little fighter, I know you are.”

A growl sounds from the corner but Bill isn’t fazed. He caresses your face with one clawed finger and crinkles his eyes at you. It’s another attempt at a soothing gesture, another one that doesn’t work.

“Poor thing, hm? Let’s get this over with.”

You can barely cry in protest before he rips your shirt open with sheer force, digs his claws into the cotton like it’s butter. Your skin prickles with fear as he eyes you, soft form and all, like the finest cut of meat he’s ever seen. Gone is that almost-warm expression, that deceptively gentle touch. He’s back to his snickering, old self. “Cute bra, baby. Too bad it has to go.” And with that, Bill slashes the straps and rips the band away. Your torso is completely bare in a matter of seconds, leaving you to shiver on the rough wood, the scraps of your shirt barely shielding your back from the ground.

Evan groans from his place and the sound curdles your stomach. 

“Just ignore him, baby”, Bill says and bares his teeth into a ghoulish smile above you. “He’ll have his turn but I’m gonna knock you up and keep you.” With another rip of elastic and cotton, he frees you from your pants. The floor is cold against your skin and you already can feel the splinters that are about to bury themselves into you - but it’s nothing compared to the terror awaiting you. “A little uncomfortable?”, he hums above you. “Sorry about that, babe. Gonna have to do for now.” He stuffs his whole snout into your bush and groans. The feeling is alien, his muzzle warm and wet and you shudder with it. “You smell divine.”

When he pulls back, his dick is unsheathed, hard already. He palms himself while he stares down at you, dark eyes enraptured by your form. 

“You’re just-”, he grunts. “About the sweetest thing I’ve ever seen-”

He pinches the fat of your belly with a surprising gentleness, the sting tender. 

“Look at you, all soft and round. So perfect for me.”

He leans over and kisses and bites your neck, your shoulder, even your jaw - gently, which only freaks you out more. He really won’t stop, will fuck you in a matter of minutes and you can’t do anything about it. You know you aren’t ready to take him and he is definitely bigger than average in this form. The dread that blooms in your stomach feels like a punch to your gut. 

“Deep breaths, princess”, he rasps above you, able to read every single thought that flits through your head in your terror-filled eyes. “Nothing much you can do now.”

As sick as it is, it rings true somewhere deep in your panic-riddled brain. Bill shuffles around a little bit, without ever breaking eye contact. There is a warmth that touches your leg and you know exactly what it is - his cock rests heavy and hot on your skin. Slightly wet with pre-cum, it twitches between your thighs. You barely dare to peek down, not wanting to see what is about to happen.

“I’m gonna enjoy this.” Bill groans, buries his muzzle in your shoulder and pushes himself into you. He is incredibly thick and it burns. The feeling is unlike anything you’ve experienced before - raw fear for your life leaves you dry and clenched uncomfortably around his dick, making him snarl and hiss above you. You can feel your own tightness around him and fold your bound hands into nothing, fingernails digging themselves into your palms.

If only you had something to grasp, to make this more bearable. The only thing you can do now is grit your teeth and take it.

“Oh shit, princess”, he sighs, completely blissed out and without any regard for your pain. To your surprise, he bottoms out slowly and waits for you to adjust - or at least what he thinks adjusting is. You're still not ready when he finally starts fucking you in earnest, slow and deep. 

"Fuck-", Bill grits out directly into your ear, his voice muffled. "You got the perfect cunt, baby. So fucking- tight."

You pay little mind to his words, too focused on the steady push and pull, on the dry stab of his cock.

“Knew it when I first saw you that you'd be perfect for me. And I'm gonna-”, he moans obscenely loud as your cunt flutters around him. “I’m gonna fuck you full of my pups- just wait-” The thought of being pregnant with this monster’s child almost makes you weep. “You’d like that, wouldn’t you?”, he groans, his pace picking up. “My cute little wife. That’s what you’ll be, princess.” The sentence earns him another threatening growl from Evan. He only laughs in response, deep and unspeakably ugly. “Yeah, you’ll be perfect-”, his hips crash into yours as he fucks you even faster, the sound vulgar and loud in the otherwise silent shack. “I’m gonna make sure that this little cuck will cry himself to sleep for the rest of his life. Gonna give you a bunch of brats-” It’s clear that he’s just rambling now, too entrenched in his own pleasure. But the thought still makes you still freeze in fear, the very possible future of being with his child terrifying. He’ll give you at least one, to claim you. Ruin you forever.

You clench around him in fear and he loses it - snarling, drooling and almost hollering above you, he fucks you so hard your head gets pushed into the wall again, every thrust bending your neck into an awkward angle.

You know he has to be close now and you’re grateful for it. One, two heartbeats pass as keeps pounding you so hard you know you’ll feel his dick in you for days to come.

“Oh- fuck”, he grits out as he buries himself into fully, the stretch making you bite your cheeks to bear the pain. “I’m gonna knock you up-” And then he’s spilling himself into you, the hot, wet feeling of his cum deep within you. Bill yelps and shouts as he empties himself into you, various curses and praise peppered in between the moans. It takes him a good minute to calm down again, to collect himself.

Still a little out of breath, he smiles down at you with almost sadistic glee as he licks the side of your sweaty face. “Come on, cuck. Time to get your sloppy seconds.” He’s on his legs in a heartbeat, still marveling at the mess he made just seconds ago. “You better do it quickly because my swimmers are already working their way up there”, Bill laughs and all but shoves Evan out of the way as he goes back to his place in the corner. “Have fun, boy.”

The younger man is by your side in an instant.

“It's okay, honey, it's okay”, he whispers, those big green eyes filled with tears. He tries to soothe you and strokes the top of your head but the gesture only freaks you out more. “This is all my fault, and I'm sorry, so sorry.”

The apology would have been a little more sincere if his dick wasn’t already poking your thigh.

“Oh, darling”, he sighs tearfully. “I’m so sorry it had to be like this- I just- ”, he starts but interrupts himself with a hiccup. “I swear, if I had talked to you sooner-” Not even the snicker from Bill’s corner can snap him out of it. “But I’m gonna make it right. You’ll see, I’m gonna make it up to you, darling”, he babbles on, his words only unsettling you more and more. “You’ll have to forgive me, yeah? You have to.”

He’s a goddamn lunatic. 

You can’t help but look back at the older man, almost wanting him to intervene. Before you can make any eye contact, you’re pushed into a hairy chest by a tight hug. “I promise. But first, we’re gonna get through this”, Evan rumbles out above you, making the dread flare up again.

He wastes no time after that. You’re freed from his arms and placed on the ground - gently, but with unsteady hands. He looks as though he’s drooling above you, parting your legs and sniffing your belly with anticipation. His cock seems to be a little smaller than Bill’s, but considerably thicker - it bobs up and down as he licks your stomach, your tits and your neck, his tongue almost shy.

At least Bill’s cum serves as a lubricant, you think, as sick as it is. “My pretty girl”, he hums. “And soon all mine.”

And indeed, the stretch is almost bearable as he enters you. You’re glad he doesn’t reach as deep as Bill does because the speed at which he fucks you is sloppy and fast from the start - he pushes into you with so much need and desperation it knocks the air out of your lungs with every thrust.

“I love you”, he moans. “And we’re gonna- we’re gonna spend our lives together, yeah? I’m gonna take such good care of you-”

He’s talking himself into a frenzy, his words nothing but the lovesick rambles of a freak - they just make you feel more hollow. “Really love you, angel- oh-”

His muzzle opens and he kisses you over the duct tape, tongue pressed against the plastic and spit sliding down to the sides of your face. He doesn't seem to mind, not with the way he moves his jaw against your taped mouth, frantic and uncoordinated. It’s disgusting.

Unable to move away, you can only press your eyes together and let it run down your skin.

“You’ll love me too, I know it. Just know it-”, he pushes your hands onto your chest as a leverage to go even faster. “We were made for each other.” “We’ll forget about this and live happily ever after.” Now he sounds completely delusional.

His twisted little fantasy of domestic life with you only spurs him on, his moans getting more choppy and broken with every slap of his hips against yours. He seems to be a quicker shot than the older man, too hung up on his bizarre dreams and hopes. You thank whatever godly entity out there for it.

“Fuck- darling, I think I’m about to-”, he whines but doesn’t get any further before his orgasm rips through him.

You’re a proper mess now. The second load of cum feels obscene within you, all warm and sticky as it spills out around his dick and onto your quivering thighs. He fucks into you for another few, sloppy thrusts before he stops to catch his breath. Evan looks so calm suddenly - gone are the tears, the shakiness. He gently kisses the top of your head, the gesture tender. 

“You lovebirds okay?”, Bill says, his voice suddenly quiet, higher.

Evan’s head snaps again, a weak growl telling the other to stop his teasing. You use the shift to peek up from underneath  him, curious as to what changed. A naked man stands in that same corner in Bill’s stead, smoking a cigarette without a care in the world. Salt and pepper hair is fluffed up on his head, slightly greasy - your tired eyes have seen him once, you’re sure of it. 

“Like what you’re seeing, babe?”, he grins and whistles out some smoke. 

“Leave her be, Bill. She deserves some peace now.” He barks out a laugh, then takes another drag from his cigarette. “Yeah, yeah. I hear you.” Finally, Evan pulls out, forcing out an obscene amount of cum and fluids out of your abused cunt as he withdraws. It lands on the floor beneath you unceremoniously, the noise sickening. He caresses your stomach before he gets up, already contemplating how you’ll look like swollen with his child. “We’ll have to wait a little but she’ll stink like one of us soon”, Bill snickers at the sight, one chipped tooth just as pronounced as it is in his wolf form. He pats Evan on the shoulder in an almost brotherly fashion, both too worn out to fight anymore. Bill stomps out the cigarette with another sigh and stretches as though he is simply a little tired from a long day. He grins before holding the door open, the world outside already dark.

“Don’t worry, princess. We’ll be back tomorrow morning to make it stick.”

End note: And? Who would you pick? Maybe even both? Do tell me 👀💕

[alchely]

My Top Gallavich fics

So, under the advice of the lovely @iangallagherisadeadman I've decided to compile a favorites Gallavich fic list along with a brief rec of each, this won't be a strict top 10 cause I'm not gonna torture myself into excluding some of these stories on some made-up self imposed arbitrary rules.

A bunch of disclaimers: most of these fics are long fics, going from 30k words up, I'm not purposefully excluding shorter fics, I have read plenty of them, but they do have a harder time sticking in my head months after reading.

Most of these fics will be explicit, just read the tags on the fic itself if you want to find out more.

Some of these fics don't have links because the authors chose to lock them and as such make them unlinkable, in order to read them you will need to go through the author's page while you're logged in your AO3 account.

This ended up ballooning out of control and is A LOT longer than ten fics, I apologize in advance :p.

YOU'LL NEVER SEE US AGAIN – spoonfulstar - 231k words

Mickey and Ian have been students at Marceline boarding school their whole lives, as their time at the institute draws toward the end they will start to discover many things, about themselves, about each other and about the world they live in.

THIS FIC! I CRIED! The number of fanfiction that are able to make me cry can be counted on a singular hand, the emotional stakes get higher and higher as the story goes on, leading to a beautiful and bittersweet climax.

This story will make you think and feel deeply about topics you'd never think a shameless fic would delve into.

I am obsessed with Mickey in this fic, he and Ian grow up in an environment that could not be more removed from South Side Chicago and yet his personality is still so recognizably and distinctly Mickey.

The story goes very dark at times, and the fic itself could be considered lengthy, but I assure you the author has made sure to not make you feel it. Those 200k words flowed so well the story did not feel long at all.

HELP ME (TEAR DOWN MY REASON) – wehangout - 34k words

Mickey is a detective and Ian becomes a suspect in an investigation except Mickey already knows him because he's his favorite dancer.

This fic falls under the umbrella of fics where “Mickey is so in love with Ian he does something unbelievably crazy”.

Oooh boy, this fic, it's written in second person (yes you've read that right), tbh out of all fics I've read from this author I think this one was the easiest to adjust mentally to the change in perspective.

I loved Mickey’s “love” in this, just… This raw connection to Ian, the perfect cocktail of feelings, I could read that all day long.

IN ANOTHER WORLD – Roryonic - 249k words

Mickey does not get sent to prison at the end of S5, what happens after and how his presence influences future events (mostly Ian, but also every other Gallagher as well as his own family).

As far as I'm concerned this fic is the closest to a perfect S6 and beyond fix-it. The dialogue writing in this story is so close to canon Shameless that I could picture entire scenes in my head with the actors playing the characters, with their body and personality quirks.

Sometimes I find myself describing this fic like it's the actual show's deleted scenes, “Look, Mickey has his own storyline! And Mandy is here! And the existence of Yevgeni does not become a plot hole!”

There are some Mickey lines in this fic that to me are as canon as if they'd been in the show. Absolutely iconic writing.

I love this author so here's a rec of some of their other longfics, however I highly suggest a lot of their other much shorter stuff as well:

BATTLESHIPS AND LOVE BOATS: Ian and Mickey start their “no strings attached” kind of sex relationship a little later than canon but their attraction and love is just as strong. This is a sort of High School AU that turns into a Prison AU that turns into something else and every shift is just as lovely as the next.

YOU SMELL LIKE LOVE: Ian and Mickey are childhood friends, to the point that the rest of the Gallaghers might as well consider Mickey a seventh brother, mmmh, I sure wonder how things will start to change. Look, I never thought I'd love a childhood friends AU for Gallavich yet here I am, if it's good it's good.

ME AND THE DEVIL: Mickey unconsciously calls for a vengeance demon and Ian Gallagher shows up at his door, because Mickey is a stubborn dumbass they fall in love instead. This story has a lot of twists and turns and the premise is only the very beginning of the story. I LOVED it!

THE INCREASINGLY POOR DECISIONS OF IAN GALLAGHER – Shamelessquestions - 309k words

Ian is a dancer in a club, he accidentally gets involved in the affair of a dangerous mafia don, but the true danger is the attraction he and the mafioso’s right hand Mickey feel for each other as soon as they meet.

What. A. Classic. Truly, an unforgettable story, and I don't mean this in hyperbole, I read this story around… 2016/2017 during my second round in the Shameless fandom, then I read countless other fics in a lot of other fandom and yet this story was the only one that my mind retained from back then, to the point that I could still remember some of the finer details as well as the final plot twists when I came back to reread it.

The plot is constructed beautifully and the original characters (part of the Shamelessquestions fanfiction universe, as they come back time and time again in every one of their AU to fulfill their role in the story) are just as vibrant.

What a story, truly.

Favorite original character in this AU: Sal, his downfall is so satisfying and yet so pitiful to read.

TEENAGERS SCARE THE LIVING SHIT OUT OF ME – Mellow_Yellow - 221k words

Ian finds something scary and calls Mickey for help, even though they had only reconnected that very day after two years of not seeing each other. Together, they get sucked into a situation they weren't at all prepared for. Can they even admit that they're in over their head?

The very beginning of this fic is SO cinematic it grabbed my interest from the very first scene and didn't let go until the end, DO NOT search for spoilers.

The only warning I'll give is that it does deal with a bit of gore and what I'm personally gonna define as slight psychological horror. That's it. Enjoy!

BROKE STRAIGHT BOYS – dancermk - 66k words

Mickey becomes a porn actor for a site where he has to pretend he's straight and not enjoying the copious amount of gay sex he's having on camera, enter Ian, another actor under the same agency and their off the chart physical chemistry.

This story has, needless to say, some really, really good smut. I especially loved their first time together, but every sex scene in this story is seared in my mind.

ETHERIZED AGAINST THE SKY – Snarfle - 213k words

So, I debated whether I should add this fic or not, but I think if there is one fic that will stay in my mind long after this Shameless binge of the past couple of months it's this one, and it should absolutely become one of those fic that everyone in the fandom should read.

After Mickey gets shot by Kash his life takes a completely different direction and he ends up in a group home where, through many difficult times, he turns his life around.

So many iconic moments in this fic, some funny as fuck, some sad, some so absurd that I'm surprised they weren't lifted straight from Shameless, one so gruesome in the very first chapter that I was surprised to have such a visceral feeling from just words on a screen. Yeah, this story will stay with me for a long time.

OLD RULES FOR NEW SIDE PIECES – Shamelessquestions - 217k words

Ian is a Fed and he spots Mickey looking suspicious in an art museum, the mutual attraction is overwhelming, Mickey is not what he seems and Ian is already with someone else, but that's not gonna stop him from pursuing what he and Mickey have.

Putting it as bluntly as I can, this fic made me face the realization that I love cheating fics (if the cheating happens to someone else to bring together the endgame couple). I have already reread this fic twice and I could probably go for another one and not get tired of it, it's that good, and out of all this author's fics it's probably my favorite.

Favorite original characters in this AU: It's a three way tie between Dre, Ivan and Carrie, they're all very captivating in this story.

Other fic from this author I'd recommend cause I really love their style:

LOST IN TRANSLATION: Ian meets a very attractive man while he's in Ukraine who doesn't speak English, a mere language barrier won't stop him from flirting for hours. (adorable)

YOU MAKE ME FEEL HUMAN – Dragona - 66k words

Ian is an assassin, he meets Mickey and thus begins a very sick love story.

To say I'm obsessed with this fic is an understatement, I suggest to everyone to just go read the original author’s own description of the fic, it sets the tone of the story magnificently.

This is an Ian Gallagher that almost resembles Jerome (also played by Cameron in Gotham) but like… a slightly more subdued and saner S1/S2 version of him. I love the layers that get peeled right in front of my eyes, the madness that creeps in a bit more every chapter. I LOVE this story.

DRIED INK - 87k words

This fic combines my two favorite Gallavich-specific tropes, one being ‘Mickey comes back from prison after s6, Ian is with someone else’ and ‘Ian cheats on that someone else for Mickey’

I love the Gallaghers in this and how unsurprised they are at Ian going back to Mickey right away. It's a little jewel of a fic.

Mickey tries SO hard to stop himself and Ian in this but their love is too magnetic, they're irresistible to each other.

THE QUESTION OF NORMAL – blue_newman - 92k words

Ian is a prison counselor, Mickey is in prison, they fall in love and it's beautiful and Ian is incredibly devoted to Mickey in this fic and I fell in love with them both in this.

KINDA RAW – catgrassplantdad - 6k

Quite simply this is my favorite short pwp fic.

Illustrating those “five times” in one night that Mickey references in 11x01.

This fic is so hot, I love it <3

QUATERVOIS – DodgerBear - 51k words

Soldier Mickey gets stationed in the middle of nowhere and meets a farmer called Ian who makes him question everything.

Falling under the same umbrella of “Mickey does something crazy for Ian” fics and this is why it stuck in my mind even if it's been a while since I've read it.

I LOVE this story, their dialogues and everything that happens in it. The setting is lovely and you will fall in love with the description of Ian’s farm.

Other fic by the same author that I also loved:

BURDEN OF PROOF: Cop Mickey gets caught in a legal battle between the two oldest Gallagher brothers, something doesn't feel right though…

THE WORDS HE DOESN'T SAY: Mickey is released before Ian in s10 and has to meet a court-mandated therapist. The story is from the therapist POV and goes AU from the beginning of s10 in that Mickey gets involved back into Yev and Svetlana’s life, the dialogue is, quite obviously, the main attraction of the story and it's really well done. (Also, written in first person).

THE MENAGERIE – CrossMyDNA - 147k words

Ian decides to re-explore his bdsm preferences at The Menagerie where he meets sub extraordinaire Mickey on his very first visit.

Shameless is undoubtedly the fandom that opened my eyes to what bdsm could be back in… approx 2016? When that other popular bdsm fic was still around *ahem*.

So it definitely feels like a sign that coming back into the fandom this fic now exists and is SO GOOD.

Obviously it's very explicit, the smut in this fic is one of the best I've ever read.

The chemistry between Ian and Mickey sizzles off the screen and can absolutely be felt even in moments not of the nsfw variety, absolutely recommended!

MICKEY MILKOVICH’S GUIDE TO FLIRTING – whatwouldmickeydo - 40k words

An s2 “missing moments” between Gallavich, completely canon compliant, all under the pretense that Mickey is following a step by step guide to flirting.

I wish this fic was describing canon moments, not kidding a single bit, I wish I could somehow magically manifest these scenes into existence they're that good and fit that well into canon.

M8TE – gallawitch - 53k words

Omegaverse fic where Ian and Mickey both start using an app and end up matching with each other, even though a connection is made almost instinctively, coming to terms with it with a sound mind will take a bit longer…

Hey,had to have at least one of these on here lol

I love omegaverse and this was everything I wanted from it, couldn't have asked for anything better really <3.

SHACKLED – MyRelapse - 19k words

Ian has a change of heart and he decides that Mickey IS the one he wants, even if he's still in prison, so he keeps in contact and goes through every hoop imaginable to have him back as soon as possible.

Reading this made me so happy like I could burst, love it.

WAITING ON MY OWN TOO LONG – Ride4812 - 266k words

This rec more than any other on this list is what I'm gonna consider self indulgent because it covers the trope I always craved to read in such a satisfying way: Canon AU where Mickey comes back from prison after 8 years, Ian has found someone else but the moment the two meet again they fall back into each other right away.

The series is made up of 4 smaller fics:

One more night

Something more this time

No more lonely nights

Ain't this life so sweet

(I will point out here and nowhere else that the last installment of this series has some segment that probably needed to be re-read a couple more times, but by that point I was too invested, and the quality fluctuates a lot only in certain parts)

The writing style is very direct and to the point, which I love, the smut is very present and written beautifully and most importantly never boring.

Ian is a MESS in this fic and had me Stressed™, mostly cause for some reason I can't handle too much casual depiction of drug abuse and addiction (I know, ironic considering the fandom).

Conflicts and resolutions are never clean cut, they don't necessarily resolve quickly or definitely or the way you probably imagine they should and I find this level of realism very satisfying.

Taking a bit of space here at the end to also rec a couple other Ride4812 fics that I also loved:

COUP DE FOUDRE - A model/photographer AU where Ian and Mickey fall in love the instant they meet and do some crazy things because of that.

HOPE HE MIGHT - A lawyer AU where Ian and Mickey are on opposing sides for the same client, an interesting murder mystery steeped in a religious cult.

Generally I feel like this author is really good at depicting just how unapproachable Mickey can be to anyone that isn't called Ian Gallagher and I eat it up every time.

WHAT THE NIGHT DOES TO THE DAY – andchaos - 9k words

A Gallavich childhood friends AU with a quite original arrangement for the story and the various segments of their lives. Very satisfying read.

RANSOM – BeckyHarvey29 - 112k words

Terry sends his sons to kidnap a Gallagher child to force Frank into paying back the money he owes, unfortunately for him Mickey and his brothers kidnap Ian, and a whole other kind of story unfolds.

Mickey and Ian falling in love in this fic is such a good read. I don't wanna spoil anything of how that or the kidnapping plot goes, since the two are so intertwined. Just know that it will be worth it.

UNDER LOCK AND KEY – Suzy_Queue - 106k words

Ian is assigned the night shift at his new job where he provides spare keys to his fellow college students stuck outside their dorm rooms. To make matters worse his shift coworker is the oh so infamous Mickey Milkovich.

I am magnetized by the way this author writes their pining for each other, their attraction and obsession, how it blooms and unfolds. This fic in particular had me develop a very bad case of tunnel vision, couldn't really turn away until I finished reading it all.

I still haven't read everything this author has to offer, but so far I also loved:

INHUMAN: A mysterious force starts attacking people close to Mickey and it all seems to lead to a mysterious redhead Mickey is oh so coincidentally obsessed with. Very cool paranormal story.

THESE FOOLISH GAMES: Mickey takes over as the boss of the local branch of a trampoline park, where Ian is one of the employees, they annoy each other to no end but what they don't know is that they're secretly texting each other.

IS THERE SOMEWHERE – andchaos - 48k words

Mickey is born with no words on his skin, convinced he's going to live a life of misery cause no one will ever say the words he's destined to hear, he's not a very happy guy. Here comes mute boy Ian who crashes into his life and won't let go.

A classic Soulmate AU, I love that like in a lot of other Gallavich fics their physical connection and compatibility usually comes before their emotional one, it is one aspect that I feel distinguishes their relationship to many other fandom’s ships.

LAST NIGHT AT THE VERONA GRAND HOTEL – the_rat_wins - 27k words

Mickey starts working at an ancient hotel who's supposedly haunted. Mickey doesn't believe in ghost stories, he is much more interested in this one guest he meets at night during his shift.

What a cinematic experience this fic is! Absolutely recommended, the length of it makes it so you can read it in the same time it would take to watch the same story in movie format.

Other fics by the same authors that have impressed me:

FADE THIS ONE TO BLACK: Ian dies of overdose in a pile of snow outside the club, when Mickey finds him there he vows to do anything to get him back.

I don't know why but this fic in particular gives off the vibes of being a pilot for a ya urban fantasy TV series, except we gotta imagine everything that comes after the first episode lol

NO LIE: Ian and Mickey are Soulmates and as such they can't lie to each other. This series is short and sweet and full of feelings, perfect

PARAGRAPHS – pink_ink - 100k words

Ian becomes a reading tutor for ex-convicts, Mickey is among them and Ian starts paying him more and more attention.

This is a story where they meet under very different circumstances and where they've lived slightly different lives compared to canon and yet they're still able to find each other in the end.

Also, sign me up for every fic where Ian has to work just as hard to help Mickey and care for him as the opposite, where Ian's brand of stubbornness is the only way to get through to Mickey.

I'm also adding a couple of ongoing fics, just two to not overwhelm too much.

NONE THE WISER – Loftec - ~218k words

Ian starts visiting Mickey’s diner, it takes a while and yet no time at all to warm up to each other.

I'm captivated by the author's writing style. I love Ian's and Mickey’s relationship. I love how they sort of take their time and yet pine helplessly for each other.

I'm obsessed with the fact that the whole point of the fic doesn't appear until two thirds of the way in cause the diner scenes were just too good to pass up on lol (and I 100% agree with them).

INTRO TO QUANTUM DATING – spoonfulstar - ~563k words

Canon Mickey and Ian meet in University. A college slice of life but drenched in the casual (and not so casual) darkness of canon shameless.

The dark humor in this is fenomenal and left me gasping laughing so many times.

Unexpectedly Ian in this fic is pursuing a linguistics oriented degree, which was what I studied when I tried university, the topics are explained in such an accurate way I have to assume the author studied them themselves and that this story is somewhat a reimagining of their own college experience because if not this would be an absurd amount of accurate research to make.

Reading this fic feels like living through the American college experience from the comfort of my home lol.

As I said before, this author's way of writing does not weight you down even with its length, the story flows perfectly from one scene to the next and before you realize it you've reached the end and you have to accept that 500k words weren't even enough.

Let's end this list with some quick recommendations

WHILE WE'RE MAKING OTHER (PEOPLE'S) PLANS - kyasticlikestea

Mickey is volunteered to organize someone's else's wedding after he managed to salvage his own so well, he'll do it, but his own Southside way.

THIS IS THE ROAD TO RUIN - bricoleur10

Ian and Mickey never go to rob Ned, the story unfolds differently from there. A fix-it with a lot of Gallavich longing , very good smut and some really good dialogue.

HEY, HONEY MINE (I WAS THERE ALL THE TIME) - serveteas

Mickey talks about his crush with Iggy and accidentally pronoun-slips. Short, to the point, funny af and I just really love it. Takes place after their fight at Kash’n Grab in s2.

AGAINST GLASS - AllThatMatters

Ian gets traded from one club to another as a dancer (and more) and ends up in the Milkovich family's club. This is a Mafia!Mickey story with some pretty tight sub-plots, I love his brothers in this.

ONE OF A KIND - fckyeahgallavich

Mickey breaks his finger and it has to be set in the hospital, chaos - of the homophobic kind - ensues. Protective!Ian, I wanna hug Mickey in this.

IAN THE FRIENDLY GHOST - Ravenheart

Ian is haunting an apartment and Mickey starts living in it, Ian is maybe starting to have a crush on him. This isn't angsty!

BLOOD IN, BLEED OUT - brewrosemilk, Whatsastory

Historical AU. Perfectly innocent bystander Ian Gallagher is thrown into the affairs of the Ukrainian Mafia back in 1954, his relationship with Mickey will span decades and he won't remain innocent for long, the mafia can corrupt anyone.

TEENAGE RUNAWAY - sadwhales

Ian comes to live and finish high school with his half siblings on the South Side, he's immediately captivated by a boy sitting under the bleachers, maybe his North Side naivety will catch his attention too.

GARDEN SONG - melwrtiesthings

A glimpse into their lives in their West Side apartment, a lot of initial angst due to a manic episode and then a lot of recovery and healing and learning more about themselves.

[bizarrelittlemew]

I have a burning curiosity that can only be relieved by an OFMD author. Why is there so much AU fanfiction in this fandom?? 😆 My AO3 search results with every alternate universe tag I can think of blocked are coming up with almost every result on the page filtered out! 🤣 I have nothing against them existing and I'm all for everyone writing what makes them happy, I just wonder how this fandom ended up being so full of them. I used to think SPN was oversaturated with AU's, but it can't hold a candle to OFMD! 😅

okay i wanted to give this a proper answer and also asked a few other authors, so here are some of the reasons we came up with - i think it's a combination of all of these:

while the show takes place in a historical setting, it's not historically accurate or even trying to be. it uses anachronistic dialogue and gives piracy a vibe more like a modern workplace. the characters become timeless in the sense that they are already "modern" characters put into a historical setting, and therefore fit just as well into any kind of AU setting. the characters are what make up the show more than the historical setting

the themes that the show deals with - relationships, sexuality, gender, trauma, family, self-image, mental illness - can be explored in so many different ways given different settings. it's very interesting to examine how the characters would deal with them when thrown into different circumstances and time periods

canon is really good, so while there are gaps in the narrative that can be explored, a lot of people are drawn to putting the characters in entirely different situations and/or feel like canon ground was covered pretty quickly

the story itself translates to other universes very easily. people want to enjoy that story and/or their favorite plot points again and again, but just writing down the plot of the show in the canon setting wouldn't make much sense. by throwing the characters into a different universe, you can pull scenes and plot from canon without just repeating it, putting a different spin on it

very few shows have (canonically) older queer people, and people like the idea of how that translates to other universes

we have (relatively) little canon and had a lot of time between seasons. considering the size of the fandom, amount of canon, and time since canon, the proportion of AUs is not surprising

if we assume proper tagging, AUs make up around 27% of all ofmd fanfics by number of works, but probably much more by word count, since a lot of canon fics tend to be shorter. in comparison, that number is around 20% for SPN and 34% for Merlin 🤷

also i've seen a lot of people starting out by only wanting to read canonverse fics until they gave an AU a try and BAM they were hooked 😌

and last but not least:

Ed and Stede fall in love in every universe 💗

[kimio7]

Fics that defined my love of f1 rpf

In celebration of literally nothing actually, i bring you a fic rec list of some of my favourites!!! very condensed (100+ -> 15 not even including tumblr fics) and im kinda sad i cant put all of my favs down lol but these are like my must reads!!

pleaseeee read these if u havent already its all amazing even if you dont vibe with the ships themselves

Strollonso:

silver platter by atwater | E | 9k

Literally the first fic I've ever read and basically got me into this fandom (and ship). Theyre both so unhinged and amazing it's a very fun read. Probably the best written lance ive every read.

Make Sound by antimonyandthyme | E | 1k

Makes me so fucking insane no notes this is just amazing oh my god

I make two grand an hour by Kaytheologie | E | 3k

Literally so hot and so amazing. lance is so bitchy in this one is great. amazing writing and amazing premise, literally inspired me to sketch out something right after (might finish it at some point)

Sewis:

provenance by ecorone | M | 18K

Literally the fic that introduced and made me fall in love with sewis. it wrecked me like i still havent recovered at all. the writing itself is just, i vibe to it so much

The Numbering at Bethlehem by Kaytheologie | E | 26k

might be one of my favourite fics, ever. what a masterpiece genuinely the environment is just so immersive and lush. ive reread it a dozen time and it never gets old

Brocedes:

you're my purple candy high by nothoughtsjustvibes | M | 5k

baby's first brocedes 🥹 started my love affair with emotional destruction. ruined me when i just first read it and ruined me every time after that. The writing is so profound and laid out their tragedy bare.

the torture of small talk with someone you used to love by finedae | T | 2k

baby's first nico fic!! it also destroyed me!! i think this is the one that made me join f1br bc i was just so obsessed with the writing i needed to know what the author was like lol.

3344:

special research vessels by ecorone | M | 15k

listen i thought this ship wouldve been more popular than it is LOL or at least not as hated. regardless, i love this fic so much. I love the environment, I love the dialogue, the characterization, everything. It's just such an amazing reading experience

matchstick people by ecorone | E | 60k

if you havent noticed by now, im obsessed with this author. the prose, the characterizations, how beautifully the magical realism of it all was realized. horror as a genre is so underutilized in fanfics as a whole but when its done, its done amazingly. love love love

Others:

crude generalisations and vulgar simplifications by crescenteluce | E | 14k | Alexander Albon/George Russell

This fic is THE galex fic for me. it so funny and the writing is so witty its just fun to read. love the way the environment is constructed and it everything just feels so real. amazing

it's more than I can bear: this interminable want, turning and turning. by Anonymous | E | 2k | Fernando Alonso/George Russell

The vibes are rancid, the ships are niche, the writing is good. what more do you need? i love reading this and i love thinking about this.

Amen by sirius | M | 9k | Fernando Alonso/Lewis Hamilton

THE ferwis fic is my mind and mad me unreasonably obsessed with this ship. its so well written- like i love the characterization so much it makes me insane.

on golden sands bysionisjaune | T | 6k | Lewis Hamilton/Nico Rosberg/Sebastian Vettel

Listen, this and the ships that go sailing are both just amazingly entertaining fics. its objectively such a good read and i enjoy spending my time reading it. its just so fun!

steal the air out of my lungs (make me feel it) by nahco3 | E | 26K | Daniel Ricciardo/Max Verstappen

My favourite medical au fic!! ever!!! everything is just so well realized and the characterization is just spot on!! love everything about this fic and nothing i say can fully explain how amazing this fic is!!!

Shutter Speed byantimonyandthyme | E | 18k | Sebastian Vettel/Mark Webber

got me into photography lol. made me purchase my first actual camera. dont know what else to say its just that amazing

[thought--bubble]

In Need of an Heir Pt 6

Canon Aemond X (Baratheon! Reader)

Warnings Below

Word Count: 1,778

In Need of an Heir Masterlist

Canon Aemond Masterlist

Full Masterlist

Banners by @arcielee

Warnings:: Alcohol consumption, a lot of Dialogue.

You hesitate for a moment, trying to decide whether or not it was smart to dull your senses with wine when you were in such a precarious position.

"The wine is safe." He takes a sip and raises his eyebrow.

"Do you have parchment?" you ignore the wine cup he is extending toward you.

He furrows his brows. "I do"

"A quill? Ink?" You pass by him as he is still holding out the wine to you, moving toward the desk tucked in the corner of the room.

"Yes.....?" He watches your movements tipping his head to the side.

"We should start on that list we discussed before......." You start digging around the desk. "Before anything should happen...." You look toward the bedchamber "here. "

Aemond sighs. "We don't have to actually write anything down at the moment." he walks over to the chair before the fireplace, motioning for you to sit in the adjacent chair. "Let us discuss"

You huff briefly and then concede, plopping yourself into the chair and looking at him wearily.

"So list some things...." he waves his hand, trying to think of what to say next. "That will bring you joy"

This isn't going exactly how you pictured it. You were thinking this list would be more like a set of rules, while he seems to think this list is more of a shopping list.

"Honesty." You look him dead in the eye. "I do not wish to be lied to or made a fool of."

He clicks his tongue and nods his head. "I see"

"Is that something you can manage?" You tap your foot impatiently.

"Of course it is. Are you entirely sure that is what you want? The truth can be..... unpleasant. " he crosses his legs.

"Yes, well.... at least it's real, " You shift uncomfortably in your seat.

"Is there a specific event you are looking for clarification on? Or is this a general request?" He clenches his jaw tightly in annoyance.

"It is a general request. Although...... there are a few things that could use clarification" You look up toward the ceiling of the room, avoiding his gaze.

He clicks his tongue and grips the arms of the chair tightly. "Is that so? If there are things you wish to ask me, then ask. I shall be honest, though, I warn you that my answers may not please your delicate disposition"

You breathe deeply and bite your bottom lip. You have a feeling this won't end well, though you feel a gnawing need to know the truth on a selection of matters.

"Did you kill your nephew on purpose?" You pick at your fingernail beds and look down at your hands in your lap awaiting his response.

His tone is cold and lacking any empathy. "I did not. Although I did not regret it nor did I feel any remorse. I only felt regret for events that took place due to his death. Not his death itself"

"It wasn't regrettable to you that your nephew fell to your hand?" You look at him with disbelief. He couldn't possibly be this cold? Surely, he felt something for the death of his nephew. "You felt no emotions at all?"

"Relief, mayhaps surprise, but regret and remorse were not felt and still are not felt." He sips his wine nonchalantly as if this topic simply bored him.

You bite your cheek. This was not the answer you had hoped for. You thought if he felt regret that he would have a heart, a soul, instead he is cold and cruel. Just as you have imagined.

"Did you marry? That.... woman? Am I a second wife?"

His head snaps toward you as his voice darkens, "There is no shame in being a second wife" His words come out like venom, making you recoil slightly

"I did not say that there was, I just wish to know if I am"

"No. You are not. I did not marry her. " Now it is him who looks off to the side, avoiding eye contact.

"Yet you did bed her," you try to make sure you say this gently. Using an accusatory tone could close him off, and you were happy that he was actually speaking.

He sighs and clicks his tongue again, and nods. "Yes"

"Why? If you were already betrothed. Why embarrass me publicly with such shameful behavior?" You truly didn't care that he slept with this woman, you were not in love with him, neither him with you, yet he flaunted it about embarrassing you and your house and for that, you felt at the very least you deserved an explanation.

"Because I wanted to," He states this with conviction yet keeps his face angled from you. "I apologize that I do not have a better reason to offer you. You require honesty and that you shall receive. I was not thinking of the embarrassment you would suffer."

You swallow and scrunch your nose, fighting the look of anger that threatens to take over your face. "Did you love this woman?" You thought maybe if he loved her, then your embarrassment and shame would have been in the name of love, and that would perhaps be easier to forgive.

" I can not be sure. I cared for her, yes, yet I am not entirely sure if love in the sense of which you are questioning is something I am truly capable of" he swirls the wine in his cup around In a circular motion.

You feel a pang in your chest. How could he not know if he is capable of love?

"Did she love you?" Your voice is more gentle and soft, and this catches Aemond's attention as he turns his head to you, and his features soften minimally.

He answers with sadness. "She said she did. But it can't be disputed that she was under diress. When fighting to stay alive, one might say and do anything."

You sit in your chair and lean forward on your elbows, contemplating his words. The pain in his voice confused and surprised you, yet his answer frustrated you.

"So you are telling me that you will never love me? You will not love our children?" Your foot is tapping again. The thought of being stuck married to a man who couldn't even learn to love you eventually felt like a fate worse than death.

"I am telling you that I do not know. I hope to. That is the best I can offer. " He turns his head from you again.

" I would like some of that wine now." You look towards him a look of frustration on your face. You had gotten the truth, but it somehow made you feel worse. You had suspected he was cold and cruel yet it was an entirely different feeling to have him confirm it.

He gets up from his chair and brings you the cup of wine he had poured for you earlier. "I will remain loyal to you, and our children. That is something I can promise, I will protect you against all others. A courtesy my own father did not extend to me"

You take the cup from his hands and start to drink it quickly. After you finish the cup you stand up. "I wish to retire to my chambers" As you go to walk past him to exit the room he quickly wraps his hand around your wrist.

"Not yet." He keeps his head turned from you and his eye trained on the floor. "We have not performed our duty yet."

You cringe "Is that entirely necessary? Does it truly matter if it is done today or tomorrow?"

"My family is in need of an heir. That was the entire purpose of this rushed wedding, and the future of my house, our house, depends on this." He tugs you close to him by your wrist pulling you up against his chest.

You look up at his cold, stoic expression and directly into that lavender eye. You see his expression soften as he gazes down at you.

"I will be kind, I will be gentle, I will not harm you nor will I let others harm you." He pushes a lock of hair from your face and tucks it behind your ear. "You need not fear me, we alone, you and I, are responsible for the fate of House Targaryen"

He leans down and places a very gentle kiss on your lips, and your heart jumps. He brushes his thumb across your cheekbone and cradles your face in his hand.

"Come, let me show you I can be trusted." he takes your hand, leading you toward the bed chamber. Your feet seemed to float when earlier they felt like you were wearing iron shoes.

He sits on the edge of the bed and motions for you to sit beside him. You slowly lower yourself to sit beside him. Your back is rigid as you pick at your fingernails. He places his hand over yours.

"Don't do that."

You huff annoyed trying to pull your hands out from underneath his.

"I told you, I won't let anyone harm you. That includes yourself. " he gently rubs the tips of your fingers.

You both sit in silence, before he sighs loudly.

"I truly thought I was going to die"

You raise your eyebrows as he says this.

"What?"

He runs a hand down his face. "During the war, house Targaryen, we were dying one by one, i thought I would meet my end and would never have to stand in judgment for my sins." He lays back on the bed flat.

You turn to look at him lying down and then a small smile creeps onto your face as you lay back next to him, the two of you just staring up at the canopy above you.

"Me too"

He turns on his side and looks at you. "You thought you wouldn't survive the war?"

You giggle. "No. I thought YOU wouldn't survive the war"

He chuckles and lies on his back again. "My apologies"

You take his hand that is lying limply by his side and slide your fingers into his palm. He turns his head to the side, confused at this show of kindness. You just continue holding his hand and staring up at the canopy above you.

You giggle and turn your head so both of you are looking directly at each other.

"So we have to save house Targaryen, huh? Dragon needs a doe. " You smile to yourself.

He sighs and chuckles. "Dragon needs a doe"

Part 7

To be added to taglist click here

[genericpuff]

I was kind of curious: What do you think of Persephone's therapy scenes in episodes 160-161?

I personally liked them, but you and many other LO critics always seem to see things that totally flew over my head (I mean that in a positive way).

I think the idea behind them was fine, just the execution that felt really half-baked. Rachel doesn't like scenes to sit too long so the therapy scene, of course, wound up being rushed in the course of 2-3 episodes (meaning she had to have Persephone dump everything all at once) and while Persephone's dialogue is handled relatively well, the direction of the scene itself feels entirely mismanaged (which is both a side effect of Rachel's directionless writing and the fact that she clearly doesn't want to do more than one of these kinds of episodes so she needs to speedrun it).

TRIGGER WARNING: Discussion concerning sexual assault ahead!

Like, let's start with Persephone's intent in going to therapy. Wanting to pursue therapy doesn't just happen suddenly, there's usually a "trigger event" to make someone realize "I need help", whether it be hitting rock bottom or even just going "I feel like I don't have the skills or tools necessary to deal with what I'm dealing with, I need a professional opinion".

Despite Eros advising her to go to therapy all the way back in S1 to address her assault-

-she actually finally goes to therapy in S2 not to address the assault, but to address... how she feels insecure in comparison to Hera who she just found out Hades had a long-term affair with??? At least that's definitely the implication.

And then of course the therapy session itself segues immediately into "Persephone is a high achiever and it's because of her mom being overbearing" which Rachel doesn't connect at all to either the SA or her feeling insecure compared to Hera (which, by the way, barely even has anything to do with her, but she didn't - and still doesn't - have the emotional maturity or self-respect to realize that Hades is a serial cheater-)

That's where the first therapy episode cuts off, and then the next episode immediately opens with Persephone writing her entire backstory on a whiteboard, so we can assume time has passed and she's talked about everything from her childhood up until this point.

Then we get Chiron asking Persephone... what could go wrong if she leaves TGOEM??

Even though we never saw any of the actual sequence so it just feels like a question that's coming out of nowhere? Like did Persephone say during that schpeel that she wanted to leave TGOEM? Isn't that something we should have seen to connect these two trains of thought?

Ah, right, because we have to get into Hades. Because this comic fails the Bechdel test so hard it can't even have a character talk about their trauma or childhood without it seguing into "well there's this one specific main character guy I just really wanna sleep with-"

Don't get me wrong, if Rachel is trying to "deconstruct purity culture" here, I can get her angle with this, if Persephone has been "groomed her entire life" to be an eternal maiden then there's clearly some thought processes about sexual attraction there that are being challenged by her attraction to Hades. But it just feels so rushed purely for the sake of getting her through her trauma and childhood problems and everything that Rachel tacked onto her backstory (in an attempt to make her seem more than just a self-insert) so that Rachel can get her back on track to sleeping with Hades, the one and only man she's clearly ever felt sexual attraction to enough to want to leave TGOEM and question her entire childhood.

And then we get this and I just-

Like first of all, again, Persephone being a complete airhead and not realizing that it has less to do with her possibly being an inadequate partner and more to do with Hades being a serial cheater who also used her as an emotional affair partner;

but ALSO the fact that the conclusion is some "eureka" moment of "you're a bad decision maker" ??? I was a fan of the comic still when this scene happened and even I went "huh?"

Like she doesn't bother to try and connect it to everything she just learned and said about her childhood and how she wants to be the "perfect daughter" who will make everyone happy, Chiron just reduces it to "oh you just suck at making decisions". As if "sucking at making decisions" isn't like, a reactionary extension of deeper problems. She's treating it as if Persephone is some "puzzle" to be solved and her being a "bad decision maker" was the answer when it's undoubtedly just one of many side effects of her upbringing. It feels like she's addressing the cough and not the virus.

Also a little off topic but-

Gotta love how we've never seen Persephone actually employ this homework from her therapist because she's constantly stapled to Hades and the only thing she cares about is his happiness. Literally, I don't think Persephone could possibly answer that question because she's never been independent enough to even learn what makes her happy - she's jumped from wanting to make her mother happy to wanting to make Hades happy but we're supposed to condemn the former and celebrate the latter.

Buuut of course we don't get her answering that question because again, Rachel can't spend more than 30 seconds on a single scene because that would demand too much writing and thought from her. So we cut to Hera having a discussion with Asclepius regarding her scars re-opening, yadda yadda.

By the time we cut back to the therapy session at the start of the next episode (that's three episodes that have been spent basically accomplishing nothing because none of the thought threads tie together in a meaningful way beyond what the audience has to assume) Chiron is conveniently wrapping things up and it's then and only then does Rachel try to actually incorporate the SA plotline that was Persephone's ORIGINAL MOTIVATION in going to therapy.

Now, the scene for the most part is fine, I don't really like how the therapy session was written leading up to it, but her describing her freeze response and how she feels guilty she couldn't "fight back" is a very real feeling that I can definitely say was well written.

My one gripe with it though - and sure, this might be nitpicky, but here me out - is this:

I don't particularly like that Chiron the therapist just found out about her patient being a rape victim - someone who's also said she doesn't like people grabbing her / touching her without her consent - and then decides the best course of action is to comfort her... while touching her.

Now I want to make it perfectly clear, it's not against the law or even the code of ethics to make physical contact between a therapist and their patient. Loads of patients have made breakthroughs with their therapists that have called for hugs and while some therapists may not be okay with it, there are definitely therapists who are who fully understand that hugs in those moments are the best thing for a person. But it's still a general boundary that is there and even with patients who aren't victims of SA, consent needs to be asked for / given.

So Chiron just... coming over and touching Persephone on the knee, while undoubtedly seen as a "warm and comforting act" by those who have had similar sessions with their own therapists or even just those who have no clue and see it on the surface level as being "sweet", really irks me, because it just seems so tone deaf to do with a character like Persephone who is supposed to be a victim of having her bodily autonomy taken away from her.

Again, it's a small criticism, and undoubtedly a nitpick in the eyes of some, but a simple "can I give you a hug?" from either Chiron or Persephone would have gone a long way in accomplishing Persephone's need for consent and bodily autonomy a lot more than just having Chiron come up and touch her leg without her consent. Please, for the love of god, let Persephone have some autonomy, asking for consent doesn't ruin the moment.

And that's pretty much it, Persephone talks about how she feels like she's tethered to Apollo, and Chiron assures her that's not the case, session over, Persephone goes outside to Hades aaaand notice how we never actually tackled that "I feel insecure because of my partner having former partners?" thing? Notice how the best we got was her talking about her fears of being an "inadequate partner" which focused entirely on her not being "enough" for Hades and being a "bad decision maker" rather than pointing out 1.) Hades' own faults in being a serial cheater that would undoubtedly contribute to her insecurities and 2.) what Persephone could do for Hades rather than what Hades could do for Persephone? It's always "I don't know if I'm good enough for him" and never "I don't know if he's good enough for me."

Yet another F-- on Lore Olympus' Bechdel test. Every single thing tacked onto Persephone's backstory is meant purely to get her with Hades - TGOEM is just an obstacle preventing her from having sex with Hades, the assault is just a framing device to show how much "better" Hades is for Persephone than Apollo, her overbearing childhood is just to show how much more "free" she is now that she's not living with her mother and is living with Hades instead, etc.

No agency, no autonomy, no character, even when it tries.

[essentiallyleaf]

Ya know what , I'll give you an idea

As a commercial pilot how bout a kink "plane sex"

And pls write Rosé with this kink

day 15. body worship. with. rosé.

1268 words.

tags.

kinktober ‘23, idol x male reader, body worship, lots of kissing and licking, feet stuff, abs stuff, oral sex, fingering, squirting, minor plane stuff, the dialogue just goes places idk, hold onto your suspension of disbelief for dear life, blasphemy(?).

notes.

this is barely even related to the ask, isn’t it? sorry, icyphilosopher, i really am (thank you so much for the inspiration though). well, my excuse is i watched Queen & Slim (it was alright, the soundtrack might be the best part. that and Daniel Kaluuya) and felt like crime today.

The private jet has barely taken off when Rosé starts taking her clothes off, starting from the black heels, then proceeding with the black cropped blazer, the high-waisted black shorts, along with the belt and the chains attached to them, the polka dot black shirt, and finishing with the black stockings and her black underwear. She puts them all in a black trash bag and throws herself on the beige leather sofa face first, completely naked.

“Fuck this ‘No fires on the plane’ rule.” She complains into the beige pillow.

“I mean, if you want to burn them now and cause a fire, making the jet collapse on itself and getting us buried on the bottom of the northern Pacific, go ahead.” You reply nonchalantly as you take a sip of vodka while sitting cross-legged on one of the beige armchairs.

“Honestly, compared to the prospect of a ten-hour flight with you, that doesn’t even sound that bad”

It’s Rosé’s habit to burn clothes, phones, cars, (people,) anything that can be linked to her in a meaningful way, after every job. This time it was a fairly straightforward drug trade with this Yakuza syndicate in Osaka: give the talcum powder, take the money, go home. The road was somewhat bumpy and a couple heads had to pop, but what can you do. Oh, and the getting naked in front of you part, that was a thing way before you two started fucking.

You stand up from your seat and duck next to the couch as she turns her head towards you. Start caressing her smooth, long blonde hair as you admire her graceful features. How could such a cold, brutal criminal look so angelic?

“Are you in a hurry?”

“Leave no trace.” She recites her mantra matter-of-factly.

“You think someone’s on our trail?”

You lay on top of her and start kissing her shoulders, from the left, then move her hair to kiss her neck, to the right, and back a couple times.

“Someone’s always on your trail.” Your kisses start heading down her back, each a little wetter than the previous. “You know how it always ends with people like us, right?”

You think you hear Rosé’s voice break for a split second, but you could be wrong. Place your hands on her shoulders and start slowly making little circles with your thumbs as you keep traveling down.

“We get greedy and scared and die sad and alone?”

“We always trust one person too many”

As your trail of kisses gets to her lower back, right above the curve of her ass, you flip her body around. Bend her legs on her chest, then start massaging each foot with one of your hands, going from the middle of her soles, to her heels, to the balls of her feet, untangling her muscle fibers all the way through. You hear her humming in the meantime.

“So? Would you stop living your life for that?”

“I would try my best not to end my life because of that.” You bring her feet to your mouth and start pecking her toes, then travel down the inside of her feet and up again kissing her soles. “Plus, it gives me a sense of peace, of liberation”

“Ashes to ashes?”

“In that analogy, I would be… God?”

Take a long lick from her heel to the ball of her foot, ending by wrapping your lips around her big toe and licking all around it.

“Do you feel like one?”

“I don’t think God sees himself like we see him” She moves her other foot towards your mouth to signal you to switch, which you do, as your hands reach towards her small breasts and start softly playing with her rosy nipples. “Powerful men need people to adore them to feel immortal. Immortals don’t need our attention to be powerful”

“You think God is a woman?”

“I think God is a depressed fuck.”

You let out a chuckle. Then lower her knees again and place yourself between them to start kissing and licking her wonderful, sculpted abs. Your right hand almost instinctively starts lightly rubbing her already wet outer lips, your left grabbing her plump asscheek.

“What a short couple billion years alone in the button room could do to ya”

“But honestly, working on the wrong side of the law… I think it’s hard not to feel like one” She starts panting a little in between words.

“Ego?” Your mouth slowly travels down her lower stomach while your fingers play with her nub.

“Just, pure facts. I could kill a man that crosses my path at any time, and I have. Mmmmh. We just, own their lives. The decision to let them live on, or to end them, right then and there. It’s all ours. Yeahh- How do you not feel all-powerful when you have that?”

It becomes hard for her to complete a sentence without any moans in between.

“Does it matter?”

“W-What?”

Rosé’s focus is probably directed away from the conversation, and towards the feeling of your fingers opening her lips wide and your tongue taking one long lick from the bottom of her slit up to her sensitive clit.

“I don’t know them. Are decisions over the lives of people you don’t care about even worth making?”

You take several shorter licks around her slit, side to side, up and down, once in a while penetrating her hole slightly.

“What do y-youh care about?”

As her moans become longer and more frequent, her sentences become simpler and shorter.

“Right now, taking my money home”

Your tongue digs deep into her pussy, you try to reach every corner and crevice of her heat with it, and her whimpers tell you you’re doing a pretty good job at it.

“And th-en, what?”

Your mouth detaches from her right as she sounds like she’s going to give in. You get on your knees and pause for a second, looking at the empty floor of the plane. 

“...I don’t know, a legacy?”

“Villains have no legacy, they only leave bloody paper and hate behind them”

You get back down to face her, staring right down Rosé’s deep brown orbs. Your fingers return to her lower lips, and two of them make their way into her slippery walls, drawing a loud groan off of her. You start pumping in and out of her at an ever increasing pace.

“Love. I want someone to come back home to, to be there, waiting for me, to heal my wounds.” She’s now moaning right in your face, her pitch getting higher and higher, signaling her impending high, but her eyes are wide open and locked on yours. “To be able to spend time with, in silence, without it feeling awkward, not needing to worry about the future, just looking at her in the eyes, and, being in love.”

A few final pumps and Rosé starts repeatedly contracting around you, a stream of unholy water covering your entire hand and wrist in a profane coating, only a deep, tongue-filled kiss muting her screams as she finally can’t keep her eyes open anymore. You close yours with her as her arms wrap around your neck. The kiss lasts far longer than the already lengthy while she takes to recover from her strong orgasm. As both of you stare into each other’s pupils again, you’re the first to talk.

“How do you know when you’ve found what you’re looking for?”

“I don’t know. I think I’ll start from, looking at the junk I’ve collected on my way, before burning it”

-

footnotes.

god is a journey. progressively, leaf.