#initially it's not a ship post but it can be if you want

[toriavissu]

saiki and teruhashi are kinda alike but at the same time they are opposites. they both are powerful (well kokomi's situation is not the same as saiki's but still being the most beautiful person in the world is kinda supernatural), but they use their powers in completely different ways. saiki does everything not to stand out and he prefers to downplay his abilities and skills to fit into society rather than show something good about himself. he doesn't really care about people's perception and he doesn't measure his value by how much others like him. but people are drawn him. he didn't ask them to, he didn't do anything for it, but they love him and he loves them (even if he denies it). he doesn't need attention but he feels comfortable receiving it from these people (again even he denies it). teruhashi is the opposite. she uses her beauty and love from everyone for her own sake but she pays dearly for it since she has to constantly maintain an image of the perfect girl. people also are drawn to her but they don't love (and don't know) her real self and she doesn't really love them. she feels satisfied only if she recieves proper attention but at the same time she feels uncomfortable about it. and there is something touching about her relationship with saiki because he's the only one (at least i think so) who knows her real self and he likes her because of the fact that she's not perfect. and she likes him because he's not like other boys who just blindly love her perfect version

[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.

[panharmonium]

Hi! I love your Naruto thoughts and meta posts with all my heart and I want to ask your thoughts on something that has been on my mind literally since I was 13: what do you think about the relationship between Sasuke and Sakura? I went from being a hardcore shipper when I was a teenager, to being against any romantic relationship in Naruto after finishing the anime when I was in my early twenties. Nowadays I'm very into platonic love and depictions of friendship and I think the anime's obsession with forcing the "romantic interest" curse upon the main female character robbed us of... so much. There are a few wonderful moments in the anime where Sasuke and Sakura acknowledge each other, but because she's always "the girl with the crush", her actions are so often interpret as irrational or selfish by the fandom.

Hi @riemmetric!  It's great to talk to you again! Sorry it's taken me so long to answer this; RL has been making demands of me lately and it took me way longer to finish writing this up than I wanted it to (then again, I knew from the minute I read your original ask that my reply was going to get long, so I suppose I should have predicted a delay XD)

It's funny, my sister once asked me to choose between Sasuke or Sakura for an “unpopular opinion” meme, and I ended up doing Sasuke solely because I think the negative fandom opinions about Sakura are so unhinged and divorced from the actual text that I wouldn’t even know where to start.  People are entitled to dislike whatever characters they want, obviously, but there are some fandom takes that are, for me, so obviously rooted in bad faith viewings/readings that there’s no urge in me to discuss them.  That said, since you asked, I’m happy to go into my own thoughts on this a bit, with the disclaimer for other potential readers that I only write about fandom things for my own personal enjoyment, not as a contribution to The Discourse. If you don’t like Sakura, great!  I have no interest in changing your mind. Please consider this a sincere invitation to scroll on by and go enjoy whatever parts of the fandom appeal to you.

In general terms: I love Sasuke and Sakura’s relationship as much as I love all of the relationships in Team 7.  If we’re talking about them specifically as a romantic couple, then I probably fall somewhere in the middle of the spectrum, because I do like them together in a post-canon (to be clear: non-Boruto) setting, after time has passed and they’ve continued to develop individually and reconnect with each other, but I also wouldn’t exactly call myself an intense “shipper,” in the sense that I have no interest in pulling things out from the text and incorrectly citing them as evidence that Sasuke has hidden romantic feelings for her during the canon period. He cares about her in the canon period, just like he cares about Naruto and Kakashi.  That’s not up for interpretation; it’s the text.  But Sasuke during the canon time period does not demonstrate specifically romantic interest in anyone.  

[A note before people who might ship Sasuke with Someone Else emerge to rail against this statement - please just scroll past and continue enjoying fandom in whatever way is most fun for you. It is cool to ship whatever fanon thing you want; I think that’s great!  But earnestly citing any loving or emotional thing Sasuke does re: various characters in this story (yes, Sakura included) as indicative of specifically romantic love isn’t supported by the text. I know there are always going to be enormous subsets of any fandom who insist that it is, and I'm certainly not going to barge into anyone else's space to complain about that (because other people having fun together is harmless and none of my business), but I'm not obligated to indulge it on my own blog, either.]

Anyway, that said - the reason why I love Sakura and Sasuke’s relationship (from here on out I’ll use “relationship” in a general, non-romantic sense) is precisely because Sakura isn’t just “the girl with the crush.” Sakura has an arc when it comes to Sasuke, and its trajectory moves in the exact opposite direction of “irrational” or “selfish.”  She specifically goes from “the girl with the crush” to “the girl who steels herself and tries to put her personal feelings for Sasuke aside for the greater good” to “the girl who knows she can’t put her feelings aside, but who also knows full well that Sasuke doesn’t reciprocate them, and who still wants to save him regardless, because he matters to her as a person and a friend.”

[I'm putting the rest of this under a cut to save everyone's dash, and also to emphasize once again that this is a personal post on my personal blog which I wrote in response to a question from a personal acquaintance, the full content of which no one is obligated to read. I am not sending this post to random strangers and forcing them to look at it. I'm not even putting it in the character tags. I'm typing it up on my own blog and putting it under a cut. If you already know that you don't like Sakura, but you still click the link/read the post and then feel an urge to comment and complain, I am going to copy-paste this disclaimer and remind you that I specifically recommended that you scroll past and go have fun with fandom in your own way. Thanks in advance for responsibly curating your own fandom experience!]

So, from the top:

1. the girl with the crush

Sakura is, obviously, completely obsessed with Sasuke at the beginning of Part 1.  She’s also deeply clueless about him and his history (bizarre though it is, the story seems to indicate that she initially doesn’t know what happened with his family, the same way young!Obito is initially clueless about Kakashi’s father).  But what I like about Sakura and Sasuke’s Part 1 relationship is how this changes over time.

The critical scene that kicks this off happens right at the beginning of the manga, when she and Sasuke are talking by that bench - she complains about Naruto and blames his behavior on him being all alone/having no family to scold him; and even says she’s jealous that he doesn’t have parents to nag him all the time.  This obviously triggers an outburst from Sasuke, who tells her she has no idea what loneliness means and that she “makes him sick”/she’s “annoying” (importantly, the exact same thing Sakura said to Naruto in anger earlier that day), which in turn prompts Sakura to reassess herself and wonder whether she’s been making Naruto feel this terrible all the time, too:

From that point on, it’s a process of her putting little pieces together.  She still has a MAJOR crush, and she still acts like a twelve year-old, but as we approach the end of Part I, Sakura actually has a more accurate grasp on Sasuke’s current state of mind than Naruto does.  Naruto is initially excited to fight Sasuke on top of the hospital, because he feels like Sasuke’s finally acknowledging him, whereas Sakura is the one who immediately recognizes that something is wrong about this situation.  She is also the one who, after this fight, is concerned that Sasuke is really unwell and might do something drastic like run off in pursuit of the power Orochimaru promised him, but when she communicates this to Naruto, he assures her that this would NEVER happen:

(Sakura isn't convinced, though, because she goes to monitor the exit out of the village anyway.)

I’m not criticizing Naruto for his response here.  I ADORE hearing him say that Sasuke is too strong to need Orochimaru, with such perfect confidence - I love seeing how much respect and admiration he has for Sasuke underneath all their fighting, because that’s the whole reason he’s always baiting Sasuke and yelling at him and claiming “you're not so great!” He looks up to Sasuke; he wants to be like Sasuke; he thinks Sasuke is awesome! (It’s that Obito @ Kakashi behavior, you know?) But the fact remains that he is clueless about what’s actually going on with Sasuke in Part 1, and he remains clueless(ly optimistic) for a long time.  

(Eg, when he catches up to Sasuke during the retrieval arc and Sasuke climbs out of that cursed seal coffin, Naruto waves at him and calls "Come on, let's go!" as if Sasuke has been successfully rescued and is now going to come running home.  Even in Part II, when Naruto hears that Sasuke killed Orochimaru, he beams and immediately says, “So he must be on his way back to the Leaf Village!”  And everyone else in the room is like, “....,” because they know better.  Naruto doesn’t yet fully understand [or doesn't want to accept] the extent to which Sasuke has willingly chosen this path, and it’s not until after Jiraiya’s death/the Pain attack/the Five Kage Summit that Naruto really starts to understand Sasuke more clearly, which is something he himself admits.)

Sakura, in Part 1, has access to more information about Sasuke - she’s there for his first dissociative monologue during the bells test, she’s there for the curse mark’s placement, she’s there for his first violent transformation in the Forest of Death - she is, in fact, the unwitting catalyst for it (“Sakura…who did this to you?”), and her compassion is the reason Sasuke is later able to overcome the curse mark’s influence - so she has a more accurate/complete picture of “how he’s doing,” for lack of a better phrase, whereas Naruto, who doesn’t know about the curse mark in the first place, is still in the dark.  This means that Sakura is able to accurately discern that Sasuke is struggling more than Naruto realizes, and specifically to predict that he’s going to run away.  

(This dynamic is then interestingly flipped in the back half of Part II, since at any point after the Five Kage Summit, Sakura doesn’t have access to extremely relevant [if currently questionable and unproven] details that would in any other circumstance inform her behavior).

Of course, just because she has more info in Part 1 doesn’t mean she has some kind of miraculous insight into Sasuke’s every thought and feeling.  There are parts of her attempt to convince Sasuke to stay in the village that are as clueless as any of Naruto’s assumptions, and they showcase the kind of magical thinking common to childhood - like when she says that if he stayed with her, she could give him happiness, she’d do anything for him, even help him get his revenge - this idea that she herself can do something to make him feel better, that she can love him powerfully enough to defeat his pain - obviously none of that is rooted in realism.

Is this part of her approach irrational and immature and inadvertently self-centered?  Of course it is!  But it’s no more irrational and immature and inadvertently self-centered than Naruto’s stated plan to drag Sasuke back to the village even if he has to “break every bone in [his] body!” 

Hating on Sakura for her Part 1 attempt to convince Sasuke to stay in the village while simultaneously lauding Naruto for his feels like a bad faith misread of what is, to me, pretty clear narrative intention.  The story doesn’t at any point intend for us to see her begging him to stay as a selfish or conniving attempt to get something she wants.  She’s begging him to stay for the same underlying reason that Naruto is: she cares about him.  She thinks he’s making a mistake that will only cause him more pain in the end (she’s right) and she wants to make it so he feels less pain right now (she can’t.  But she doesn’t understand that/isn’t able to admit that, and she’s willing to try ANYTHING that might help).  

It’s critical that this farewell scene is set in front of that same bench from their first important confrontation - she references that day and how angry he got at her, and this time she tells him that she understands his reaction.  She’s learned things and she recognizes how insensitive she was being back then (“I know what happened to your clan, Sasuke”), even though she still can’t fully grasp all the complexities of the situation. She tells him that him blowing up at her back then helped her understand what loneliness actually meant (as opposed to her previous shallow understanding of it), and she challenges him about his choice right now: "So that's it, you're choosing the lonely path?" And when she tells him that she'll be very lonely if he leaves, we're immediately shown a panel of Sasuke thinking of both his friends, with the very clear implication that if he goes through with this, he will be lonely without them, too - that he's still struggling with the idea of leaving them, no matter how hard he tries to pretend:

Sakura at this point knows that Sasuke isn’t interested in her the way she is in him, but she still wants to give him happiness, however fantastical and immature her ideas sound to us (and, I’m sure, to him).  “I’ll do anything, even help you get your revenge/we'll have fun every day, and...and you'll be happy! I'll make sure of it!” - of course, it’s completely childish.  It’s irrational.  It’s ridiculous to think that any of this would ever be effective, but no more ridiculous than Naruto’s belief that he can simply break every bone in Sasuke’s body and keep him in the Leaf by force.

Both Naruto and Sakura are children who have a deeply oversimplified understanding of Sasuke’s situation.  They both still think they can fix him themselves.  They both think they can save him themselves.  They both think they can convince (or force) him to do what they want, what they think is in his best interests.  Both of them don’t yet understand that he has to want to come back, if it’s ever going to mean anything.  Their attempts to keep him in the village are immature and unrealistic, yes.  What they aren’t, however, is selfish, because neither Sakura nor Naruto are doing any of this with the intention of advancing their own interests.  They’re only thinking about Sasuke - how to keep Sasuke safe, how to make Sasuke happy - even when neither of them are taking an approach that will actually work.

Naruto and Sakura are children.  They’re afraid of losing somebody they care about.  Their attempts to prevent that from happening are desperate and messy and ultimately ineffective, but they are also genuinely felt and rooted in a true desire to rescue Sasuke from his pain, which - and this is the single most important thing that should impact our viewing of Part 1 - is something that Sasuke RECOGNIZES.  He doesn’t spend that agonizingly long moment bowed over Naruto’s defeated body so we can pretend he doesn’t understand that Naruto was just trying to help him.  He doesn’t take the time to murmur, “Sakura…thank you,” before laying her out carefully on a bench, just so we can discount it and pretend that he doesn’t recognize and appreciate her genuine intention to make things better for him, however clumsy that attempt might have been.

2. the greater good

If Stage 1 Sakura is "the girl with the crush," then Stage 2 Sakura is a progression to “the girl who decides to put her feelings for Sasuke aside in order to protect innocent people, including (but certainly not limited to) Naruto.”  She’s driven to this decision by interactions with Shikamaru, who all too recently had to grow up fast himself (“We're not kids anymore...we can't allow a war to break out between the Hidden Leaf and the Hidden Cloud because of Sasuke") and Sai, who risks his new friendship with Sakura and Team 7 in order to speak some hard truths and deliver one of my favorite lines in the whole story: “I don’t know what promise Naruto made to you, but it’s really no different than what was done to me.  It’s like a curse mark.”

(INCREDIBLE.  How can anybody be complaining about a season where Sai gets to say something that goes THIS HARD and Sakura LISTENS and takes DRAMATIC ACTION that actually propels the story forward in a meaningful way - )

[Okay, yeah, brief personal opinion interlude - it is just bonkers wild to me that there are people who complain about Sakura in the Five Kage Summit arc. That entire season is the greatest character arc she ever has.  Literally she has never been more interesting and dynamic than in Season 10; it’s the first time she ever gets to be as deep and fascinating as the boys; what is everybody so worked up about?  Oh, “she lied to Naruto that one time” - Sasuke joined infant-kidnapping baby-murdering human experimentation machine Orochimaru when he was twelve years old in order to (dare I say it????) selfishly pursue his personal goals and yet, somehow, we are still able to root for him.  He abandoned his friends/allies to imprisonment and death (Suigetsu and Jūgo) or outright stabbed them in the chest himself (Karin) in order to (SELFISHLY) get what he wanted, and yet, somehow, we are still able to love him, understand him, and be on his side.  Naruto is canonically not upset with Sakura about her lie after receiving context for the situation and I think we can probably take our cues from him without feeling the need to bring her up on war crimes; please calm down]

[Sorry, I just really love most of Season 10 and think it’s one of the best examples of how good this story can be when every single character gets to do something that matters (as opposed to things being all Naruto, all the time) so I get a little bit worked up over people complaining about some of the best writing Sakura ever gets.  I don’t understand what certain elements of fandom want from her. People complain about her being “useless” and not doing anything that contributes to the story, but then they complain just as much when she does finally get to act decisively and have just as complex/dynamic an inner world as the boys.  She’s “weak” for being unreasonably in love with Sasuke, but when she tries to be “strong” and put her love for him aside and eliminate him in order to protect Naruto and the rest of the world, she’s evil, because she should have been more understanding of his situation (despite the fact that she doesn’t KNOW anything about his situation).  But then when she can’t go through with killing him after all because she cares about him too much despite the things he’s done, she’s not "compassionate" or "kind" or "a good friend," she’s “weak” again. Nothing Sakura does in S10 is more wrongheaded or rash than any of the batshit, buckwild things Naruto and Sasuke have done in the past (and will continue to do in the future), but when Naruto and Sasuke have big feelings or take bold action, it makes them interesting characters, whereas Sakura can’t breathe in anyone’s direction without being minutely scrutinized for moral impurities.]  

Anyway. Back to a more measured response.  

Every single piece of development Sakura has with regard to Sasuke in this season satisfies me so much.  Her initial shock and disbelief at hearing that Sasuke had joined the Akatsuki?  Good, appropriate.  The fact that she starts to acknowledge the reality of what Sasuke’s done sooner than Naruto does?  Also extremely appropriate, very in-character for both of them.  Her taking Sai’s words to heart and deciding that the promise she asked Naruto to make when they were children is causing him to suffer and she has to relieve him of that burden?  Juicy!  AND thematically significant (promises!!!!  the burden that a promise places on a person, especially when it can't be kept - we've seen that before in this story and we'll see it again).  Her anguished pivot from wanting to protect Sasuke to realizing that she has a responsibility to protect the countless innocents who will die because of the war he’s trying to start?  HELLO THIS IS INCREDIBLE CHARACTER DEVELOPMENT.  Her knocking out the classmates who agreed to help her so they don’t have to share in her burden (and so the only person Naruto will hate when it’s over is her)?  BRUH.  Her being so committed and focused on her goal of saving innocents and protecting Naruto (not just from being harmed by Sasuke/the Akatsuki, but by the possibility that Naruto will someday have to hurt Sasuke himself) that she tries to take everything on by herself and walks into a confrontation that she absolutely cannot win??  INCREDIBLE.  (Literally the first time I watched this, I said, “Finally!!!  It’s Sakura’s turn to go off the rails!”  I laughed with my sister about how Kakashi isn’t even mad, because Naruto and Sasuke have been pulling stunts like this for years and Sakura was way overdue for her own meltdown.)  And then, after Kakashi intervenes in the fight - Sakura barreling back into the battle when she realizes he’s going to take on the burden of killing Sasuke himself in order to spare her and Naruto the horror - “I can’t let Kakashi-sensei bear this burden!”  I love her for that.  

And then, of course, in the end - her not being able to do hurt Sasuke after all.  Despite committing herself to the act, despite forcing herself to put her feelings for him aside, despite resolving to stop him from starting a war and killing innocent people, she can’t harm him.  She cares about him too much.  This, too, is thematically significant - think about Itachi’s “you don’t have enough hatred” - she doesn’t have enough hatred to kill someone she cares about, even if it seems like he deserves it, even if would be the right thing to do to protect others.  She can’t do it, and Sasuke almost kills her for her compassion.  

I love the dynamic this sets up between her and Sasuke, for a few reasons:

1) Personally, I think Sasuke respects Sakura much more for trying to kill him than he would have if she’d just tried to talk him out of his behavior or beg him to come home (a la their original confrontation in Part 1).  This is the first significant interaction he’s had with Sakura in years, and the fact that she does something SO contrary to his memory of her is an important demonstration of the fact that she’s not the same girl she used to be.  Sasuke spends a lot of time after his defection declaring to his old team “I’ve changed; I’m not that person anymore,” but this is one of the moments where he’s forced to acknowledge that his teammates have changed, too.  Time didn’t just stop for them when he left.  While he was turning into someone new, so were they.  They grew up without him, and his old memories of them can’t encompass the whole picture of who they are now.  

(This is a little tangential, but in general, I love the spectrum of reactions that Naruto, Sakura, and Kakashi have in this sequence, and the way that all of them are ultimately messages Sasuke needs to hear.  Sasuke - who we know textually regrets what he did here, who apologizes to Sakura for it later - for “everything,” in fact - needs Naruto’s aggressively optimistic open-arms policy, yes, needs that potential, that unconditional possibility of return.  He also needs Sakura’s refusal to let him hurt her friends and start a war that will kill thousands of people, needs her surprisingly ruthless attempt to take him down; needs just as much her failure to do so, because it shows him that she still loves him too much to kill him even as she condemns him.  And he needs Kakashi’s grim line in the sand, needs someone who very possibly won't hesitate like Sakura (despite the horrifying personal cost), someone who will try to reach him but also won't let him escape and become the next generation’s Orochimaru, who won't let him cause untold suffering to untold numbers of people just because a teacher loved him too much to stop him when he had the chance. 

(And then even Kakashi chooses not to deliver a killing blow when he has the opportunity -)

(I know that in fandom people are more likely to be all, “oh, Naruto Good, everybody else Bad,” but I don’t think the narrative frames Sakura or Kakashi as “worse” than Naruto in any way.  The story goes out of its way to make it clear how desperately they don’t want to hurt Sasuke and how much they care about him.  And [this is just my interpretation, so obviously I won’t claim it as fact], I personally think that Sasuke - Sasuke, who, looking back, can see how lost he was then and how tortured he would have been if he’d gone through with many of his plans - would be grateful to Sakura and Kakashi for making an attempt to stop him when he couldn’t stop himself.)

2) On the other side of this, the fact that Sakura wasn’t able to deliver the killing blow means a lot. Sasuke was incapacitated under that bridge; he was completely at her mercy - but she stopped with the kunai an inch from his back.  She couldn’t kill him, even though she knew that he was completely willing to kill her (because he'd attempted to Chidori-assassinate her from behind just a few minutes ago).  That’s huge!  Sasuke is too out of his head right now to process this or understand it, but later, it's going to matter.  She stayed her hand.  She spared his life.  She loved him too much to hurt him, even when he’d given her every reason to take him down.  She hesitated, and he almost killed her for it, but her inability to strike him ultimately gave him yet another chance to come home, another chance to get better, another chance to have a life outside of his pain.  Despite everything, some part of her still hadn’t really given up on him, and that knowledge will matter later, when he’s finally able to acknowledge it.  

The point of all this is to say that I really have no complaints about Sakura and Sasuke’s dynamic in their S10 confrontation.  This season is the point where Sakura fully grows past her “girl with a crush” stage and into her “shinobi must make very harsh decisions” adulthood, but it never means that she doesn’t care about the person she’s trying to take down.  Her ultimate inability to deliver the killing blow remains a dangling lifeline for her relationship with Sasuke, an open door that Sasuke is able to walk through at the end of the story (literally, in fact, when Sakura opens that portal for him and saves him from Kaguya’s desert prison, and figuratively, too, when Sasuke apologizes to her).

3. she only wants to save you

The last stage in their relationship is what Sakura settles into during the war arc.  She started off Part 1 being just a girl with a crush, then tried to harden her heart and put her feelings for Sasuke aside in service of the greater good, but she was unable to actually follow through and kill him, and because of that, what she’s come to accept by the war arc is actually two things: that 1) Sasuke truly is willing to let her die if it furthers his goals, and 2) she wants to save him anyway.  

She has no intention of pursuing Sasuke romantically.  She knows full well that Sasuke isn’t interested in her.  She even knows that Sasuke isn’t really on their side (there’s a great scene where Sai questions Sakura about Sasuke’s return, and she reassures him that everything is fine, and Sai sadly thinks to himself “even I can tell your smile is fake”).  She’s well-aware that Sasuke didn’t try to help her when Madara stabbed her.  She’s well-aware that he left her to die in the lava pit.  She’s also well-aware that none of this is enough to make her stop loving him.  He doesn’t have to care about her - she still cares about him.  She still wants to help him.  She still wants to save him.

This is not hidden, hard-to-parse character development.  It’s explicitly articulated on the page:

Sakura’s not trying or wanting to make you hers!  She only wants to save you.

I’m not sure if people look at this last confrontation and unquestioningly take Sasuke at his word (as if we haven’t just read 71 volumes/watched 700 episodes showing us how how painfully distorted his thinking is), or if they stop reading/watching before the end of the scene, or if they don’t understand that Sasuke saying something doesn’t make that statement an accurate representation of reality.  The entire point of this scene is to show us how deeply mistaken Sasuke is about Sakura (and, by extension, the rest of Team 7).  He’s locked into a false pattern of thinking.  His single-minded focus on revenge and destruction has blinded him to the unconditional love his friends feel for him; he’s become so accustomed to using others and being used that he can’t understand or accept that someone would care about him without needing a reason, without needing him to love them back, without needing to receive something from him in exchange.

Sakura’s not trying or wanting to make you hers!  She only wants to save you.

Sasuke matters to Sakura as more than a love interest.  He always has.  She does love him romantically, yes, but she doesn’t only love him romantically, and her desire to help him is not and has never been contingent on him returning her feelings, romantically or otherwise.  Sasuke isn’t able to acknowledge that in this scene, but that doesn’t mean we’re supposed to just sit back and agree with his warped perspective.  Kakashi is the one who’s explicitly positioned as the voice of the narrative here.  We, as the audience, are supposed to recognize that Kakashi is the one telling us the truth.

[tangential thing 1: You don’t have to love Sakura's last plea to Sasuke here. It’s not my favorite, either - the best part, other than Kakashi’s speech at the end, is the moment after Kakashi collapses when Sakura’s expression changes from pained uncertainty to pure rage, when she grits her teeth together - when I first saw that, I almost leapt out of my seat like “Oh my god.  She’s finally going to let him have it.  It’s finally happening - ”  I wanted that so badly, and I still think it would have been a more effective writing choice for Sakura’s last words to lean more into her anger at the suffering Sasuke is causing all of them (himself included!) and less into yet another of Kishimoto’s “let me have Sakura articulate what a shame it is that she can’t do as much as Naruto despite the fact that I literally just went through a major reveal sequence in the war to show that she’s caught up to the boys; I can’t make up my mind about whether I want her to progress or not” - it’s extremely frustrating (and it's something he does at the very end of the S10 Team 7 reunion, too, which is the ONLY moment of S10 that falls flat for me).  But at the same time, even if there are ways this sequence could be more satisfying, it doesn’t change the fact that her plea to him is not remotely motivated by a desire to be with him romantically and not anything to condemn her for.]

[tangential thing 2: I do like how she remembers that moment when Sasuke says “Thank you.”  That panel precedes her saying “If there’s even a tiny corner of your heart that thinks about me…” (which I’m sure is one of the things that people like to criticize about this scene, aka “oh she’s sooooo self-centered” etc), but that particular line of dialogue is preceded by that particular flashback panel for a reason: Sakura knows that Sasuke DOES think about her.  He thinks about all of them.  Sakura remembers that “thank you,” and it reminds her that despite everything Sasuke has done and said since, despite all evidence to the contrary, she knows in her bones that his expression of gratitude back then was genuine.  He cared about her once.  He cared about all of them.  She’s trying to reach the part of him that still does, if it exists.]

[tangential thing 3: The fact that Kakashi says “she suffers from loving you,” and it triggers Sasuke to remember his own family - thinking about how much he suffered (and still suffers) from loving them - “Perhaps…those are the ties to a failed past” - the idea that it’s not worth it to have bonds if it means you suffer this much…that it’s too difficult, it’s too painful, and if Sakura and the rest of Team 7 were smarter they would just give it up (all Sasuke knows how to do now is sever potential bonds before they can hurt him; so why aren’t Sakura and the rest of his teammates doing that, why can’t they let it go, why are they making this so hard - ) << yeah, he clearly doesn't care about her/them at all.]

4. the shadow of my family

This has all been a really long way to answer the original question, but the short response to “What do you think about the relationship between Sasuke and Sakura?” is “I really care about it,” just like I really care about the relationship between Sasuke and Naruto, just like I really care about the relationship between Sasuke and Kakashi. And I don’t think the story ever asks me to choose between them.

I’m not sure whether it’s the impact of Boruto-era “canon” that gets in the way of other people approaching things this way (I don’t consider sequel material when I evaluate the original story), or if it’s Kishimoto’s frequent disinterest in/disrespect towards female characters, which yes, does sometimes make it harder, or if it's a shipping thing (bane of my existence), or some combination of factors, but for me, taking one member of Team 7 out of the equation hobbles the rest of the story.  I can’t read/watch Naruto while hating one of the protagonists and loving the other three.  It doesn’t work like that for me.  The story wasn’t written that way, and there’s nothing in the text that would cause me to receive it that way.

That doesn't mean there's anything wrong with disliking one of the main foursome (or any character, for that matter) - obviously we're all going to have different preferences, and everyone is free to enjoy or reject whatever parts of a story they want, or to like or dislike whatever characters they want. I know that some people have more fun disregarding canon and doing their own thing, which is fine.  My own personal zone of enjoyment comes from receiving the story as closely to how I think it was intended to be read as I can, and personally, when I look at this particular story, what I see is that all the members of Team 7 clearly demonstrate their love for Sasuke in ways that he himself later recognizes and acknowledges. All of them are driven by their desire to save him and their unwillingness to hurt him. All of them make repeated choices to chase after him when he runs away, to trust him when he hasn't exactly earned it, to give him another chance when he doesn't appear to deserve it. ALL of them, not just Naruto, do these things multiple times throughout the story, and Sasuke owes his life (and thus his eventual recovery) to ALL of them, many times over. Kakashi disobeys Hokage-elect Danzō and breaks the law to negotiate for Sasuke's life with a foreign head of state. Sakura and Kakashi both have opportunities to kill Sasuke in the Land of Iron, and they choose to spare him instead. Kakashi stops Sasuke from killing his only friends at two different points in the story, which would have been a mistake Sasuke couldn't have recovered from. Sasuke would have died in Kaguya's desert dimension if Sakura hadn't saved him (Sakura, who knew that Sasuke wasn't even truly on her side yet, who knew he'd abandoned her for dead multiple times already that day). Kaguya's bone bullet would have killed Sasuke too, if Kakashi, with his intention to die in Sasuke's place, hadn't leapt in front of it (Kakashi, who also knew that Sasuke wasn't fully on their side yet, who also knew that Sasuke had abandoned him for dead earlier that day). Sasuke and Naruto would have BOTH died in the Final Valley if Sakura and a severely injured Kakashi hadn't chased after them to heal their injuries.

Remove any one member of Team 7, and Sasuke never makes it home. Without the combined efforts of all three of his teammates, he doesn't survive.  That’s the way it should be, thematically, for a story whose first and most foundational premise was the importance of teamwork, and since Sakura was just as essential to that framework as everyone else, I’m just as invested in her relationship with Sasuke as I am in his relationship with everyone else.  You can’t remove one leg from a four-legged stool without damaging the integrity of the entire structure, and for me, discounting any single member of Team 7 irreparably damages the integrity of the entire story. 

TL;DR: I love all of the Team 7 relationships, including Sakura and Sasuke's, because despite what some segments of fandom seem to believe, the text of the story never gives me any reason not to.

[victorluvsalice]

Happy 15th “Very First Mention Of Valice” Anniversary!

Though, admittedly, it does feel weird to celebrate this anniversary, given that “very first mention of Valice” was me berating myself for even HAVING shipping thoughts about Victor and Alice. XD Yeah, what happened basically was this --

-->I was playing in a LIveJournal RP game at the time, Beyond The Rift, with a version of Doc Brown mixed with Changeling: The Lost (poor guy had ended up as a steampunk cyborg while stuck in Faerie, then escaped into an alternate universe Chicago with angels and demons and various other ridiculous shenanigans -- he at least got the ability to control his personal weather out of it?). I was having fun, and thinking about other characters that I would like to play with if given the chance -- most notably, Victor and Alice.

-->That same day, I ended up on TV Tropes, and in my travels, ended up in the Shipping Tropes section. I don’t remember if I ended up on the Crossover Shipping page precisely, but I was definitely in that general vicinity.

-->And -- well, I was already thinking about how Victor and Alice shared a love of drawing, and how they were from the same time period, so if they DID both end up in that Chicago, they’d be able to commiserate with each other and suchlike. . .

-->And thus, cue me thinking about shipping them. And then cue me going “WTF??” at my own brain, because I was absolutely convinced at the time that they’d make a horrible couple, and that my (supposedly-joking) desire to ship Victor with both Victoria AND Emily was weird enough.

. . .we see how all THAT turned out! I wonder what 2008 Vicky would think if she could look forward and see me now -- having written freaking novels’ worth of Valice fan fiction, having embraced not only shipping Victor with Victoria and Emily at the same time, but throwing Alice into the mix too, and currently being obsessed with the OT3 of Victor, Alice, and a roller coaster. XD Hopefully she’d see how happy I am with all this nonsense and be glad that she didn’t talk herself out of it. (Even if it took me until December of that year, after I’d made Victor and Alice RP journals, to let Alice call Victor her boyfriend. But we’ll get to that later.)

[tea-of-destiny]

terra kingdomhearts voted most likely to be suffering from "guy in his early twenties" syndrome

[ipseitydelrey]

your lips, my lips ☆ s. reid

ship sub!spencer reid x fem!reader

content/warnings smutty smut (mdni 18+), mutual masturbation, mommy kink, accidental voyeurism, he sounds like a slut you can’t blame yourself

word count 2.5k

summary after spencer returns home early from a case, you come back home after work to find him in an incredibly compromised position.

a/n ignore the accidental hiatus, but hi !! im probably not going to be able to post at all in may bc im going to be in europe for the entire month. i’m posting this before going in a cave so…enjoy this as a treat!

To put it briefly, Spencer was…awkward.

That’s not to discredit him, though. You can tell that he loves the team and you (especially you). Although he’s less awkward around people he trusts and has known for longer, he still can’t really speak up for what he wants.

And the poor boy is just so touch starved. It’s clear he’s practically clueless when it comes to other forms of intimacy aside from sympathetic hugs to friends or victims in a case. Hell, it even took a month since you started dating for Spencer to be comfortable huddling next to you on the couch; it took even longer for him to be fine with sharing the same bed.

You had barely done anything sexual yet. The closest you had probably gotten to something intimate like that with him was him involuntarily jutting his hips up into your ass when you were making out on the couch. You had hoped that he would continue to do that, especially with how you could feel his hardness pressing up against your core, but he got so flustered and started stammering out high-pitched apologies before moving away and retreating into the bathroom. You imagined that he probably took care of it, but knowing him, maybe he doesn’t jerk off.

You went with that assumption for a while since you — and especially him — hadn’t initiated anything potentially steamy. For him, makeout sessions were enough and although you wanted more, you were okay with indulging in him. You figured that with how touch starved he was, you should take it slow before moving on.

You got to leave work early, and you’re usually glad when that happens but today you’re especially happy because Spencer had just gotten back from a successful case a couple hours ago. When he landed, he immediately texted you, letting you know where he was. When you left your workplace, you had forgotten to text him that you’ll be home earlier than expected, but you’re sure that he wouldn’t mind.

After all, he’s probably just as excited to see you, if not more.

You don’t call out to him when you unlock and open the apartment door; he should hear that you’re home with the locking of the door and the tossing of the keys, as well as the rustle of your coat as you take it off and hang it up.

It’s quiet, but that isn’t really saying anything since it usually is. But you’d figured that he’d meet you at the doorway, which he didn’t.

Odd.

You’re just about to call out to him when you hear a peculiar and out-of-place sound: a moan.

Although it startles you a bit, you think that it was probably the neighbours; that doesn’t make the slightest bit of sense consdiering it’s coming from inside the apartment, but it’s more believable than…

Then you hear another one, and this time you can finally pinpoint its location. It sounds like it’s coming from the bedroom. Spencer? It’s not impossible, but you had just figured that he wouldn’t be the type to pleasure himself, especially with those sorts of reactions.

You slowly make your way towards the room in question, seeing that the door is slightly ajar, leaving a sliver for you to peer in.

What you find is a heavenly sight: Spencer, fully unclothed, splayed across the bed with his length in his fist. His pace is slow, but it’s still enough for him to whimper and moan quite audibly. His other hand is gripping tightly onto the sheets as his head pushes back against a pillow.

It’s perverted, but you feel as if you can’t tear yourself away from watching. At this point, you start to wonder if he knows you’re here or if he even heard you come into the apartment. You struggle to keep quiet as your panties grow damp, and you end up biting your lip to keep yourself from moaning at the sight.

The sound of his fist moving up and down his leaking cock is lewd, his precum dribbling down and even slightly coating his hand.

“o-oh m-mommy—” Him saying that is your breaking point, and you push the door open and enter the room.

He finally notices you and he pulls the sheets he was just grasping onto for dear life up to cover his throbbing dick. You were expecting him to do that; although what he was just doing was insanely hot, he’s still shy, even around you.

He looks away from you, clearly embarrassed he was caught. “Uh, I was— I— ah…” he attempts to explain himself but it leads nowhere. “I-I’m sorry,” he whispers, sounding defeated.

“Why are you sorry?” It’s not a needed question; you know exactly why he thinks so. You move to sit on the edge of the bed as he moves away, still having the sheets pulled up to cover himself. He stammers, but no words come out. He’s so flustered and red in his cheeks, you fear he’s about to pop.

He squirms in his position slightly while a tiny noise that you can barely hear escapes from his lips. A noise of discomfort, you recognize quickly, but you’re not sure if it’s because you just caught him in a private moment or if it’s because his cock is starting to get achy from the lack of stimulation.

“Baby,” you say in a more serious tone, leaning into the notion of his fantasy of you as his mommy, “why are you sorry?”

You stare at him, though you wish he could return your gaze. “Y-You probably feel…uncomfortable b-because—”

Softly, you shush him, holding a finger up against his lips, and you smile. “I’m not uncomfortable,” you assure him.

“You’re not?” he asks, his words vibrating against your index.

You shake your head as you pull your finger away from his lips, instead moving to grab his chin with a soft grip. His cheeks squish against your fingers softly, making his lips look even more plush and kissable. You push your lips against his gently, though it’s obvious that he’s eager from the way he pushes against your mouth to chase the kiss.

The way he whines when you pull away from him is so cute, you feel as if you want to give in to his need to have you closer to him. But he can tell that you want to do something else to satisfy him, so Spencer quiets down. Your hand, however, remains firmly yet softly gripping his jaw.

You look down at the sheets covering his lower half, his erection not-so-subtlety poking the thin fabric, and you glance back up at him. “Do you want me to…” you trail off before looking down at his boner again.

In all honesty, it takes Spencer a good second or two before he gets what you meant by that offer. “U-uh, well, ah…” he stutters. You’re not exactly sure what he wants and frankly neither is he. Based on his previous experiences with intimacy, you decide to not give him a blowjob, or even a handjob.

You both sit there in silence; you can practically cut the tension in the room with a knife. As you think of what to do — since you don’t just want to ignore it, nor do you want to leave him unsatisfied and awkward — Spencer squirms uncomfortably, shifting ever so slightly. His thighs accidentally clench together, squeezing his erection under the blanket, causing him to whimper softly. He silently hopes that you didn’t catch that noise he made, but you did…and it gave you an idea; one that will satisfy both of your urges.

“Do you wanna keep going?” You ask. He would probably much rather do this himself, although you don’t know how he would feel if he were to masturbate right in front of you.

He hesitates for a second, but he does nod shyly. You notice how he’s not meeting your gaze with his own, avoiding eye contact almost entirely. Instead, he’s looking in the direction of your waist.

Without informing him, you stand up and your hands quickly find their way to the buttons on your pants undoing them. Spencer watches with an air of anticipation and slight anxiety as you pull your pants down, a bit hastily and it definitely shows just how eager you are at this moment. Your underwear is certainly damp with how much this situation has you turned on and he can see it clearly too. You couldn’t pinpoint his expression as he sees the wetness, whether he’s nervous or intrigued, until you see him lick his lips — a motion that he only does when he’s excited.

At last, you peel off your soaked panties, but you keep your eyes on his face, wanting to see his reaction at seeing you half-naked. Sure, he’s seen you in your bra and panties before, but that was never sexual and only when you were changing clothes in front of him. He’s always looked away, the gentleman that he is, but he couldn’t resist taking a peek or two at your near-unclothed state. Just like how now, where he can see your bare pussy, glistening and wet, he just can’t resist staring.

He doesn’t mind it; no, not at all. In fact, it’s just making him even more excited, to the point where he slightly pulls down the sheets that are covering his dick — not enough to actually show his arousal, but enough to clearly see his happy trail, which has you salivating.

You get back on the bed, not bothering to take your shirt off as well. You just want to get started already, but you think it would be better if you know he’s comfortable with this whole situation first.

“Is this okay?” you ask, alluding to your nakedness as your thighs are slightly spread, giving him a nice view of your cunt.

He swallows and nods feverishly as his gaze continues to bore into your pussy; all of his attention seems to be focused there, which amuses you.

Deciding to take the initiative, your hand makes its way towards your core. You dip the tips of your fingers in your wet folds, collecting some of the slick and bringing it up to your clit, where you start to gently rub it in small and slow circles.

You hear Spencer’s breath hitch as you do this. It’s like you’re subtly encouraging him to do the same thing and start masturbating again, which is exactly what you’re going for.

He ends up pulling the covers off his pelvis completely, allowing you to see his cock-filled hand. You bite your lip at the sight of him starting to slowly stroke his length again, although timidly, as if he’s being judged. You’re not doing that, of course; you wouldn’t dare judge him for doing something so pleasing in front of you.

He keeps avoiding your gaze so you lean forward as you continue to massage your clit gently and you bring your other hand to tilt his head up by his chin to look at you. The eye contact you both have now is both awkward yet erotic. You’re not really doing anything with each other, you’re just two people touching themselves in front of the other.

A couple minutes into this shared experience, Spencer is starting to get more confident and less self-conscious. His strokes are getting longer and faster, making him produce more noises from his throat; mostly small whimpers with the occasional moan but by god, those small moans just get you going. You end up quickening your pace too and you let yourself make tiny whines too.

Eventually, your fingers move from your clit and back down to your folds, where you insert a finger into your cunt. The sound that falls from your lips after you do so is more motivation for Spencer to speed up again. You thrust your finger in and out at the same pace as his hand and you’re sure you both are imagining something more intimate at this point.

You add a second finger and then later on a third and now, a few minutes later, you’re both moving in sync and moaning up a storm. His moans are louder though, but you don’t mind at all. They just give you more reason to speed up and keep going.

Nearing the end, you’re wondering who’s going to cum first. It wouldn’t be a surprise if Spencer did so before you since he’s been jerking off for longer than you have but with the way the pleasure is building up in your stomach, you’re not entirely sure anymore; your mind is just focused on the intense pleasure and nothing else.

“O-oh god…” you hear him whine. Now you know who is going to finish first.

“You gonna cum, baby?” It takes you some effort to ask that question, especially since for the past ten or so minutes, you’ve just been touching yourselves without even talking.

“Mhm,” he hums in response as he nods. His hand is going at such a quick pace that you can clearly hear how his precum-coated palm is moving up and down his cock. “S’much, I…”

“It’s okay, honey,” you stammer out. Then, in your pleasure-fueled haze, an idea forms in your head. “You can cum. Cum for mommy~”

The use of that nickname for you really gets him going and he can no longer hold himself back. “M-mommy!” he cries out with a gasp for air as cum spurts out of the tip of his cock. He lets his head hang back and his eyelids flutter as his orgasm hits him and it’s beautiful for you to watch. It only motivates you to speed up even more, wanting to reach your peak as fast as possible. You probably shouldn’t rush it to savor the moment but in this case, rushing is fine to you.

After his intense orgasm, Spencer watches with bated breath as you cum. Your hips rock forward, practically riding your own fingers while your back arches and your murmurs grow incoherent. If he wasn’t tired, Spencer is pretty sure that he would be turned on again immediately just from watching you finger yourself. He is almost positive that you’re thinking of riding him instead of your fingers, and he would be correct in that assessment.

The pleasure slowly dissipates until you’re left with the incredibly awkward feeling of having just jerked off in front of your boyfriend. Both of you aren’t really sure what to say or what to do considering this was technically your first shared sexual experience since you had started dating.

“Um—” “So—” you both say at the same time. You don’t know how to move forward in a gracious manner, so you shyly get off the bed and put your underwear and pants back on. He still sits in the bedsheets, which are slightly damp from the sweat accumulated from the experience.

He moves towards the edge of the bed — towards you — and sits up straight, trying not to feel embarrassed that he’s still naked. And even though he felt uncomfortable about being touched while nude prior, he plants his lips on yours.

You weren’t expecting this but it’s a welcome surprise, as you chase his kiss with all the energy you have left; which isn’t a lot, but is enough. He breaks from the kiss, but leaves his forehead against yours as he looks at you like a dog.

“Thank you, mommy.”

hopefully it wasn’t that bad <3 join the taglist

[sanguineterrain]

I am FERAL over your knight Jason thought. FERAL!!! Okay check this out: so Jason's ignoring reader because he feels guilty right? Maybe he tried to give them back but the king wouldn't allow it. But maybe the reader misunderstands and thinks they're not doing their "duties" so they make dinner and breakfast and wash his clothes and basically act like a perfect spouse. How would Jason react? 👀

Dear god... I feel another series coming on...

Idkidk, their dynamic is just really interesting to me! it's probably gonna be a bit of a slow burn here. Feel free to send more thoughts about them. I am rotating these two like a rotisserie chicken in my brain.

knight!jason todd x gn!reader. ambiguous time period but just assume it's olden times *gestures vaguely*. tw arranged marriage/forced relationship but it's complicated! jason is full of angst and self-loathing but he's a sweetie as per usual. original post for context.

****

The soldier—Jason—has said four words since you've arrived.

The first was "here," which he said whilst handing you a mug of milk. He didn't look at you as he said it, and that morning, he left for a five-day long station. You only know that because he said, after handing you the milk, "I've been stationed."

You realized it was five days when you heard his horse galloping towards the house... five days later.

You haven't initiated conversation because though you're a commoner, and no one ever had much hope for you to become anything but an old spinster, you know not to challenge knights.

But this is fucking ridiculous.

"Do you like veal?" you ask on your fourteenth day here.

Jason is about to leave, his boots half laced. He freezes at your question and looks up.

You stand tall, chin up. This is a normal question. A question a wife would ask her husband, except you're not a wife, and you're pretty sure this soldier isn't a husband either.

"I like veal," he says carefully, slowly. "Would you like me to fetch some from the market?"

Now, this is where it gets tricky. When the king summoned you, he made it clear that you were expected to care for Jason under his rules. You don't know how to navigate this world. You know what couples in your village do, but you don't know what's expected of you here.

"Actually, I..." Jason looks at you. His eyes are very green. He has a surprisingly sweet face under his helmet. "Actually, I was wondering if I could go. On my own."

"Oh."

You brace yourself for arguing or yelling. True, he hasn't raised his voice once, but he also hasn't said much at all. It's like living with a ghost.

"Yes, of course. Of course you can go." He fishes out a pouch of coins and gives them to you. You take it slowly, waiting for him to realize his mistake. He doesn't.

"Thank you," you say.

He nods and watches you walk.

"Wait."

You stop. Here it comes.

"There's a cargo ship in port today. The guards rotate at noon."

He leaves before you can form a thought. You hold the coins, watching blankly as the door shuts behind him. His horse whinnies, and then he's gone.

The market isn't far from the cottage. It's fantastic to be outside again. No one's noticed your absence, clearly, but that's alright. You've never expected more.

You buy a good cut of veal and potatoes and carrots and apples. Jason gave you more money than any cut of meat would cost, so surely he assumed you would buy other food. Why else would he give you so much?

A ship's horn drones in the distance. You're feeling some oranges when you remember his words. A cargo ship.

The sun is almost at its highest point.

"Oi! Either buy 'em or stop feelin' 'em!" the seller snaps.

You roll your eyes and move on from the orange stand. You can see the horizon of where the sky meets the sea from here. Any moment, the guards will change, and the ship will be...

You stop. Was Jason hinting at your escape?

No, he couldn't have been! That's preposterous. Why would he want you gone? The king took you for a reason.

And where would you go anyway? Once you leave, you'd be a criminal forever. You couldn't make a home on your own. And who knows what could happen in between? Pirates, enemy soldiers, anybody could snatch you up.

This must've been a test. A test to see if you would run. That's why he agreed to you going so easily.

No, your escape can't be planned now. Not when you're so obviously uncomfortable, and Jason knows it.

You ignore the ship and go home with your purchases. You spend the rest of the afternoon preparing veal stew. You warm leftover bread over the fire and set a pot of butter on the table.

Jason comes in louder than he has before, humming quietly. You perk up at the sound, happy for the lack of silence.

You set a bowl of stew at his chair and wait by the fire. As soon as he enters the kitchen, the humming stops.

"Welcome home," you say, wringing your hands. "I made supper."

Jason glances at the table, then back at you.

"You came back," he says.

"Why wouldn't I?" you ask, face neutral as you cut the bread into chunks.

"That—did the ship come?"

"Yes."

Jason sits. His face is dirty from training.

"I bought more than veal," you say, and hand him the pouch. "I hope that's alright. We—there were no more potatoes."

He takes the pouch, rubbing the string tied around the top. "You went to the marketplace... and came back."

It's not a question, but it sounds like there might be one behind it.

"Certainly," you say. "I'm loyal to you, Jason. I serve you."

He looks up, blinking rapidly. Then he looks back at his stew.

Oh, right. He's waiting for you to ask permission to sit.

"May I join you?" you ask.

Jason flinches. "You don't... you don't have to ask. I would never stop you from eating."

The words hang in the air. It's like neither one of you can speak right.

You watch him, and he watches you as you serve yourself and sit on the opposite side of the table. Jason takes the first bite, and you eat right after.

"Is the supper satisfactory? Have I done well?" you ask.

Jason stops chewing and sets his spoon down. You're struck by his shift in demeanor. You worry for a moment you've screwed up something as dim-wittingly simple as stew.

His eyes are sad as they fall on you. It's akin to grief, the pain he wears, but you don't know why he's grieving. You silently offer him more bread, pushing it toward him. He takes it.

"Yes," he says quietly and eats another spoonful. "You did. Thank you for supper."

Jason cleans his bowl three times. You have no stew leftover, which pleases you.

But as soon as Jason finishes eating, he gets up, rinses his bowl, and wordlessly leaves.

You don't see him for the rest of the night.

Somehow, you feel lonelier than when you weren't speaking.

[traffytaffy]

OP Men and proposing💍

Ft. Law, Kid, Sanji, Zoro.

Sorry i haven’t posted in a bit. I had like no ideas, but this was actually requested by my best friend who was going through “marriage fever” lmao.

Requests are open!

❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎

Law;

-Marriage isn’t something he’s concerned with but if it is something that you’ve shown interest too, then he’ll consider it. But expect a proposal after several years of being together.

-He would prefer something quiet.

-Somewhere that only you can hear the way he speaks to you in his gentle voice as he tells you everything he loves about you. 

-He wont get on one knee but he would be right next to you, thigh-to-thigh, hand-in hand… as the close contact of his warmth radiates off of him and onto you.

-He would probably pick the night time so it would be more peaceful as the moon and stars are out (also so you don’t see his deep blush)

-He looks embarrassed at first but decides to just be upfront and honest.

-He would pull out a diamond ring. It wouldn’t be too extravagant,something minimal but filled with love.

“Would you…accept this? And make me the happiest man…once more?”

❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎

Kid;

-Marriage doesnt really pass his mind. If youre with him. You’re his, not a paper or a ring can tell him otherwise.

-I dont think he would care about the logistics of it, but he decides to take matters in his own hands once he sees someone flirting with you…

“Married?”

You nod to get the person flirting with you away…

“I don’t see a ring on ya finger”

-After…beating their ass. Kid would make you a custom ring with an engraving of you and his initials.

-Instead of getting on one knee. He just hands you the ring, his flustered face not able to meet your eyes and all he says is:

“Keep it on, you hear me?”

-And thats all you needed to hear to know you’re a married partner now…without even saying yes.

(You can not convince me he’s not a big softie)

❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎

Sanji;

Do i even have to say it?

He has every…little..thing… planned..

-Its Sanji, you should know he would make a proposal the most romantic gesture he has ever done.

-He’d probably buy you bushes of flowers. Petals running up and down the beach where you find a candlelit dinner waiting for you. And of course… he cooked it all.

-French wine. The best of the best.

-His suit was fresh and crisp, not one single wrinkle in its fabric. You actually felt a bit under-dressed but he assured you that you were the most beautiful thing to him no matter what you wore.

-You felt like an idiot cause out of all the extravagant dates and romantic gestures hes done for you, it took him getting down on one knee for you to finally understand what was happening.

-He has a long speech. You probably have to shut him up by giving him a kiss midway through and saying “please shut up. Of course its a yes” in a sweet and playful way obviously.

-Cause he didnt need to say every great detail about you for you to know your answer was always going to be a yes.

❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎ ❤︎

Zoro;

Probably accidentally got lost and made it to an office where he can file for marriage.

(Kidding…well maybe..?)

-He probably would propose if its something you want. As for him, its not really a big deal.

-He actually does try to plan it out to the best of his ability, asking his crew members for help.

-He loves you so much and wants this to go as planned that he even asks Sanji of all people for help. Sanji takes care of cooking a special dinner for you two.

“Im only helping you cause its for y/n”

But secretly, he wants Zoro to be happy as well.

-When it happens, you two are alone on the deck of the ship, sharing a drink after the two of you ate the dinner Sanji had made for the two of you.

-When the time of the night came that he thought was right, he is sweating profusely.

“Can i talk to you?”

-You nod and listen as your beautiful eyes stare into his, causing him to stutter.

-He doesnt have a speech or anything, he believes the words should just come to him.

But they dont.

-He pulls out the ring and looks at everything else but you.

-He holds the ring out to you while rubbing the back of his head nervously.

“Marry me?”

[draconic-desire]

DD’s Yandere Poll Series: Surviving the Yan!Penacony Boys (based on this post)

Rules/warnings: Read the below scenario and pick your answer or comment your own reaction. Dark content ahead!

Incident #1 — The Maze

You really should have gone left.

The series of passageways stretches before you, each step seemingly bringing you farther and farther from your goal: escape from Penacony, from the Family, from this Pavilion, from him.

Fathoming the reasons as to exactly why he took an interest in you are fruitless and tiresome. You’ve gone over it time and time again, replaying your initial meeting in the Dreamscape, your own personal escape. How he descended on you like a guardian angel, expecting your arrival. How you fell for his initial charms and illusions. How it seemed you would serendipitously run into him every time you descended into dreams. How his midnight birds followed you everywhere, before you knew they were his very own eyes.

One of them is watching you now.

You give it the middle finger.

Left, right; port, starboard. You are the captain of a vessel of one, and the ship is sinking fast.

I can take your pain away, he promised. Just stay here, with me. Dream, forever. Isn’t that why you came to Penacony in the first place?

Before entering the Dreamscape, that may have sounded like a blessing. You’d have nothing to worry about; no external problems could ever harm you again. You’d be free of your debts, your job, your responsibilities, your failures… But now you see his promise for what it is: a curse, a nightmare. Your freedoms stripped, your soul laid bare to a man who simply wants to control you.

An attempt was made to run. You hadn’t even made it out of the dream. Hence why you find yourself here, in this abominable maze, with the power of an Aeon ripping into your consciousness and tearing down every last brick of your willpower.

You take the next left—to be met with a dead end.

The Harmony squeezes around your mind once again, and you gasp at the invasive sensation. Pain, sharp and all too intimate, shatters through your skull. Shimmering colors flood the edges of your vision as you fall to your knees, bracing your palms against your temples. “No, stop it, it’s not real—!”

Light, leisurely footsteps echo behind you. “And who of us is qualified to say what is real or not?”

A low growl escapes your throat, but you do not look up. You will not give him the satisfaction.

“I can make it all go away.” A lithe finger tilts your chin up, and you are met with bright golden eyes, pupils dashed with deep violet. You swear you see swirls of iridescence floating around his irises.

Sunday smiles at you, and your stomach drops. Not like before, when butterflies danced in your chest, but like a weight being dropped, a tombstone being erected over a grave. “Just give in.”

[celaenaeiln]

Robin Dick Grayson Characterization

I'm not sure how or where this started but there's been a rampant misunderstanding of Dick Grayson as Robin.

For some reason there have been posts upon posts that dick was some kind of angry robin and I don't know where this is coming from because in every single comic Dick is said to be the happy one. It seems to be a Covid craze because such defamation was not even in existance before 2020. Every one of the comics - Justice League, Batman, Detective Comics, Nightwing Comics, Jason's comics, Tim's comics, all of them! Talk about Dick being the happiest of the robins.

Some people say that he wanted to avenge his parents death by killing Tony Zucco. However Dick could never do that. John and Mary raised their son better than that.

Batman: Legends of the Dark Knight Issue #100

Where do you see a raging blood-soaked boy fanon makes him out to be?

The biggest supporter of happy Dick comes from Alfred so if you're going around claiming Dick was angry, you're literally spitting on his grave because Alfred ADORED Dick. He thought of Dick as the sole reason for Bruce's happiness which made him love Dick even more.

Alfred is Dick's biggest advocator. When Bruce is hesitant in his initial days of Robin - Alfred says

Detective Comics (2016) Issue #1000

"They will be easier than they ever were for you."

Detective Comics (2016) Issue #1000

"He will see excitement and adventure...and he will help you see it, too."

Detective Comics (2016) Issue #1000

"He's gotten a taste for it, Master Bruce. He has the natural skill and talent. Do you really think you could stop him at this point?"

"He could make you better. He could BE better."

"A hero forged in the LIGHT."

And Dick feels this too.

Detective Comics (2016) Issue #1000

"Then WE help them find the better path. Together."

Detective Comics (2016) Issue #1000

"Let's show them how to do it right."

Calling Dick an angry robin - that's an insult to Dick, Bruce, and Alfred. It's an insult to who they are as characters and it's an insult to the very creation of robin.

Dick wasn't made for vengeance. He was made for the light.

Dick is the embodiment of hope and a brighter future. He's what people look forward to on their darkest days, their shining light. He's the hero of all heroes that came after him. There is no one like him.

There are tons of comics on Dick's journey as Robin but here's a clear one as to his thoughts before he became Robin.

Robin & Batman Issue #3

Dick wasn't angry. He's was sad, lonely, and scared.

But.

This good boy doesn't deserve what you call him. This small loving child. Don't you dare push your evil agenda onto him.

"I don't need to be the next batman. I can be something else. Something better."

"And you know the best part?"

"Now I know I don't need to be alone. And I don't have to be the dark."

"I can be the light."

"I can be Robin."

Batman (1940) Issue #687

Dick was an excitable, brilliant, and over-excelling child. He was a ball of sunshine and happiness who loved laughing, playing games, and being crazy. He was a hypercompetent, crazy child who lived for the love of living and adventure.

It's the loss of the original dynamic duo that Alfred grieves over.

Batman (1940) Issue #687

Just look at this adorable baby!!!

Batman/Superman (2019) Issue #16

"Hey, Batman! You took down one of 'em and I took down three! I told ya I've been practicing!"

"Good work, Robin."

What the heck you cute adorable baby.

"Holy--! Is this a warden's office of a museum of horrors? Look at that old rocket ship!"

"Ew. There's a skeleton inside!"

LOOK AT THAT BABY FACE!! THE PURE ENTHUSIAM IN THE WAY HE TALKS - HE'S JUST A HAPPY BABY BOY!!

Batman/Superman (2019) Issue #17

IT'S A CRIME TO CALL HIM ANGRY.

Love this sweet, adorable child.

Another issue with the “Dick Grayson was an angry Robin” take. It’s not just a different perspective, it’s just blatantly wrong.

How wrong?

In order to fight the Batman who laughs, Bruce creates a machine that will emulate the joy of the happiest person he has ever known-who?

Robin Dick Grayson.

"Happiness is seeing the world though the eyes of children."

The Batman Who Laughs Issue #4

"Dick was the first robin. He had the happiest eyes. Circus eyes. Weightless - leaping, never falling."

Bruce drives himself insane from the joy he feels by looking at the world through Robin Dick's eyes.

Every comic. In every. single. comic. All of them talk about how Dick was a happy child and a happy robin. Dick's talk about it, Jason's talk about it, Tim's talk about it, the Justice League's talk about it, the Batman's especially - all the batman comics - talk about.

I would've actually added about 50 more panels but I ran out of image space because posts only have a 30 image limit.

I'm not kidding when I say it's IMPOSSIBLE. ABSOLUTELY, INCONCEIVABLY IMPOSSIBLE to say that Dick was angry Robin. Dick, Jason, Bruce, Tim, Damian, Alfred, Barbara, the JL, the titans, the Gotham villains - they all talk about Dick was a symbol of hope, joy, and light to Bruce and Gotham.

Not only that but if you read the comics, you would know that Dick was a happy robin because all the following robins had a cascade effect on their personality based solely on the fact that Dick was a happy robin. Jason's personality was the result of Dick being charcterized as happy, and Tim's personality was based off Dick's being happy.

But you know what the biggest piece of evidence against this blasphemy that Dick was angry robin is?

Secret Origins (2014) Issue #8

"...Becoming a much needed FOIL to the batman, whose own grim obsession with revenge could easily have caused him to cross the line..."

Explain something to me. It canonically states the Dick was a foil to Bruce Wayne who used to be revenge obsessed and grim. A foil in literature means a character who contrasts with another character to highlight the differences between them.

So if Bruce was dark, gloomy, angry, and revenge filled and Dick was the foil, then how on earth is it possible Dick to also be dark, gloomy, angry, and revenge filled?

On top of this impossibility of Dick being angry and full of hatred, can we take a step back for a minute and think about Dick's position in all this? Dick is the very first child hero, the one countless heroes after him look up to because he, Robin, was the embodiment of light and goodness. He single-handedly dragged Bruce out of his pit of self-destruction merely by existing because of his charming and playful demeanor. How, then, is it possible for every single character in the entirety of DCU along with every single writer who has ever written a comic - to be wrong?

Let's be clear. Bruce's personality, is written to be the opposite of Dick's personality. And Dick's personality is the opposite of Bruce's. Furthermore, Jason and Tim's personality were written to be a response to Dick's. There's also Alfred waving a massive banner about how Dick is a literal godsend front and center. So. If you still believe, that Dick was not a happy robin, then you have effectively mischaracterized every single person in the entire batfamily aside from Kate.

Congratulations. It's truly an accomplishment to be so wrong.

So no, Dick was not in fact, ever, the angry robin.

Dick was a happy robin and that is the FOUNDATION of understanding the batfamily.

[lemotmo]

Some of them clearly got the point of Tim's call-out.

Q. What did you make of Tim's interview? I realize the bulk was Lonestar but the fandom stuff was interestingly phrased. The fact that so many people involved with the show, and now the showrunner himself, are openly discussing how bad things are cannot be a good sign. I know we had some fans who were saying we could 'bully' Tim and the show into giving us more Tommy but I think that was a massive mistake in hindsight. I think certain people got carried away and went way too far. Weather their intentions were ever bad or not I just think some people took the bullying idea too far. I'm a little worried we may not see Tommy at all now.

A. The bullying idea was always going to be a massive mistake. Normally you can take Tim's interviews with a bit of 'lol, why is he so dramatic' because he's not immune to getting his feelings hurt, and using his interviews to tell people that. In this case though it was definitely a direct callout. I have been here from the beginning and the show has never experienced anything close to what they have experienced this off-season. It's one thing to root for a particular show ship it's another thing entirely to openly send, and openly encourage others, to send hate to the cast and creators of a show. Then those same fans dragged the lighting director, director of photography, show directors and professional media members who have covered the show for years into their bullying game as well. It was insane, pathetically immature behavior. At times it was also incredibly disturbing. And every single bit of it can be traced back to the cameo videos. The second the storyline they were paying to be told didn't match the storyline we were actually watching they revolted.

And unfortunately because I think Tim, and ABC, just didn't think they were anything worth paying attention to initially, he was allowed to do them way too long. The more he did the more obsessed with him that particular group of people became. This has nothing to do with 911. Those people aren't at all interested in 911. Their entire interest is Lou and Lou alone. It's a small group of people. A small sick group of people who created a bunch of separate accounts in order to appear to be more people than they actually are (and they were stupid enough to openly admit that is what they did). Then that small group of people got together and from every single one of their many accounts they attacked as a group. They started with Oliver. They pointed out that Oliver wasn't interacting with Lou or engaging with any of them, or B/T content, and decided, at least initially, that he was solely to blame for B/T not getting the attention they thought it deserved, again the Buck part they don't care about. They were upset that they weren't seeing more of Tommy and they blamed Oliver for that. Suddenly Oliver was being tagged in posts that were calling him unprofessional, immature, bratty, selfish, and because of course, homophobic (they're really not a bright group of people). However instead of taking their bait and engaging with them, Oliver, rightly, blocked them. Meaning they needed a new target. Briefly it became Tim because their moronic leader screenshot a message she sent him that he, stupidly, responded to. She took that and spun and ENTIRE relationship theory and spread it through her many accounts. Tim then admitted in another comment that he actually didn't know what she was talking about but didn't want to be rude by continuing to ignore her so he responded to her. He then said that was a mistake and he wouldn't be responding to anything else. And he hasn't (she should be very embarrassed by his interview today because he may as well have used her name). And the show also continued to not align with her/their theory and they got more upset. Then found a new target.

Throughout the season Oliver did what Oliver has always done. Oliver posted, liked and promoted Eddie/Buddie/Buckley Diaz family content. He has always done this. This was nothing new. But it infuriated Lou's fans and they turned their anger on Ryan. Suddenly Eddie was the worst character in the history of television. He was an abuser (to Buck especially), he was a user (of Buck especially). He was a terrible friend (to Buck especially). Depending on the day he was either a deadbeat dad or obsessed with his kid in an unhealthy way (they couldn't ever really decide which way to go on this one. That opinion was dependent on how the poster felt about Chris). When that attack didn't really get the attention they were begging for, they changed direction and made it personal. Post after post, that Ryan was always tagged in, calling him racist, a deadbeat dad, an asshole, unprofessional, manipulative and controlling of Oliver (wtf, god they really are a stupid group of people), a whore (I actually read that one myself, it was a trip), a terrible actor that only has a job because Tim thinks he's hot. And so on and so on. At first Tommy didn't kiss Eddie because Ryan is homophobic and refused to do the storyline, then Tim, very publicly, corrected that lie so Lou's fans had to pivot and said Lou actually refused to do the Eddie storyline because he knows Ryan isn't a good guy ( a special kind of crazy that makes me need to drink ). Then they sunk to their sickest, lowest, most pathetic, vile, disturbing, and inexcusable moment. Ryan did a podcast where he discussed his past mental health struggles and suicidal thoughts. They went into the comments on the podcast and told Ryan that they wish he had committed suicide. That if he had killed himself then Tommy could have his screen time and they wouldn't have to see Buck have scenes with Eddie. Not only did they leave those comments (the podcast has since deleted most of them, thankfully), they sent similar messages directly to Ryan on Instagram. Knowing he would see them. It was appalling and very, very disturbing. The cameo videos ended fairly shortly after. These people are sick. They get zero sympathy or understanding from me. It's a fucking television show. Tommy is not a real person. Ryan is a real person.

As for maybe not seeing Tommy at all, I would imagine conversations have certainly taken place. He was never sticking around permanently. The conversations most likely involved deciding if they needed him at all, and if they did, how many actual scenes did they need him for. I don't work on the show, but if they decided he wasn't necessary to the storyline, and they could get away with his stuff happening off screen I would imagine he's been dismissed. They probably decided they needed him at least for a few scenes though. Unless other things happened behind the scenes we're not aware of he will be around the first few episodes at least and then and probably no more. He can take his tiny army with him when he leaves. No one will miss them.

Okay, just ... yeah, all of this. It's crazy how these people did all of these horrible things in the name of... a ship? I mean, what?

I've been in fandom for a very long time and I have been shipping characters for a very long time, but I've never seen behaviour like this. Behaviour where people think they are justified to bully, harass and vilify the actors playing a character on a TV-show. To the point where they get blocked by the actors and crew.

I don't understand what would drive someone to do that? I genuinly don't.

These are the kind of people that need to put down their phones forever, go outside and touch all the grass they can touch. After that they should never watch 911 again. If you don't like something, just walk away. I have done that before. Shows don't always go where a fan wants it to go.

Look. I want Buddie. You all know that. I'm 99% certain that we're getting Buddie in season 8. But, if it turns out we won't, which is always a possibility since I don't know what Tim is cooking up, I will be disappointed, but I won't start spewing hatred all over the place. I will just take a step back and focus on other things in life. I'll keep shipping Buddie and read fanfiction. I'll be fine here in my Buddie corner of the Internet with my Buddie mutuals.

So yeah, this is insane behaviour to me. I truly don't get it.

Thanks Nonny for dropping this in my inbox!

Heads up! For anyone who is giving me the shifty eyes for reposting these anon OP updates instead of reblogging. Don't get mad at me. There is a reason for it and it's all done with consent from the OP. You can find out more about that here.

Remember, no hate in comments or reblogs. Let's keep it civil and respectful. Thank you.

If you are interested in more of the anonymous OP’s posts, you can find all of their posts so far under the tag: anonymous blog I love.

[mingis-orangejuice]

Asking the L&Ds boys "What are we?" Part 2: Xavier

Summary: MC and her boy have been in a sort of situation-ship but MC wants to know why they haven't officially called her their girlfriend

a/n: This ended up being much longer than I thought so I'm making it into 4 parts (one for each boy) here's part 2 with Xavier. you can request who you want me to post next if you want

Genres/Warnings: angst, fluff, kinda slow burn

Word count: 1250

Other parts: 1, 3, 4,

After another long day of battling wonderers, you and Xavier head back to the office to change out of your hunter’s uniforms. A whole day of combat makes you very sweaty and you don’t want to be smelly for your date with Xavier. But was it a date? You and Xavier had been going out for dinner almost every night since you found out you both lived in the same apartment complex. But they never really felt like dates, and he’s never really called you his girlfriend. You told yourself It was just more convenient since he couldn’t cook without potentially burning down the apartment and after a long day, you were just too tired to. Was that all it was, just a convenient way to have a meal? But what about all the dirty looks he gives the other male hunters when you get paired with them for assignments, were you just seeing things or was he jealous? But what does he have to be envious of if you’re not truly his?

“Are you ready to go?” a soft voice breaks you from your thoughts. You turn around to see Xavier standing behind you. You’d been waiting outside the changing rooms for him for a few minutes. “Sorry it took so long there was a problem with one of the showers, I had to rinse off in the sink” 

You give Xavier a small smile as you both start to walk down the empty hall “How do you always end up in these situations? Are you cursed or something” you laugh “Don’t stand too close I don't want your curse to rub off on me” you say jokingly as you dramatically step away from him.

Following your joke he dramatically steps towards you and tries to put his arms around you. “But I don’t want to be the only one that's cursed hold me and we’ll be cursed together for the rest of our lives” he pulls you into a big bear hug as you both laugh while you pretend to escape. You both are having too much fun to notice the janitor glancing at you from over his shoulder while he cleans the windows “Ah, young love” he said with a sentimental sigh, quite enough that you two could just barely hear it but enough to make you realize that you’re not the only people in the building as you had initially thought. You can feel your heart race a little at the janitor's words.  Xavier lets go of you and you continue to walk out of the building. 

Trying to break the awkward silence Xavier finally speaks up. “You know, I heard wishing on a star can break a curse, and since we’re both cursed now you have to help me find a wishing star tonight to undo the curse. What do you say?” he asks looking at you expectantly

“Well yeah now since you’ve cursed me I guess I have no choice but to help you break the bad luck with showers curse” You feigned annoyance. “But first we need food! Where were you planning on taking us tonight?”

Xavier smiled, happy that the awkwardness from earlier was gone. “I saw this new pizza place a few blocks away from our apartment, it's like a DIY place they give you the dough and toppings and you get to bake it in the little ovens at your table” Xavier basically had stars in his eyes when he mentioned baking.

“Uh… maybe we order in tonight, you don’t want to have to pay for repairs when you destroy their oven now, do you ?” you look at him with a sarcastic grin.

“I promise I won’t burn down anything this time, plus I’ll have you right there with me, there's no way you’d let me burn our dinner right?” he chuckles and puts out his hand to grab yours. “Let's go, those pizzas aren’t going to DIY themselves”

Later at the pizza place you and Xavier are having fun making tons of fun, and in Xavier’s case, weird pizza combos. You two spent so much time having fun that you almost forgot you promised to go stargazing tonight before you went home. Xavier gets the attention of the waitress so that he can pay the bill. 

The waitress was a sweet old lady who, when she wasn’t busy helping other tables, made it her mission to make sure you guys hand everything you need. “Did you two have a great time?” she asks handing Xavier the check.

“Yeah it was great, I love the concept it's so fun,” you said with a big smile. Xavier pays and looks up at the waitress “Yeah we’re definitely going to come back here”

“Oh, I’m glad,” The waitress says as she starts to grab your empty plates off the table. “You two are definitely the cutest couple I've seen here in a while, I hope you stay together forever. 

“Um.. we’re…no…” you started to correct the lady but she just kept going.

I heard if you wish on a star by the fountain down the street you’re 100% guaranteed to have that wish come true. Maybe I’ll make a little wish for you two”

You were about to correct the lady again but Xavier cut you off “Thank you that's very kind of you ma’am” Xavier politely bowed as she stacked the last of the dishes and walked away. Xavier puts out his hand to help you out of your chair. “Well let's go find a wishing star to break this curse”

At the fountain, you and Xavier sit quietly for some time just looking up at the sky trying to find a star to wish on. Still feeling a little awkward about what the waitress said, you wanted to say something to make it less awkward but the words that spilled out were anything but. “What are we? 

Xavier, without missing a beat answered “We’re just two people looking up at the stars”

“Just?” you questioned

Before you can say anything more a shooting star passes overhead, Xavier clasps his hands together and starts to wish “ Oh great wishing star please let me and my wonderful girlfriend be together forever, even though she doesn't trust me to use an oven by myself but that just means I get to take her out on more dates. And sometimes it may take her a while to notice things but she’s mine and I want to be with her forever, even though we might be cursed” Xavier finishes his wish and looks to you “What was it you wanted to ask me?

“Uh… nothing … never mind” You looked up to see him staring at you his eyes sparkling like stars a slight blush on his cheeks. This made your heart skip a beat so you looked away quickly and turned your head up to look for more stars.”I hope your wish comes true” you stated bashfully.

Xavier chuckled and also looked up “ Well since we’ll be together forever now, I guess we don’t really need to wish away the curse right ?” 

“Yes, we do! I don’t want to be washing off in the company sinks every day, let’s hurry up and find another wishing star I'll stay here all night if I have to” You say in a joking tone

Xavier places his hand over yours “Well then, I’ll be glad to accompany my girlfriend on her quest to lift our curse.” 

[funhouse-mirror-barbie]

So, I’d initially made a post that said something along the lines of “it’s weird that they had Stolas say this”—

“Only to remind the audience like 9 min later of a specific time where Stolas talked down to Blitzø”

And I also included the original scene for context/comparison:

But after posting someone DID point out that in the song’s lyrics during that sequence, Stolas was questioning his past choices and coming to the realization that his actions had affected Blitz—They stated that initial scene of him saying he doesn’t look down on Blitz was a set up for this later self-reflection on his behavior in “All 2 U”, and potentially realizing how harmful his actions have been.

And I think this is a very fair interpretation and observation—as well as something I missed, and that’s on me.

I like talking about these things openly, because I think it is really nice to get other people’s perspectives and interpretations of stuff like this, and I’m also susceptible to missing things on a watch-through.

I decided to delete the original post, b/c I realized I agreed partially with their assessment of the scene, and because there was another comment that was a little spicier, and I didn’t want people to start arguing back in forth in the comments. That’s happened before and it’s always kind of annoying.

With all of that said, I do still think those lines were a weird choice, and I want to go over why the song “All 2 U” fell really flat to me in regards to Stolas’ self reflection. (More below + TLDR @ the end)

There is, so far, a really consistent pattern in Helluva Boss’ writing, where every time Stolas comes close to reflecting on the way his actions could have negatively affected Blitz, the focus almost immediately shifts back to Stolas’ own feelings and situation.

It’s kind of become the status-quo for HB—Stolas will have a brief moment of questioning himself, before the story continues to frame Blitzø as being in the wrong.

We see this really blatantly in “All 2 U”—where anytime Stolas DOES begin to question his own actions, Verosika and Vortex chime in and immediately assure him that it’s Blitz who’s in the wrong:

And then even after, these lines where he questions himself further

The song just CONTINUES to focus only on Stolas’ feelings, and prioritize them above all else. He has a brief moment where he wonders if he’s in the wrong, before brushing those concerns away and continuing to refer to Blitz as “the motherfucker”.

The montage during this also goes to great lengths to show how regretful Blitzø is hearing all of this.

He feels terrible that Stolas is hurt—even though Blitz does NOT owe Stolas anything. You can disagree with me, but based on the arrangement that STOLAS created, their relationship is entirely transactional (and coercive, but I don’t have time to get into that mess right now).

Blitzø is in no way obligated to treat their “relationship” as something that holds meaning because of this—if Stolas is hurt by Blitz’s not reciprocating his feelings, that is ENTIRELY on Stolas. Blitz has not wronged Stolas in any way by not reciprocating those feelings.

But it’s so very clear that the WHOLE PURPOSE of this song—and this entire episode, even if there is a moment where Stolas questions himself—is to portray Blitz as the one in the wrong.

Even in the scene where Stolas questions what he’s done to Blitz and wonders if he’s in the wrong, his flashbacks include these scenes, which are framed as Blitzø being uncaring/blowing Stolas off after their arrangement:

This is probably one of my biggest issues with Stolitz as a ship, and with Stolas as a character. That the writing explicitly caters to Stolas’ feelings and beliefs, and (so far) refuses to hold him accountable for anything he does that negatively affects others. His actions have consequences just as much as Blitz’s do, but the narrative constantly frames him as being a victim.

You can say that both characters are in the wrong all you want, you can say to the audience point blank “this is what I intended with this scene”, but you still have to actually. write. the developing relationships and action of the story. Telling the audience about development after the fact is just poor storytelling.

I’ve already gone over how the narrative rarely holds Stolas accountable in the conflicts he has with Octavia, but it’s very much the same with Blitzø.

So much so that Autistic Swag on YouTube was able to make a Stolas Hypocrisy compilation video:

And because I know there’s a chance of people reacting to my criticisms this way, no, recognizing a character’s hypocrisy in the narrative is not “media illiteracy”.

Media analysis is still derived from the actual text of the story. I see fans (not just of HB, this is a general problem in a lot of fandom spaces) making wild leaps and jumps about story’s character developments, world building, plot-points, etc. and then claim that people who disagree with their interpretations are “media illiterate” and like.

Those are headcanons. Those are just personal headcanons that you made based on what you wanted to happen in the story.

Which is fine!!! Which is something that is very fun to do!!! I do it a lot actually!

Like, I could say that the green light in “The Great Gatsby” actually represents envy and that Gatsby is always staring at it because he’s actually jealous of Daisy and wants to transition from male to female and live as a transgender woman.

And that would be a really interesting concept to explore! But it would also be a headcanon because in the context of how the text is written, is clearly not the case.

Pointing out that Stolas’ actions are morally dubious at best, and that he is flawed and has done wrong and has very clearly hurt Blitzø by coercing him into a sexual relationship so Blitz can keep his livelihood isn’t media illiteracy. It’s literally. It’s just the text. Audiences aren’t media-illiterate for seeing that.

Final note time— I want this post to age poorly. I want so badly for there to be a future episode where Stolas is really truly held accountable for the ways in which he has hurt Blitzø, the ways in which he’s been classist and racist toward imps, the times that he’s neglected Octavia, and yes! Even for cheating on Stella!!

And I want this NOT because I want to see Stolas completely villainized or beat down, I want this because I want Stolas to develop and grow and change as a character. I want Stolas to actually have the nuance that the writers say he has!!

Again, as always, please know that if you love Stolas and Stolitz that I am REALLY not trying to rain on your parade. I’m not trying to convince you that you’re not allowed to like the story as is, or that your opinions are wrong. That would be really silly. You are allowed to interpret all of this literally however you want, even if we disagree.

The only, only thing I would ask you to please consider, is if you are doing the work of writing these characters development outside of the story, or are you building on what the writers have already shown you. I am not asking this to be condescending or elitist.

This is something I have to actively ask myself when reading and analyzing text and stories, and when analyzing and editing my own writing and work.

That’s all. Thanks for making it to the end of this long ass post. If you’d like to have a polite discussion about your thoughts on all of this I would genuinely like to hear it. I will delete any arguments or fights in the comments tho. Thanks again.

——————————

TLDR:

-“All 2 U” falls very flat as a song where Stolas re-examines his actions because even tho this self-reflection is set up, nothing ultimately comes of it and things immediately go back to the status quo

-This is a very consistent pattern with Stolas as a character, due to this he is severely under-developed, and feels like a completely different character from his season 1 appearances.

-People realizing that he has not had active development between seasons 1 and 2 and pointing that out is not “media illiteracy”.

-Final side note—I think the “both sides are wrong/fucked up” angle really COULD have worked, if after the bridge where Stolas questions his actions, he acknowledged that HE was also “a motherfucker”. But. Nah. Oh well.

[aethon-recs]

Tomarrymort Starter Pack: 10 Recs for Getting Started in Tomarrymort

I've compiled a list of 10 medium to longfic recs that I think represent a great on-ramp to the Tomarrymort ship, as inspired by @sitp-recs’ Drarry for Beginners rec list. These are the fics that I would use to on-board people to the ship — gorgeous writing, superb characterization, and just as enjoyable on the first read as the 20th reread. 

As always, I am stunned by the talent in this ship! I tried to pick a good mix of different themes/tropes/settings, with a focus on elements that make for a good introductory work: the characters are recognizable; the setting skews more recognizable; both characters in the ship are a meaningful part of the story; the ship is central to the story; and the fics are for the most part complete (or updated within the last year). 

(Standard rec list disclaimers apply: please mind all tags and warnings on AO3 before reading; this blog abides by the age-old fandom axiom of don’t like; don’t read; recs are in alphabetical order by title.)

This is Part 1 of a 3-part series — I also have an Intermediate reading list and Advanced reading list coming up for readers who have been with the ship for a longer time.

For now, please enjoy these 1.3 million words of absolutely brilliant Tomarrymort reads that I hope will keep you hooked until the very last word:

*

Tomarrymort Starter Pack Recs

A Dangerous Game by @cybrid (E, 284k, WIP)

Setting: Canon Divergence – Book 5 Premise: If Tom’s diary horcrux gains a body at the end of Harry’s 5th year (instead of his 2nd), and then promptly kidnaps Harry and holds him captive over the summer. Lots of smut ensues. Why I rec it: The characterization is truly stunning — Tom Riddle is undoubtedly a psychopath — manipulative, thrill-seeking, kind of an irredeemable shithead — but he’s also dazzlingly charming when he chooses to be, someone whose presence Harry quickly grows addicted to. Their relationship can get incredibly toxic and fucked-up at times, but Harry has top-notch instincts and can hold his own against Tom. The plot is absolutely gripping, with the threat of (the main) Voldemort, who has set his sights on reclaiming his wayward horcrux, looming in the background. 

A Future Without a Face by @dividawrites (E, 115k, complete)

Setting: Time-Travel (1940s) Premise: If Harry travels back in time to Tom’s 5th year at Hogwarts, and Tom becomes obsessed with the new transfer student and wants nothing more than to possess him every way. Why I rec it: A 1940s time travel fic told entirely from Tom Riddle POV! Divida absolutely nails psychopath Tom — how he quickly gets singlemindedly focused on Harry, how the idea of possessing Harry consumes him, how he has no compunctions about doing completely fucked-up and destructive things to achieve his goals. There is so much tension between them from the start, so there’s not much of a wait to see some hot Harry & Tom action — and the conflict and tension only continues to build and build in dramatic fashion throughout the rest of the fic.

Either must die at the hand of the other by @metalomagnetic (E, 260k, complete)

Setting: Post-Canon Premise: If Voldemort survives the Battle of Hogwarts and is initially kept prisoner in Azkaban, until Harry takes him into Grimmauld Place under house arrest. Why I rec it: This fic is an incredible exploration of Voldemort at his most terrifying. Even if he starts off the fic with his magic temporarily blocked, he is no less powerful without his magic. The force of his personality is powerful enough for him to chip away at Harry’s initial resistance — @metalomagnetic manages to write one of the most charismatic, brilliantly manipulative, and psychologically devastating versions of Voldemort I’ve ever read. Harry ends up in a good place by the end of the fic, but the journey to get there is a roller-coaster of emotions that have permanently imprinted onto my soul.

In Somno Veritas by ladyoflilacs and @lordansketil (M, 158k, complete)

Setting: Canon Divergence – Book 6 Premise: If Harry starts appearing in Voldemort’s nightly dreams during Book 6, and Voldemort becomes obsessed with Harry after realizing he’s his horcrux. Why I rec it: This is one of the most unique fics I’ve ever read in this ship! Every scene is told in alternating POV between Harry’s POV and Voldemort’s POV, so you get to see how every scene unfolds from both of their perspectives. Voldemort is so intense and just as terrible as he is in canon, so his character is not at all sugarcoated, and Harry has so much compassion and heart and manages to fall in love with Voldemort anyway. The writing style is gorgeous, with richly detailed and emotionally-laden prose. Also, one thing that pleasantly surprised me is how funny their banter is! There were definitely a number of times where I laughed out loud in the middle of an otherwise really intense scene. Bonus content: also comes with a lovely sequel that made me melt.

Inevitabilities by @shadow-of-the-eclipse (T, 103k, complete)

Setting: Same-Age AU Premise: If Harry and Tom attend Hogwarts together and go traveling around the world after they graduate. A betrayal leads to their break-up, but after many years, Harry returns to find Tom in Britain, and the two of them are drawn back together again. Why I rec it: An excellent same-age AU with unhinged dark Harry and just-as-unhinged Tom. Their relationship starts out quite dark and twisted and unhealthy — and only devolves from there. The fic ends with the two of them as equals — utterly devoted to each other — but in an incredibly fucked-up way: “He loves Tom like a forest fire; wild and all-consuming, he wants to devour Tom, to claim him, to mark him, break him.” Isn’t that absolutely breathtaking?

love is touching souls (surely you touched mine) by @toast-ranger-to-a-stranger (M, 34k, complete)

Setting: Time-Travel (1940s) Premise: If Harry gets thrown back into the mid-1940s and meets Tom Riddle as a young man just graduated from Hogwarts working at Borgin and Burkes. Why I rec it: When Harry accidentally travels back in time and chances upon Tom Riddle as a fresh graduate, he realizes this is his chance to make a difference. While Harry is only in the past for a brief interlude, he leaves enough of an impression to change the trajectory of Tom’s life. The dynamic between Harry and Tom is rife with tension and witty dialogue, and the story is set during Christmastime, which lends a very festive and heartwarming atmosphere for falling in love with each other.

No Glory by @obsidianpen (E, 254k, WIP)

Setting: Voldemort Wins AU  Premise: If Voldemort figures out Harry is his horcrux when Harry surrenders in the Forbidden Forest, and decides to keep Harry instead of killing him.  Why I rec it: This fic showcases the absolute, terrifying genius side of Voldemort, in a universe where he wins the war and captures Harry at the end of book 7. I am stunned at how skillfully @obsidianpen portrays Voldemort as a brilliant political strategist — the courtroom scene where he manipulates the story and the audience so well stands out as a top 10 fanfic moment in my mind. Harry and Voldemort’s relationship is chilling from the very start, and grows even more unhealthy as Voldemort gets addicted to Harry’s touch due to the presence of the horcrux, but Harry later learns to turn that to his advantage.

The Fire, Burning by @parsimmony (E, 35k, complete)

Setting: Canon Divergence – Book 6 Premise: If Voldemort discovers Harry is his horcrux after Book 6, and kidnaps him to keep him captive by his side in his bed, inside of a lovely greenhouse setting full of friendly snakes on the grounds of Malfoy Manor. Why I rec it: The prose!! I am swooning over the prose! Harry is Voldemort’s captive in this fic, but he is so much more than that — and the emotions that gradually blossom between them have so much richness and depth and are utterly moving that I’m still drowning in the depths of intimacy that were portrayed. Their relationship unfolds in such a gorgeous and unrushed way, and the setting is so unique too — a lush and overgrown greenhouse that’s exploding with exotic plants and friendly snakes around every corner that imbues the fic with a very romantic, dreamy quality.

the pleasure, the privilege by @being-luminous (M, 20k, complete)

Setting: Canon Divergence – Book 6 Premise: If Voldemort is doused with Amortentia keyed to Harry, and starts sending Harry bizarre and gruesome courting gifts, like the bodies of the Dursleys.  Why I rec it: Breathtaking prose! Voldemort somehow ends up more terrifying when he’s trying to woo Harry than when he’s trying to kill him. Every single sentence had me on the edge of my seat, as Voldemort’s ‘gifts’ become more elaborate and devastatingly dramatic, until Harry basically has no choice but to respond to his overtures. The ending is incredibly clever in how it parallels certain plot elements of book 6, with an added Harrymort twist. 

The Untouchable by @treacleteacups (M, 75k, complete)

Setting: Canon Rewrite (Books 1-7) Premise: If Harry starts out his first year a little bit more suspicious and a little less wide-eyed and guileless, and subsequently gets sorted into Slytherin. He has many of the same encounters with Voldemort along the way as he does in canon, but his interactions with Voldemort will end up leading him down quite a different path. Why I rec it: A snappy, fast-paced full canon rewrite that still manages to fit in all the essential Tomarrymort plot points, between Horcruxes and Hallows and the major events of books 1-7, in a compact 75k words that doesn’t at all feel rushed. It’s a delightful journey following Harry’s character evolution from an overlooked, peculiar child who relies on wishy-washy wish magic to a confident (and still endearingly peculiar) young man who can challenge and hold his own against the great Lord Voldemort. Voldemort’s obsession with Harry deepens with every encounter that they have, as he finds ways to continually insinuate himself in Harry’s life and his mind and his dreams.

*

[twost3ps]

This boy has been in the drafts for like a month

I'm feeling like I want an Adam sandwich with two slices of Morningstar brothers so you guys are going to hear me out on my LucifurxAdamxMicheal au (and I mean it in a they both share Adam in the end :3 ) In general I'm calling the ship ✨️GuitarStars✨️ boooyaaa I feel like there might be a better name for it but idk

(Also I’ve noticed there is complaint for guitarhero in the adamsapple tag. I'm tagging this post as adamsapple this once of it but post related to this with both brothers will be counted as #guitarstars.

I also completely agree with the complaints. There is a problem with the tagging so this is a very quick reminder to please tag properly!!! Ik it's not meant to be harmful bcz most guitarhero shippers are also adamsapple as well. But i will admit there has been a lot of unecessary tagging (i am guilty of this im so sorry qwq) so please be mindful!!!! Ik this post might go agaisnt that but its just this post i swear sorrryyyy)

ANYWAYS The actual au:

For now I'm calling the au- Angels on My Shoulder (I can't think of a good title rn grrr)

quick sketchs so you get the idea

General prompt:

Adam respawns as a human with all his memories. He lives a normal happy life until he turns 21 when two angels (Micheal and Lucifer) appear on his shoulders with a mission: try convince him into making certain decisions so that he ensures a spot in heaven or hell.

That doesn’t work out very well because adam hates how theyre forcing their ideals onto him one way or another. He doesnt really want to think about heaven or hell anytime soon. Heaven or hell seems like complete torture to him. The fact that he didn't like either of them before he respawned doesn't help.

A revelation happens and both brothers realize it's not gonna work on their terms so they're gonna have to earn his favor first before trying anything. One of the ways is talking it out beacuse adam had expressed several times over that, while at first it was funny, their bickering needs to die because it's getting annoying.

They talk it out. They make up. It takes a whole but they become close again. They try to earn adams favor in the meantime and between time. Everything is at peace. As time goes on though, the wooing is no longer for just adams favor, its now romantic. Both develop feelings for Adam. And since now they made up both made up they are very willing to share him.

The og goal is completely lost. Gone with the dirt and dust. And now what was once a competition to get Adam into heaven or hell has spiraled into heaven and hell trying to get into Adam. If you catch my drift.

Do they get in there?

God bless they do

(Ps they start off as small little mascots but then later grow into their normal form and an added human form. Adam Prefers the small mascots though)

My in-depth of the au that is very subject to change I just wanted to rant is under the cut o3o

So when Adam had died, he respawned onto earth. Born into a normal family and all that jazz. He lives life as normal and has comes to terms with it. He actually loves his life. He doesn’t have to walk on eggshells anymore and lives as normal. He’s not insanely good or insanely bad, he’s just a guy.

A guy who is very happy with himself. After graduating he becomes a national park ranger.

Heaven and hell both know of adams soul, but contant cant be initiated till he turns 21 (It was recognized because I wanna say 21 would be the age Adam technically was in his creation during Eden, and thats when he can process divinity without his body tweaking as if he were any other mortal. Souls grow along with age and all that drama, adams soul in eden was strong enough to stand the sheer power of a seraphims presence) both sides made it their immediate duty to guide him to their path.

Sera wanted Adam in heaven to clear her mind- to have heaven back to perfection with the original perfection creation (also to have her son back, but she's not ready to unpack that for herself.)

Lucifur wanted adam as he could punish him directly for hurting Charlie and her friends. A little tiny part of him also really wants Adam all for himself grrryrvgrvsgrs

So both heaven and hell spawn a representative guide for Adam to follow once his soul is ready to guide. Lucifur nominated himself and Sera nominated Micheal who agreed.

For some reason (probably amix of earth and god or sumn), Adam's presence nulls the powers of both angels and devils. So the first time they appear, Micheal and lucifur appear as small tiny mascots on Adam’s shoulder.

(Adam has flicked both of them away several times and they can't really do anything about it other than fly back and try again)

Both sides had the same idea and Adam connects the dots very fast on why they are here without them telling him. And he's pissed.

His normal life is now ruined.

Adam actually really hates both Lucifur and Micheal. Lucifur for obvious reasons and Micheal because he's just so nitpickey. Micheal had trained Adam in the past and that guy was brutal. Adam understood part of it was with Lucifurs falling and their brother thing and whatever but god daymn bro needed to chill. If Sera was on him like a hawk Micheal had been on him like a spy camera from space monitored by the secret service. In a way, both devalued adams emotions to some capacity so Adam hated both of them equally. Nothing Adam could do about it though because he was human.

In the beginning, both micheal and lucifur kept it really formal between them. Its strained but neither brother imposes on what the other one advises. That doesn’t stay for too long. The formalities between Lucifur and Micheal die pretty quickly. Under 2 months tops. While both are very old and very much adults, they are, first and foremost, SIBLINGS.

Both begin talking over eachother, butting in, shoving eachother. It's like pre eden all over again between the two on who is better. Most of the time they argue about the most random topics forgetting their og purpose.

After one year of enduring both of their bs, Adam feels like he has a dog and a cat rather than two otherworldly gaurdians monitoring his every move.

He doesn't complain though. After a while he's learned to tune them out. He also finds it incredibly entertaining watching the literal devil fight with the a high angel while being incredibly small. And with no powers it resorts to petty slapping. He's gotten pretty used to it....

Except when it comes to them making him choose what actions he takes.

They're always on him about everything. It sucks so much ass. Everything Adam tries to do something good, Lucifur tells him that it's stupid, that he should be more selfish and blocks Adam. He keeps on telling him that deep down adam really isnt all that, and why should he try and do good when everyone knows that hes not really that. Micheal does the same thing in reverse. When Adam does something considered bad, Micheal raves on how he'll go to hell. That Adam was made in perfection and must reach that perfection. That heaven is waiting for him and is available only if he keeps on doing good.

It makes Adam so mad when they remember what they're trying to do.

Adam doesn’t listen to either angel because after living part of his life as just a normal person, he’s come to realize he doesn’t want to think about living life wondering if he’s going to heaven or hell. Adam does not want to face eternal punishment or be in hell. He still really hates sinners, and while the blood hungry killer part of him died with his second life, he still thinks that the majority of those sinners are disgusting to say the least. But he doesn’t want to walk eggshells to be virtuous enough to enter heaven. Heaven, for all its greatness got tiring after 1000s of years. He's grown tired- already hated hell and grew to hate heaven. He doesn’t want to think about either, he doesn’t want those ideas to deter him from choosing what he wants to do. He wants to make both good and bad decisions without an angel watching over him. He wants to be able to make both good and bad decisions. He makes this very clear after a breakdown.

It becomes less of a competition over making Adam choose and more of getting into Adam’s favor after that because their first tactic is clearly not working.

So both agree that they will have to earn adams favor before making him do anything.

But in order to get adams favor both have to learn to get along because it had become one of Adam's biggest gripes. Funny at first, but the bickering and arguments got tiring after the course of a few years.

So they do attempt to make up. Genuinely. It's hard and its tough. Theres a lot there to unpack. But both jnkw that if they don't do this Adam is not going to listen to either of them because getting along has go go both ways.

And they do make up.

By the time Adam is in his early 30s, the close proximity and a lot of Adam yelling to sort it out, allowed for some slow but needed time to talk it out. They would do it infront of Adam who was the mediator, but they mostly would talk when Adam falls asleep as both watch over his dreams (creepos imo). They begin talking about their decision and their lives. Both brothers do acknowledge that they miss each other and that they have committed several wrongs with each other. And soon the fighting turns to light banter and life is good. They still try to earn adams favor but it's a lot more calmer. Everything's more calm.

Atleast that's what adam thought at first.

While bonding and stuff, they both come to the mutual agreement that they could share Adam. So they both freak it and try to woo Adam together.

And then now it's a matter of Adam freaking out because while before, both his little shoulder angels used to argue, they their bickering distracted them enough that Adam could chill and leave.

Now they're both bothering him and helping eachother try to get in adams pants. They're tag teaming him now.

It doesn't take long for their combined forces to make Adam cave.

The og goal is kinda gone. They still put their input but adams become more open it because they're less demanding and he feels like their goals are more aligned to his wants than theirs. Lucifur and Micheal also come to kinda realize that where Adam ends is where Adam ends. They're going to have to just suck it up when the time comes but they'll enjoy sharing while it lasts.

It gets pretty domestic and slice of life here. So the years following is a mix of sibling bonding and having ✨️the rizz✨️ on Adam.

Lucifur talks about hell and Charlie. Micheal talks about heaven and lucifur and his siblings. (Both Micheal and Lucifur arent permannt shoulder angels, they can actually pop away if they wanted to) Adam talks about his life and stuff.

When Adam eventually dies, his soul is neither here or there (because getting absolutely boned by twin morningstars does not make you virtuous or sinful it just makes you a bad bitch) his soul spawns in limbo. He’s deprived from salvation but doesn’t endure the horrors of hell. It’s basically a decent sided garden with a basic house in the middle where the garden ends is white space. On opposite ends of the garden are two doors, one goes to hell and the other to heaven. Turns out, the doors are connected to Micheal and Lucifer’s homes, but only appeared in them once Adam died. He’s allowed outside limbo into heaven or hell of his choosing for a limited amount of time and visites Micheal and Lucifer when he can. On the flip side Micheal and Lucifer can freely walk in and out of the place. I don’t want Adam to be lonely once he enters limbo so Cain and Abel are there because they died before heaven was ready and when he’ll just started.

So that’s pretty much it :3 kinda

incomplete but doesn't have everything I wanna say

Also

I will reiterate what I said at the beginning. I love you my guitarhero ppl but they are right in the tagging. It comes from a place of love so just be mindful!! Also, this is from me, sometimes the adamsapple vs guitarhero thing gets repetitive. It's a very common post ive seen. And I mean in general not just leaking into the adamsapple tag. That might just be me, but I do see it pretty often. Love it but that with the tagging does get a bit old. Really, the problem is a mix of incorrect tagging and the same trope. There's a lot more to the ship, especially with Micheal being free reign rn, so there is a lot of opportunity to show their relationship besides comparing it to Adamsapple.

I feel like somone who ships guitarhero also had to say something so yeyeye

Again, no offense to anyone guitarhero isbmy love but just please be mindful guys o3o

If you read all that thank you lol

[linnienin]

💄A S T E R O I D ⁕ S I R E N E ⁕(1009)💄 through the signs and degrees

Disclaimer: Take what resonates. I'm not a professional astrologer, i just am an avid researcher and i use my personal experience when writing my posts (Also, pls, don't copy my work, i spend lot of time on it, thanks)

Hello beautiful souls!

I'm back with another post on a very requested asteroid 💜

A lot of you asked me about Asteroid Sirene and how it manifests in a birth chart, and initially i answered singularly, but the requests started to get out of hand a bit for me, so i decided to create a whole post on this asteroid in different signs/aspecting different planets

I have planned other posts on this asteroid but for now I..

Hope you enjoy it!

W H A T ⁕ I S ⁕ A ⁕ S I R E N ?

⁕ In Greek mythology, sirens are humanlike beings with alluring voices

Initially descripted as half human half birds then as "sea-girls with the body of a maiden, but have scaly fishes' tails"

⁕ Etymology of the name meaning: "binder, entangler" i.e. one who binds or entangles through magic song.

This could be connected to the famous scene of Odysseus being bound to the mast of his ship, in order to resist the sirens' song.

M Y ⁕ I N T E R P R E T A T I O N :

I want to make clear that this is just my view and thoughts on this asteroid and if you know a trusted source on its meaning please link it down below, i'd be very grateful 🙏

To me Asteroid Sirene (1009) has a similar energy to Lilith but it isn't as raw and destructive, it's indeed more controlled and patient. Lilith is warm blooded while Siren is cold blooded. In our birth charts it can shows where we can become manipulative, turn to our dark side and take what we want with strategy, seduction and mischeviousness.

It can also describe our seductive aura, or how we attract and magnetize others with charm (this can be both conscious or subconscious, depending on how in tune you are with yourself, and also can depend on which sign or house you have this asteroid in)

So, are you interested in knowing how you emanate this irresistible appeal?

Keep reading 💄

S I R E N E ⁕ T H R O U G H ⁕ T H E ⁕ S I G N S :

⁕ Aries/aspecting Mars/1°,13°,25°: Bold, assertive and fearless. Doesn't matter if the rest of their chart has quiet,cutie poofie placements, when asteroid Sirene gets activated these natives becomes confident queens/kings and knows how to defend themselves. They don't lose time to get what they want, they get straight to the point and they know they didn't come to play but to win. Their seductive charm lays in how confidently they carry themselves, people see these natives as natural leaders and warriors. They carry a powerful and intense aura you just can't ignore, the types that dare to do or say things that should't be done or said (but coming from them they sounds so cool gosh). Their facial espressions are intense and animated, and draws people in.

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⁕ Taurus/aspecting Venus/2°,14°,26°: The walking sleeping beauty (lmao is she sleepwalking?). Jokes aside, here you can see how unaware these people are of their allure, and this is part of their charm too. They have such a calming and indifferent aura that makes everyone comfortable around them, and people get obsessed by this feeling of peace these natives exude that they can't have enough of. Usually they are the silent type of "Sirene", it's kind of a dormant feature in them. They are very sensual in their mannerism, and if they get to the point of being aware of how powerful they are well, it's the end of the game. They can seduce EVERYONE with their touch. The Queen Mida (oh yeah and they want that gold) 👀

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⁕ Gemini/aspecting Mercury/3°,15°,27°: Everyone's fling. Such a flirty aura. They're very smart and intellectual, and everyone find them extremely interesting, so they automatically are drawn in because they want to know more (and some people will desperately show off to get their attention, it's insane). They can get quite some hidden envy from others because of how witty they can be. These people have a way with words, when they speak everyone else shut down to listen to them. I find having Sirene asteroid in Gemini is very similar to being a Siren/Mermaid how it's described in mythology, they are very cunning when they want to, know how to play games with other's minds, they are very good at putting masks on and turn the cards in their favours. (Also, the ability of sirens to change their body features reminds me a lot of Loki in Northern Mythology which happens to be associated with Mercury) They're the true puppet master and they know it. They have light and quick movements. One minute they're near you, the next one they disappeared from your view, and this is extremely fascinating to people. It's like they can't catch them even if they try so hard.

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Cancer/aspecting Moon/4°,16°,28°: I think of these natives as the spy who pretend to play the damsel in distress, portrayed in old hollywood movies. Don't be fooled by their cute acting. They're actually quite good manipulators. People love how inviting they feel, so warm and nurturing, they have a healing aura to them. These natives makes other people feel like they need to protect them from the dangers of others. I think Sirene in Cancer can be naive at first, especially when inexperienced, but when they get their heart broken oh boy. If Gemini was the master at mind manipulation, Cancer is the master at emotional manipulation. Overall these natives can be pretty unaware of their behaviour, sometimes getting overwhelmed by their emotions, but they can also be one of the most destructive people ever when activating the Sirene energy(both to others and themselves) if they aren't in control of it.

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⁕ Leo/aspecting Sun/5°,17°,29°: OOOOH those hip swings, you can recognize them instantly from just their catwalk, it's simply hypnotizing. These people take pride in their sensuality, and they know how to use it very well. You can't escape their attention if they have claimed you to be their prey. Another go getter like Aries, but not so in your face, because even if their focus is on what they want, they'd rather give ALL the signals until what they want comes to them. Very much like: i believe, i attract. Their charm is in the way they carry themselves, so wild and raw, a power of nature, these natives hair can play a huge part when when presenting themselves to the world. One of their game tecniques is the push-pull. They enjoy a good chasing, and it's also a way for them to test you if you're worthy of their time (yeah, they have big egos, so beware of that)

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⁕ Virgo/aspecting Mercury/6°,18°: The unattainable one. Like seriously, people get obsessed over conquering the heart of this person just because of their nitpickiness and because they are unavailable 24/7. Others can get obsessed over fantasizing on these natives and creating stereotipes when they didn't even shared a conversation in the first place like...this is some powerful stuff. They naturally look so put together, when they wear basics it looks hot on them. Their seduction way is showing how skilled and talented they are, they can literally do anything when they activate the Sirene energy, they get obsessed over a thing and practice until they have mastered it (coff coff, hello... low self esteem and need of appreciation from others 👀). However, once they get some potential suitors they lowkey refuse them like they don't need them anymore, lmao, this is what drives them craaaaazy, "you did all that stuff for mee and now you're walking away? " 👁👄👁 Lemme get some morreee.

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⁕ Libra/aspecting Venus/7°,19°: The too good to be true one. They put sooo much thought and intention and effort to present themselves that everyone can't help but look at them all the time. On top of this magnificent presentation add also a flirtatious and extroverted personality that pleases literally everyone around them and BOOM, you can't excape the trap of falling for them. They have a gracious and light aura, great posture and poise, literally princesses/princes. They truly feel like royalty, they also have this natural rich people vibe if you know what i mean. The best at getting what they want in social settings, can have a very innocent vibe that people love. People pleasing is their tecnique to get what they're after. They are one of the most seductive signs in this asteroid, but they're kinda unaware of it. I mean, sure, they know they're pretty but they don't know how many hearts they rob. Even strangers gets captivated by their charming presence, most likely to have suitors telling them "it was love at first sight".

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Scorpio/aspecting Pluto/8°,20°: Heavy aura, attracts anything without even trying. They know how to make an entrance (Leos too, but Scorpios are much more subtle, and still, they get so much attention). People automatically throws themselves at these natives, all it takes is a glance and a little smirk and they living magnets. These people holds the throphy for being the MOST seductive of all the Sirene asteroid's signs . There's just something so intoxicating about them, you can't not get obsessed with them. They are the ones that has to be particularly careful of their aura because they are in this energy all the time and they attract a lot of stalkers, obsessive people, so these are (and should be) the natives that should have firm and clear boundaries. They'll find themselves stepping down at times just to calm this powerful magnetizing field around them, especially if they don't like the spotlight, but if the rest of the chart has placements that like to be the center of attention, this is surely a bombshell placement (watch out for the immense envy/jealousy from others)

⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕⁓⁕

⁕ Sagittarius/aspecting Jupiter/9°,21°: Their spontaneity is contagious. They're hot and cool, and know how to talk to people. Give them a night and they will befriend literally everyone at the party, and will reap so many opportunities out of nowhere. A favourite of the masses. Sometimes they can be a little loud and can get envy/jealousy from others, probably because of a rigid opinion they have, but they surely know how to play with it, telling jokes and conquering again the trust of those that didn't like them. They have such a careless and free spirit that they literally live day by day, without worrying much about the future, and people find this extremey hot. This placement is one of the most underrated one in terms of seduction, honestly when researching for this asteroid i found many siren-like women in our history that had/have Sirene in this sign, and i think it makes sense thinking about it, because Sirens are in their natural habitat out in the wild, so there's a sense of familiarity between the native and the raw energy of Sirens.

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⁕ Capricorn/aspecting Saturn/10°,22°: The strategic and cold diva. People cannot enter their inner world and their vulnerabilities and this drives them mad and obsessed over knowing what's behind the mask. Can embrace their seductive charm later in life (probably from their 30s on). I have noticed these natives can have strong facial features that are difficult to forget. Attracts wealthy suitors, or will use their seduction to attract opportunity to get into power positions. They have an authoritative and mature aura, slow but decisive movements, can be intimidating to others, big D energy. Demanding of others and themselves. Calculating every move they make, good at getting the favour of those in charge. Could find themselves attracted to older/more mature people or they could attract them a lot. Intense, can be similar to Scorpio Sirene, but people are much more wary when approaching them (this is why usually older people are attracted to these natives, because they give off the vibe of knowing what they want)

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⁕ Aquarius/aspecting Uranus/11°,23°: The one that to seduce just have to be authentic and nonchalant. Weird in a cool way, they catch people's attentions without even knowing, but just doing their thing. Their independence and uniqueness are their strong seduction charms. They're pretty unaware of their appeal because they don't even care about seduction in the first place, they have other things that go onto their mind. Their authenticity and disinterest may not attract many suitors, but the ones that get attracted by them are genuine and shares similarities to them, so they might find even THE ONE with this non-method-method. If they're interested in seducing, they might use very peculiar and unconventional ways to do so.

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⁕ Pisces/aspecting Neptune/12°,24°: The innocent mysterious person everyone is secretly obsessed with. People will find themselves having wild fantasies on this person and not even knowing why. The way they walk and talk is smooth and divine, like they have a light surrounding themselves. Their eyes always seem to wonder around, like they're never in the present moment, and this fascinates people a lot. If they make eye contact when talking to you or listening to you, they will hypotize you 100%, even if they're not really listening or are having other thoughts. There's just something so enchanting and special about their eyes, also, often these people will have unique eyes or stunning shapes/colours (ex. Liz Taylor has Sirene in Pisces and she is known for having one of the rarest world's eye colour, purple). The least aware of their Sirene charm of all the signs.

M o r e ⁕ o b s e r v a t i o n s:

Water sirene: innocent and wandering eyes

smooth and relaxing voices

Fire sirene: fierce and sexy eyes

clear and powerful voices

Air sirene: playful and flirty eyes

high pitched, unique and chameleon voices (good at changing their tone depending on the situation)

Earth sirene: sweet and calm eyes

deep and warm voices

And you've reached the end of this post! 💄

I hope you enjoyed it, i kinda wanted to include the houses too, but i think it'd been way too long to digest, so stay tuned for another post on Sirene in the houses

Edit: I published Sirene in the houses too! Click below to read the post (i also included Celebs examples)✨

I wish you all a wonderful day ahead! ✨

Yours,

Linnie