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[brennansmintmilanos]

even cowgirls get the blues live reactions

[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.

[lisafication]

This post is uh, extremely normal I swear

So hello yes I am absolutely On My Bullshit regarding my new favourite game. 

That’s right, it’s the cannibal incest game, The Coffin of Andy and Leyley. And I’m here to shove five thousand words of pretentious analysis down your throat because, and I do not exaggerate, I think it is one of, if not the best written game I have ever played. And I have played a lot of games, including Baldur’s Gate 3, Final Fantasy XIV and Undertale, to name a few narrative luminaries to come to mind.

That wordcount is not an exaggeration. My brainworms are extremely powerful and now you can share them with me as I walk you through my insane skyscraper of inference-driven analysis.

Or you can click away. I really wouldn’t blame you, it’s quite a lot.

Content Warnings: …Yes?

(To drop the bit for a moment, The Coffin of Andy and Leyley covers extremely disturbing material and challenges you to examine aspects of living in this world that many have taken for granted all their life, it is not a comfortable game, this will cover similar topics and will often echo the game’s unremitting scepticism on basic principles of society and humanity and you should look after yourself first. My Content Warning is framed as a joke, but it’s also quite real in that the game is designed to make you uncomfortable and there’s no shame in that not being for you.)

This was originally posted on and formatted for Sufficient Velocity, and you can probably more easily read and discuss it with me here.

With that said, let’s dig in. I have had to split this into multiple posts because tumblr will only allow so many images. There will be spoilers for all endings.

She’s excited, are you?

It’s All About Ashley

It really is, isn’t it? I mean, for approximately eighty percent of the total game as currently released and the entirety of Episode 1, you’re in control of Ashley, just as she’s in control of her and Andrew’s relationship for 80% of the game, up until the various ending sequences where it begins to slip. The only other characters who really matter at all in and of themselves are Andrew and her mother — and the former is under her thumb, and she eats the latter. It’s all about Ashley. Even her obsession with Andrew is, ultimately, about Ashley.

But who is Ashley? What is Ashley? Why is Ashley, even? Let’s take a look.

Ashley as presented to us in Episode 1 is very straightforward, so let’s list off the traits we’re given — she is malicious, she is fearless, she lacks empathy, she doesn’t have anything resembling a conscience, she demands Andrew belong to her and her alone, she has him at her beck and call.

In Episode 2, we’re ostensibly shown how she has him at her beck and call— she leverages the threat of reporting Nina’s death over him and had him swear to be with her forever. We’re shown that even as a child she was “just, like that” — but as a child, she hadn’t learnt to live with it yet, to laugh at the farce of it all.

Yeah, exactly like that!

And she does this throughout Episode 1 — The Coffin of Andy and Leyley is a remarkably silly game much of the time, finding moments of absurdity and levity against a backdrop blacker than pitch — and most of the time, your internal narration is coming from Ashley and the jokes will not-infrequently come at her own expense.

She will later get negged by her human sacrifice for her poor ritual circle drawing

Her reaction to being told that her soul is as dark and viscous as tar is “You guess you already knew that” — it’s confirmation to her, not new information. Ashley knows who she is. But who taught her this? There’s layers to this, nothing in this game is as simple and straightforward as it appears at first sight, which is why I’ve been obsessing over it for days.

While it’s common in fiction, the truth of the matter is, most ‘bad people’ really do think they’re good people. But Ashley has never once thought of herself as a good person — or perhaps better put as a person worthy of love — as we learn across Episodes 1 & 2, with our flashbacks to Andy and Leyley and the VERY VERY QUIET!!!

I really wish I had space in this essay to talk about this, but I’d like to touch on these being traits usually more easily forgiven in young boys than young girls at some point.

If she removes all other options, only then can she expect him to like her.

This is something that is echoed in the modern day — her seeming self-assurance is easily shaken and she reaches out to the world — usually Andrew — to affirm and validate her, soothing her insecurities, using any tool she deems necessary. Even when her life is on the line when Andrew has her by the throat at the climax of Episode 1, the only ‘compelling reason’ she can give Andrew to not kill her is her ability to soothe his nightmares. When he tells her there are sleeping pills for that…

Most people would have a bit more to argue for their existence.

While she, unlike Andrew, acknowledges having had friends before the quarantine… you know she’s got a point that they didn’t even bother to answer her calls, that was clearly not something the state was interfering with given Andrew’s calls with his mother and his girlfriend, and given her general demeanour it’s not hard to imagine that… they weren’t ever very close. When we see her and Nina talk in the infamous ‘box scene’, it’s clear that Nina doesn’t like her very much, despite Andrew’s assessment of Nina as being one of Ashley’s friends.

We see further support for her general lack of companionship in her dream sequence in the Burial route — Leyley and Leyley Alone. No matter what you do, you can’t place the pink plushy at the family table, the flowers won’t bloom if you give the Julia and Nina plushies her own as a companion instead of Andrew’s — and if you’re bold enough to go for the ‘incest route’, in the ‘Love’ room you see that no one ever looks happy to be with her in the childlike depictions of her history, nor is she happy in turn, save for when she’s with Andrew. In a bit of heavy-handed metaphor, the player then overwrites all of these tense, upset, hard moments with Andrew, having him fill in for everyone else in life — and happy with her.

Once Upon A Lousy Life…

THE END

And that’s why she needs him to affirm her, because no one else ever has and no one else ever will. It’s even included in their comic beats — when the siblings are getting along well, they’ll often play a game where Andrew dramatically overpraises Ashley while she demands more; it’s a comedic bit but I mean — it really does matter to her!

For the record, she opened a door. She gets a little heart in a speech bubble after this exchange.

We have a great example of this dynamic, that of insecurity and affirmation, in Episode 1, after Andrew has killed for her, butchered for her, his girlfriend broke up with her, he’s seemingly thrown his entire life away for her… she’s still insecure over her relationship with him, she’s uncertain of her control and she needs him to reaffirm it for her.

This is her victory, surely?

Andrew affirms her once, with his usual dead-eyed look.

But she's still not so sure.

He actively reaches out to affirm her again with cheer.

Look how happy she is!

While it’s most obvious and clear cut here, it’s hardly the only case. Let’s look back to the aftermath of Andy and Leyley and the VERY VERY QUIET!!! (I’m not using the other name). Leyley is, after similarly extreme acts — he murdered a girl and hid her body for her — convinced Andy doesn’t like her and she needs this leverage to keep him around, to meet her basic needs for survival. Because that’s what this is — she receives no care of affection elsewhere, so she forces it out of the only source she sees available through the means she sees as necessary.

I really hope we see some of their earlier childhood in Episode 3

What exactly made her like this? Was it just neglect, or something more specific…

She needs this to be the case because otherwise she doesn’t believe he’d stay.

This pattern repeats throughout — Ashley’s insecurities are hit on and she reaches out to Andy to affirm that she is not alone, and she will use any and every tool to exploit her ostensible control over him and force him to be what she needs him to be — and as long as she has that, as long as she is everything to him and it’s not possible for him to leave, she’s happy. As long as she thinks he loves her in her very particular, very peculiar view of love, she’s content, come what may. As long as Andy and Leyley are together, they can take on the world.

Let’s talk about that view of love, because there’s always more layers to unpack here I’m only scratching the surface with this essay — Ashley consistently refers to anyone else Andrew may have befriended or spent time with as a whore, a slut, a bitch — highly gendered insults that bring to mind the idea that he’s cheating in some way. But it’s not even about sex — when Andrew mentions that their parents had friends, she accuses them of cheating on each other in the same way!

There’s a lot to unpack about Ashley’s view of femininity and the role the patriarchy plays in their relationship.

Any kind of emotional engagement, any kind of commitment, any kind of life outside of your significant other is, to Ashley, cheating. Because that’s what she needs from Andrew, a seeming complete and total commitment, secure in her place as the only thing in his life, because she cannot understand anyone picking her if they have a choice.

This insecurity she has in her relationship is what drives her to empower the trinket — he can’t leave her as long as she can protect him with prophetic dreams, after all. She needs every kind of leverage she can get because until she succeeds in being everything to him, in devouring him so completely she has him in her thrall mind, body and soul she can’t be sure of herself — hell, her dream sequence in Burial has you placing Andrew’s signature green plushy, ‘the best thing in the world’ in a cage far away from anything else.

Ultimately, it really is all about Ashley — even her seeming obsession with Andrew ultimately comes back to her own insecurities. If she is everything to ‘the best thing in the world’, some of that ‘best’ must surely reflect on her! 

But that’s enough about the more normal, straightforward and understandable sibling. 

That was not a joke.

Andrew’s Rank 100 Deception

The greatest trick the Devil ever pulled was convincing the world that he did not exist.

Let me explain.

You might have noticed that in the previous section I often use language such as ‘ostensibly’ or ‘seemingly’ to describe Andy and Leyley’s relationship, and there’s a good reason for that. From the beginning of the game through to its end, Andrew is lying to you, the player, without ever falsely representing or misinforming you about events that occurred.

The common, or obvious ‘initial take’ on Andrew as presented in Episode 1 is fairly straightforward. The game primes you to think this way, it frames things and strings reveals just right so as to make it very easy to overlook the incongruities it introduces in Episode 2. He’s a victim. Plain and simple, Ashley is his abuser and he is her victim and would be fine, a normal albeit kinda depressed guy without her.

It really is not a difficult conclusion to draw

You can go all the way through the game, have him try to accept his mother’s olive branch and enter the Decay route as a method for him to finally actualise his desire to get out from Ashley’s thumb and it makes sense, it’s a reasonable way for the story to go, given his character.

You see him this way because the game primes you in Episode 1 to view their relationship like Andrew does — he’s lying. He’s lying to himself, he’s lying to Ashley and he’s so good at it — Deception Rank 100 — he even lies to you. Without misrepresenting a single event or otherwise misleading you directly, the game gets you to buy into his preferred self-perception. Nina? Ashley. Julia? Ashley. The murders they commit in the course of the game? Ashley, Ashley, Ashley, it’s not his fault he’s not to blame he’s just a doormat at the beck and call of his demonic sister.

But he wants to be there. From the very outset, the very first puzzle, that’s made clear. Does anyone else remember this exchange, from right at the beginning of the game?

Ashley wants to investigate the music!

Andrew disapproves…

…Or does he?! 

Like. Listen. Okay. You do not frown when saying ‘Nope’ and then smile when saying that you’ll instead tag along if they do it if your heart is at all in the no. That’s not an objection, that’s using Ashley as his excuse. Especially if you immediately throw her the balcony key that she could not possibly have gotten from you by force (more on Andrew’s ability to use force later).

This is the very first time you control both characters together with Andrew following Ashley instead of off on his own, the first adventure, the first puzzle! 

But put a pin in that for now, let’s talk about his initial framing in Episode 2 first. Episode 1 has set us up to, generally speaking, believe the superficial framing of the siblings as portrayed in its promotional art:

The question that we then ask, right at the heart of it is… why is he a doormat? We explore this in his dream sequence in Episode 2, which does make it clear that the boy’s not okay but— it’s real easy, given the priming from Episode 1 to make you think that he’s the one with the originally functional moral compass, to think that that him being fucked up is damage done to him by Nina’s death and being bound to Ashley for his entire life. She corrupted him.

But, well, is that the case?

You're primed to ignore this as manipulation (which it is) but the best manipulation has some truth to it.

Precisely two things spur Andrew to action in the entire game, consistently — they are the fear of consequences and Ashley. And the first incident of that fear, the very first time we’re shown his seeming moral compass as a kid — the first time it’s really hammered home that it’s a fear of consequences rather than any true moral qualms is after Nina’s death. And why does he fear consequences here?

……

The ‘natural’ read that many take away from this sequence, particularly those who have only played Decay, is that Ashley browbeat him into doing this against his will, using emotional blackmail to overwhelm his objections, and then used the event itself to bind him to her forever as her personal doormat.

In a strict sense, this is true. But this doesn’t match up with the details, something the game uses shock to encourage you to overlook. That outburst is before any kind of threat has been made, and absolutely nothing either of them say anything about it being morally bad until Ashley weaponises ‘you’re a bad person’ against Andrew — morality didn’t seem to enter his mind or the equation at all until Ashley brought it up. More than that, his greatest fear and driving motivation even prior to that is, as shown above, being taken away from Ashley.

She, of course, recognises this and uses it against him. But she never needed to, it didn’t change anything about Andrew’s attachment to her, it was there to address her own insecurities.

Just like to touch on how a lot of his affirmations are preceded by him confirming her insecurities.

I adore this phrasing

There’s a second prong to this as well, to the question of ‘who really calls the shots here’ because — Andrew can, at any stage, apply an ‘ultimate veto’ of physical violence. The game is very clear to the player that that is on the table — even when they were children, when Andy swears their blood oath, he briefly considers killing her — and take note of how he ultimately got a ‘winning’ condition out of her by not specifying there wouldn’t be others and she is forced to accept that, there. Even outside of their most serious confrontations, Ashley is portrayed as having to convince, manipulate or otherwise coerce Andrew into going along with her schemes — she really can’t make him do anything, she doesn’t have the supremacy in violence and, to a lesser extent, capability that would allow her to. 

Andrew, you are like ten years old.

The truth of the matter is, Ashley can only make Andrew do anything because he lets her. I don’t mean in the sense that I’m saying abuse victims let their abusers emotionally abuse them, I mean in the sense that he is clearly considering his options on the table and choosing to discard those that could stop her, or bring an end to any of this. He needs her.

But it’s true that he hates her, too. He has to hate her, because if he doesn’t hate her, if he isn’t forced to have done this, that means… he’s responsible. And nothing, at the start of the story, is as important to Andrew as avoiding the consequences of his own actions, not even Ashley. By the midpoint, he loves her, he hates her, he can’t live without her, he wants to kill her — by the end… well, that depends if you’re on Decay or Burial, but more on that in a bit.

A great scene to study for this dynamic is the climax of Episode 1, when Andrew grabs Ashley by the throat and considers strangling her to death. She’s pushed him too far with hurtful words and assault, and he’s seemingly had enough.

It’s still framed as a question of risk, of consequences happening to him. 

Like, this is not the usual behaviour of someone who’s been pushed past their breaking point.

He tells Ashley that he wants to kill her, because she’s just going to throw another fit and that’s a risk to him. She is… not framed as being able to fight back (she does have a gun here, and more on that in a later essay, maybe). He’s so calculated in how he approaches his use of violence here, which isn’t at all what you’d expect of someone about to commit a crime of passion… but it’s very easy to overlook because of the abuser/victim narrative that the player fits his behaviour into the narrative that the game primes them to accept, brushing incongruities under the carpet.

At the start of Episode 2, we get to control Andrew for the first time, and the first obvious holes in his cover start to show. Some of this is optional — you only learn that he’s been faking having nightmares in order to share a bed with Ashley if you choose to go back into the motel room and check the bed, for example — but not all of it.

----(See reblogs for the second half)

[catskets]

A more in-depth guide for creating visual novels, especially in the horror, horror-romance, etc circles

Some of you have seen my previous, smaller post on crafting visual novels, especially in this little space of Tumblr that a lot of us have found themselves in. Since that post took off, I've wanted to create a longer guide to help touch on some points I've thought about for the past few months.

In case you've never heard of me, I'm Kat, also known as catsket. I have a Bachelor of Fine Arts in Game Design. I've been making games for nearly 5 years, and I've been doing visual novels more "professionally" for 2. You may know me for Art Without Blood, 10:16, God is in the Radio, or Fatal Focus. I'm here to help you make your first visual novel.

Please note that my advice does not fit everyone, and you may disagree with what I say. That's okay! It doesn't work for all. That's why there's thousands of resources out there.

FOR THOSE OF YOU WHO HAVE NEVER MADE A GAME

So, you have an idea for a huge visual novel. Horror, a shady and obsessive love interest, a little bit of woo-hooing. 100k words. Maybe a million. What is this, the 07th Expansion?

I notice a lot of people getting into visual novels are artists first. That's okay! I wanted to do art for games before I realized how much I enjoyed writing. And even less of you have probably touched Visual Studio. Again, perfectly okay. We all start somewhere.

My number one piece of advice? Make shitty games.

What does that mean?! My recommendation to those who have never done games is to make a bunch of shitty ones. Think of a theme, or hell, even join a game jam, where you make a game that fits a theme in a short amount of time. Spend about a week on your game. Focus on making something polished. Polish your mechanics. Polish your output.

I recommend, if you can, to make at least 4-6, if not more, kind of shitty games before hopping into longer projects. Making a game is a skill, just like art, just like writing. And game development is combining ALL of these together into one big soup being stirred by a skeleton hand puppet. You'll get into the rhythm and see what works for you.

It also helps you learn, perhaps, the second most important thing here: do you even like making games? There are cases out there where people have created video games (not saying visual novels) just for clout. That's no fun for you, that's no fun for your players. And you might go through this process and find that you don't like making games. That's completely okay! It's not for everyone.

Also, you can use these shittier games to gather an audience. I've built my audience because, for the past few years, I've been releasing games that slowly give me growing fields of eyes every day. A success story overnight is a rare one. It takes time. It's like building a brand, but you aren't a brand, you're an artist.

REV UP YOUR ENGINES!

Ren'py is the number one engine you will be recommended. It is very beginner-friendly, with lots of tutorials, assets on itch.io to use and download, and support. The engine comes with a few tutorials in the form of games, whose code you can freely browse. This is the engine I use most often. Most visual novels you see are made in this engine.

Twine is a text-based engine that most people use for interactive fiction. You can add images and audio, though, if you don't mind messing with HTML. I use Twine for text games and for outlining for my larger games. Ever played Degrees of Lewdity? Yeah, I know you have. Don't ask why. That game was made in Twine.

RPG Maker has multiple versions and has been used for exclusively VNs if you don't mind fucking around with plugins. It can definitely give your game a super unique feel. I recommend RPG Maker MV, since it has the most resources. This line of engines usually costs money, but it often goes on sale for under $5-$15.

People will recommend TyranoBuilder, but as a user and player, the lack of options and the format the games often come in is just...not fun to navigate. It advertises itself as little to no code, but it's often evident in the final results. Some good games have been made in it, though, so if you want to use it for prototyping/practice, you can. I'm not a fan, but that doesn't mean that fans don't exist! This engine costs money.

Not an engine, but check out Ink! Super useful scripting language that's used for more professional projects.

DEMOS, DEMOS, DEMOS

You've got an idea for a long-term project, and now you want to show it to the world! But wait, wait, don't do that yet!

When should I start advertising my game? This is a personal opinion, but I say that you should not start advertising your game until 50-60% of your demo is complete. Why? As I've discussed with some fans of indie VNs, they can name quite a few projects that have been in the "working on the demo" age for 1-2+ years. I've been in the Kickstarter MMO circles. If you, making a single-player experience with little mechanics to balance and polish (aka a visual novel), are taking that long on a demo, I am going to assume the game is not coming out. There are some games I have seen out here that have been in "working on the demo" phase where I haven't seen a single ounce of what the project will look like.

What should I put in my demo? The purpose of a demo is to showcase the mechanics and the vibes and the mechanics of your game. It's a demonstration. In my last post, I pointed to the Dead Space 2 demo that was showcased at E3 (RIP), that takes place about 2 hours into the story and shows how enemies are defeated, some animations, bits of the story, etc. Usually, because it's less about mechanics and more about vibes, visual novel demos showcase a certain percentage of the full thing (5-10%.) Can you showcase the vibe of the game here and what players should expect? If not, show off another portion.

How long should I work on my demo? Before, I said 3-4 months. That can be true, that can also not be true. Think about how long the demo takes you in proportion to how long the actual game should take you. Don't put too much effort. The demo is to showcase the vibe. It's to see how much the public and fans may enjoy the game.

My game is 18+, what should I do? Make a splash screen when the game is downloaded to let players know your game is 18+. If it's going to contain sexual content, you can hide it with itch.io's adult content filter. Write it on the page itself that your game is for adults only. Don't put your demo behind a paywall. This is genuinely ridiculous. The purpose of a demo is to showcase what a game is like before a player purchases it. That defeats the point of a demo. I've seen this happen, and it discourages players from approaching, especially because most demos never make it past the demo phase. So...I'm paying you $10 for 2-3k words of a game that may never come out?

Should I make a social media for my game? YES! Go for it. These anchors are how people will find your game. Make a Tumblr and open that ask box. Make a Twitter. Go to BluSky. Advertising is not bad. Some YouTubers even take e-mail suggestions from developers. Feel free to shoot your shot. The worst they can do is not respond.

HOW TO SET UP YOUR ITCH.IO PAGE:

Getting your itch.io to a presentable state can be very challenging! There's many ways to do it. I highly recommend using this page image guide for learning how to size your images to make your page pop!

Itch.io themselves has suggested to not publish a page until the game or demo is released. You can make the page and keep it as a draft, but do not publish it until you're ready!

Your cover image is the image that will appear in the search of the website, on any front pages, in collections, and on your profile. What have I seen that works? Key art of one of the characters up close and the title of the game! If you can make it a .GIF, do it! Bitches love .GIFs!

Itch.io recommends 3-5 screenshots on your page. I recommend 1 of these 5 be a .GIF that shows how gameplay feels. This is effective, even for visual novels!

Write a 3-5 sentence summary about your game for the description. What is your story about? What is the draw?

DO NOT BE ONE OF THOSE PEOPLE WHO IS GOING TO SAY "This is not like other visual novels. It doesn't have that cheesy this or that or-" No one cares. Genuinely. You're putting down other games in your genre and elevating yourself to the pompous level.

TAG YOUR GAME! itch.io gives you a list of tags to choose from when you go to tag. DON'T USE THIS! Try to go for more specific tags. Arimia has a very good guide on how to use itch.io's tagging system to your advantage.

GENERAL GAME MAKING ADVICE

SCOPE KNIFE IS SUPER USEFUL! Everyone makes games that are way over their workload. It's okay to cut out features and add them later. Prioritize making a finished game before hitting those stretch goals.

PLAN, PLAN, PLAN! Writing outlines is super helpful. I use Twine for my outlines, because you can connect your passages together and make really well-thought webs.

IT'S OKAY TO ASK FOR HELP! Whether it's from friends, professionals, or anything in-between. They can help with assets, editing, etc.

HONE YOUR SKILLS OUTSIDE OF GAMES! Write some poetry. Do some sketches everyday. Improve on your craft to improve your games

MUSIC IS HARD. THERE ARE RESOURCES. Most of us aren't musicians. That's okay. Make sure the music you get for your game is allowed to be used. You can use anything non-commercial if your game will not cost money or donations. I try to do songs in the public domain or free to use overall with credit if I don't have a musician. Consult the Creative Commons website if you're unsure how you're supposed to use a certain piece of music. If you don't use the right stuff, not only can it put you in legal trouble, but it can put streamers in hot water if they play your game and they can't upload the video because music is copyrighted.

PLEASE, DO SOMETHING ABOUT YOUR UI. Wanna know an easy way to get your game to look more professional? Edit the damn UI for your game. Make a new textbox, even if it's just a black box. Change the font. Eventually, players recognize the defaults and patterns of games made in certain engines and may attribute a lack of UI changes to a developer being lazy. It doesn't take very long to change the colors around and move text! Please do it to add a little pop to your game.

DEADLINES ARE AWESOME. Not everyone works well under pressure, but if you give yourself an infinite amount of time to make something, it'll never get done. Set goals for yourself for how much you can work on something.

IF YOU HAVE TO GIVE UP, GIVE UP. Making things is hard, especially long-term. Emergencies happen, jobs happen, life happens. Let your fans know that a project isn't happening anymore. Don't leave them in the dark. You don't need to tell strangers your medical history or anything, but transparency + honesty are really hot traits. You should use those in your creative work. This is one reason why I advocate for not publishing or advertising things until you know it's stable.

SHOWCASING YOUR CONTENT

People love to see WIPs for games! This is what the devlog is good for! A devlog is a post where a developer talks about and showcases some things happening in the game? What can you add to your dev log?

PERCENTAGES! How much of the artwork is done? How much of this character's route is done?

SNEAK PEEKS AT ARTWORK AND SPRITES!

GIFS! GIRLS LOVE GIFS!

Anything else to showcase your game's content! Posting consistent updates retains and even gains a fan's attention for your work.

RUNNING YOUR TUMBLR

You've joined us, and you've made a Tumblr for your blog! Link it on the itch.io page, so people can come find you after playing your awesome demo!

Do I have to respond to every ask? No. It's your blog. Delete whatever asks you want.

I got a hate comment! What do I do? Delete it and move on. I have a more detailed section on hate below.

I want to interact with [blog]! How do I do that? Reach out to the devs for silly little collabs. If you come onto a developer slightly headstrong, they might feel you are being abrasive or using them for content.

If people make fan content, interact with it! Encourage it! Reblog it. Show your love.

OTHER IMPORTANT THINGS

PROFESSIONALISM IS KEY. These may be pet projects, but you want to appear some level of professional on your actual itch.io page.

Being dismissive of player and fan complaints or criticisms will make you appear childish.

If your game is broken, fix it. I have been told by some amateur developers to ignore game-breaking bugs. It does not make me, a player, want to engage with your content. It seems messy and unfinished.

With the above point, it's 100% okay to have bugs and errors upon release. Every developer and their brood mother has. To decrease these issues, get playtesters. Friends can play your games, spot any errors, and help you point out things that can be improved upon. I recommend having playtesters at every stage of development.

Make sure your game runs before you publish it. Please.

You can still be silly and giddy! There's no reason to not be, especially when you get positive comments! The point of this is to not be outright rude to potential players and fans.

IGNORE HATE COMMENTS. In this case, a hate comment is a statement that contains no constructive criticism and are only here to be insulting or malicious. People are going to leave you with actual piles of dog shit in your ask box. They are trying to provoke you. Giving hate comments any attention, even if you're there to "clap back" proves that they got to you, even if you don't take the hate to heart. They will continue to pester you. Delete any hate comments and ignore them completely. Laugh about them with friends in a private setting, sure.

THINK BEFORE YOU REFERENCE! I know one big thing in this community is adding references to other games in yours, such as plushies of other characters or putting them on posters. The best thing you can do it ask the developer before adding this. How would you feel if some random person you've never met put your character in a video game? Most of us would feel weird and potentially violated. Open communication with devs is awesome. I am usually okay with it as long as someone asks for permission.

As a complete aside, I prefer more tasteful references to other games as opposed to 523482346 plushies and posters. These have been slightly overdone. Why not theme a candy after another game's character? Maybe your characters know each other.

OTHER RESOURCES I RECOMMEND

Devtalk is a server dedicated to independent visual novel creators. You can find jobs, resources, advice, talks, and, like, everything there! Devtalk is super useful. Everyone in there is so cool. They have a really great and comprehensive list of resources that I could not even begin to cover.

Visual Novel Design is a great YouTuber. No other words, check the guy out!

Ren'py and whatever other engine you're using has documentation that's super useful to follow.

Arimia not only has amazing VN resources, especially for marketing, but she also just has? Amazing games that you should check out?

And for a shameless self plug, I'm the lead of Sacred Veins, a collective of devs creating narrative games, whether it be horror, humor, romance, or everything in-between. Come hang out with us!

[ficreadingchallenge]

This is a low key summer reading challenge specifically for fandom. All you have to do to participate is get a bingo card, read a fic, leave a comment, and mark that square off on your card! We hope this will encourage you to step outside your go-to fandom paths and find something new and amazing.

Sign up here.

The challenge will run from June 20,2024 to September 22, 2024.

Your friendly mods are @carcrash429 and @therealjambery. Now get reading!

FAQ below the cut.

Multi-fandom Summer Reading Bingo FAQ

Q: What's all this, then? A: This is a low key summer reading challenge specifically for fandom. All you have to do to participate is get a bingo card, read a fic, leave a comment, and mark that square off on your card!

Q: How do I sign up? A: Fill out this form!

Q: What are the dates of the challenge? A: This year the summer reading challenge starts on the summer solstice, June 20, 2024. You have until the fall equinox, September 22, 2024 to complete your bingo card.

Q: Who can participate? A: Anyone who reads fanfiction!

Q: Can I get a text-based bingo card instead of an image? A: Absolutely, please let us know you’d prefer that format when you sign up.

Q: Do I have to leave a comment to complete the square? A: Yes. I mean, we're not going to check up on you or anything, so it's the honor system. But let's give creators some love, shall we?

Q: Can I listen to podfic instead? A: Yup! The comment rule still applies, though.

Q: What if the thing I'm using to complete my square isn't on AO3? A: That's fine. You can reblog on Tumblr, leave a comment on a blog post, or otherwise let the creator know you enjoyed their story/art/podfic.

Q: What sort of things are on the bingo card? A: You can see our full list here.

Q: What if there is one of my triggers or something that squicks me on the list? A: Just let us know when you sign up and we'll make sure you get a card that doesn't have those things on it.

Q: What do you mean by [fill in the blank]? Does this fic count for that square? A: It's up to your interpretation - we wanted to leave things as broad as possible. If you're really stuck, send us an ask and we can talk about it!

Q: What do I win if I get a bingo? A: The priceless satisfaction of a job well done. Also, we might have something special for you at the end. Guess you'll have to participate to find out.

Q: Can I sign up for multiple cards? A: Yes, but we ask that you limit yourself to one per month (so if you get your first card on June 20th, wait until July 20th to ask for a second one).

[nova-dracomon]

My Gender is [NOT] Human Zine is Now Accepting Submissions!

Xenogender: A gender that cannot be contained by human understandings of gender; more concerned with crafting other methods of gender categorization and hierarchy such as those relating to animals, plants, or other creatures/things.

This zine will be a collection of artwork, writing and more created by alterhumans and nonhumans to express both their species identity, gender, and how they intersect. While this zine will have an xenogender slant, everyone who has something to share about how their species and gender overlap are encouraged to submit pieces! Similarly, if you are currently questioning, you are still welcome to participate. Anonymous submissions are accepted.

What Can I Submit?

Both fiction and nonfiction pieces are accepted. As long as what you have in mind fits the theme, it’ll probably be a-ok. 

Off the top of our head, we’re thinking of:

Essays of your personal experiences

Short stories 

Poetry 

Advice columns

Artwork

Fictional advertisements

Comics 

Mock interviews

This is far from an exhaustive list, we welcome you to think outside the box!

How to Participate

Please email your completed submission to ruffledgryphon(@)gmail(.)com and title the email “My Gender is Not Human Zine Submission.” Also make sure to include the following information in your email:

A name you would like the piece attributed to 

Title of your submission

Any content warnings that you feel are necessary for the piece

Any social media handle or personal website you’d like listed in the contributor section

A logo or icon for the contributor section

**If you would like to stay anonymous please let us know

Members of systems are welcome to submit individually or collectively. Please let us know your preference when it comes to attribution.

Once the deadline has passed, the submissions will be crafted together into a single zine and it will be posted on our itch.io as a free PDF. 

Submissions are due by May 1, 2024.

Our itch.io: https://ruffledgryphon.itch.io/

Submission Guidelines

Each individual may submit up to 3 works to be featured in My Gender is [NOT] Human. Comics and multi-image works count as one piece. Individuals within a system may each submit up to 3 works. All work must be your own! Anyone caught plagiarizing or submitting AI-generated work will be barred from entering My Gender is [NOT] Human and any future zines from us.

Written submissions should not exceed 30 pages and multi-part art entries should not exceed 10 pages. Please keep in mind the zine’s pages will be 8.5x11 and entries will be scaled accordingly to fit that size. We request all art submissions to be sent in either .jpg or .png file formats. 

For stories that use multiple different fonts, we will do our best to preserve the general “feel” of your piece but cannot guarantee we will be able to use the exact fonts or sizes due to restrictions in what fonts we have access to, readability and overarching zine style.

Submissions must fit the thematic criteria of

About the intersection of gender and species identities

If you’re not sure if you count, feel free to reach out to us. However, we will be leaning on the side of “Yes! We’d love to hear from you!”

FAQ

Q: Where will the zine be hosted? What will it cost? A: The zine will be hosted digitally on our itch.io and will be free to download. Our itch.io can be found here: https://ruffledgryphon.itch.io/

Q: Is there a cap on submissions? A: There is none, as long as the file doesn’t start getting too big for our computer we’ll do our best! If there are an unprecedented amount of submissions, we may have to delay the release. In the event that happens, we would communicate that through updates on our tumblr.

Q: Can I update my application after it’s been submitted? A: Yes you may, as long as that is communicated to us before the submission deadline.

Q: Can I rescind my submission? A: Yes you may, as long as that is communicated to us before the submission deadline. This is because once we begin work on the zine, having to remove content mid-way through would throw off the formatting of everything else after. Please take this into account before submitting. 

Q: Will this zine allow NSFW entries? A: No, nothing 18+ will be accepted.

Q: What is your timeline for the project? A: Our submission deadline is May 1, 2024. We are then planning to spend the next month compiling all of the entries. Our goal is to have the zine live by June 1, 2024. If something unforeseen happens and we are unable to make that deadline, we will post an update about it on our tumblr.

Q: I have another question! A: Feel free to reach out to us at our email ruffledgryphon(@)gmail(.)com or here on tumblr  with any other questions you have about the zine.

[juergenklopp]

How do you make your gifs?

Hello hello! I love talking about gifmaking, so thank you for giving me the chance to ramble.

Instead of a detailed step-by-step walkthrough, I will link tutorials and resources written by the wonderful Tumblr creators on here along the way. Everyone has their method and preferences, and there’s no right or wrong way to make gifs. I’m going to share techniques and resources I picked up along the way that work best for me—they may or may not be suited to your preferences, but I hope you’ll find some helpful things here.

(Warning: screenshot/image heavy)

USEFUL TUTORIALS AND RESOURCES

Here are some tutorials and resources that I found very useful when I got back into gifmaking:

Gifmaking tutorial using video timeline by @hope-mikaelson is identical to my own process

Gifmaking and coloring tutorial by @kitty-forman​, whose process is very similar to my own

Giffing 101 by @cillianmurphy​, an incredibly detailed tutorial that covers everything you need, including a step-by-step guide to using HandBrake

Gifmaking and coloring tutorial with 4K HDR footage by @sith-maul​, another incredibly detailed tutorial with many useful tips

Gifmaking tutorial by @jeonwonwoo, incredibly comprehensive and covers so many aspects of gifmaking from basics, sharpening, captioning, and text effects

Gifmaking/PS tips and tricks by @payidaresque

Action pack by @anyataylorjoy​, the Save action is especially a true life-saver

@usergif and @clubgif are amazing source blogs with many tutorials on gifmaking, color grading, and gif effects, can’t be thankful enough for the members for their work curating and creating for these blog!

TOOLS

Adobe Photoshop CS6 or higher, any version that supports video timeline. @completeresources​ has many links to download Photoshop, have a look!

Photopea is a free alternative to Photoshop, but it has a slightly different UI, check out these tutorials for gifmaking with Photopea

HandBrake or any other video encoder, especially if you’re working with .MKV formats 

4Kvideodownloader for downloading from YouTube, Vimeo, Instagram, etc.

OBS Studio or any other similar screen capturing software. To prevent duplicate frames in gifs that prevents your gifs from looking smooth, try to match the recording frame rate (FPS) with the source.

IMPORTING FOOTAGE AND WORKING IN VIDEO TIMELINE

I work exclusively in video timeline instead of importing video frames to layers or loading files into stack. For videos that don’t require converting/encoding using HandBrake, especially ones that are already in .MP4 format, I tend to open the video directly on Photoshop, and trim the videos around directly.

As mentioned above, this gifmaking tutorial using video timeline is exactly how I make gifs. I find it more efficient, especially if you’re making multiple gifs from the same video/the same scene with little to no change in lighting conditions You can simply slide around sections of gifs you want to save, and they will all be the same length.

Another thing also covered in the tutorial linked is the ability to change video speed in video timeline mode. Right click on the video and set the speed before proceeding with cropping/resizing. This is also very useful when you’re making blended gifs where you need the footage to have the same length.

Slowing footage down.

As mentioned in this post, changing the FPS before slowing down the gif results in smoother gifs. Doubling the frame rate before slowing down your gifs usually yields the best result.

Speeding footage up.

I love using this to speed up slow motion B-rolls to make the speed slightly more natural. It will result in nice, smooth gifs:

(B-roll footage, normal broadcast speed)

(200% speed)

Subject won’t stay in frame?

Another feature of the video timeline mode. Keyframes are your best friend. This tutorial by @kangyeosaang covers everything you need to know about panning gifs. I use this technique regularly, it’s a life-saver.

COLORING

Here are some coloring tutorials I found very useful:

Coloring tutorial by @brawn-gp beloved, their coloring style is second to none

Mega coloring tutorial by @yenvengerberg, for stylized /vibrant coloring

Understanding Channel Mixer by @zoyanazyalensky

Coloring rainbow gifs by @steveroger, which delves deep into Channel Mixer

I tend to go for neutral-saturated coloring in general,  especially for minimalist gifsets with no effects (blending/isolated coloring/overlays etc.), but the possibility is endless for stylized coloring. Here’s what my adjustment layers look like for the example gifs above.

The base footage for this Charles gifset is incredibly desaturated. I started with a Curves layer to bring contrast to the gif, as well as do some color-correcting to bring the base footage to a more neutral tone. To bump contrast, I also like to add a black and white Gradient Map layer with a Soft Light blending mode at 10%-30% opacity:

The Vibrance layer is then used to lift the saturation of the base footage, with the Selective Color, Hue/Saturation, and Channel Mixer layers to help remove the green/yellow tint to his skintone.

An underrated adjustment layer/preset in my opinion is the Color Lookup. You can layer in pre-loaded .LUT color grading presets to help speed up your process. For this gif, it’s simply a base preset Soft Warming Look to achieve a warm, pink-tinted tone.

In hindsight I feel like this gifset is too saturated, his skintone is skewing very red/pink, I could’ve bumped down the lightness of the reds with a Selective Color layer or a Hue/Saturation layer. Try to err on the side of neutral for skintones. Experiment with layer orders—there’s no right or wrong! Remember that each layer build up on the one before it.

The base footage of the Jalen gif is already quite nicely color-graded, but it’s still muddy and underexposed. As with the Charles gif, I started with a Curves layer to bring the gif to a better baseline contrast. Then I focus on brightening the gif with the Brightness/Contrast and Exposure layers.

The Hue/Saturation and Selective Color layers are to color-correct Jalen’s skin tone—it’s something I spend most of my time coloring gifs and focus a lot on, especially when color grading BIPOC skintones. Putting a Vibrance layer, upping the Vibrance and Saturation, and calling it a day would make his skintone skew very, very yellow/orange.

Focus on the reds and yellow for skintone, play around with the Saturation and Lightness sliders, use the Hue slider with caution.

It can be tricky to achieve the right skin tone when working with sports footage vs the higher quality, higher dynamic range footage of films or TV shows, but I try to keep it as close to the subject’s natural skintone as possible.

Here are some of tutorials with tips and tricks on coloring BIPOC:

How to fix orange-washed characters by @zoyanazyalensky

How to prevent pink-washing and yellow-washing by @jeonwonwoo

Coloring tutorial by @captain-hen

Changing lighting conditions?

Fret not—this is why I love working in video timeline. I’ll take this gifset as an example: it’s a deceptively difficult one to color. The footage is 720p and the sunlight shifts throughout the video, so matching across gifs was tricky.

My solution was to split the clips in sections with consistent lighting, and apply adjustment layers to the individual sections before applying general color grading layers on top of everything.

We can make use of the Fade Transition effect for sections where the lighting changes within the gif section we want to color.

(without vs with Fade on the Brightness/Contrast layer)

The difference is subtle in this example, but the brightness in the right gif is noticeably more consistent throughout. You can also add the Fade Transition effect to the beginning for a fade in, of course.

SHARPENING AND OPTIMIZING GIF QUALITY

This tutorial by @anya-chalotra​ covers everything you need to know about optimizing gifs for Tumblr.

Sharpening.

Sharpening is essential to making crisp gif images. Here’s another ask I answered re: my own sharpening settings and maximizing gif quality.

(base footage, unsharpened)

(color graded, unsharpened)

(color graded, sharpened)

The final gif is sharpened with Smart Sharpen, 500% at 0.3px and 10% at 10px (my standard sharpening settings).

Here are some tutorials and resources on sharpening:

Sharpening process by @anya-chalotra

Sharpening tutorial with added gaussian blur by @haleths

Sharpening action by @daenerys-stormborn

Size your gifs for Tumblr correctly.

This is essential: full width gifs are 540px wide.Two side-by-side gifs should be 268px wide. Here’s a handy post on gif size guide for Tumblr.

Incorrectly sizing your gifs will take away the quality of your gifs: undersizing your gifs will especially make them grainy, blurry, and /or pixelated, and won’t display correctly on many people’s desktop theme. Oversizing usually isn't as dramatic as undersizing, but it will make the gifset glitch when displayed, and the file size will be unnecessarily bloated.

Work with HD footage if possible.

Media fandoms (films/TV shows) are luckier than us in the sports trenches—we have to work with what we have. Broadcast footage is usually subpar: lacks contrast, pixelated, very desaturated, the list goes on. But it’s possible to still make high quality gifs from subpar footage. Here are a couple of tutorials to mask low source footage quality:

low quality video ➜ “HD” gifs tutorial by @nickoffermen

Sharpening low quality footage by @everglow-ing

(This gifset I made is from a 480p footage with horrendous lighting conditions and colors, and the end result is decent I’d say)

Save for Web (File > Export > Save for Web (Legacy) or Ctrl + Alt + Shift + S) settings.

I default to Adaptive + Diffusion but also use Adaptive + Pattern from time to time. Any combination of Adaptive or Selective + Diffusion or Pattern will give you a good result. In my experience some gifs will need the Selective color table for the colors to display correctly.

Here are my default settings:

SAVING AND EXPORTING FOR TUMBLR

Converting to frames and adjusting the gif speed.

If possible, avoid exporting your gif and reopening it to adjust the frame speed. I used to do this sometimes when I’m lazy, I have to admit, but this is where this Action as mentioned at the beginning comes in very handy. It converts all visible layer into smart object, then converts it back to frame animation.

Step-by-step:

1. Select all layers

2. Right click > Convert to Smart Object

3. Go to the Timeline menu (≡) > Convert Frames > Flatten Frames into Clips

4. Go to the Timeline menu again (≡) > Convert Frames > Convert to Frame Animation

5. In the same menu (≡), select Make Frames from Layers

6. Delete the first frame (it’s a duplicate) then set your frame speed

Now you can adjust the frame speed before exporting it (Save for Web).

Pay attention to the source framerate.

The frame delay of 0.05 s is usually the default to make gifs for TV shows and films, and it is preferred by most gifmakers. This stems from the fact that most movies and TV shows are 24 or 25 FPS. This may not be the case for all source videos: you might get 30 FPS footage, and sports or gaming footage can be 50 or 60 FPS. Gif speed also depends on the FPS of your original file. Play around with gif speed and see what feels most natural to you.

My rule of thumb is the frame delay Photoshop gives you + 0.01 s. For example, 50 FPS footage will give you 0.02 s frame delay (25 FPS gives you 0.04, 30 FPS gives you 0.03, etc.), so set it to 0.03 s. I usually err on the side of a faster frame delay for smoothness in in-game sports footage, anything else (interviews, press conferences, B-rolls) can get away with being slowed down. Again, experiment and see what you think looks best!

Keep gifs under the Tumblr file size limit (10 MB).

Cut down the number of frames. My gifs are usually around 60-70 frames for 540px full-width gifs, but depending on the coloring, sometimes you can get away with more. 268px gifs can go up to 200+ frames.

Crop your gifs. Remember to keep full-width gifs at 540px wide, but if necessary, you can crop the height. My go-to sizes are 540x540, 540x500, 540x450, and 540x400.

Amp up the contrast of your gifs. Flat colors like black cut down gif size.

The Grain filter or Noise filter, though beautiful for aesthetics or simply necessary sometimes to mask low source footage quality/pixelating, may bloat your gif size.

Play your gifs back before exporting.

Pay attention to duplicate frames or glitches, you might need to get rid of them!

Hope this is helpful! Don’t hesitate to send an Ask or DM if you need any help, I will happily answer all your questions and send over PSDs. (I’m also on Discord—just shoot me a message if you need my tag!) Happy creating :]

[have-you-been-here]

Welcome to Have You Been Here, a blog that gages where tumblr has been!

If you'd like to submit a place, please read the entire FAQ under the cut BEFORE you send it in!

FAQ

Q: What kind of places can be included?

A: Anywhere! Places can be as specific or as vague as you'd like: both The Milky Way and 123 Main Street, Frankfort, Kentucky, USA are both perfectly fine!

Q: Where should I submit?

A: Use the ask box! After opening a ticket with tumblr, it turns out submissions and polls are not compatible.

Q: What should I include in my ask?

A: When you submit a post, please include: A picture of the place, the name of the place, and the location of the place, if applicable. You must include the country. Please. PLEASE include the country.

Do not include anything else!

The preferred format is image first, then text in big letters.

Q: How do I make sure I don't submit a place that's already been added to the queue?

A: Use this link to see a spreadsheet of every place that's been posted and added to the queue. Do NOT submit the same place multiple times!

Q: Anon is off, but I don't want my username attached to my submission. Am I out of luck?

A: Not at all! If you'd like to submit a place anonymously, send in an ask as usual and mention that you'd like it to be anonymous. I'll take the submission and make a separate post without tagging you. The ask will be answered privately so you know that I've seen it and added it to the queue without your name involved.

Q: It's been a while, but my place still hasn't been posted! Did you delete it?

A: Probably not! The queue posts six times a day, and there are a LOT of posts in the queue and in my inbox! I don't add posts in the order that they were submitted, so it's likely that your place hasn't been queued yet. The only reason I delete asks is if the place has already been posted or added to the queue!

Q: I run a similar gimmick blog and would love to tag eachother for publicity!

A: Awesome! I'm all for it; send me a dm from your gimmick blog and I'll tag you at the end of this post :)

Happy travels!

[edwardianmumbo]

Verbal Terminology in Autistic Tumblr Survey Results

After quite a long while (and for that I apologise) I’ve finished the results of a survey about the descriptivist uses of the terms Nonverbal/Non-Speaking and Semiverbal/Semi-Speaking in Tumblr’s Autism Community. This survey was originally intended to cover more, and just be a fun side project that unfortunately ended up with many flaws throughout the whole process. I'll go into specifics more at the end in the “Further Notes” section!

All that to say, I heavily implore you to do your own research and listen to others outside of this survey about these terms. Admittedly I think this survey is best taken as a small peek into how a very small group of people currently use these terms, in a fun non-informational survey format. (Also this was my first time doing image ids, so well i tried my best they might be really bad and for that i apologise in advance!!)

Demographic Questions

[image id: a bar graph called “What Would You Call Yourself” with the options going top to bottom the graph says Nonverbal at 16 (3.5%), Semiverbal at 118 (25.9%), Someone Who temporarily Loses Speech or Temporarily Can’t Talk at 308 (67.7%), Verbal or At allistic Level at 171 (37.6%), and Hyperverbal at 95 (20.9%) end id]

First things first I looked at the different ways survey respondents identified personally, and at a base level we can see most people said they had varying speech levels. The next highest given types overall were Semiverbal and Speaking Autistics, with Nonverbal being the least used term among survey participants. Due to this being multiple choice I also looked at what group of responses where most common:

[image id: a bar graph of Unique Term Use Types. The highest is Temporary Only at 141 respondents. The next Highest is VT (Verbal and Temporary) at 60, followed closely by Verbal Only at 59. The rest in order of highest to lowest is Semiverbal Only at 41, ST (Semiverbal and Temporary) at 33, TH (Temporary and Hyperverbal) at 29, Other Combinations at 21, VTH (Verbal, Hyperverbal, and Temporary) at 19, Hyperverbal Only at 18, SVT and STH and VH are all tied at 8, SV (Semiverbal and Verbal) at 6, and finally Nonverbal Only at 4 respondents. end id]

This graph more clearly shows that a majority of responders would consider their verbal speech levels to change, but only a minority of that group also considers themself Semi or Non-Verbal. You can all also see how a majority of responders considered themself either as just temporarily losing speech or a combination group using the Verbal option, which highlights a potential bias in the future questions. (Also the other section is for all combinations that got under 1% of respondents individually!)

[image id: A pie chart pf praticapent’s age groups. The highest at 56% is 18-29 year olds, with 13-17 place at 38.2%. The rest have the percents cut off but in order are 30-29, Under 13, and then 40+ year olds. End id]

Most responders fell in the age ranges of 13-29. This seems to follow general Tumblr trends after a quick search, but possibly leans a few years younger then the general user base. The lack of older adults taking the survey is unfortunate as some of these terms have been around for a while, and it’s always a plus to get an all ages response on surveys like these.

[image id: A pie chart titled “Where did you find the survey”, The top choice being “Another Tumblr Blog” at 59.1%, and the 2nd “Nd Culture Is” at 37.1%. You can see the slices for “From Someone I Know” and various Other Responses in the pie chart, with the other responses blurred out in the index sheet. end id]

This graph is admittedly a bit worthless, as I made it before deciding where I was going to post the survey to, so a decent amount of people, both those who selected “Another Blog” or Other mentioned getting it straight from the og post or a reblog of it. So needless to say i wasn’t quite exact enough by what i meant in this question (which was to see how far it spread vs any bias from just my “in-group” so to say), but it does does imply that that the survey didn’t make it far from the groups I posted it in. Which is expected with how little "promoting" was done during the survey period.

NonVerbal / NonSpeaking

[image id: a multiple bar graph showcasing the correlation between how responders self identified vs how they define Nonverbal. Going from top to bottom is The Fully Always option chosen by 3 from Nonverbal Only, Masking with no chosen responses, Little to No Speech at 2 from Nonverbal and other Terms Users, Allow Temporary at 9 from Nonverbal and other Term Users plus 7 from Nonverbal and Temporary and an intentional Nonverbal Only Responder, then All Above with 1 Nonverbal and Temporary plus a Nonverbal Plus Response, Followed lastly by Other Definitions with no responses. End id]

Before going over this data I want to reiterate that the survey had very few nonverbal people taking it, so this data is not going to be all possibly not even most, nonspeaking people’s option on defining those terms. Next The N Plus section on the graph includes the N and T groups as well as other responders who marked themself with more than just the Nonverbal role. That said it seems that the greater community tends to lean towards the “Someone who has periods or is always not able to speak and/or can't speak well” option, and well quite a few nonverbal autistics agree, there’s a group especially among those who only consider themselves nonverbal who prefer defining it as those who always can’t speak fully ever. This matches with trends i’ve personally seen in the nonverbal tags of nonverbal people preferring definitions that centre on the lack of verbalness, even completely or most of the time vs speaking autistics using more broader terms, but again with such a lack of nonspeaking people involved there is no solid reliability to the data.

SemiVerbal / SemiSpeaking

[image id: a multiple bar graph showcasing the correlation between how respondents self identified vs how they define Semiverbal. Going from top to bottom is Partly All with 8 from Semiverbal Only plus 7 Semiverbal and Temp and 10 from Semiverbal Plus, Next is Inbetween with 24 from Semiverbal Only and 42 from Semiverbal and Temp plus 53 from Semiverbal Plus, Lose Speech has 5 from Semiverbal Only plus 6 from Semiverbal and Temp and 8 from Semiverbal Plus,All Above with 2 from both Semiverbal and Temp plus Semiverbal Only, Context-Based with no responses, and finally Other with 1 from Semiverbal Only plus 2 from Semiverbal and Temp and 3 from Semiverbal Plus. end id]

Like The Nonverbal Section, The S Plus section on the graph includes the S and T groups as well as other responders who marked themself with more than just the Semiverbal role. Otherwise, from this graph we see an overall trend of including anybody “between nonverbal and verbal” regardless of how the respondents identified themself. There also seems to be less of a disconnect between those who are semiverbal vs the greater community when compared to the results of Nonverbal, although whether that is a bias of the survey or a general trend is hard to tell. Most respondents who chose Other seem to have given either an all of the above answer (which I might have manually included???) or mentioned a definition using the idea of always struggling with speech but at different levels.

Further Notes

One thing I really wish I had done was involve more nonverbal and semiverbal people in the whole process of making this, i think looking back there’s definitely moments were you could tell this was made by a speaking autistic and I really didn’t do nearly enough to include and uplift the voices of those who this survey was literally about. In a similar vein I forgot about pretty much every non-autistic community who uses these terms, but also didn’t make it clear enough that it was unintentional, leaving not only countless voices unheard but accidentally ostracising those whose voices are equally as important as what this survey managed to cover.

Alongside that I was very unclear in what some questions meant to the point even future-me wasn’t sure what the data was for, plus I bit off much more than I could chew, making for a messy at best survey experience. As such survey taker’s might notice not every question was given space here, and that is simply because I couldn't process the data in a timely manner.

I did however let people opt-in to sharing further notes about how they use these terms and will share some of those under the read more with no individual commentary so as to let people speak fully for themselves:

There is a gap in the language available to describe autistic difficulties with speech. Verbal should describe the ability to use language, written or spoken, but in the context of neurodivergency almost always describes speech only. Non-speaking would be a more appropriate term and would free up nonverbal as a term for autistics who struggle with written and spoken English (as in syntax or language in general, not spelling). This has been talked about in high support need circles but is not mainstream.

I think we should look to the wheelchair users for language design, specifically the differences with the language around full time wheelchair user and ambulatory/part time wheelchair user

i wish mostly speaking people would find other ways of explaining their experiences without using nonverbal/nonspeaking people's language. we already have a much harder time communicating and when our language is taken or used in different ways that makes people confused about the meaning and they assume that the experience of mostly speaking people is the same as mostly or fully nonverbal/nonspeaking people. when actually the overall experience is very different

I am not sure exactly where I fit within being verbal but losing speech and struggling to speak almost always, or if I am semiverbal. I think the lines between all of these terms can be blurry, but I think it's bad how verbal autistics who lose speech occasionally (and often talk about being able to push through this and force themselves to speak - which is how I feel almost all the time) have taken these terms which makes it very hard to find content from people whose experiences with speech are similar to mine or who are nonverbal. I think it's connected to how in general lower support needs autistics take most of the space in the autistic community and it can feel isolating for people like me who are higher support needs.

And well this survey was about English specifically, I want to share what this survey respondent said about how the terms work in their language and how that affects their usage of these terms:

third of all: the alternatives to that, such as "losing speech", "having verbal shutdown", or "going mute"... simply do not work in some languages. and as proof, let me show you my beautiful native language, that being ukrainian!

"losing speech" = our word for speech equals our word for talk. when losing speech, i CAN talk - but not by using my voice.

"verbal shutdown" = our word for shutdown is not being used in the same way as in english and there is no good alternatives.

"going mute" = our word for mute has a very long and complicated and problematic history, and is not something most people would be comfortable saying!

so, that means that i am left with absolutely no phrases to use in my language - because the only one, that being "going/becoming non-verbal" which is translatable and has the same meaning - is not an option anymore.

[bi-bats]

trick or treat <3333

TAURIA MY BELOVED!!! HAPPY HALLOWEEENNNNNN!!!!

In the spirit of the season (and giving out full size candy bars) you get a snippet from an idea that I have not talked about on Tumblr yet!! Everyone say thank you to Tauria and go read a bunch of her fics on Ao3 her stuff is so good!!

ANYWAYS this is a snippet of a DamiTim piece I've been working on in the vein of Now Kiss! It's probably going to be a oneshot with multiple little scenes, and it's an urban fantasy fic that's not a no capes!au. It's based off of this one super short tumblr post (that I cannot find ughhh) about magic in the modern era between a self-taught sorcerer and a classically trained one arguing about the ways that they do certain thins, and I saw it and was like "I have to hit that with my DamiTim beam rn" soooo more urban fantasy from Misha for you all!!

(stealing your formatting Tauria because this is too long to indent the whole snippet)

~ ✨ ~

“Why are you keeping the sample in here?” Damian asks, his voice losing just enough of its edge for Tim to answer him sincerely. 

“It combusts at room temp. That’s how the fires are catching so fast and staying lit for so long. You know, B didn’t have to send you to come get it, I could’ve just—” 

A small, glowing portal opens up at the next snap of Damian’s fingers, deep green sparks lining the image of the fridge in the Batcave on the other side.

Yeah, that. 

Tim rolls his eyes as Damian’s eyes flicker over the contents of the fridge. 

“It is unbelievable that you’ve made it this far in life without accidentally drinking your work,” Damian scoffs at the rows of bottles on the shelves.

“Hey, glass can shatter and plastic doesn’t! Besides, I’m recycling.”

“Is that what you call it?” Damian mutters as he pushes aside a gatorade bottle half full of a deep red, viscous liquid. “Which one?” 

“The caps are labelled.” 

After a few moments of watching Damian rifle through the bottles, Tim scoffs and pushes away from his desk. 

When he gets to the fridge, he slides in front of Damian — which infuriatingly, reminds him of the inch of space between the top of his own head and the tip of Damian’s chin — and grabs the Power-C Vitaminwater bottle that has a few tablespoons of an orange, oily liquid pooling in the bottom.

He slips his hand through the portal and drops it on the shelf on the other side before pulling his hand out. 

At least Damian’s spell doesn’t singe him at the fingertips the way his magic used to. 

It’s still a near thing, though.

When Tim turns back around, he almost flinches at the realization that there’s only a few inches of space between his nose and Damian’s chest. He looks up at him — ugh, who let the demon brat get so tall? — and raises an eyebrow. 

In the time it takes for Tim to let out his breath, Damian glances down at him. His eyes flash with something, pink rising to his cheeks again—

And then he’s stepping back, out of Tim’s space entirely, a scowl carving across his features as he looks around Tim’s study.

“You know—” 

Great, here we go, Tim thinks. 

“—there are cleaning spells you can employ to prevent your space from looking like this.”

“Again, Damian, just because I’m mostly self-taught doesn’t mean that I’m stupid.” 

“I was not—” Damian scowls, his voice gruff, defensive and god, here we go for real, Tim thinks.

But Damian doesn’t continue. He breathes out slowly, his voice coming out softer when he finishes his thought. 

“I apologize. I was not trying to insult your intelligence. I was merely suggesting that you may want to employ one of those spells before you trip over a stack of reference books or…” Damian kneels down to pick up a receipt off the ground. “Slip and crack your head open on something. Do you need this?” 

The urge to snatch it from Damian’s hand rises up in him, but he pushes it down.

He apologized, after all. 

“Yes.”

Damian raises an eyebrow at him before flipping the receipt over. 

“Is that… a spell?”

Tim snatches the receipt from his hand.

“Yes. Not all of us have time to copy our spells into a book—”

“Why don’t you just spell your pens?” 

Tim stops mid-step to frown at Damian, the receipt crinkling in his hand.

“Spell them how?”

Damian’s other eyebrow rises to join the first. 

“With a mirroring rune? It will copy whatever you’re writing into your grimoire as you write it.” 

Damn it. Fucking runes. There are just so many to keep track of, and Damian always seems to know them. 

“Here. Where’s your ritual knife?” Damian asks, striding past Tim to his desk, looking around for a pen. 

“I just use a batarang.” 

“You what?” 

“Yeah, anything sharp will do the trick.” 

Tim pulls one out of a drawer and passes it to Damian, letting himself snicker at the displeased look on his face. 

“You have the money. Buy a ritual knife, I am begging you,” Damian scoffs. 

“I don’t need one — don’t argue with me about it, I’m begging you. The rune, come on.” 

He watches Damian’s thick fingers curl around the pen as he carves the rune into the plastic with smooth, precise motions. He means to be following the lines of the rune, but his gaze catches on the scar on Damian’s knuckle, and before he knows it, Damian is handing the batarang back to Tim and muttering, “Grimoire?” 

“Oh, uh…” Tim moves a few piles of papers around, looking for one of the dozens of notebooks lying around this place. 

Okay, maybe Damian has a point. 

He gives up searching manually and waves his hand through the air, waiting for a notebook to soar from somewhere random in the room.

Nothing happens.

Why is nothing happening? 

Tim looks around, waves his hand again and with a little more sass, and then there’s a crashing noise as a pile of books collapses to the floor, his notebook responding to the summons and flying into his hand. 

He flips it open to a blank page and ignores the heat on his cheeks and the look Damian’s giving him as he passes it over. 

“Is it a time constraint preventing you from maintaining your space?” 

Tim scoffs, paying attention to the lines of the rune this time instead of Damian’s fingers. “Yes, Damian, it is pretty clearly just another thing I don’t have time to do.” 

“You could ask for help. I’m sure Jason would love to teach you some cleaning spells.” 

“He’s banned from my study for that exact reason. I still haven’t figured out where he put everything last time. Does the direction you draw the rune in matter?” 

“It’s a rune, Timothy. It always matters.” 

“Fucking runes,” Tim mutters, rolling his eyes. 

Damian laughs a little, and suddenly Tim realizes that this is the longest amount of time they’ve spent together when they weren’t in masks in… 

Well. Since Tim moved out, probably.

They get along fine (comparatively) these days, but it’s not like they spend time together unless it’s for a case, and they haven’t worked a case together since… last year? 

Which is probably why he’d forgotten how Damian’s laugh isn’t the same condescending noise he remembers from when he was a bratty little tween.

Or why the low, warm rumble of it catches him off guard, makes something in his stomach squeeze. 

“Here,” Damian says, jotting down the directions for the rune on the same page. “I can’t help you with organizing it in the notebook, especially since you have more than one, but—” 

“Oh, that’s not a problem. I just use summoning spells anyways.” 

There’s a silence long enough for Tim to look up at Damian’s face. 

Is his eye twitching?

[neonfretra]

oughhhh oumblr post machine broke... i have made a post so long and dense that i can no longer even BREATHE her way without getting errors for inability to process post... i can edit other posts fine. i can post posts fine. i asked someone else, different account and device, to try it and its BROKEEEEE. epic highs and lows of text transcriptions of a 15 slide long portion of an essay <3 BTW the full slideshow is 52 mb . of 8 slideshows total. my madness <3

villain monologue below the cut <3

if you ever want to HATE a text editor try managing, editing, writing long form text in it <3 never a more infuriating experience in my LIFE i SWEAR!

a minor infatuation of mine is how tumblr rich text editor will handle different elements (ex. paragraph/regular, header 1, bulleted lists) where if you switch between them in a post frequently you might notice it is incredibly weird (compared to other rich text editors i use)!

when you create a new text block (excluding regular text) and then hit enter, it creates another line of text in the style of the previous text block (excluding headers). but when you hit backspace, instead of reverting to regular text, it deletes the entire line of text. if you want to revert to regular text you actually need to hit enter AGAIN. which i mean is fine but my muscle memory has ISSUE with it LOL

not to mention the fact that you cant layer multiple elements (ex. you cant have a bulleted list embedded into indented text). exception of fonts maybe, i dont use fonts at all, i have them disabled, i cant read them LMAO. i have not used ummm quotes as well

AND it breaks copy+pasting. tumblr disagrees with copy+pasting any text in any formatting besides regular LOL. if you use lists or indented text, you cannot paste anything from the block ANYWHERE within the post. you also cant drag and drop text on desktop and i dont like doing posts on mobile devices so yall on your own in that world. (did yall know the google applications i use dont let you right click -> copy/cut/paste? i dont. i dont know what they broke but they broke it)

AND this isnt even mentioning the fact that sometimes the tumblr text post editor just. lies. LOL? call her HTML the way white space (ex. spaces, blank paragraphs) does NOT matter. i put spaces between bullet points and they are gone. there are inconsistent spacings between text blocks because i copy+paste them and use the different text elements . and then they are gone. i somehow have indented bullet lists??? that i cannot recreate??? and also dont even show up in the public facing post???

AND this is also not even mentionin the fact that its very prone to breaking. like i cannot type into certain lines of text under fairly recreatable situations (IIRC, indented text block, press enter at the start of the text block to make a new block above the existing one, type a character and then delete it to make the new block blank. cant type into it again unless i click off and on again!) or the fact that i straight up cannot edit a post anymore. or the fact that its really common for me to run into errors where it refuses to save at all? or maybe im just stress testin it, im not actually sure how much im puttin into this poor thing? TBF this isnt a 30 image long monstrosity THIS time (which is the image limit on desktop, its 10 on mobile) so it breaks a lot less ^_^ for a copy and paste project. we living it up scrapbook style.

maybe neonfretra is hollerin about nothin. that post is absolutely broke as hell though. ^o^

[autumnslance]

I post SMAU’s from time to time and when I’m editing they look fine but when I post them there’s these spaces in between my photos horizontally and I don’t know how to get rid of them.. 😢

Do you?

- Newbie 🪁

I had to squint at this one as I had no idea initially what it meant. I'm guessing Social Media AUs? I don't write a lot of those myself, but if dealing with images, it depends on:

the pixel sizes of the images

how the site handles those various sizes

what sort of default padding/gutters the site uses.

It sounds like you're running into issue 3.

On Tumblr, for instance, there are pixel widths to hit and also gutters to keep in mind. Looking on my actual blog posts with images next to one another (vertically or horizontally) there are always spaces in between.

If formatting a visual medium to tell stories, you have to take into account where you're posting it and how that site works - and that cross-posting it multiple places may look different unless you adjust format for each site you post to for desired effect (this can happen with text also, if one gets too fancy with text and paragraph formats that don't translate across different site coding).

These are some old images - like at least a decade I think - and I don't have the OPs for them anymore as I use them for personal reference. Even as I create this post, there are gutters/padding/spaces between the images by Tumblr default.

The first is a single image mimicking how picture sets with variable image sizes will look regardless. The other 3 are each single images to demonstrate how pixel width works.

[tropetember]

[Image description. Image reads “Tropetember”, in the background, a picture of a mug placed on an open book in front of a blanket invokes a cozy feel. End id] Thanks to @supericelight​ for the image description!

We’ve tried to answer as many common questions as possible below, but if there’s anything else you want to know, our ask box is open.

How do I post my work to the Tropetember AO3 Collection?

When you go to post a new work in AO3, there will be a section that says ‘Post to Collections / Challenges’. In the field next to it, type ‘Tropetember 2024’.

Do I have to post my work to AO3, or can I just post it to Tumblr, or a different site?

You can post your work wherever you like! As long as you make a submission through our Submissions form, or mention us @tropetember in your own post including either the link to wherever the fanwork is hosted, OR the text of the fic, we will post it.

You can also post only to the AO3 collection if you don’t want your work on Tumblr.

How do I tag/format my submission to the blog?

The most important thing is to check the box for #R-tropetember if your fic is NS/ FW (AO3 rating of M or E).

You can also choose from the other checkboxes to tag your work, but please make sure to use these responsibly and correctly! For example, don’t check all of the different types of media unless your work genuinely falls under these categories. Each submission needs to be individually checked and posted by the mods, so please don’t make our job harder - we’re already putting in many hours of work!

Incorrectly tagged works will have all nonessential tags removed and will therefore not show up in the search results.

Please make sure to include your fic’s TITLE, TROPE & SHIP (if applicable). For ship fics, the commonly accepted ship name (main ship only) should be included in brackets after the title, if you know it, and also the main trope/prompt(s) you used in the fic.  Any further courtesy or content warnings are appreciated, but not required.

What do I do if my submission isn’t posted?

Give us 24 hrs to post your submission - both of us work, so we aren’t always online. If it’s been longer than that, it’s either Tumblr screwiness or human error, so please do send us a message or ask so we can check we received it. We want to post all your submissions!

What kinds of fanworks are allowed?

Anything and everything! You can post fic, art, craft, fanvids, playlists, original music, audio, or whatever you like, as long as it fits a trope.

Can I skip some days?

Absolutely. You can do as many or as few days as you wish.

Why are there multiple prompts listed for each day? Do I have to combine them, or can I just pick a single one?

We listed various prompts for each day to give everyone as much choice as possible. You definitely aren’t expected to combine them (but you can if you want!).

Is Tropetember open to any fandom, character or ship?

Yes, it is! Feel free to create content for whichever fandom you want, including crossovers.

What if I miss the day for the prompt I want to do? Can I do the prompts out of order?

It doesn’t matter if you miss the specific day - please go ahead and write the prompt that caught your eye! Feel free to do any of the prompts on any day of September.

What if I’m late and don’t finish before the end of September?

We’ll be allowing late entries for one week after September 30th. If you miss that deadline, the AO3 collection will remain open until the one for next year is up and you can still post your works there.

Can the fills for the prompts be a new chapter of an existing fic, or part of an existing series?

Yes, that’s fine with us. Go ahead!

Can I combine the prompts with another event or bingo?

Absolutely!

Will you reblog NS/FW or controversial material?

Yes, in general we will. However, anything NS/FW or particularly controversial will be tagged with 'R-tropetember’ at the mods’ discretion. Please make sure to block this tag if you don’t want to see NS/FW content.

We will also attempt to tag works with any other relevant tags for blocking, including the ship name if possible. However, we won’t necessarily read all works ourselves, so we won’t be able to tag for all work content. Please heed the AO3 tags.

Remember the first rule of fandom: ship and let ship. :)

Why do you post and reply at strange times?

We don’t live in the USA, so our time zones are different. :) One of us is European and the other is Australian.

What’s with #27, “gay panic”? Isn’t that a discriminatory legal defence that allows for hate crimes against LGBTQIA+ people?

We (the mods) are both members of the LGBT+ community and we are very much aware of our gay history and the way this term has been used against people like ourselves. However, this phrase has a history of being thoroughly reclaimed by fanfic authors, with use dating back well prior to our own entry into fandom (and we’re old enough to remember the days of Livejournal, Wordpress and Fanfiction.net!) Feeling an initial sense of panic over one’s sexuality is something that is highly relatable to most people in the LGBTQIA+ community and that most of us have experienced, and the use of the phrase “Gay Panic” to describe a crisis of sexuality is part of our intertwined communities’ history.

~

Welcome to Tropetember!

Tropetember Prompt List

Tropetember Hard Mode Prompt List

[if-whats-new]

FAQ - (Frequently) Asked Questions

Do you have a question about the zine? Check below if we haven't answered it first before sending us an ask!

May be updated if needed.

About the Zine

Why the Zine? why A zine?

Because there is so much happening in the IF community, it is becoming increasingly difficult (if not impossible) to keep track of it all. So instead of checking a bunch of different website or servers for announcements, we hoped by compiling and centralizing all these news, it would make it easier for people to get reminders on updates of games they might enjoy or events they'd like to participate.

And zines look neat!

If short concentrated format is not for you, check out ChoiceBeat for in-depts reviews and articles, or The Rosebush (@the-rosebush-mag) for theory/criticism essays, or The Fortnightly Amare Bulletin (@amaregames) for Amare-specific news.

What's in the Zine? What can we expect?

All that IF good stuff! Mainly covering what happened the past week:

Events happening right now, from conferences to jams to competitions (registration, submission, voting, or just ended)

New games and demo released

Updates of projects

Game recommendations

And more! Essentially whatever we find!

We are also in the process of including more cool stuff, like short essays and interviews!

When is the next issue coming out?

Every Saturday, around 9-10 am EST. Unless something happened, then it might be a bit later. But you will be notified.

Where can I find the Zine?

On Tumblr (most pages* and transcription), and Itch.io (full viewable current + downloadable past). *omitted pages include table of contents or repeated from previous weeks

How do you make the Zine?

Google Drive to compiles notes, and Canva to make it all pretty. Also Notepad for the .txt transcription. And EZM Reader to make it "playable" on itch.

Why more than one (readable) format?

For the sake of accessibility, it was important for us to include multiple medium and venues to read the zine. This is partly the reason why What's New in IF? is viewable both here and on itch.io.

We loved the vibe of the visual template we chose, but we are the first to admit it is not the best: images can't be read by screen readers, links can't be clicked, and because they are so large they might not even fit a screen!

So we decided to have:

the OG ZINE format on itch.io, with flip-able pages because it looks cool!

a downloadable PDF with clickable links, to easily get to the content you want to check out.

a .txt file with just the text and the links because it is the most accessible format for devices (Noi insisted)

a transcribed version on Tumblr, easily share-able

We retired the image folder starting Issue 14, as it added nothing.

Why can't you add colors to make the zine pop?

Axelle is color-blind (achromatopsia), making color contrast difficult. To ensure it is both contrasted enough (in greyscale and color scale), pure black and white was the easiest option, and providing the most accessibility for any lambda readers. We've tested colors, and ended up with bright red on bright pink -> unreadable. Axelle: this is also why parsers are so cool to me, because I can set the interpreter to whatever contrast I want! but it's harder with choice/visual games...

About the Content

Can I submit something?

YES! PLEASE! WE'RE BEGGING YOU! 🙏

We know that we will miss stuff, even between the 4 of us, because we have in the past. Especially smaller projects not in our feeds or followed tags, or on platforms we don't really go to. And even during our weekly search, we will still miss major stuff!

So, if you know of a cool thing that was published, or update, or currently happening, let us know! A dm can change everything!

Are there things you don't accept?

Project without playable content, not even a demo. Otherwise, there would be way too many projects to keep up with for the zine.

Projects that violates copyright, like plagiarism or for-profit unlicensed

Projects that glorify themes of: LGBTQ+ phobic rhetoric, racism, religion phobic rhetoric, sexism, gratuitous sexual violence, fascism...

This list may change at any time, if we think it needs to.

Where I can send you news/games/other stuff?

There are multiple venues, for your convenience. You can:

Send us an ask (anonymous open)

Submit something (anonymous open)

Edit our Google Sheet (can be anonymous) <- preferred method

Post it on our itch.io page

And also:

You can fill in the form with our game recommendation!

What's the difference between recommended and submitted by?

In our Highlight on section, we share titles that we liked or were sent to us by other users. In the later case, some send us just the link, other send us a whole sentence about why they like it.

We call the first recommended (because we have to come up with a little bit of text for it) and the second is submitted (because we only have to copy-paste the submission). Granted, we haven't always stuck to the naming convention...

Hey! You didn't include [my/this] project! What gives?

Sorry, we probably didn't see it or maybe missed it! While we do our best to follow as many people and tags as we can, there's always some that falls through the cracks...

But if it's within the time range (posted/updated the week mentioned in the latest issue) and has at least a playable demo, throw us a link, so we can add it to the next issue!

If it's just outside that window, better submit the project as a recommendation!

You make a mistake here.

Thank you for letting us know! We'll try to correct it ASAP! And if it's too late, it will show up on the next issue!

Why do you promote old IF games (parser)? No one likes them!

Because we try our best to promote all types of Interactive Fiction, just like choice-based, links, or visual novels. Like any IF community, Tumblr and itch.io has both parser authors and players, so it makes sense parser games and events promoting parsers are included in the zine. If it weren't for Axelle, we probably wouldn't have known about them, and made the grave mistake of sidelining the form of IF that made what we have now possible!

About The Team

Who are you? Why haven't we heard of you before?

Marjorie, Erika, Axelle, and Noi. Just your run-of-the-mill IF readers and lovers. We talk a bit more about ourselves here [TBL]. But that is all you will learn about us!

What's your handle? I want to follow you.

No, thanks.

Are you authors too? What's the name of your projects?

Absolutely not. We're not good enough writers to have more than three coherent sentences together. We just want to play cool games and tell other people about those cool games.

Is it Axel or Axelle? Why can't you pick one? It's confusing.

It's Axelle. Just use that (I was named after this other Belgian Axelle). Please only use that name. Same with getting my pronouns right (surtout en Français!!).

If you're just lurkers... How did you get together as a group???

It wasn't actually IF that brought us together at first, but TTRPG. A Vampire the Masquerade one to be exact, with a friend looking for players. It was only after some chatting about other non-TTRPG stuff that we realized we all loved IF (different kinds of IF at first). And we've been sharing recs with each other, and thoughts, and rants.

Other questions

Do you have a Discord server?

No, and we don't plan on making one. The zine is already enough work for the 4 of us. And there are already plenty of IF-focused servers out there!

Do you have a Ko-Fi/Patreon/tipping jar/subscription?

No, and we don't plan to. The whole project is meant to be free forever for everyone. This will not change as long as we are working on this zine*. *If one day the zine mantle is passed to other members, they may change the stance on the tipping jar. But the zine will always stay free.

If you want to support the project, the best thing you can do is share it with other people. Throw the issue link in servers or dms, share on Forums or other social medium, reblog on Tumblr. If you really want to spend money on us, you could blaze the posts here. But we are better fueled by kind words and cheers! Kuddos are our motivations!

Another great way of supporting the zine, is to share any IF-related content you found (new games/demos, updates, events, articles...) or recommend us some neat hidden gems! This is honestly the best way to help us!

And, instead of spending coins on this free project, consider giving your money to actual cool organizations (like the IFTF), IF system programmers (Twine format creators), and game creators/authors!

~

Last updated: 16-July-2024

[rising-volteccers]

Episode 18 has given me a lot to think about Friede's character. Thus this is my personal thoughts of what we've known from his backstory. I have a lot to say so this is going to be long so if you're planning on actually reading this to the end, well buckle up. This is part one of two posts because Tumblr has a 30 image per post limit and I will not be denied putting in screencaps of the moments I love (which is the entirety of the episode).

Part two of the post is [here].

First and foremost, what interested me was that Friede had an actual proper job before this. When I think about Pokemon Professor, my mind goes to the likes of Professor Oak and Elm that have their own research labs. Of course so long as they were an expert in a particular field and researchers in their own right, they didn't need a base of operations so to speak. To my knowledge, usually they were 'self employed' as in they didn't work for someone. Seeing Friede as he is now, it's hard to picture being under someone's employment. It doesn't suit him, and as we'll learn later, he's not meant to be cooped up in a laboratory doing research all day.

We know from Episode 13 that the Brave Asagi was created from Ludlow's fishing boat so it's implied that Friede, Orla and Ludlow knew each other from before the formation of the Rising Volt Tacklers. We learn that Friede and Orla were childhood friends that used to live in Kanto before Orla moved to the Hoenn region. What prompted Friede to be in Paldea might be related to that job he recently quit but what I want to know is the exact relation between Ludlow and Friede.

Ludlow is clearly trying to cheer Friede from his slump. This speaks of a familiarity between the two and given their massive age gap, a part of me wonders if Ludlow is actually Friede's biological grandfather. He refers to Ludlow as Gramps but that could simply be how he addresses someone who he's close and familiar with. Still, the way Ludlow speaks here implies that this Friede has been coming here to fish for multiple days. Ludlow sees that someone as young as Friede should go and seek opportunities with his own two hands instead of wasting his days away. I really like seeing this and hope we'll get to learn more about Ludlow in future episodes.

Here, there's multiple things that caught my attention. We now know for certain that Lucca was Friede's old school teacher. That's the connection that the had, and one that lasted for years after Friede finished school. They likely had a good bond seeing that Charizard was super friendly to her, not to mention that she kept up to tabs with Friede's life seeing that she knew he quit his job. Friede said she hadn't contacted him in years thus giving me the impression that she had her connections because Friede doesn't give me the vibes of someone who'd use social media and post everything about their life.

It makes me wonder just how much Friede looked up to Lucca. Teachers who left an impact on you tend to last even long after you've graduated I find. It seemed that Friede shared his dreams of becoming a Pokemon Professor to Lucca, so much so that she recalled just how happy he was. I'm hoping someday we could get more insight on that.

Alright, this is going to veer heavily into personal interpretation and headcanons. From the way that Friede spoke about himself being a genius Pokemon Professor where there's nothing that he didn't know about these mysterious creatures doesn't sound like an empty boast. If we considered how he did the Professor Friede segment at the end of the episodes, he'd be on the same footing as Professor Oak, one of the most well known professors of all time. I imagine had he actually done that, then it couldn't just be hosted by any professor. It needed to be by a professor who truly knew a lot about Pokemon.

Friede believes himself to be a genius Pokemon Professor (as he stated this once or twice more throughout the episode) where he knows all that is to know about Pokemon but now he's in a rut and he doesn't know what to do with his life.

Now I've mentioned a few times before that I personally headcanon Friede to have undiagnosed ADHD. To me, Friede just feels like a burnt out gifted kid.

Given the ambiguity of his age yet he was considered a fully accredited Pokemon Professor that had a job before Lucca made that phone call and he looks like he's in his late teens to late twenties, picture this:

You have a strong interest in Pokemon. You happily tell your favorite teacher that you're going to become a Pokemon Professor to do all kinds of research. You are genuinely intellectually smart and loves learning about Pokemon so you go through years of study, pushed by your drive to learn everything and believing you've done so when you became a Pokemon Professor. You were eligible to be hired on as a company researcher, finally showcasing how you earned your credentials. But you learnt that it wasn't all that cracked up to be. You're putting what you've learnt into practice but being cooped in a lab, analyzing data just didn't sit right to you. Instead of forcing yourself through it, you decided that the better course of action is to quit. Hey, you found your freedom at last! After all those years of hard work, might as well take it easy yeah? Still, this is what you've been working towards. That's all you knew what you wanted to do since you shared your dream to your favorite teacher. You have the credentials, the knowledge and the means to do whatever you want but... you're just bored? Maybe not bored but there's just nothing interesting. You've worked hard to achieve your dream but did you consider anything aside from it? Now that you've realized that you're not really suited for researching in a lab, what can you do?

So the gist of it is gifted kid that worked hard towards becoming a Professor discovers that it might not be suited for him. That realization leaves him falling into a rut because he doesn't know what else he can do. He likely never considered the possibility of it not suiting him thus he doesn't have a back-up plan.

In that sense (and again, this is personal interpretation and a touch of self projection) I kind of relate to him. Going through school with good grades being fixated on multiple topics, thinking that this is what I want to do when I studied for my degree because it felt like the natural progression at the time but then finding out that it's not really suited for me. I've hit that wall and still in that figuring out what I want to do stage so seeing how Friede developed in this episode gave me hope that perhaps I can find that spark like him one day.

Anyway I just wanted to point this out cause this made me laugh.

Narrator voice: Let him cook. He will in fact one day imagine and experience it.

Friede would have dismissed that Pikachu entirely because he's still in that mindset of I know all that is to know about Pokemon. What I love about this scene is that for the first time since that flashback, there's a spark in Friede's eyes. He's likely experiencing excitement from have his interest piqued since he quit his job (or maybe even longer than that), to see something that he thought he knew existing outside this neat checkbox of a Pikachu's type, habitat, moves, etc.

Also I love how from his view, it looks like Pikachu's falling when it fact he's ascending. Friede's fallen into a rut but this is his first glimpse of eventually seeing a future where he will ascend high and free alongside Cap.

Funnily enough this is the halfway point of the episode so the second half of this post is [here].

[nova-dracomon]

Modern Draconity: A Draconic Zine || Info Doc

Summary

Draconity isn’t solely from ages past, but something that still burns bright in the modern age. This zine will be a collection of pieces created by nonhumans and alterhumans about what it means to be draconic in the present day (or even future). Also, this zine imposes no set definition on what is or isn’t “dragon enough.” If you feel like the label applies, we want to hear from you! 

What Can I Submit?

Both fiction and nonfiction pieces are accepted. As long as what you have in mind fits the theme, it’ll probably be a-ok. 

Off the top of our head, we’re thinking of:

Essays of your personal experiences

Short stories 

Poetry 

Mock advice columns

Alternative covers

Fictional advertisements

Comics 

Recipes

We welcome you to think outside the box and dig into what it really means to be draconic in the modern era!

How to Participate

Please email your completed submission to ruffledgryphgon(@)gmail(.)com and title the email “Modern Draconity Submission.” Also make sure to include the following information in your email:

A name you would like the piece attributed to 

Title of your submission

Any content warnings that you feel are necessary for the piece

Any social media handle or personal website you'd like linked in the contributor section

A logo or icon for the contributor section

**If you would like to stay anonymous let us know

Members of systems are welcome to submit individually or collectively. Please let us know your preference when it comes to attribution.

Once the deadline has passed, these submissions will be put into the zine and it will be posted on itch.io as a free PDF. 

Submissions are due by October 31th, 2023.

Submission Guidelines

Each individual may submit up to 3 works to be featured in Modern Draconity. Comics and multi-image works count as one piece. Individuals within a system may each submit up to 3 works. All work must be your own! Anyone caught plagiarizing or submitting AI-generated work will be barred from entering Modern Draconity and any future zines from us.

Written submissions should not exceed 30 pages and multi-part art entries should not exceed 10 pages. Please keep in mind the zine’s pages will be 8.5x11 and entries will be scaled accordingly to fit that size. We request all art submissions to be sent in either .jpg or .png file formats. 

For stories that use multiple different fonts, we will do our best to preserve the general "feel" of your piece but cannot guarantee we will be able to use the exact fonts or sizes due to restrictions in what fonts we have access to, readability and overarching zine style.

Submissions must fit the thematic criteria of

About draconity / being draconic

Involve the modern era or the future 

As stated in the summary, we will not be policing what is or is not considered “dragon.” If you self-identify as draconic you count! 

FAQ

Q: Where will the zine be hosted? What will it cost? A: The zine will be hosted digitally on our itch.io and will be free to download. 

Q: Is there a cap on submissions? A: There is none, as long as the file doesn’t start getting too big for our computer we’ll do our best! If there are an unprecedented amount of submissions, we may have to delay the release. In the event that happens, we would communicate that through updates on our tumblr.

Q: Can I update my application after it’s been submitted? A: Yes you may, as long as that is communicated to us before the submission deadline.

Q: Can I rescind my submission? A: Yes you may, as long as that is communicated to us before the submission deadline. This is because once we begin work on the zine, having to remove content mid-way through would throw off the formatting of everything else after. Please take this into account before submitting. 

Q: Will this zine allow NSFW entries? A: No, nothing 18+ will be accepted.

Q: What is your timeline for the project? A: Our submission deadline is October 31, 2023. We are then planning to spend the next month or so compiling all of the entries. Our goal is to have the zine live by the end of the year. If something unforeseen happens and we are unable to make that deadline, we will post an update about it on our tumblr.

Q: I have another question! A: Feel free to reach out to us at our email ruffledgryphgon(@)gmail(.)com with any other questions you have about the zine.