#i wonder how long tags can be

[lesbianonsteroids]

"Aww, who made you cry princess?"

They whisper with their fingers down my throat, their hand around my neck and their strap deep inside me.

[turtleblogatlast]

Leo learns something about himself 🏳️‍⚧️

Based roughly on this old post.

Bonus:

[Leo is taking the fact that he was born biologically female simultaneously very well and also not so well but overall he’s mostly coping with the fact that it was Draxum that just essentially gave him the turtle equivalent of ‘The Talk’.]

[kaiserouo]

if ordan karris wanna complete that sentence does that mean he also likes us?

[st0rmy-fr]

Do you?

[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.

[ganondoodle]

okay i typed this in a reply but i need to say this more detailed here too, the way totk dealt with horses (and stables) is bad and worse than botw imo (yes i can rant about that too, these weird choices are in every little spot in totk, its almost impressive)

in a game that lets you build cars and stupid flying maschines, towers that shoot you into the stratosphere AND teleporting points all over the place, the chance is already low that you use a horse- though i would be one of them bc i love horses and hate building and didnt find it fun at all-

(also i almost never used any parts i had with me bc you cant put them back and your dumb vehicles despawn as soon as you dont look at them- also a negative thing about that system that reinforces the feeling of actually using it being more punishing than rewarding with the added bonus of the good ol saving your health potions forever problem)

-and something i DID like was that you can have more horses and the ... one.. new color (the lil spots but only AFTER you do that one quest in the spy post)

the stable points seemed like a neat idea, but like so many things, are utterly cheatable, imo the system should have only given you a point when you visit a new stable, so you actually have to go around and visit them all

(also .. add new stables, like mini ones or sth that dont offer beds- you dont need that anyway- so you have more places in which you can get them ... why did they remove some of them anyway, shouldn there be MORE now that the land is supposedly healing/being repaired? especially the one next to the big canyon, its so empty there it would have the perfect place for sth like a new settlement or a big boss arena but no its more empty than it was before, why?? and then putting yet another repeating annoying quest there in that weirld empty place?? i just dont get it)

letting you farm points by sleeping at a stable or bringing in a horse gives you LESS incentive to actually go around the world bc you can just farm it there

(and if that was done so youd 'discover' the malanya talks to you in your sleep 'secret' ... that is literally told to you, and if its bc you dont want to force players to go around and find every stable to get all those rewards ... why do you have 140 or whatver caves then with the majority of them being the literal same thing over and over ... to make people actually use the sleeping thing there? .. why, who uses that anyway, and farming points by sleeping there .. what the hell does that add? AND THEN the stupid sleep over tickets, probably the most nothign reward ever, dont count?? i dont think i ever used one- it just all doesnt make any sense, everything plays against each other)

the upgrading system for your horse is .. once again, a neat idea horribly executed, you have to go find malanya to upgrade them, and similarly stupidly like the fairies, they only tell you what food you need for what upgrade when you are there .. or when you are sleeping in the special tm bed at a stable, randomly, one food, bc the quantity changes too

which is just so ??????????? let me go and do a quest that rewards you with a lil booklet in which you can look up what an upgrade costs, or let the stables have that, either as a list or in the menu when selecting a horse or something?? (also why the hell is malanya in a different spot anyway, like, it feels like a modder just plopped them over there, their og spot is just empty now - except for yet again a stupid filler quest for .. another big horse and a yaaaaaaaaays crystal shrine quest- ... the spot is even still called spring of the horse god .... its so stupid, just like the fairy shuffling around, like you really couldnt think of a better way to reuse that concept other than to ... move it to a different spot in the same map and map level???? and not change anything in their og spot except idk, put a hole in the map ... for one of them like .. its like they moved them around last minute just to have the semblance of things being 'changed' with no regard what makes a change actually feel like one and what just feels like, pick up thing, click on random spot on map, drop thing- its like that for the fairies and shrines too, its so dumb and .. feels disrepectful to botw and how much thought seemed to have went into these spots that were clearly built about those things)

and like it couldnt get WORSE, they cut off the paths that horses follow automatically with one of those miasma buttholes (sorry its just a hole cut into the map, it doesnt even look like miasma burst through, it just .. cut out) a monster camp (that RESPAWNS, i thought those camps you clear with a quest would stay clear, but that would make sense, so of course it respawns and you can do the frame rate killer quest over and over yippieee) or otherwise like, with a big rock or a broken bridge-

and there is NO WAY to create a new path or fix or move anything in a game ABOUT BUILDING supposedly, like you needed more reasons to never use a horse????? i liked jsut hopping on and letting them follow a path and chill looking at the landscape, you cant do this here, and you cant even excuse it with 'its bc of the theme' as in, stuff is destroyed bc calamity 1.5 or whatever bc nothing in the game makes it feel like theres anything actually at stake, but the real crime is to make it not be fixable. WHY??? link moves entire buildings with ease but cant move one freaking rock that fell into a river?????? you swing around logs like a club but cant fix a bridge so your horse can get over it??????????????????????????????

[bonicedemandarina]

Pop music club fanart yay!!!!

I've been wanting to draw them for a while but uni homework has been taking all of my time lately so i'm glad that i got to at least finish this one thing 🥲

[fairyofshampgyu]

he’s literally so beautiful and handsome

[humanmorph]

(transcript by @violentandmagnificent)

It’s quiet here, living in your head. It’s quiet here, and when I talk, you listen, at least when you can hear me, which isn’t always. It isn’t always, but it’s better than never. It’s quiet here, living on this ship. It’s quiet here, and I remember when it was loud, I remember different voices bouncing in these halls, I remember old arguments, I remember myself. I wonder how much I can tell you; because  I can tell you; I have much to say. But you never saw me astride the Prophet’s Path, beside the Resin Heart, imparting wrath and play. So who am I? You only know what they’ve told you. So who am I? You only know what’s written down. So who am I? You only know what’s on recordings, and according to the world, I’m a hypocrite, or drowned. I doubt you can hear me, but I know that she can. So pardon my frustration, I’m just tired of her plan. I lost my life long before I understood, before metaphor became real, before I felt the wheel’s wood. I wonder what she’ll tell you. I wonder what she’ll share.  I wonder what she’ll ask of you, what task of sweat and prayer.  I long to sweat and pray, a body in the day. The color of the sun. The touch, the ocean's spray.  The last thing that I felt in life. (The first thing that I felt in life.) The touch, the ocean's spray.  I hope she tells the truth to you. (I hope she tells the worst to you.) The touch, the ocean's spray.  I loved her like she told me to. (I left her like she told me to.) The touch, the ocean's spray.  We’re running out of time, you know? (She’s running out of time, you know?) The touch, the ocean's spray.  I fear we might be mirrored, two echoes of a call shouted between two queens, two queens who want it all. I fear we might be symmetry, I fear we might be one. Make her tell the truth to you before we come undone.

PALISADE 37: Reach In / Reach Out Pt. 1

[ninja-knox-ur-sox-off]

Alright, I’ve been sitting on this for a while and I think i’ve managed to sort out my thoughts so it’s not just agonized internal screaming. Time to finally talk about Monkie Kid Season 5.

Quick Disclaimers before we get started: please keep in mind i’m probably gonna be a little negative here. I’m not going after the animators or the writers or anything of the sort, I just need to get this out and slapping it on my blog just makes sense so people have the option to ignore it. Yes, I’m still grateful we still have the show, yes I’m still happy we have the same VA’s, don’t come at me. I’m not gonna get too salty cause I’ve gotten most of that out methinks and too much salt is bad for ya health, but I still do wanna talk about it and I’m still gonna be at least a little salty. If you’re not interested in hearing anything negative about the future of season five please don’t feel obligated to read. And please DO NOT take this as an invitation to bash on the new studio or anyone else in the replies, I really don’t wanna see that, go make your own post if you want to do that. I’m going to keep it under the cut so it’s easy to scroll past.

Welp, if you’re here to read, buckle up and here we go!

To start off, let's get the big personal bias thing out of the way: I strongly dislike puppet animation.

I say ‘strongly dislike’ and not hate because, while I hate most puppet animation, there is Bluey which is the best puppet animation can offer. I didn’t even know it was puppet animation for a while because of how beautifully it’s animated, so, puppet animation does have potential, I’m not gonna deny that. However, I hate that it is always used to replace 2D animation. It’s the cheaper, faster option and I can’t even begin to count the amount of shows that have started off with the plans for being 2D before being ultimately scrapped in favor of either puppet animation or 3D. Monkie Kid was the outlier in all that for me. It was 2D and it felt right. It was gorgeous and good for my brain to look at, it made me excited for animation and for art. It really was so incredibly special to me in a way it just can’t be anymore without Flying Bark’s animation. I probably won’t stop watching but, because of my dislike of puppet animation, it might be a bit of a struggle to get my brain to focus on it the way it used to, (we’ll see.) Absolutely no shade to Wildbrain (the new animation studio) they have worked miracles in the short time that they’ve had, they’ve managed to very closely replicate the style of monkie kid, and they are excellent at what they do, but when things are rushed (LEGO, [derogatory]) it makes it very hard to maintain a high standard, especially when we have something like Flying Bark’s animation to compare it to. And listen, please don’t tell me it looks similar to Flying Bark’s animation, please don’t send me shots and tell me but look how close it is! This one’s gorgeous! Because, at least to me… it’s not.

I’m the kind of person who sits in a room and I see a picture is crooked while no one else in the room notices. It could be off by centimeters but I still notice. It hurts my brain to look at and I go a bit insane until I can get up and straighten it, which usually makes people laugh and honestly yeah it’s kinda funny, but I really can’t stand things looking off, and, despite Wildbrain’s valiant attempt and excellent replication of the style, everything in the trailer we got looks off to me. From the framing, to the animation, to the design of the new characters; from the perspective to the coloring, everything is off and my ‘PLEASE LET ME STRAIGHTEN THE PICTURE’ brain hurts looking at it. I’m not trying to rag on the animation, I know they’re doing their best. Off things just hurt my brain to look at.

That’s why I loved Flying Bark’s animation so much. From Rise of the Teenage Mutant Ninja Turtles to Monkie Kid to Moon Girl and Devil Dinosaur, Flying Bark’s animation has scratched that itch in my brain that has desperately wanted things to look right. Everything is just so shaped!!! AAA!!!

Now, there are episodes of monkie kid that I’m not as big of a fan of. Impossible Delivery is one of them. I’m not a fan of how some scenes are drawn in it, so I tend to avoid it a lot. And that was done by Flying Bark so, this new animation for Monkie Kid is really doing a number on me.

…that being said: I still aint’ about that ‘flying bark started out awkward too’

Once again, ABSOLUTELY NO SHADE TO WILDBRAIN, (or anyone who’s said this at any point, I ain’t coming for your kneecaps,) they have done a SPECTACULAR job replicating Flying Bark’s style in the time that they have and I’m sure LEGO has been putting them through the wringer and rushing them through stuff (which I’ll complain about in a minute) but that’s the thing… They replicated Flying Bark’s Style. Style and animation are two completely separate things. This same drama was used by critics to bash the crap out of ROTTMNT when it first came out; they kept saying the animation was ugly, but it wasn’t, the animation was gorgeous, it was the style that they disliked because, most shows right now start off clunky and a little ugly and that’s just how it is. (Also the promotional material for Rise dragged it through the mud. I will always be salty about that.)

The pilot of monkie kid’s style wasn't all the way there, I’m not gonna deny that. The crew at flying bark were still figuring things out how to draw lego, BUT. The perspective, the framing, and the animation were all on point and just as gorgeous as the rest of the series. When I hear the argument that Flying Bark wasn’t great at first either it makes me want to tear my hair out because it WAS great. IT WAS ABSOLUTELY GREAT, FROM THE BEGINNING, THEIR ANIMATION HAS BEEN GORGEOUS IN MONKIE KID SINCE DAY ONE. The style is what was off. With this new animation we have the opposite experience. Instead of an awkward style with a god tier animation, we have a pretty excellent replication of a good style with an animation form I personally am not a very big fan of. It’s jarring. And even though I’m sure wildbrain will indeed get into their own groove, it will likely never be as earth shattering as Flying Bark because Flying Bark is Flying Bark and what they did was possible because of 2D.

Onto yelling at lego here we go: 'Be grateful it wasn’t canceled'

I’ma be real, this one bugs me the most.

The animation industry right now sucks. There’s no denying it. We have incredible artists left and right being messed over by studios and companies, entirely completed series being deleted, artists being ripped off, overworked and underpaid, outsourcing in every way they can, the disrespect of A/I, and 2D animation especially being dragged through the mud, even with groundbreaking 2D+3D movies like Spider-Verse and award winning movies like The Boy and the Heron, proving 2D is far from dead. Shows are being canceled before their second or third seasons, ideas are being recycled, so many people have watched their favorite things end too soon, and I’m one of them. Bro I was into DRAGON BOOSTER as a kid. Do you know that show? Probably not. It was canceled after one season YEARS ago and ended on a cliffhanger that makes me hurt to this day and I was a kid back then. (Incredible show btw you should give it a watch.) This cancellation thing isn’t new. I got on board with Rise only to see it sniped because Nickelodeon is stupid. Legend of Korra got messed over by Nickelodeon too. I have experienced cancellation/rushed endings before and it sucks. And it fills me with rage to see the bar is so low, that we should all just be okay with what happened because ‘at least it wasn’t canceled.’ I’m not mad at the people saying this, I’m just upset that this is what the reality of animation is. Heck I'm allowed to be upset about it.

And, let’s be real for a second here… Monkie Kid is LEGO’s product for China. It’s making them money. Canceling monkie kid would be shooti ng themselves in the foot more than anything else. LEGO is not hurting for money. Ninjago ran for FIFTEEN seasons and is still running today in this soft-reboot with even better animation than before. LEGO has the means. They don’t need to rush animators to finish things or underpay people. Flying Bark is in big demand right now because more and more people are noticing how good their stuff is. I’m willing to bet their schedule is packed, (they’re working on the ATLA movie which I have mixed emotions about but at least the animation’s gonna be BANGER and last I heard a stranger things animated series??) and when you’re in that high of demand you have to raise your prices, that’s just how that works. But even with that, given enough patience, time, and proper pay, I have no doubt they could have done Monkie Kid as well. We know Lego was pushing them way too hard to animate Monkie Kid and that animation is INSANE and not cheap. LEGO can afford that. But they decided it wasn’t worth that.

Okay don’t quote me on that last bit. I really didn’t want to start going off about conspiracy theories but I admit I get really frustrated when I hear the ‘at least it wasn’t canceled’ thing because I know there’s more going on behind the scenes, people just aren’t transparent about it. Studios and companies right now don’t really care about the quality of things, it’s the artists and the writers and the creators that care about the quality. There are other 2D studios out there but LEGO chose to go with puppet animation because it's faster and cheaper. I am always going to be upset about that. Am I grateful Monkie Kid wasn’t canceled? Sure. But at the same time I don’t want to feel grateful for the bare minimum. I’m angry at the state of the animation industry that no one in the higher-ups of these industries seem to respect 2D animators or 2D animation in general, that no one seems to understand how much skill it takes to animate and how worth investing in it is. And seeing people tell others upset by this that they should be grateful they have anything at all just rubs me the wrong way.

And the audacity to change the animation is ridiculous to me because a huge part of the audience for LMK is here because of the animation. It’s not like Ninjago, which started off with low budget 3D and slowly got better and better over time with a few dips here and there. We started off with one of the best 2D animated shows of all time, (in my monkey obsessed opinion,) animated the way it was to draw in an audience, and suddenly for no reason at all and no prior warning we’ve dropped down to what every pilot of every puppet animation children show looks like these days. It feels like a crummy thing to do. Yes, I’m aware we’re lucky we still have a show, yes I’m grateful we still have the same VA’s and the same writers. But this is a big and abrupt change and I’d be lying if I said it didn’t suck.

Okay, onto my biggest concern: how the writing of the show will pair with this new animation.

With all due respect and love to the writers, Monkie Kid is awful when it comes to biased narration in their storytelling. It has relied so so heavily on visual storytelling to fill in the gaps and tell us what’s actually going on while the dialogue is lying to our face. If you’re not looking, it can lead you to woefully misunderstand the characters and what is happening. It’s a style of writing that I’m not a super big fan of, BUT I, for the most part (aside from fandom craziness,) enjoyed it! Because the animation helped it hold up. What made the storytelling work was the nuance and incredible detail in Flying Bark’s animation. You could analyze every expression, every style difference in flashbacks, and it would tell you so much; I am a SUCKER for that kind of stuff--drawing expressions and emotions is something I love so much--and Flying Bark served it to me on a silver platter with a golden spoon and crystal clear mountain water. The scope of what Flying Bark was able to do… I just don’t know if it can be replicated in puppet animation and that scares me a bit storytelling wise. Because I don’t want to be stressed out by Monkie Kid and unreliable narrators have a habit of stressing me out. It’s not to bad as long as it’s resolved later, but Monkie Kid has a habit of blowing over things, especially in regards to the lies told about Wukong and the only thing that tells us something different happened are the visuals, which stresses me out cause it results in INTENSE fandom bashing my favorite monkey and it’s really hard to avoid. (This is why I stepped back so far from interacting with the fandom.) I don’t want something that brought me comfort in my darkest times to be twisted into something I no longer want to see.

Is this the worst possible thing to have happened? No, of course not. It’s definitely not all that awesome either. For me it’s like eating at a gourmet restaurant having their insane mac n cheese every day for years and then suddenly you’re served KD from the dollar store and told you should be grateful because it could be worse, all the while the restaurant keeps its gourmet title. There’s nothing wrong with KD but bro I want my mac n cheese--

The fact that there was no prior warning is what really makes all this feel so sucky. I know this isn’t the end of monkie kid, but the animation is one of the biggest things that made the show unique, it’s what drew so many incredible artists in, it’s what inspired me to create and make friends and keep living. The animation provided nuance to the characters when the writing sometimes fell flat. It gave insights and information that worked well with the face-paced storytelling and brought the incredible voice acting to life. It’s not really going to be the same without it.

There is ofc more than just the animation that made monkie kid great. The voice actors, the SOUNDTRACK, the sound effects are all off the charts insanely high quality but man. It’s not complete without it. There’s a big ol’ gaping hole in the show and in my heart and as much as I love the show, that’s really rough. Because it’s not as though this makes things better. The quality didn’t drop because people wanted it to be easier for animators to animate, Wildbrain I’m sure is having a time meeting LEGO’s crazy deadlines right now, just like Flying Bark did. There was so much reused animation in season 4 because of how hard LEGO was riding animators' tails and pushing them to get things out faster and faster and I was more than alright with the reused animation so the animators could catch a break. But instead of backing off and being respectful of the time it takes to animate, LEGO dropped Flying Bark like a hot potato and immediately went to the cheaper, faster puppet animation. (JUST A THEORY/VENT DON’T QUOTE ME.) It’s not like there aren’t other 2D animation studios out there but they picked the puppet. And that SUCKS. I would have been okay waiting another year for monkie kid easy because Flying Bark is WORTH IT. I understand how long things take and that if I want a high quality product its going to take skill and time. It hurts me to watch animators having it rough because no one else seems to get that.

Alright in conclusion: We’ve only seen a few seconds of the trailer.

It’s hard to judge what the entire show will look like based off of that little. It could be incomplete, Wildbrain could get better, they could find their groove, I ain’t gonna rag on the animation because it’s giving you exactly the quality--maybe even higher--expected of what it is. It’s puppet animation. I dunno what to tell you man. But it’s not about that for me. For me it’s about 2D. It’s about some of the greatest animation I’ve ever seen being replaced when it didn’t need to be and that sucks. Flying Bark gave us the world and we didn’t lose that for any reason other than money and greed and impatience. That is so discouraging and upsetting. It is something else to go from every frame leaving me breathless and staring and in awe over the quality of the animation to Puppet Animation. The change hurts. Honestly, I never thought I would be as devastated as I am. I’ve processed a bit but I think it’s always going to suck because of how important monkie kid has become to me. I miss flying bark so much already. I’m still going to try and watch the show, but we’ll see how my brain does with the puppet animation. Don’t go ragging on the animators, guys, they’re doing their best and I gotta respect em.

I do wish we’d gotten more time to mourn flying bark’s absence. I wish people had gotten a heads up when season 4 had ended so they could have time to adjust and then get ready for the new style, because watching everyone hype themselves up for flying barks’ animation only to be told they're gone by a trailer kiiiinda sucks. But I digress.

I do find it funny it took changing animation studios for us to finally get a trailer and poster on time before the eps drop. So in a way, I appreciate that much of a warning at least. Better than nothing! And we’ve always wanted a trailer out first lol HGLKJSDF

I ain’t even gonna pretend I ain’t spoiled as HECK by flying bark’s animation. Honestly without it, I don’t know if I’d be as attached to the characters as I am. Real talk, I don’t know if I ever would have even watched Monkie Kid without it. I’m gonna miss flying bark with all I have in me and it's going to make rewatching and enjoying the show hard because of all this. I’m going to miss the time when every part of this show was a comfort to my brain and soul. Flying Bark's energy is unmatched, they bring a life to things that I haven’t seen anywhere else and I’m always gonna be grateful for the time I had with them animating Monkie Kid.

This is it. No more more Flying Bark monkie kid. The end. And that’s going to sting for a while. And probably keep stinging throughout the new season because… well… I love monkie kid. So seeing it become something else is going to hurt, especially if you hold it so close to your heart.

These new animators are doing their best and we can’t fault em for that. It ain’t their fault the animation industry is what it is. It’s great we still have the show going when so many other things have gotten canceled but the fact the bar is so low can hurt like heck too.

We’re gonna miss flying bark for a long time. It’s so goofy that something as simple as animation could have burrowed so deep into our hearts but it has and that’s truly wondrous and the magic of storytelling. I love shows. I love movies. I love what monkie kid was, and I hope I can learn to be okay with what it will be now. (Even with my ‘STRAIGHTEN THE PICTURE’ brain screaming at me lol.) Wishing you all the best, don’t make fun of the animation needlessly or go after the animators, be kind to them and to each other. If you wanna be salty don't send it to me just make ur own post thanks ima drop this and then go try some positivity lol. Until next time! I’ll see you in Monkie Kid season 5

Knox out

[incorrect-fnaf-quotes]

You said in your Dr. Scraptrap AU that his first living creation was Plushtrap- are Plushtrap and Dr. Scraptrap still in animatronic suits? Or are they instead more-so organic?

Also, what is Dr. Scraptrap's backstory? Is it the same as William's, or is he a completely different person than the original?

Apologies if these things were already established and I missed them!

Okay, so, they are just animatronic suits. They aren’t regular rabbits or anything—and that goes for most other animatronics that appear, such as Spring Bonnie.

They’re animatronics... but are at least a little different? Imagine Spring Bonnie. They’d actually be pretty fluffy/soft, and would happen to have actual rabbit tendencies—but is still an animatronic, etc.

The same goes for Dr. Scraptrap and, again, most of the others. Minus Scrap Baby (who is something that he’s making), when it comes to the more human animatronics—Ballora, for example, they’d actually be human.

Plushtrap is mostly like an actual living animatronic that Dr. Scraptrap actually happened to make—following the same rules. Though, there are parts of them that are just more of actual... plush and similar things.

I was rambling a bit with that one—I’ll move on. Point is: Not real animal that they’re based on, still animatronics—except for the more human ones.

The next bit—Dr. Scraptrap’s whole thing is just sort of similar to regular William’s, but there’s still several differences here and then, considering the AU.

He still worked with Henry—who is still just a human here in the AU. Except, while in canon, the two of them did the whole pizzeria thing, here, they worked together on something completely different.

By the time he actually met Henry, Dr. Scraptrap had already been doing a bunch of stuff for about 30 years at that point.

He and Henry worked together for about five years—during the fourth year, he still did kill Charlie, as well as Cassidy (though the others are still alive). Henry only discovered that it was Scraptrap who did it in the fifth year.

Dr. Scraptrap has always been an animatronic here. He was never a human, so there’s no remains in him—he was never really William here. He’s just Scraptrap.

Though, he still uses the name Afton for a couple of purposes every now and then.

And, before the present time of the AU, there’s still three more major events that I want to mention—even if I’ve done it before.

Ten Years Prior: Spring Bonnie becomes his assistant—although reluctantly. Spring Bonnie happened to be a very good scientist, and that was why he wanted them.

Three Years Prior: Finally created his very first living creation—Plushtrap.

Four Months Prior: Went and adopted Elizabeth (she’s still human).

Another bit that I mentioned, but he does care for Plushtrap and Elizabeth. He loves his kids :)

I think that’s all I have to say for the questions for now—this was really long, sorry. But there was a lot that I wanted to say. Hope this helps!

[somerandomcockroach]

@keferon OKAY BUT LISTEN YEAH I would loved if it was just fun ehehehe and sassy flirting with the demon no one sees pfffht, literally summoned a demon just to flirt with, and I guess it could have been going for a long time, just little strips with their funny adventures and then plot can go to the fact that he wants to give him a body and Shockwave would agree or that they just stay the way they are and just hang out like this together (Alo I remember that you wanted to put Ratchet (I keep writing Ratched instead of Ratchet buuuh) and Drift in it as another demon and their summoner thing whghweghgwe but I like how you made two separate stories for them that happen at the same time, okay I am actually PRETTY MUCH invested in this story, I like a lot how it goes and gets tangled and how mixes up with idw ideas and other stuff a lot)

BUT NOW that you changed it that way, you made a few more things that reader might be interested a lot in, like that promise he made and you mentioning that he will regret it, how their relationship progressively develops, plus the fact that Blurr was a frivolous slob gifted with dark magic AND how the tables turn upside dow and he get consequences for what he did in the most unpredictable way for him and how he surely changes in his behaviour, getting more and more concerned about his promise and maybe truly loving someone for the first time in his life and wanting to change something. And then figuring out that that same demon actually was a person before, someone he knew, someone respectable, kind, shiny, absolut sun of a person, who died (I am still on my knees waiting to know how exactly he died...) miserably to the point that he absolutely can't stand his life as a demon and NOT EVEN being able to kill himself!!! And Blurr was a pupil in his school, he saw him, he gifted him an ability to make his magic work for him, gave the freedom to live among everyone to all who was poisoned with this dark magic. OH WAITA HGSDHAG the thing that beastformers can't walk among transformers and the fact that dark spellers also could not, and how these events happen at a close times, OKAY so dark spellers got their kind of freedom thanks to Senator Shockwave (OH MY GOD what if Orion can see Shockwave and will recognise him right away COUGH) BUT I am wondering if beastformers will get some kind of an official declaration or some kind of school to be educated in and I wonder if Deadlock/Drift (I think after leaving he will change his name from the last episode...) will volunteer to be a teacher t be something more, or he will just end up with Ratchet wandering around the world, or maybe there will be a whole damn revolution where all monoformers and beastformers leaded by Drift go against the system, and maybe these events happen at the same time as a Senator Shockwave fighting for the rights of gifted... Okay I'm getting carried a little bit ahsghag excuse me... OH I GOT carried away A LOT I wanted to get back to the point that Blurr, now figuring out the past of Shocwave, dealing with all the events, dealing with what he has done and find a way to free them, at the same time STILL having adventures and fun since I'm sure he can be a good mood lifter to moody Shockwave and even see him in a really good mood since he is... well, not just a demon made of hatred but the wonderful kind of person in his previous life... (okay being carried away but what if Orion might declare the freedom to beastformers (AJHGAJHSDJAH OH MY GOD I IMAGINED JAZZ AS A PANDA HAVING A ROMAN WITH PROWL AND PROWL NOT KNOWING ABOUT IT OKAY SORRY) after seeing what it lead to after Senator Shockwave. And maybe Ratchet will be able to get his sign back freely after revolution will be successful or he will be forever blind just to be free and safe with his husband OKAY LISTEN I think it is obvious that I really like the thing you do....

[sciderman]

I swear I have read your big post regarding Peter Parker's neurodivergence and why it is best to avoid labelling him, but he definitely has a weird brain

Can't find it and feel kinda sad about it cuz I deeply related to it

i know exactly which post you're talking about and i can't find it either! i've raked through my archive, and it's just - nowhere to be seen. i think tumblr eated it (it happens.)

really, tumblr's search functionality is so so useless, i don't know what to tell you. there are plenty of keywords i can search to find it that post, but the search functionality actually just does not work!

undiagnosed audhd-addled peter parker, my darling, my light, my life, my everything.

i think peter parker's such an interesting creature to write, because a lot of people will point to a certain behaviour about him and say "this is an autistic thing, right?" but a lot of those behaviours are actually, in my head, tied to certain traumas in peter's life too.

people say "oh, the food thing, peter's a picky eater because he's autistic" and yes, absolutely. but also it's tied to his trauma with his parents.

peter gets overstimulated, and yes, it's an autism thing, but also he was bitten by a radioactive spider and his senses are dialled to 11.

it's a similar case i've found for myself, too – where a lot of friends i have kind of diagnose me because i have autistic traits, but actually - i'm hesitant to claim the label or pursue diagnosis because, actually, i know where these certain behaviours come from, and they come from certain traumas. there are events i can pinpoint in my life and say "yep. that's where this behaviour comes from."

so - i think there's a lot of overlap between trauma and autistic traits. the brain is very complex! i think the reason for that overlap is maybe as simple as the fact that people with autism and people with trauma are both doing the same thing - developing behaviours to protect themselves or soothe themselves. so - i think it's nice to be able to see a character like peter parker, who may or may not be autistic, but recognise behaviours in him and see yourself in him.

people who go undiagnosed for whatever reason - people who are really good at masking - so good, in fact, that they have no idea they might be on the spectrum - everyone and anyone at all can look at peter parker and recognise themselves. because i think we discredit the thought that every single brain does the same thing! develops certain behaviours in order to survive. every brain has that same software - we've just all been faced with different hardships that we need to overcome, and that's were all the differences come in.

autism is a spectrum, i guess - everyone falls into it to some degree. and i think events in your life probably push you along on it. but i don't know, i didn't study brain science. probably what i'm saying is very stupid and uninformed. of course there's brain chemistry involved. but i know people in my life living with autism and certain events in their life have exacerbated certain behaviours or made coping with it a lot more difficult. so maybe trauma is a catalyst.

[smokeys-house]

The Cane King's Daughter

⭐️Art by @sator-the-wanderer, story by @smokeys-house ⭐️

⭐️Also available on ao3!⭐️

✨️Part two TCKD: A Story for Another Time available here✨️

Storms at sea are no rare occurrence. Squalls that sweep ships to their sides may be daunting, but no more so than the tumult of the lives of all folk, land or sea. Captain Whetstone, a self made pirate born on the coast of France, has made rather a name for herself. A large and fluffy brown moomin, she grew up hearing the stories of a free life at sea. 

She sat wide upon a chair in the cabin of her ship. The strain of a pirate's life wore heavily upon her brow. The early days were rife with plunder and excitement, raucous laughter and cheers. She'd made it, or so she would've thought. She'd got the merry life she'd wanted, as for whether it'd be a short one would be up to the rule of law. 

'Perhaps I've been at it too long.' the captain thought to herself. She sighed aloud, staring into the vanity mirror as if looking past herself. "Rouse yerself. Yer a captain, not some layabout on a fishing trip." She rubbed the sleep from her eyes and made for the deck. She'd grown weary of taking scores and the thrill of living on the run.

The crew still aboard The Honeyed Word were working diligently; hauling crates to and from the port, maintaining the ship, or otherwise making themselves useful. Marseille was bustling, lively, and lousy with merchant ships. The local law, while concerned about piracy, were not so eager to challenge those engaged in its splendors. Collecting a bribe was practically by the books in Marseille. It wasn't the pirate haven of Nassau, but at least here she could try to lie low for a while. 

The salted sea air mingled nicely with the smell of cookery and the commotion of working sailors as the captain made rounds amongst what crew remained on deck. 

"Cap'n." A grizzled old hemulen woman wiped the sweat from her brow. "Most of the crew 'ave headed into town. I assume you can simply follow the ruckus if ye be needing to find them." Her voice was coarse and thick, but with a sense of duty. 

"As it happens, I fear I may be in search of drink myself." The captain shielded her eyes from the sun with her paws. "Keep an eye on things for me while I'm gone." 

"Promise me ye don't be up to nothin' foolish. I seen that bored look you been wearin'."

"No foolishness here, Ruthie. Just a quick nip, and maybe a rest in a bed what ain't rollin' on the waves." She patted the hemulen woman on the back with a hearty thud, to which she chuckled mirthfully.

The way into town was fraught with people of all classes and lifestyles; merchants, traders, sailors, simple common folk, rich and poor. Marseille was a well populated city, and drew in people from all over. The captain trod a familiar path to her preferred local pub, one of the few she hadn't been run out of in recent memory. Despite the relative ease with which she carried herself, being spotted by knowing eyes would likely spell trouble, or at the very least more excitement than she was looking for. 

"Didn't think I'd see you in here again, after last time." The barkeep didn't look up from polishing his glass. 

"I'm not sure I remember the last time. Much to see around these parts I'm afraid, sometimes too much." She eyed a table of navy men in the corner as she approached the counter. It was a clean establishment, not necessarily upscale, but it did at least serve the more well-to-do in days long since passed. The place was littered with well crafted furniture and gave an air of high status, but the clientele quickly dimmed the illusion. The velvets adorning curtains and chairs had all faded, and some were torn in spots. 

"What'll you have, Whetstone?"

"That'll be captain Whetstone from you. Pour me anything what ain't rum n' cask-water, and you can call me whatever you like!" The two shared a laugh as the bartender filled two tankards with ale. 

"Word on the street is your boys are already wreaking havoc. Half my usual patrons have made themselves scarce. You've only been in town a couple of days I thought, but from the way folks are talking I would've thought the devil himself had popped up on our doorstep, and made himself at home." 

"Oh, how lovely." Whetstone sighed and eagerly watched the man pour. "I'd have thought by now the folks 'round here would've been dreadfully bored by that sort of thing." She paid for the two drinks and clinked glasses with the bartender. "Not like the navy men do it any different while docked. We're all fixin' t' crack Jenny's teacup!"

"Aye, but your 'Jenny' is more often than not someone else's 'Sally', ye damn dog."

Whetstone raised a finger as she drank deep from her mug. "So long as she's not your Sally I'd say I'd done no wrong. Not my fault no navy men know how to keep a woman in good spirits!" She had a charismatic and an almost musical way of speaking, it was as though everything she said was a line in a play.

"And how might that be, oh great and wise slayer of maidens?" 

"Spirits!" She motioned to the bottles on the shelf behind the bar, sharing a hearty cheer with a few eavesdropping barflies. 

"And what might it be that brings you to Marseille once more?"

"Naught but the wetting of m' whistle and the tireless search fer comp'ny I reckon. I'm not quite so sure, I think I just wanted t' see yer ugly mug once more!"

She spent a few coins and hours there, seemingly wasting the day away. She knew that she wasn't searching for much of anything, and that she was simply tired of the hardships she'd chosen for herself. 'What use is a free life if I can't live it quietly?' She thought. 'All the excitement out t' sea, and all I'm wanting fer is a quiet day indoors.' Perhaps she'd grown weary of her trade, but taking a day for herself surely wasn't what you'd expect if you'd heard the stories about her. 

"That's her right over there. The glum looking gal in the coat." Whetstone's musings were interrupted by murmurs rolling like thunder into jeers. The calm if somewhat gruff environment quickly became rife with tension.

"Seems our mutual friends have spotted a familiar fiend." The barkeep kept his paws busy, still cleaning glasses from patrons past. The captain appeared more tired by the idea than worried, propping herself up on the bar with her arms. 

"You've got some nerve. Swingin' your snout 'round here like it weren't still smellin' of my girl's perfume." The hemulen navy man tucked one thumb into his belt as he approached, glancing over his shoulder back to his fellows. 

" 'fraid I haven't seen your girl since she were someone else's. Last I checked, and likely still, she belonged to herself. Let's keep our paws in our pockets, shall we?" 

"She seems t' think quite highly of you." His words were dripping with venom as he looked the captain up and down. He either had a chip on his shoulder or something to prove. "Turn 'n face me you bilgerat. I'm fixing to see what she thinks is so special!" 

"Quiet over there!" A younger fillyjonk man spoke up from the corner, his face mostly obscured by a hat tilted over it. "Some of us are trying to drink in peace."

"What's it to you, boy? Shut yer gob afore I shut it for you!" The navy man leading the group continued to shout, tensions rising among the men behind him. He grabbed the captain by the collar of her coat. "Don't think even for a second I've not seen your face on them posters. Teachin' you a lesson and gettin' paid for it? Price on you's enough to split with these boys and then some." 

The captain's eyes darted to and fro, seeking any opportunity to turn this around. The navy men must've numbered at least a dozen in total, all surrounding her. Them aside, patrons flanked them on all sides, acting as likely obstacles. Just as the situation was looking its grimmest, a near full glass flew across the room, finding its target to be the head of the man nearest Whetstone. 

That one thrown drink began a large-scale brawl encompassing the entirety of the bar. The glass distracted the leader of the pack long enough for Whetstone to throw the first punch, square in the snout. The rest of the navy men, unable to tell the shouting of patrons from aggressors, and unable to tell who threw the cup, tore through the establishment. Skirmishes filled every corner of the room.  The bartender calmly ducked into a room just behind the bar as it all began to unfold. The captain danced among the crowd, dodging blows and delivering them herself. 

"This way!" Beckoned the be-hatted fillyjonk man, motioning to the alley entrance he was holding open. Whetstone fought her way through the flinging of paws at maws and more thrown drinks, toward the only friendly face in sight. 

Just then, the bartender returned from the storage room behind the counter with a flintlock rifle and pistol in tow. He fired the musket straight into the ceiling, the boom overcoming the sound of the raucous crowd. For a moment, everyone stopped. 

"Out of my bar." He spoke quite plainly, as though it were simply closing time. The navy men stopped their brawling and regained focus, looking about the room for their previously cornered quarry.

"Over there! After her, boys!" The sailors that still stood gave chase, stumbling over chairs and glasses underfoot. 

In all the excitement, the captain had only just made it to the door when the gun went off. Her and her new acquaintance darted alley to alley, their pursuers forcing them through markets and over fences. Though the chase felt to them as intense as any they'd ever seen, it must have been quite the sight to see that many drunkards speedily shambling across town.

The shouting got further and further away, and luckily the throngs of the afternoon crowd began filling the streets once more. If it weren't for the simple fact that the captain hadn't been at the bar for as long as the rest of them, they likely would have caught up to her. She'd wisely abstained from anything too strong while in public, but a belly full of beer hardly makes for good running. With her wits mostly about her, and her ego intact, she'd made good on her escape thanks to a kind stranger. 

Soon after, the busy dockside streets and afternoon sun quickly shifted into wealthy homes and a dimming evening sunset as the two evaded their would-be captors. Once they felt they had lost their assailants, the two caught their breath and the young man calmly led Captain Whetstone to a lovely gated garden bordering the wealthier part of town. It was well kept and filled with vibrant pinks, deep purples and reds, and a sweet floral aroma mixed with the salt of the nearby sea. Ornate metal bars formed a fence, wrapping the exterior of the garden. 

"There's a greenhouse here where we can lie low. I like to come here to get lost for a while." The young man's voice shed pretense for a moment.

"Fine work, lad! And yer sure no nosy gardener's eager to do some midnight pruning?" The captain idly rubbed the petals of a nearby rose as she took in the view. "Posh bit o' living, this. Real pretty, though."

"Didn't think pirates cared for flowers. No, no one'll turn up. This square belongs to a wealthy family, used to be the daughter's. Haven't seen her around here in some time, though."

"We've all got our secrets, lad." She winked as she meandered through the garden to the greenhouse. The moon's rise baked a soft light throughout the interior. She idly rummaged through a cupboard above a potting bench. "Bless me tail! Oy, lad! They've got booze in 'ere! Some fine drink by the look of it. Supposin' the young maiden kept a few secrets, too." She snickered as she uncorked the bottle. She'd sobered a bit since her midday jog, and apparently wasn't eager to continue that trend. 

"What's your name, anyhow? Ya know mine as it seems half of Marseille does these days. Why risk yer life fer a no good pirate?"

"Well… like you said, we all have our secrets, captain."  The young fillyjonk sat upon a stool in the corner, seemingly familiar with the space. Whetstone poured a glass for herself and another for her new friend. The two shared drinks for a while, swapping idle stories late into the evening. The liquor spilled forth as did the relaxation and courage that comes with it. 

"So… you're a pirate, ay?" The man swirled his glass in his paw, not looking up from his drink. "You'd know a thing or two about fighting with a sword, then?" He stood, walking over to the potting bench near where Whetstone sat against the wall. 

"Aye, lad. I'd say I know a thing or two about swingin' a sword. What're ye gettin' at?" She steadied her eyes as they'd just begun to spin, realizing only now the risk of getting too drunk to stand with strangers about. 

"Show me." He tossed her a wooden cutlass from beneath the bench. 

"Secrets, secrets, secrets. My my my..." She caught it deftly, laying it across her lap. "I'm supposin' that's not the only thing y' be hiding from me."

"It's not, but if you beat me, I'll tell all."

"Ha, it'll take more'an that to get me into playfighting a stranger what won't say his name with a wooden toy." 

"Scourge of the seas frightened by a youngblood after just a few drinks?" He used the point of his wooden sword to lift her chin and meet his gaze. Either he'd handled his liquor better than she did, or he was far more cautious than she was.

"Now yer just testing me patience, boy." She pushed aside the sword and finished her drink, rising to her feet. "Ye won't be needing t' set terms fer if'n you win. On account of ye won't. Take the first swing." She stood straight, sword idle in her paw, in an entirely unready stance. She took in a sharp breath, and exhaled slowly. She wasn't unfamiliar with the art of the un-sober sword, but she never did like to lose. 

The man swung, overhead and diagonal to her shoulder. She tucked herself to one side as it flew past and struck the ground. 

"Slow." Captain Whetstone teased. 

He swung again, from left to right, to which she back-stepped. 

"Clumsy." She continued her barbs with a wink.

He thrust at her belly in quick succession, the first one a narrow miss, and the second intercepted by the flat of the captain's wooden blade. 

"Not bad! Once more!" She taunted, now fully engaged. Her feet planted firm and knees bent, she parried blow after blow. He sent out yet another thrust, this time aimed at her chest. 

"Out you go!" She turned his thrust to her outside line and closed in. She turned her point down, pressing the pommel to his ribs, and pushed him out of the greenhouse door into the garden with a shoulder check.

"You're toying with me! Throw a cut at least!" The fillyjonk protested, panting, but on guard after managing to avoid falling flat on his face. 

"Aye lad, I am! But here goes!" She threw a cut at a downward angle to cross his chest, or so it seemed at first. She feinted high, forcing him to guard his head and swung low, giving him a gentle tap on his thigh. "How's that?" She smirked. It was clear he was embarrassed, and perhaps a little upset. His face was red from drink, exertion, and now frustration. He threw several wild strikes out in a vain attempt to land a blow, to which she ducked several. 

"Easy, lad!" She began deflecting his blows, hoping that he'd ease up. He brought his sword up as a club with both hands, over his head, letting out a tense shout as he swung. She blocked it static and right between the two of them, holding the bind. She turned her point under and went for a disarm, tossing his sword aside. Just as soon as his sword hit the ground, as did he, with a swift push on the chest from the captain. She stood over the fillyjonk, pointing her sword at his chest. 

The fillyjonk's hat tumbled back, spilling forth long dark curls, previously tied back with ribbons that had since gone astray. The moonlight soaked into the fillyjonk's fur and hair, cascading shadows from the flowers that she had tumbled into upon onto her muzzle. The contrast between the bright blue flowers, her dark, rolling hair and the soft brown of her fur mirrored that of the shore and a stormy sea. To the captain, she was the very visage of romance. Perhaps it was the light of the moon, or the thrill of the fight, or even the blur of the booze, but she became immediately enamored.

"Well strike me pink! Hell hath no fury, eh? Now the question is, who scorned a bonny lass like you?"  The captain lowered her sword, wearing a surprised grin on her face. "I'm supposin' now would be a good time to cash in on my winnings."

The evening stretched on into night, bringing with it the still presence of the full moon and the quiet breeze carried in from offshore. The night air was cool, and just comfortably so. 

"My name's Marion." The fillyjonk acquiesced, true to her word. "Marion Cartier. It's my rum we've been spilling all night." She crossed her legs as she sat upon the cobblestone amongst the flowers. 

"And this here'd be your garden then? The daughter o' the house as you'd said it. It's beautiful." She cupped the bulb of a flower in her paw. "If yer the daughter of a wealthy family, what business had ye in a bar like that one?" 

"Same business I had in having a private garden. An escape." 

"An' what was that bit afore I pushed y' down? Figure you'd take me in fer the bounty alive after gettin' me liquor'd up?"

"No… it's not that it's just…" Marion hesitated before answering, burning with embarrassment and the rum in her belly. Eventually she settled on telling the truth. "My father was right."

Captain Whetstone sat just across from her, light-heartedly rolling her eyes. "I'm supposin' that's got a story behind it. Night's young and I've nowhere better t' be, might as well let it out."

"He'd have me fall in line or sell me off just the same. If it's not helpful to his business, it hardly matters what I want." 

"Yer a grown woman, can't ye just use all that money o' yers to get yerself a place by yer lonesome? 'S what I'd do."

"The man practically owns me. I won't see any money that doesn't sit in his paws until I take up the mantle." 

"...And the swords?" Whetstone was quick to dismiss the woes of the wealthy and continued sating her curiosity with questions. Despite the blooming feeling in her chest, she still found it difficult to feel sympathy for rich folk.

"Father fancies himself a duelist. I'm… I thought I could get to know him better if I could get him to see me." She eyed her paws, rubbing the areas hardened into calluses by many hours of practice. "Told me it wasn't worth my time to wield a sword. Told me I'd be good for nothing if it wasn't for the family business."

The captain looked over at the wooden swords lying on the ground and cocked her head to the side. "Those ain't dueling swords, lassie. That's a cutlass."

Marion's eyes stayed focused on her hands despite the captain's piercing gaze and raised eyebrow. Silence filled the space for a moment.

"I've uh… I'm not quite sure how to uhm… it's rather embarrassing, I fear. Given present company, especially."

"Spill yer beans. I've drank too much t' sleep now fer fear of hangover. An' it's far too long a night yet fer keepin' secrets. B'sides, I won, remember?" Whetstone laid up against a tree and began picking her teeth with one of her claws.

"You must promise not to laugh."

"Miss Marion, I hadn't realized we were school girls! I ain't laughin' now, but I sure could use a good'un, out with it."

"I thought I could be a pirate. Or a privateer. Something on the sea that isn't in the navy. I'd take off as a stowaway on one of my father's ships with a few good men and strike out on my own."

"If that's yer cover fer trying t' claim my bounty it sure is the most… creative ruse anyone's drummed up against me." 

"I'm not trying to claim the bounty! Even if I was, you'd have killed that dream along with the one you're stepping on now." Marion paused for a short while, composing herself. The frustration in her voice was joined ever so slightly by the sound of tears beginning to well up.  

"Ah, I'm sorry lass, but it's a mite hard to think of someone like yerself at sea… y' need more'an just a few good men and some sword swingin' skills. It's a rough life out there."

"But it's a free one. The sea keeps men honest… in a way. There's bluster, sure, like anywhere else. But the sea asks that you prove it, and I aim to." 

"Aye… ye can't lie to her none, this I know." The captain looked to the sky, feeling a flutter in her chest. She was reminded of her youth, and the first time she felt the call to the sea. Though it hadn't been too many years, most pirates don't last more than a few. "You'll find yer way. The bold ones always do." 

The conversation bled into thoughtful silence, the pair quietly ruminating on past and future. The captain balanced a near empty bottle on her knee, watching the liquor shift and roll within. She examined the label, taking in the details. A mustachioed fillyjonk gentleman wielding a bundle of sugarcane like a royal scepter sat cross-legged upon a throne also made of sugarcane. In his other paw, a coconut prepared to be a chalice. 

"Cartier's Cane King rum blend…" Whetstone continued eyeing the bottle, comparing the fillyjonk on the label with her new friend. "Tell me, what did you say yer name was again?"

–

Captain Whetstone awoke with the early afternoon sun baking into her fur upon a makeshift bed within the greenhouse she had stayed the night before. Her coat had been draped over her like a blanket, and her head was pounding. She stood and stretched, remembering the night prior. 

"I swear I fell asleep in the garden, though…" She thought aloud as she surveyed her surroundings. A note penned in fine handwriting sat upon the potting bench, and was tented neatly.

Ms. Whetstone

I should think you capable of reading seeing as you're a captain. You've given me much to think about. I've many choices to make. I apologize for leaving you unattended, but it's as I said that no one visits my garden. 

I intend to convince my father to teach me about sailing. I'll tell him it's for to learn the family business, and that ought to be enough. Of course, you and I know the reasons why well enough. The next time you see me, it might be out at sea.

I took the liberty of coaxing you into the greenhouse for a more private rest. I've a busy morning to come. 

It was a pleasure meeting you. 

-M

"Coaxed me into the..?" The captain was much too heavy to lift. She imagined Marion rolling her on her side like a big fluffy barrel as she slept. She would've been beet red if it weren't for her thick fur. She donned her coat, shook off the embarrassment, and tucked the note into her pocket. With the morning ending and the afternoon just beginning, she thought it prudent to check in with the crew and nurse her hangover with a late breakfast. 

Rumors of yesterday's excitement had reached every ear, and just as quickly sank into the sand like waves upon the shore. The king's navy almost always had reason to cause a stir and rarely did it ever go quietly, but with such frequency it joined the day's monotony. A chilled breeze and shapely dark clouds portended a storm to come, though the warmth of the sun persisted for the moment. The docks were alive as always, folks walking shoulder to shoulder, hardly taking note of one another. The cacophony of cooking, trading, buying, and selling rang through the air. The cumulative hangover was just beginning to peak as Captain Whetstone sat down to eat beneath an awning at a dockside restaurant. Through the din of the crowd, she could almost make out the song of seabirds and waves lapping on the shore. She didn't take to being in public well, but the liveliness of the docks drawing eyes off of her bought her a modicum of peace. This peace was short-lived, as a garishly overdressed fillyjonk man cut a path around him through the crowd, speaking loudly and with no lack of self-importance. He moved dramatically, as though he was performing a dance, spinning and gesturing flamboyantly.

"What fortuitous timing, you wishing to take up the family business. As it so happens, I've dealings with a gentleman from Curaçao this very afternoon!" 

"Yes, well… I was hoping to start with more on the transportation side of things. Learning to sail ships and the like. I've been doing much reading on the subject." A timid, familiar voice followed shortly after him. 

"Hmm? Oh, of course. I'm sure he'll be just as happy with that if all goes well. Regardless, Marion, how does 'Cartier's Cane King Curaçao blend' sound to you? Bold? Alliterative? Lively? Perhaps, too lively, do you think?" His exaggerated manner of speaking sounded as though all must hear. It was difficult to tell whether he was advertising to the world or simply lost within himself. 

"Who will be happy with that?" Marion rounded the corner, catching up with her father. She was dressed in deep blues, in an outfit that portrayed her wealthy standing and matched her father. The duo stopped perpendicular to the restaurant Whetstone was eating at, looking out at a few ships along the dock. 

"That one there's a wild'un." The captain nudged a nearby patron with her elbow. "Drinks like a sailor 'n aims to be one." The patron patently ignored her idle musings upon seeing they were pointed at the wealthy young woman, assuming it to be a joke with no punch line. She snorted out a quick laugh to herself when comparing Marion's current clothes to her getup the other night. She decided it best to keep her nose out of it and went about finishing her meal. 

"The gentleman from Curaçao, my dear."

"And why should it matter to him whether I learn to sail?" Marion's confusion began to mix with her growing concern. 

"Well you are to be married, after all. I should think him quite pleased to marry a sailor if he needn't a homemaker." He removed his watch from his pocket and stared impatiently at it for a moment. The watch and the fob were both silver that shone bright against the deep blues of his shimmering waistcoat. He slicked his hair back with his paw as Marion stood dumbfounded. 

"Have you no shame?! Selling your daughter off for sugar and spirits! I would think a man of your status would at least have the guts to tell his own daughter about such an arrangement prior. We're done here!" Marion balled her paws into fists, turning to walk away. Just as she turned she felt a tug at the back of her shirt. Her father pulled her back forcefully, turning her to face him. 

"We're done when I say we're done." He scolded under his breath, eyeing passersby in the hopes they hadn't seen his family matters turned public. He placed his paws upon her shoulders, holding her in place. 

"Get off me!" Marion shouted, batting his arms away and making an attempt to flee. Just as she escaped his grasp, he raised his arm high. 

Slap

Captain Whetstone looked up from her breakfast in time to see Mr. Cartier backhand Marion, who stumbled into a stack of tin plates and other dinnerware atop some crates, sending them clattering to the ground. The ruckus drew everyone's attention. Marion's father stood over her and shook his head. He took a clearly practiced stance, placing his hand disdainfully upon his brow, with the other resting on his hip. 

Whetstone shook her head as she slammed her utensils onto the table. She stood abruptly, and threw her chair to the ground as she stomped over to the scene. Without so much as a word, she raised her paw and delivered a powerful open palmed slap to Mr. Cartier's cheek. He crumpled to the ground, both from the surprise of being slapped and from the sheer force of such a large moomin. 

"I'll not have ye befoul my breakfast. Treatin' a young woman, let alone yer own daughter like that. Despicable." She spoke at him gruffly as she helped the young fillyjonk up onto her feet. Marion, awestruck and utterly confused by all of the events that had just transpired, simply stood behind Whetstone. 

"I won't.. take that… from a brute like you!" He panted as he struggled both to speak and to stand back up. 

"Aye, I imagine ye won't. And I don't be takin' nothin' from some fop exceptin' what's in his coffers. Scurry off out, ye bilgerat. I've got a devil of a hangover and I won't be wasting my time on the likes of ye."

"I'll have you arrested! Assault! Assault!" He shouted to the crowd forming around the trio. Much to his chagrin, the group seemed far more interested in seeing a pirate shake down a wealthy man than they were in coming to his aid. 

"Guards! Gendarmerie! Somebody help!" The captain mockingly shouted in a pitiful voice. She spat to the ground near the man. "You think the law around here cares? Look around you. The people who carry your crates fer a coin. The folks who you exploit. Whingeing like that only works on folk what got food in their bellies." She stepped uncomfortably close to him, looking just down on him from a head above his height. "Anything left worth sayin', or are we done here?" The man could only look back at her with glassy eyes, stunned into brief silence. 

"That's what I thought." Whetstone began to walk back to her table when she heard above the shocked whispers of the crowd, the distinct sound of a leather glove being thrown to the ground. 

"A duel. You've thoroughly disrespected me and I'll not have the Cartier name besmirched by a ruffian like yourself." 

The crowd ooh-ed and aah-ed at the prospect. More folks gathered around, wishing to see what the gathering was for.

"What? Here and now? But I 'aven't even finished breakfast." She stopped only long enough to respond as she continued her stride to her table, not even turning to face him. Her gait was immediately interrupted by another leather glove, this one being tossed directly at the back of her head. 

"A coward and a glutton! Afraid to challenge the famed fencing of Jules Cartier! I simply must laugh! Aha! Aha!" He forced out an almost theatrical laugh as he puffed out his chest. It seemed to him the world was a stage, and the thing he feared most was losing the audience. There was hardly a moment he wasn't scanning the surrounding group for approval.

"You'll be wantin' to be careful with what you say next.'' Captain Whetstone growled as she balled her paws into fists, turning to face him once more. "I didn't come to Marseille to kill a rich boy. I came to make merry and sell the scores I took from ponces like you!" She stepped in closer once more, slow and with intention. "Y' have no idea who yer talkin' to, do ya?" Her gravelly voice rumbled. 

"From the smell of it, a drunkard. And from the look of it, a buffoon!" His confidence, though shaken, had returned as he began to shake off the slap. He dabbed at his cheek with a pocket square, and straightened his jacket. 

"She's a pirate captain, father, don't do this!" Marion pleaded. 

"Quiet, Marion!" Jules snapped. "This isn't one of your storybooks!" 

"From the papers! Must you embarrass yourself at every opportunity? She's wanted and very, very dangerous!" 

Whetstone shot her a flattered, knowing look. "Ha! Did y' hear that one, Jules?" She thumped her chest before tucking her arms behind her head with a cocky smirk. "Very… very dangerous." Her gaze was piercing, albeit smug. She was practically inviting him to hit her knowing full well that he wouldn't allow himself to be seen in such a light.

"A duel! I demand it! Face me or be branded forever a coward!" Jules' obstinations were increasingly childlike. 

"As you like it, sugarboy. If I win, yer daughter goes her own way. And you pay off whatever price they got on m' head in Marseille. We fight to first blood, I'm not killing a man in front of his daughter. You let me know the time and place, Cartier. Send someone a'callin' down near this here restaurant. I'll be waitin'." The Captain parted the crowd as she passed. She righted her chair and sat back down, continuing her meal.

"Three days time. When I win, I'll be taking your bounty, and whichever rotten tub you floated in on. Live it up while you still can, Whetstone. You're about to make me even richer." 

Captain Whetstone simply waved as he made his exit, her mouth full. Jules departed, entirely forgetting his daughter and the man from Curaçao. Marion, now the sole focus of a murmuring crowd, rushed to the table her would-be savior sat at.  

"You complete and utter fool!" She slammed her paws down onto the table just across the captain. "You can't just go around inserting yourself into any old trouble you like!" 

"That's a laugh right there." She swallowed her bite. "I seem to recall someone inserting themselves into trouble on my account just the other day. She looked a lot like you, matter o' fact... Took me fer a stroll in the garden in the pale moonlight." She took her last bite and set her utensils on her plate. 

Marion slumped into a nearby chair, placing her head in her hands as the previously interested onlookers began to disperse. There were a few disappointed sighs, and life seemed to return to business as usual. 

"You've no idea what you've done. Not that you'd care if you did, seems you've no thought beyond fun and fortune." She repeatedly cleared her hair from her face, looking into the table rather than across it to the woman now responsible for her fate.

"It's only to first blood, mate. I'll give yer dear ol' dad a good scratch and a scar to remember me by, and you get to goin' on whatever it is you'd like from then on. You've seen what I can do first-hand. It won't be but a quick bout." 

"And I've seen what he can do, as well. He's a liar and a no-good cheat, but a proper duelist through and through. If you win I'll be on the street, and if he wins I'll be married off and you'll be in prison or worse in no small part on my behalf." Her brow furrowed. Her life had capsized and was now in the paws of a scruffy outlaw.

The captain took a small pouch from her belt and laid a few coins on the table near her plate, then slid the pouch over to Marion. 

"I'm sorry, lass. I just can't sit idle 'round men like him. When yer out t' sea, aboard and abroad, y' get to thinkin' all manner o' things 'bout the way folks get on… Whole lot that don't make much sense. I don't know to make a social call by now. I don't know nothin' but me own code." She took a heavy sigh, pulling a long smoking pipe from her coat and chewing on the stem. "Take that there coin and put yerself up some place nice a while. It'll be a payday fer us both 'fore it's over, I promise ye that." 

Marion sat quietly, gripping tight the pouch of doubloons. She wasn't sure what else to say, let alone what else to do. Captain Whetstone trodded off toward her ship, head full of thoughts and ache. Marion followed her not long after. 

"Something more y'need from a… how'd you put it? A 'complete fool' like me?" The moomin turned her head over her shoulder at the woman sulking just behind her.

"You are many things. A rapscallion, a scallywag, a ne'er-do-well, but I fear I spoke unfairly of you in calling you a fool. One of the many things you are now, however, is responsible for me." She sighed deeply. "Whether or not you like it."

"Yer yer own woman ain'tchya? Can go as ye please, afore at least three days are up. I don't be needin' t' look after you." She chuckled. 

"Consider it the price you pay for today's events, and my penance for yesterday's. I hardly think it wise to be anywhere my father could reach me at the moment."

"Won't be fur off my tail. Yer welcome aboard as long as you can stomach it!" She slapped her on the back, knocking her forward a bit as the duo made way to The Honeyed Word. "Hardly the worst punishment I've seen in all me days, 'avin a lass like you aboard." 

The next three days brewed a strange energy for all around. Word got out about the incident at the docks, likely in part due to Jules' boasting. It wasn't enough for him to duel and beat a lowly pirate, nor befitting of his reputation. Whetstone's wanted posters had enjoyed a fearsome makeover, at Mr. Cartier's request. She now appeared monstrous, though devilishly handsome. Her bounty was attributed to both deeds she had done, and now tales some have told. Even in opposition, the fillyjonk could not be associated with the ills and ails of a true and "ugly" world. He did not just want to restore his reputation, he wanted to cement himself as a hero by defeating a villain. Criers, newsmen, even housewives and barflies were alight and giddy over the upcoming duel. A legendary scoundrel pirate versus a noble and upstanding upper crust citizen.

Word had reached the captain's crew by now, who were mostly uneasy toward their new found glory. Being a famous criminal still makes one a criminal, and being famous makes one a target. They'd watched as their normally steadfast captain had begun fawning over a rich young lady, while showing her the ropes as it were. Their new guest had been enjoying the captain's fineries and with none of the work to earn it. The pair spent much of the three days aboard romping about clad in silk, delighting in drink and distraction alike. If it weren't for the prize of having their charges cleared and paid off by someone with deep pockets, and the captain's usually fair treatment, a mutiny might've been in order. There'd been no talk of plans, and any crew that interrupted the captain were brushed off or turned away. It seemed as though their luck would soon run out if their captain remained lovestruck.

Tensions rose onshore surrounding the Cartier business as well, but as tensions rose, so too did the profits. The money minded men of Marseille had begun buying up as much Cane King rum as suited them. Some stocked up to resell and others to enjoy, but all were buying thanks to the sudden and fervent advertising of Mr. Cartier. He'd sent out servants swinging sample trays to swill all over town. The collective drunkenness among citizens alongside the excitement of recent events made for a city wide spectacle. It seemed duels and drinks drove sales and sail alike. 

The buzz surrounding the affair became the calm before the storm on the day of. A party sent by the challenger arrived at the docks in the early afternoon along with a parade of onlookers. The usual liveliness of the harbor was instead abated by prolonged eager silence, joined only by the lapping of the waves and the stomping of boots. 

"Captain Whetstone!" A pair of whompers shouted at each ship they passed, waiting a moment before moving on to the next. They looked for her at the restaurant as she had requested, but she never arrived. The challenger's party consisted of two whompers dressed in deep blues featuring ornate silver trim, a large and muscular hemulen clad almost entirely in leather, and a nibling carrying a long red velvet box. Down the docks they shouted, and down the docks more and more onlookers followed shortly behind. 

"Captain Whetstone!" The whompers cried, over and over above the murmurs that had begun to swell. The captain, still fast asleep in her quarters, awoke with a start. 

"Who wa- is… wha..whasit you want!" She stumbled to her feet, eyes squinted, an empty bottle tumbling from atop her to the floor. She quickly realized the voice was coming from outside the ship, and fastened a robe around her waist. Marion awoke from the commotion as well, following Whetstone's lead. The pair exited the captain's quarters to the sour faces of an armed and ready crew. 

The first mate of The Honeyed Word, an older hemulen woman by the name of Ruth, spoke up from between puffs on her pipe. "I imagine that's fer you Cap'n. They've like to come a'callin' on her account." She motioned to Marion. 

"I imagine so, too, aye. Worry not, I ain't steered you lot wrong yet, 'ave I?" Whetstone winked, and made for the deck, Ruth and Marion following just behind. The mood was tense, and not all of the crew were sure of their captain's judgements as of late. She arrived at the railing, rubbing the sleep from her eyes to see dozens upon dozens of folk, all waiting on her. The leather clad hemulen, who had presumably been hired muscle, shook his head at the sight of the supposed legendary pirate dressed in a frilly nightgown and robe. 

"What do ye want?" The captain shouted. 

"Captain Whetstone!" The whompers cried once more in unison. The nibling in the party opened his velvet case to reveal a long brass horn, about three times his size. He set up a tripod and rested the other end of the horn on it. The small creature drew a deep breath before filling the air with a short, but very very loud melody. The muscular hemulen covered his ears, and shook his head once more. "You've been summoned to duel the great Jules Cartier at his manor! We shall escort you!" The whompers bowed.

Marion appeared just behind the captain, wrapping her arm around the small of her back. She was similarly dressed in a silk robe and nightgown. In her other paw, she held a steaming teacup, and passed it along to Whetstone, who took a long, slow sip. 

"But we 'aven't even had breakfast!" The moomin protested loudly.

"It's past noon!" The hemulen mercenary shouted, palming his face, and shaking his head once more before storming off. He parted the crowd, grumbling to himself on the way out. The nibling took up his horn once more, apparently announcing the departure of one of their party, much to the dismay of the gathered crowd's ears. 

Ruth approached the duo, dropping on the deck just behind them their clothes, and the captain's sword with an unceremonious thud. "Don't be comin' back if ye don't win." She spit to the side.

"When I do come back, we'll be 'avin' words, Ruthie. Strong ones, too, I reckon. Mind yer tongue 'round yer captain." Whetstone began to put on her boots.

"If only ye could mind yers 'round whatever gal ye be fancyin' of late. Wouldn't be in this mess if it weren't fer you. Now the whole of Marseille wants a look at us, and the whole of the world wants the price on our heads. Keep yer promises, cap. Er I'll be keepin' 'em fer you." She headed below deck.

"Whaddaya reckon that means, Marion?" She looked around, puzzled.

"I imagine it was pretty straightforward, but you pirates are a bit hard to understand sometimes. Verbally, I mean." 

The captain wheezed and laughed loudly, wiping a tear from her eye. "That we are!" She continued to get ready. "Anyway don't ye be worryin' about her, either. Everyone's a mite worked up I imagine. She's stubborn, but she's a good'un." She tossed her robe and nightgown onto the deck of the ship as she hopped over to the side of the ship to the dock. 

The whompers were still in their bowed position, and a large chunk of the crowd had begun to disperse before hearing the captain's boots slam onto the wood. She had only dressed halfway up, boots, slops, a sash, a belt and sword. Her thick fur was disheveled and unkempt, an appearance apparently befitting the crowd's idea of a pirate. Ooh's and ahh's once more took shape, whispers and whistling as well. She began pulling her shirt on as she approached her would-be escort crew, coat draped across her arm. Marion shortly after hopped over, dressed quite unlike she had when she'd arrived. She rushed to the captain's side, attempting to avoid the gaze of the murmuring crowd for too long. The challenger's party parted a path as they beckoned the duo along quietly. 

Marseille was silent and empty, shopkeeps shuddered their windows and covered their stalls, passersby rushed indoors, and the captain swaggered through the streets en route to her duel. Deep blue ribbons and brightly colored bits of decor began cluttering their path to Cartier Manor. Though sparse at first, upon nearing the manor proper, the whole of the area was densely decorated. Rugs and flower petals lined the walkway, and whatever surface could have something hanging from it, did. Red roses and white lilies were bouqueted and affixed opposite each other. Even the balconies of houses unaffiliated to the Cartier name had wreaths hung from them. The early afternoon sun baked the clouds in front of it as they gathered, and it seemed as though the sky would open up any minute. The air was humid and filled with the scent of loose flower petals being crushed underfoot, alongside the distant rains. 

The nibling rushed ahead as fast as his little feet would carry him, horn in tow. He set up  his tripod just outside a bespoke iron gate. Just beyond the gate was a vast open courtyard, filled to capacity with all manner of folk, many of which were dressed in finery.

"I'm a mite hazy, but, is yer dad always this.. dramatic?" Whetstone covered her face as she whispered to Marion. 

"Seemingly more so than usual these days. This, I'd say, is less dramatic and more… absurd? Honestly I've given up attempting to understand the man."

 "This way, Captain Whetstone." The whompers once again spoke in unison. They led her just to the side as they ushered the rest of the guests, Marion included, in through the gates. The nibling blasted the same tune as before as each made their way into the courtyard. 

"So I'm not goin' that way?" The captain said, pointing across the fence. 

"No!" The whompers said, cheerfully. Their smiles almost perfectly matched one another, along with just about everything else about them. They seemed as though they were simply pleased to be involved. 

"Can y' tell me which way I am goin'?"

"No!" They cheered once more.

The trio stood for a few more minutes as the nibling welcomed more guests with his horn. 

"Can I go in now?" The captain scratched behind her ears. Her tone was playful, but she was starting to get impatient.

"No!" They sounded almost the same every time. Captain Whetstone gave up and leaned against the fence, arms crossed. She wasn't worried about being late to the duel, nor really very much about the duel itself. The whole affair was turning out far more posh than she had imagined, and with each decoration and each passing upper crust guest, she became less and less worried. She gave into idle thought for a moment. Her mind chose distractions of all kinds, but more and more her mind wandered back to Marion. Had she made the right choice to interfere when she did that day at the docks? Had she done right by her so far? What would become of her next?  

"Ahem" 

"Wah!" Whetstone shouted, recoiling from the sudden interruption. "Who'sat!" She caught herself on the fence. 

A muddler with very long droopy ears dressed in a most garish fashion held her paw out in front of her. Her hat was massive and had a large feather sticking out from it, along with several other adornments. She wore several pin cushions in various places, and a chatelaine of sewing materials hung from her hip. 

"Ahem." She continued to hold out a paw to shake in greeting.

"What? Am I in yer way, or..?"

"Ahem. It's my name."

"What's yer name?" 

"Ahem!" 

"What?!"

The muddler sighed. "My name. My name is Ahem. As in hemming garments. It's what I do. I'm a tailor." She motioned to her collection of sewing tools and accessories.

"Taylor? But I thought y' said yer name was Ahem?"

Ahem patently ignored her. "Mr. Cartier has requested that you come along with me for the time being. Preparations for the… un-seam-ly events to come."

"...right." The captain squinted. "And will there be more sewing puns?"

"We'll put a pin in that one for now." 

"Yer too quick fer me, lass!" She laughed out loud. She was beginning to enjoy herself. Things had taken quite the turn from the serious to the silly, and she was along for the ride.

"Quick indeed." She grabbed the captain by the arm, taking her to a room just inside the manor around the outside of the courtyard. The room was littered with fabric, tools, and mannequins of all shapes and sizes. One of the mannequins featured a fillyjonk-esque head with a familiar mustache made to resemble Jules. 

"Rich bastard's got his own uhh… what do ye even call a room like this? Sewing dungeon?" Whetstone fiddled with just about everything in her path as Ahem snapped back and forth with her measuring tape across the captain's moominous form. 

"Mr. Cartier has appointed me to make a coat for you. Something a little less stolen and salt soaked. He wants you to look flashy for his big day." She rolled her eyes. 

"Big day. Pffft." She blew a raspberry. "Also I'll have you know I bought this one." She said, putting extra emphasis on the last two words. 

"Pffft indeed." Ahem pulled aside a curtain revealing a tall and nicely rounded mannequin. Upon it was a coat fit for a pirate, though very well made and quite fancy. It was entirely black save for the trim, cuffs, and pocket covers that were a deep dark red, with shining gold buttons and an interior lining of red and gold paisley. A cutlass crossed with a rose was embroidered on the left breast. She snatched it off the mannequin and draped it over the captain's shoulders. "Go on, see how it fits. Your measurements seem almost exactly what I thought they'd be." 

"It's quite lovely!" She put the coat on, pulling the sleeves over her arms. She jumped and jogged in place, bent down to touch her toes and stretched her arms. Then she mimicked punching, drawing and swinging a sword, and climbing the riggings of a ship. She pretended to draw her pistol with a flourish and blew the smoke from its imaginary barrel, and then curtsied meekly.  "Fits great! Oh, one more thing." She walked up to the Jules mannequin and planted her feet. She drew her arm back and delivered a hearty slap just as she had the first time. "It's perfect, actually." The head of the mannequin tumbled to the floor.

"Three days is hardly long enough to craft something perfect. Let alone an entire ensemble that turns a ruffian into a posh pirate renegade as Mr Cartier suggested. So you'll have to make due with only the coat I'm afraid."

"Wait, three days? He asked y' to make a coat on the day that I slapped 'im?" She let out a single loud laugh. "I musta knocked something loose! How'd ye get m' measurements, anyhow?"

"Followed you around."

"But I hardly left m' ship after that business, how'd y-"

"You left four times, actually. Two of which you brought back food and wine."

"Ha! Typical. I like you, Ahem, yer fun! An' this coat is perfectly made t' measure, most folks miss just how big I am 'round the middle. You've got me thanks." 

"You know, I think that might be the first time I've gotten a genuine compliment the entire time I've spent under the employ of Mr. Cartier. Go give him hell, captain." She smiled, pushing the moomin gently on her back towards the door. "Oh, but do mingle a bit first. I don't think Jules is quite done making a fool of himself yet. I'm sure he'll call for you." She began packing things into a large trunk.

Not long after, the strange events at Cartier Manor continued to unfold. Captain Whetstone found herself in the courtyard, and Marion in turn found her as well. Refreshments were being served on trays carried by servants in bright blue vests. The pair sat at a table under a parasol, similar settings littered the yard alongside tents, rugs, and a veritable ship's load of furniture. All of this surrounded a large stage, adorned with deep blue ribbons and flowers. 

"That's a fine coat you've found yourself." Marion eyed the embroidery, sitting across from Captain Whetstone.

"Aye? A gift from yer old man I s'pose. Funny seamstress gal made it." She lifted it to show off the liner. "Yer house is massive! Just you lot live there?"

The captain made musings about this, that, and the other, chatting idly with Marion. Time stretched on, and the outing began to seem much less like a duel, and much more like a garden party. With each offered hors d'oeuvre, the captain took at least one of each thing, most of which she tried and set aside without finishing. She did, however, finish each flute of champagne that was brought by. 

The captain held a glass at eye level, staring at the champagne within, boredom getting the better of her. "Marion, how do ye reckon they get the bubbles in th–"

"Welcome, all!"  A voice boomed from the stage, commanding everyone's attention. "Today marks a momentous and fateful occasion." Jules' theatrical manner of speaking finally suited the situation. 

He had chosen an outfit of deep blues and bright whites, with silver buttons. Each article bore a motif of white lilies, trimmed with shimmering silver. The calves and sleeves of his outfit were tight and fitted, while the rest was loose and flowing. All of it was made of a shiny satin exterior, and he wore a large and gallant cape upon his shoulders. It was no doubt the work of the same tailor of Whetstone's coat. His hair was slicked back, and his mustache was waxed into perfect, symmetrical points. Behind him stood a short and portly older moomin, with a curly powdered wig. He was dressed similarly to Mr Cartier, though much simpler and with a brooch bearing the symbol of the King's navy. 

"Today, we bring a close to the scourge upon the seas. I, Jules Cartier, am to end the career of a pirate that has so long plagued the open waters." Not a word left his lips without some manner of posing added to it. Bravado seemed a natural calling for him. "But I, ladies and gentlemen, am no brute! We duel today only to first blood. I have called upon the aid of Governor Woodes Rogers, an experienced pirate hunter, to take down alongside me the infamous Captain Whetstone!" 

Gasps were shared by the crowd, most of whom had likely never heard of Rogers nor Whetstone before the last few days. Jules was building drama for a performance, and the audience was absolutely enraptured. 

"Should your hero prevail today, Miss Whetstone will voluntarily turn herself in at my behest. The streets of Marseille will no longer be subject to her whims, and its surrounding seas shall stand as an affront to all pirates who would dare approach!" 

Rogers, the moomin standing behind Jules, stepped forward. He unfurled an almost comically long document and cleared his throat. "Captain Whetstone, of her own free will, submits heretofore under the crown and will be granted clemency for all acts perpetrated during her stints as a pirate, and shall be pressed into service of the king's navy, or be jailed at once and in perpetuity remain. Here listed are her many crimes, and associated parties-"

"You needn't continue reading Mr Rogers. They can see how long that page is." Jules interrupted. 

"Am I going crazy?" Marion whispered across the table to Whetstone. "I mean I know it's been three days. But it's only been three days. A garden party is one thing, but to organize all of this?" She rested her head in her paws for a moment.

"I don't even think that there's the real Woodes Rogers." She squinted at the man from her seat. "Last I heard it, he were bankrupt or some such. Sued by his own crew. Ought t' be down n' out, not out n' about putzing around France." She searched her pockets for her pipe, remembering that she wasn't wearing her old coat. "That page he's got is like as any t' be blank I'd bet."

"Captain Whetstone, to the stage if you would!" Jules shouted, finishing his speech. 

Marion looked across the table, only now showing her fear. "Be careful up there. He's quicker than he looks." 

"It'll be over 'fore ye know it, lass. If yer dad wants to put on a show fer these folk, then I say let's give 'em a show." She picked up her champagne flute, and swaggered up to the stage. She took her place across from Jules.

"The fearsome pirate captain, Whetstone. Ruffian. Ne'er-do-well. Scoundrel and scallywag. You've plundered your way through the seas and sewn chaos among the citizenry, but that all ends today." Jules once again performed for the audience rather than speaking.

"Aye. All that n' more. And none of it could sate the devil inside me." She growled, mostly unconvincingly. She was, at best, unseasoned as an actor. 

"You're drunk!" Jules said, tugging on a pair of leather gloves. 

"An' yer annoying!"

"Name your second." 

"My what?" The captain shot him a puzzled look. 

"Your second. Someone you trust to bear witness to the duel. Have you never had a proper duel in your life? And yet how many have fallen to your sword alone? How barbaric." Jules rolled his eyes. 

"Ah. Marion'll do it. She's good like that, seems despite yer efforts t' the contrary, you've raised a very capable young woman."

Jules flinched, balling his hands into fists as the captain shouted for Marion to join them on stage. He swallowed his anger, and continued the show. The moomin who may or may not have been Woodes Rogers presented a velvet box, and a servant presented another. They opened the lids revealing one to have within it a set of ornate dueling pistols with pearlescent grips. The other box contained two sideswords decorated with gold engravings upon their blades. 

"The challenged may choose the weapons. The seconds shall inspect the weapons to ensure fairness and quality. Once we are all in agreeance, we shall separate ten or twenty paces, face one another, and the duel can begin in earnest upon the signal of each second." Jules delivered his clearly practiced lines to the crowd. 

"Well I meant what I said. I won't be killin' a man in front o' his own daughter. No pistols. First blood." 

"Swords it is, then. Ten paces instead." 

"I ain't usin' one o' yer swords neither. I made this cutlass and ye won't part me from it." She removed her sword from her belt, handing it to Marion, who had just arrived on stage. "You and yer second can inspect that'un." 

"Very well, captain. I suppose I should have expected no less from a pirate." His words were intensely venomous, annunciating each word with a pompous anger. He turned to face the audience. "The pirate has elected to use her own, crude blade even within the context of a gentlemanly duel!" This elicited whispers from the crowd.

Jules paid no mind to Marion as she presented Whetstone's sword to him and his second. They looked at it for only a moment and both scoffed, despite its elegance and craftsmanship. The captain and her second both carefully examined Jules' blade, finding no flaw or alterations. They agreed, and each took their sword as they took their place on stage. The crowd was silent, and the sound of thunder echoing in the distance was joined only by the footsteps of the two duelists as they took their paces.

Jules held his sword point up, taking a dueling stance as he measured each pace. The captain had returned her sword to its scabbard, and was still holding her flute of champagne. She took each step as though she were crossing stones in a river, occasionally pretending to lose her balance playfully as she watched the audience. 

One. Two. Three. Four. Five. 

With each step Marion's heart raced, she feared for her future, and for her newfound freedom. She'd found a fondness these last three days and had mostly forgotten her anger to her father until she met with him once more on stage. 

Six. Seven. Eight. Nine. Ten. 

Jules gripped his sword tightly, eager to rewrite himself as a hero to the people of Marseille. He turned in his position, waiting for the signal from the seconds. The captain turned as well, sword sheathed, glass in hand. 

"At your will, Mr Rogers." Marion stood beside him near the rear of the stage, out of the duelists' way. Her voice was shaky.

"Begin!" Woodes Rogers shouted without hesitation.

Jules lowered himself, rushing into a full sprint. 

The captain tossed her glass into the air, straight. She drew her cutlass quick as lightning, and with incredible speed and precision, cut the stem from the bell. As the glass descended, she caught it in her paw. The audience gasped, a few even squealed as the base sailed far off into the crowd. 

Jules stopped in his tracks for a moment, on guard. It was too late to back out now, despite the impressive display. 

She took a long, protracted sip before gently setting the unharmed top half of the glass onto the stage upside down next to her, empty. "I hope y' brought yer dancing shoes." She extended her arm, the point of her sword idly aimed at her opponent. 

He rushed to strike first, despite his showmanship he aimed to end the duel as fast as he could. He thrust to the captain's side. She sidestepped, grabbing his wrist with her empty paw, and used his momentum to throw him to the ground. He landed with an anticlimactic albeit quite loud thud on his back. 

"That's disappointing, Jules. I thought y' wanted to give these fine folk a show." She spoke at stage volume. She stood over him, the tip of her cutlass resting just above his chest.

"It's to first blood, captain." He gripped his sword tightly, and swept at her ankles. "And I'm not bleeding yet!" He jumped to his feet the moment she was on the defensive. 

She back-stepped, narrowly avoiding his swing. The audience roared to life having been in rapt silence during their first exchange. They shouted and cheered, nearly drowning out the following clanging of steel. 

Jules ferociously delivered cut and thrust after cut and thrust, he was as well practiced as Marion had said. He'd not met an opponent yet that could hold against his onslaught, and yet the captain was calm and focused, dodging and deflecting each of his blows. 

Whetstone feinted high as she had done with Marion, then swung low at his legs, cutting just the fabric of his pant-leg as he changed his stance. 

She laughed. "Ha! Got yer daughter with that'un, too!" 

He snarled, lunging in and following up with several repeated thrusts. The captain knocked each of them aside. She bound her sword against his and closed any distance between them, using her weight to throw him off balance. Jules fell to the ground once more, but rolled off his back and onto his feet again. He rounded her, swapping sides hoping to gain an advantage. He threatened a cut, but dropped his leg and reached out for a long thrust to the captain's inside line. She had previously been neglecting it and stepping aside, and she wouldn't step aside if she had thought it was a cut. He drove his point home as fast as he could, and then-

Thwap!

Whetstone batted aside his blade by the flat using her paw! She charged in now that he was open, blade raised high. He managed to raise his guard just in time, barely withstanding the weight of an oversized moomin crashing against his sword arm like a heavy wave against a ship's bow. He rounded his opponent once more, returning to his side of the stage. 

Jules hated being on the defensive. He hated even more his opponent. He hated that despite his assuredness in his own skill and the effort he put into this display, he had not bested the captain as quickly as he had hoped. His off hand left his hip, abandoning his dueling stance. He abandoned his footwork, too, in exchange for a mad dash. He began throwing wild cuts in front of him as he charged, yelling the whole way. She threw all of her might into one heavy cut, knocking his sword off line once again. He reeled, regaining his composure. 

He realized that he could not beat her in a competition of strength, nor speed.  He would have to stay calm and search for an opening. "The leg!" He thought to himself. "She may be twice the size of your average moomin, but she's still got shorter legs than a fillyjonk!" He closed in once more, focusing in on waist level thrusts. He began changing his rhythm, repeating the same passing steps in his approach. He'd stab and wait for her to cut, then step and do it again. Biding his time until she went for something trickier.

Whetstone noticed the change in his attitude. He was lithe and by now much more warmed up. It was as though he'd settled into the flow of battle. She held both arms out to her side, as if to say "come at me!" Completely opening up her defenses. He threw a cut to her chest, following up on her opening. She took her sword by its spine at one end, and the grip with the other, and swung up as though she were forcing open a window. He reeled once more as his sword was knocked away, but the captain was wide open for exactly the kind of attack he'd hoped for. He readjusted, then swung for her thigh. 

Seeing this, she leapt back once, being caught off guard by such a near miss. She'd kept her cool through most of the fight, but she was beginning to worry that her fooling around might cost her new friend dearly.  She leapt back again, escaping his reach. She spun off her front leg. Jules watched, unsure of the captain's intentions with such a maneuver. He saw her rear leg swoop up midway through the spin, and then back down as she completed it, as if in slow motion. At first he was confused, but then he remembered. "Oh no." He thought. "Not like this!" 

Her back foot kicked the glass she had left on stage, sending it flying straight at his face. He brought up his sword to block it, or knock it aside, but it was in vain. It shattered against the base of his blade, sending shards flying past it. The collective gasp from the previously uproarious crowd would have sucked the air from the room were they not outside. Even the coming storm stood silent as a trickle of blood ran down Jules' forehead. He reached up and touched it gingerly, examining the aftermath upon his paw. 

"I believe that's first blood, Mr. Cartier." The captain flourished with her sword a moment before returning it to its scabbard. She faced the audience, curtsied meekly, and headed off toward Marion at the rear of the stage. Much of the crowd were confused, some even angry. There was cheering and jeering alike, booing and whistling. Jules remained on stage, utterly defeated as the rain began gently dropping. 

"Congratulations, Miss Whetstone." Jules said. His voice was much less performative, taking on a sinister tone. The captain continued her stride, merely raising her paw dismissively. "You have won the duel…" Jules rushed toward her. "But you will lose your life!" 

"Whetstone! Look out!" Marion cried as loud as she could. 

The captain turned to see Jules just behind her, and coming right at her head was the tip of his sword. She threw herself back, headfirst, but it was too late. His sword dug into her face and tore across her left eye, stopping around the middle of her forehead thanks only to luck and to Marion's warning. She shouted in pain, clutching at the wound on her face with one paw and drawing her sword with the other. 

"This isn't fair!" The wouldbe Woodes shouted, sprinting away. He stumbled into the table that had the dueling boxes atop it, knocking it over. "You didn't tell me you were going to kill her!" 

The audience bellowed with shouts of a similar kind. 

"The duel is over! Stop!"

 "You lost! Give it up!"

"He's lost his mind!"

 Many voices cried over one another.

Several members of the audience shrieked in fear from the sight of so much blood, and several others rushed to the stage in an attempt to stop him from continuing his assault.

"Y' cowardly bastard!" The captain growled, fighting as hard as she could with the use of only one eye. "Marion! Get yerself outta here!" She looked around in a half blind panic.

"Duel or no duel, she's a wanted woman! To the man who brings me her head, you'll claim the bounty and I'll make you the richest man in Marseille!" Jules drew the crowd into a frenzy. Those who weren't tempted by his offer began running to the gate, and those who were tempted began surrounding the stage. They were unarmed but very much outnumbered the two who were now stuck between Jules, the manor, and the gate leading back out into the streets. 

Marion rushed in the same direction as Woodes, shaking with panic. She had to act, and quickly. She picked up one of the pistols from the open dueling boxes, pointing it at her father. She tightened her grip, steadying herself. She'd never fired a pistol before, and despite everything, she'd never wanted to kill her father. "Stop! Stop attacking her this instant or I'll shoot you!" She shouted. Tears were streaming down her face, her hair and clothes now soaked with rain as the storm raged on. 

The captain backed off from the fight, holding her ground as Marion made her plea. Jules stopped as well, turning to face his daughter. The herd of newly made bounty hunters waited, not wanting to get caught in the crossfire. 

"Make sure you take that one alive." Jules pointed at Marion with his sword, gesturing to his makeshift militia. 

Click

Marion pulled the trigger, filled with an array of strong emotions that all burnt up in her anger. Jules paused briefly, seemingly offended. His eyes were wide and mouth agape. The flint struck the frizzen, yet there was no smoke, no flash, no bang. The rain had soaked the powder thoroughly, forcing her threats empty.  

The moment seemed to drag on, the clear line in the sand now drawn between Marion and her home life. She screamed, barely able to hear herself as she threw the gun at him, reaching next for the sword left in the box. The captain used this as an opportunity to rush to Marion's side, scooping her up in a bridal carry at full sprint, off stage. 

"After them, you fools!" Jules regained focus after his brush with death. He'd gone too far now to give up. He'd all but given up on raising his daughter to be the way he wanted her, but he refused to relinquish even the slightest bit of control, especially to a pirate. 

Captain Whetstone ran as fast as she could toward the gate. The path was clear and the only remaining bystanders had just made it through. Jules was the fastest among the duo's pursuers, quickly taking charge ahead of his group. The grass underfoot was slick, and the rugs placed upon it now waterlogged. Thunder crashed within the sky, bellowing throughout the humid air below. 

"Come back you coward! Blaggard! Face your fate!" Jules shouted above the racket of the storm as he ran. 

The captain stumbled, woozy from her injury, dropping Marion in the process. They both stopped only a moment, with Jules gaining on them. The gate was tantalizingly near, and their hope for escape pushed them onward. The pair righted themselves and passed the threshold, soon to be followed by Jules and his cohorts. 

"I have you now, you wretch!" Jules raised his sword, closing in. He chanced a cut at the captain's leg rather than attempting to tackle a woman likely twice his weight. 

tst-BOOM

A shot rang out, crushing beneath it for a moment the sound of storm and step alike. Smoke plumed from a covered balcony one floor up, just outside the gate to the Cartier Manor courtyard. Whatever onlookers remained nearby scattered at the sound. 

"I reckon I already told ye…" a hoarse voice spoke from behind the smoke. "Keep yer promises, Cap'n. Lest I be keepin' 'em fer ye." A rugged hemulen woman set her spent rifle to the side, lifting a loaded one from a row against the railing she was perched at. 

For the briefest of moments the world fell silent as those in the vicinity searched for the object of Ruth's aim. The silence broke with the anguished scream of Jules, his sword clattering to the ground as he clutched his arm where he'd been shot. 

"Ruthie!" The captain shouted, gleeful and relieved. 

"Put some wind in yer sails, kid! Ye promised me no foolishness. Ye get that girl outta here, an' maybe I won't be considr'in it foolish n'more!" She took aim, putting a shot between the wounded Mr Cartier and his thugs. The shot caused a few of them to rethink, running back into the courtyard. She once again set her empty rifle aside, picking up a fresh one. "Avast! I've got 'nuff guns up 'ere to take the lot of ye! What'll it be?" She asked the duo's pursuers, mounting her gun on the railing.

Captain Whetstone and Marion ran as far and as fast as they ever had before. Despite eventually making their escape, the two were in need of leave from Marseille. Jules' ire is doubtless to have stirred all manner of trouble, and he had a wound to prove his opponent's guilt. When they arrived at the docks that evening, out of hiding, The Honeyed Word was no longer moored at the harbor. The surrounding area was lousy with law, searching for the both of them. They spent that night together in a cove on the beach tending to Whetstone's wound, making plans for tomorrow and the tomorrow beyond that. 

–

"That's awful, Miss Puukko!" Moominmama had returned from the kitchen to the veranda with a tray set for coffee. She set it down upon the table, having a seat next to her husband. 

"Yes, quite! And what became of the two of you next?" Papa asked from his seat across the table. His agreeance to Mama's exclamation was betrayed by the excitement in his voice. He held a love for all things nautical as well as for a good story, and could not hide it. 

The fluffy brown moomin scratched at the underside of her snout, eyes fixed on the distance as she reminisced. It was a calm, and pleasantly warm evening in Moominvalley. The sun was beginning to set on the horizon and crickets chirped from their hiding places. She puffed on her pipe, exhaling deeply with a contented sigh. She bore a scar across her left eye, and the heavy brow of a long life. Seeing her dressed comfortably, swapping stories on the veranda,  you'd hardly believe she'd once been a fearsome pirate captain. Obscurity suited her quite well, as the last breath of a legend long past. 

"In my absence, Ruthie 'ad told me crew t' weigh anchor an' make fer somewhere near. I reckon I'd consider her t' be a hero, least by my account anyway..." She took another drag off her pipe. "Trouble were certain to have found them if she hadn't got 'em outta there. That was the last anyone saw of her. Sent some men that-a-way fer to go about findin' her some time later. Not hide nor hair. I think she aimed t' make the rest o' her life a quiet one."

"But you pirates are all flare and bravado! A life of excitement, and er, uh, and freedom! Why would you want to give up that?" Moominpapa gestured in his chair as he spoke. 

"Papa…" his wife laid her paw on his arm as if to settle him down. 

"It's a fine thing t' be sure, fer a spell. But it's got its rigors. I fear what I mean t' say ain't kind enough fer this valley. It's foul, and it's wretched. Turn folk into beasts and beasts into.. well I hardly even know what ye'd call it. Bastards 'n scoundrels. When ya find a one like the one I were sweet on, well… it's hard t' live a life like that seein' thems that you'd protect with their teeth gritted behind a sword." She dropped a sugar cube into her cup, watching it slowly dissolve beneath the dark waves of coffee. 

"And to think I'm the one writing memoirs." Papa mused. "And what happened to Marion?"

"After we made it back aboard me ship, I weren't in a way fit fer sailing. Without a first mate and without their captain and helmsman, the crew had t' band together. They fell in with Marion right quick. She'd read up on sailing her whole life, call to the sea an' all that. Just ne'er put it to practice. Did a good turn at the old bailiwick once more, plundered as many ships carryin' the Cane King stuff 'tween Nassau, Curaçao and near Marseille as we could. She learnt t' be quite fierce in a short while. A force to be reckoned with under my care. We became as tall tales walkin'... We got t' bein' quite close, too. Didn't ne'er get to talking out the particulars though, I'm afraid." 

She stopped for a moment, enjoying the coffee, company, and relative peace and quiet. Ever since she'd moved to Moominvalley she'd known more peace than she ever had. Even in her own childhood home,  there were always storms and turmoil. As no more than a pup on the seas apprenticing under good men, she knew even further strife and noise. From her start on the seas she thought she could earn the peace she had now, and never did. 

"It's funny how misfortune and heartache can get ye where ye need t' be goin'. We coulda stayed tall tales iffin things hadn't shaken out like they did. The thing about it is…" She took one last puff on her pipe before tapping it into the ashtray. 

"Whether or not ye tuck it when ye run, if ye made yer tale long enough, someone always catches ye by it in the end. But that's a story fer another time I suppose."

[kindahoping4forever]

Luke via Shan Rizwan on IG

[birdricks]

my beautiful wonderful morty oc who dies horribly for the plot <3

- angel gets her nickname from her dimension code … and bc shes oh so lovely ^_^ oh and bc she dies.

- hes super good at knowing what appeals to ricks and so tries to help the other citadel mortys (and notably emorty) to… act right. and hopefully keep their ricks. and not get hurt

- she gets lucky with her first rick being nicer than most… but his next rick is ur standard abusive rick. he ends up getting angel killed through carelessness or smth similar

- emortys closeness w angel is part of what endears him somewhat to morty prime later on. if anyone cares.