#just me having some feelings over here

[soulcluster-moved]

I have a deep appreciation for link being silly and fun loving when he doesn't have the weight of the world on his shoulders. making seal puns in geurdo town, how he excitedly prepares for the seal race, just in general how upbeat and personable he is, such as being part of the big bad bazz brigade as a kid or even convincing people to move to tarrey town. I love him a lot and I can't wait for totk. he's much more than a stoic person who likes to fight

[hinamie]

9 / 266

[fumifooms]

Falin who cares too much and too little - analysis

Been stewing on Falin thoughts for a while, I know I have an interpetation on her that differs from many but I’m jumping into the fray. I think there’s a lot to be said about what we do see of Falin. This shorter Falin analysis I made is heavily encouraged prior reading. This analysis mainly explores her complex relationship with caring and so it’s sort of structured in two halves, with Faligon at the crux of it all.

Falin cares too little :

A lot of people assign Falin a people pleasing mindset and I… Don’t agree. We never see her care at all about people in her town or at the academy not liking her.

We do see her worrying about what people think of her… ONCE. And Laios comforted her, told her they didn’t matter and she should be proud of herself. She latched onto that hard. That’s why this scene was so important to be included during the dragon fight, relationship-defining; it’s always been them against the world. She grew to not care what others thought, to only focus on her close loved ones. No one else matters.

Laios’ words were her world. Her older brother who taught her how to feel comfortable with herself, who told her, you’re great, others are the ones in the wrong to not see that, I’ll always be with you, always be there for you. Older brother who always made great plans, who always knew more, who was better at wrestling to name the dogs, who she has always idolized. Laios who always spoke of traveling the world, to which she always said she wanted to follow. And she would, she’d follow him even if it meant leaving the academy and all she knew behind, she’d follow him to the ends of the world, and that’s what she did.

She didn’t care about showing to her classes or keeping up such appearances, she doesn’t even think of toning down her jumping into bushes when Marcille recoils, etc. She acts like an obedient pawn often, to her parent’s directives and then following Laios around no matter what he decides to do, but I don’t think the motivation is people pleasing, rather it’s being with & caring for her loved ones, and her go-with-the-flow attitude enhances the impression. Not that it’s as simple as that, mind you, but let’s talk about this for now.

Falin is perceived as selfless because we, the audience, have our perspectives revolving around the main people in her life (Laios, Marcille). They’re the ones she’s devoted to and people who care about her back a lot too, but to people like her classmates or the towspeople she probably must have seemed like someone who didn’t care about the people around her or her surroundings a lot, who just went on alone and did her own thing.

What matters to Falin? From what place does her kindness come from? Is a part of her keeping up appearances? And I think that’s the point, the horror of Faligon as well, that we can’t tell just how in control Falin the person is as the chimera (because we are shown that she’s in there, we just don’t know at what degree), that we don’t know her enough to be able to tell when she’s at her most genuine, her most raw. That even if you do settle on none of her being present as Faligon, we have to at least consider it, consider that she may be able to do something like this and have a part in it, brutal and uncaring. That even the lenses we see her through, the people who love her, may be unreliable.

And this is what’s very interesting about her too, she truly is so idealized by people around her as a saint. She’s so good and kind and caring to everyone etc etc etc. Laios, Toshiro and Marcille all see her as the paragon of goodness in the world. More cynical characters like Namari and Chilchuck have more layered opinions on her, the latter finding her somewhat unnerving because he can’t read her well. But then with that one flashback scene we see that… Her priorities are intensely focused on Laios and Marcille, she doesn’t care all that deeply about anyone other than them (+ maybe her parents). The rest of the party is in the same danger here but only Laios and Marcille who she’s speaking to get the special ,ention, and if they don’t cross her mind then of course she’d be ready to sacrifice strangers through a risky teleportation. That doesn’t make her not kind or caring!! Just that greater good isn’t exactly her priority. Any means is alright if the end result is her loved ones safe, it usually takes the form of healing and caring, but we see she’s ready to fight and make dangerous calls too. To me there’s this aspect to her that she isn’t as pure and magnanimous as everyone thinks she is, both in-world and interestingly enough meta wise as well, and there’s something interesting to that.

People pleasing implies a need to be liked, needs for the motivation to be that. A yes-man, etc. But if we analyze Falin, her general kind, smiling demeanor is more a matter of passivity I yhonk. Conflict avoidance is easier, so she’s friendly and hopefully things’ll be smooth sailing. It’s easy to be kind to classmates even if they act wary and rude if you don’t care about what they think either way. Of course she prefers good things happening to people over bad things, she is genuinely kind, but I think people tend to assign her a very grand altruistic way of life when to her the motivation is pretty self-centered. She doesn’t do what she does because she loves them, but because she loves them.

One situation that’s interesting to dig into for her way of thinking, and what I’m trying to get at, is Shuro’s proposal to her. I’ve seen people saying she hesitated because she didn’t feel comfortable saying no even though she wanted to, "I can’t say no, I don’t want to hurt him", something that sounds sensible and familiar, but it’s actually canon in the Adventurer’s Bible that the reverse was the case, that she didn’t feel comfortable saying yes. Because the offer was tempting, but it’d have been a loveless agreement on her end. And it makes sense she’d want to say yes too, like we see with the Toudens, marriage is very much a political strategical economical thing in their village, there’s even a bit on it on Laios’ Adventurer’s Bible profile about dowries, and both siblings were engaged very early. They lived poorly for a long time, it’s an enticing idea to marry rich, to have not only yours but your brother’s needs met forevermore easily, which at one point in their careers was their main worry and goal. Why shouldn’t she accept a life of leisure and wealth handed to her by a lovely friend?

So her hesitance was "yeah that’s convenient for me, but where it’s everything to him and heartfelt I’m able to be detached because I don’t care about it that much… Can I do that? I’m not reciprocating, not saying yes in the way that matters. Can I do that to him?" Very caring even though it’s not what you’d expect, isn’t it?

And central to my analysis, where I’m going with this is, I feel like that’s the thing with her character, that she doesn’t feel as strongly as she "should" sometimes, or feels a different way than she "should", or at least that she feels that way and others say she does. She didn’t mind suddenly leaving the academy, leaving Marcille behind and not seeing her for 4 years. She acted like it was no big deal that she sacrificed herself after getting resurrected after the red dragon fight. And in both those cases it upset the people around her greatly that she didn’t seem to get why it was such a big deal, didn’t seem to care about how they’d experienced her choices.

So it’s a tendency… And it’s not that she doesn’t care, it’s just that the way she measures what’s good for the ones she loves isn’t the same as what they themselves think it is (like Laios and Marcille not wanting to be apart from her). It’s an overt but quiet kind of care, it’s doing things like following them around and making sure they bathe and have a meal, even if that means she has to be dragged into misery too.

So yes she probably would know "not caring enough/the right way" is one of her perceived flaws, and that informs how she tries to handle her response to Shuro’s proposal. Her not wanting to accept like her first gut instinct, is because she’s thinking about reciprocity, about if it’d be right to go into this knowing that they have different priorities and she might not be able to keep up with the type and amount of emotions he wants/expects from her. And that’s a big part of her character isn’t it, having expectations pushed onto her. Her trying her best, but in her own way that may seem odd or even unfeeling. Not unlike when she exorcised the ghost as a kid too, unblinking and matter-of-factly, and not seeming to understand why people stared the way they did.

Even though she answered his proposal only post-canon, she’d been pondering it for a while even pre-canon and the Adventurer’s Bible explanation was released midstory, so I’m hesitant to assign her much growth about her hesitation and what I went on above, since she still didn’t react "right" with Laios after the red dragon fight (even if she apparently doesn’t remember sacrificing herself) and put herself in that situation in the first place. She hasn’t finished her arc on that flaw of hers is what I’m saying, she for sure still has it, but I certainly think her thoughts on Shuro’s proposal shows awareness, both of herself and social.

And awareness is a big analysis key word with Falin, especially here it can be hard not to conflate not caring with not knowing. How socially aware is she? It’s rather layered, because canonically she wasn’t aware of her ostracization in her hometown at all, and we’re not sure if she knew Shuro was interested in her before he proposed, but she generally seems more socially aware than Laios. She tags along on his caravan job to make sure he isn’t being mistreated (though doesn’t ask he get a salary), she catches social faux-pas more easily like in the genderbend magic mirror omake with Shuro, and interestingly enough she’s very good at empathizing with her parents and understanding their perspective. We see when she’s worried about Marcille coming that she does know about propriety and how appearances shape impressions. Being a chief’s daughter must at least have taught her a thing or two on that front.

She never stands up for herself, but when it comes to defending others she worries, strategizes and explains.

And this sort of understanding is part of why I think she’d notice the expectations pushed onto her like I was saying earlier, notice how she makes people feel when she’s careless. But if she changes anything about herself in response to noticing is for her to choose, and generally I think it’s a sort of inbetween of yes and no: that she becomes more complacent but also more reserved, complying but by hiding more of herself passively. She’s not sure wether to accept or reject Shuro’s proposal, doesn’t want to lead him on? She’ll just be taking a while to silently consider it, try to keep things as they are for the time being. The third, less conflicting option. She doesn’t feel heard by Marcille who keeps infantilizing her? Just bear with it. Retract yourself emotionally. Settle for it.

We see that when she was young she had a tendency to not read a room, and I think that’s here too. She doesn’t get why her nonchalance upset others but that doesn’t change that she doesn’t want them upset or hurt, so she tries, albeit in maybe a roundabout way. She always had a hard time deeply connecting with people, often keeping herself some amount of emotionally distant: erasing herself from the equation, from the two-way trade that relationships are and making it a onesided thing instead, where all their needs and emotions are directed towards her but she only lets out a bit of her own show. She takes everything upon her and deals with it and tries not to give others this same burden, though not on a conscious level, it’s just that she’s learned growing up that she doesn’t have much agency.

Like I went into with my analysis linked at the beginning, I think Falin is used to just taking what she can get and not asking for more, when it comes to social bonds. She’ll take spending time with her mother no matter what it is they do, she’ll follow Laios to the graveyards and stick by him even when he’s pushing her away (because he doesn’t want her borrowing his book or "No copying!" or such). Her father was always distant, cold and uncommunicative, her mother was considered sick from anxiety and the exorcism attempts were the main way they spent time together, at dinner tables there were only her and Laios. The dogs picked on her too even if she loved them— And so did the townspeople, maybe that being normal to her at home is why she didn’t notice the ostracization she suffered.

She’s always been the last to be asked about decisions or what she wants, never asked to play with at recess, neither her father or Laios asked before sending her to the academy or leaving the village. At home, in the hierarchy she was considered to be below the dogs by the dogs themselves, as someone they can disrespect. Dogs learn from example and behavior, so this means Falin must have been pushed around a lot, and that the family didn’t try hard to rectify the dogs’ misconception, likely worsened by Laios regularly wrestling with her as a competition.

So for example when Falin showed Marcille food, it was her way to implicitly ask to have lunch with her without voicing that question, without daring to take up space. Someone’s presence isn’t something you ask for, it’s something that’s bestowed upon you, you can follow them around but you can’t ask them to stay or to come with.

She’s used to her needs and wants not being listened to, so she’s learned to have less wants. Caring less about herself, caring less about other people beyond her safe zone, was a defense mechanism in part. She has a sense of learned helplessness too, like how when Marcille came to take her away from Laios, even though she didn’t want to leave with Marcille it felt so determined and unshakable to her that whatever Marcille decided Falin would have to comply with.

And still, it’s the "marrying you would be awfully convenient if it wasn’t that I’d feel guilty for not loving you back, the way you wanted me to when you proposed to me" and the "I don’t regret leaving the academy and leaving you behind without goodbyes but I’m sorry that you’re so much more upset about it than me". It’s the guilt of not loving people back the way they want to be, with the same intensity or fervor.

It’s the autism it’s the aroace of it all, it’s the emotional stunting and confusion but the pit in your stomach telling you you did something wrong again. The no object permanence even for people you love even for 4 years, it’s the feeling like you’re somehow at fault for someone having fallen for you and not knowing what to do with any of it. I’m not joking btw it isn’t uncommon for autistic people to not see their close friends for a long while, not having missed them all that much and for that to be really hurtful for the other if they notice/ask about it. "Hiii bestie! Oh umm you’re uh more emotional about this than I expected, hopefully you won’t feel alienated by me not feeling as intensely about it…"

So… Yeah. I think she thinks of things and relationships in a different way than most people, and beyond "good things happening to people is good" I don’t think she actually cares about people all that much. I’d argue that Laios shows more desire to connect with others and make relationships. And just like with Laios and his own issues with humans, that doesn’t mean her kindness is a lie or ungenuine or worthless! It just means that like, well it’s pretty straightforward really, she’s not all that social and doesn’t see casual bonds as meaning all that much and whatnot. She does want to see people happy, but it’s not as much like… A conviction or goal. She’s too laser focused on a select few people. "It’s not that they’re bad people, they just aren’t interested in humans."

And sometimes it feels like people get defensive about Falin in a meta way too, like if you ever so much as imply Marcille isn’t her whole world or that she isn’t the kindest soul out there then you’re saying she doesn’t care at all or she’s evil. And that’s actualy exactly the sort of vibe I wanted to get through with my analysis above here actually haha, that she does care and she is kind but it’s not in a way that’s quantified or understood in a way that makes people feel comfortable. In a way, that makes people feel insecure because they don’t have the same logic as her, don’t show love the same. And I think this is another stellar depiction of autism, of parts of it that feels unpalatable to many, if I’m making sense. The fandom idealizes her as well, which isn’t uncommon or surprising for the character embodying the trope of the perfect beloved to rescue.

And disclaimer, as I said in the tags I feel like the details of Falin are pretty vibe based when it comes to analysis, there’s absolutely a valid angle where she does super care about everyone always, feel free to disagree with me on the overarching angle of my analysis. There’s enough supporting evidence to tip the balance either way I think, and the reason I’ve chosen this angle is I feel it’s more compelling for the themes in Dunmeshi of idealization and being different, of desires vs wants, and because I think it neatly ties up Falin’s character arc as I’ll go over throughout the next section…

So.

Not feeling as much as she should. And……. Is this not Faligon pushed to the max?

You can’t tie down a dragon. As the chimera, she gets to just not care about everyone else and be on her merry way.

Part of it I think is finding comfort and freedom in the mindlessness, in not having the burden of feelings and connections and a consciousness (despite still ending up seeking those in a stranger, Thistle). Like when she’s dead in the purgatory as well, she gets to just… Hang around and do whatever. Similarly to when she played in the forest instead of going to class in her academy days. That’s what freedom and peace of mind looks like to her. Why she decides to roam post-canon, if only now with the goal to find herself instead, with her mind in tow and somewhere to go back home to.

There’s excellent analytic framing out there about how of course, Dungeon Meshi has a big theme of grief and letting go, and… Falin was always a symbol narratively, idealized by characters and often underconsidered by them despite their love. It was Falin’s choice to sacrifice herself for Laios, she thought it was worth it, knowing that it would be her end. Her resurrection and the process of it intertwining her soul with a dragon’s wasn’t done with her consent, and the subsequent opening it gave her to become a chimera puppet. She’s stripped of her agency consistently, and so… It’s very noteworthy that the final choice, of wether to go back to life or to stay dead, in that purgatory scene, was up to her. And she chooses life, but I do think about her in those fields and how at home she seemed there. Peaceful, by herself in a vast calm expanse she could explore, free.

Personally, I think freedom is Falin’s own subconscious selfish desire. And though to us becoming the chimera is obviously a shackle, I think it felt like freedom to her somewhat, too.

And if you think I’m going wildly off the rails here I want to talk about Laios’ wish of becoming a monster. And to be clear before getting into it, being mentally a monster is absolutely a big part of the appeal for Laios, it’s something that’s consistently referred to, something especially pointed out in the werewolf monster tidbit with Lycion. Right panel is from that, but left panel is from the extra with Izutsumi where Lycion talks about suppressing souls in a beastkin body, the human or the beast soul.

Finding comfort and freedom in being mindless, less sentient, less aware? While being unaware in her hometown might have saved Falin a lot of heartache although perhaps stunted her emotional growth, it’s always been Laios’ curse.

Actively, through his choices, he seeks to grow closer to people, to form deeper bonds, to understand and be undertood, but… On a deep seated level, what he desires is to leave humanity and civilization behind. He has an irrational hatred for humans, born from the trauma of ostracization, being different, being beaten up and rejected consistently through his life. Running away from problems is easier. He wants to be free from being a social animal from a social species who has deemed him the black sheep, he thinks it’d be simpler to just leave it all behind, people and his own humanity. At its core, to Laios becoming a monster is a power fantasy, a coping daydream of "if only I could be strong enough to never be hurt again, the power to destroy anything I want, the power to go somewhere better, if only it was possible for me to never feel hurt again. If only I could be someone, something, that can never be hurt". "If there’s someone you don’t like, you can gobble ‘em up in one bite. If you could fly, you’d be able to leave this village right now." It’s a childhood fantasy, from a deep sense of being misplaced and a desire to be able to stand fearless, thinly covering up resentment that Laios represses.

But you’ll notice, when the Winged Lion is enticing him in the last page, even now with his lifelong wish of becoming a monster on a silver plate, he still cares about his friends. He still has that sense of responsibility to his friends, doesn’t want to leave knowing they’ll be in danger and alone. The offer that his friends may be left unharmed is already good, but Laios also visibly flinches when the Winged Lion offers to specifically care after Marcille and rid her of her biggest fear. Laios’ care runs that deep. Not unlike with the succubus, he resists temptation until he gets reassured that everyone will be okay. But see, what he desires isn’t to stand alongside Marcille until her last days, it isn’t to stay and see how well his friends will live, it’s to go. It’s to leave. It’s to fly away, a monster both in body and mind. He wants to be free from caring here, wants to not have to worry about his friends, wants to just go do his own thing, but for that he needs to feel safe in the belief that said friends will be safe even without him being there to see it, because despite everything else he cares, he does. It’s again that dichotomy about caring and wishing you didn’t, or not caring and wishing you did.

In the end, it’s Falin who achieves that wish. Both by becoming a chimera during canon, and by going traveling post-canon. In the latter, being both free of human relationships as something chaining you while still being uplifted by them, by the knowledge that there are people out there you love and that love you. It’s a theme that can also be connected with Marcille, because she gets anxious over people she loves getting out of her sight, worrying they’ll get themselves killed, that time is passing while they’re away from her. But before she can get to the point where she can both have her freedom and being uplifted by her social bonds, regaining both her individuality and her connections, she has to get a taste of just one at a time. Before they can find balance in her life, she has to see what it’s like to have what she’s never had on its own. Unapologetic freedom, and power.

No one can blame you for not caring enough or caring right if you’re a fricking dragon!!!! You make the rules when you’re a beast and you can just… Fly away. From anywhere, from anything. And if a dog bites you you can just crush it. Instead of being pushed around by the dogs because you’re at the bottom of the hierarchy, you’re now at the top, the one with the power to be heard and do what you want without consequences.

I think she’s on autopilot. I think she’s on autopilot a lot of the time, even before being a chimera, and it’s partly why her will is so weak compared to regular dragons. (Again, read my shorter analysis.) It’s familiar to slip back into the role of following someone around unquestioningly. And that’s what is weaponized when she’s a chimera, that instinct she’s been nursing all her life to unconditionally support, defend and follow someone. Only now, that someone doesn’t matter in itself, only the symbol of it. She doesn’t mind, either way is fine. Her will is weak after all, because she’s trained it to take as little place as it could.

Falin cares too much

She spends all her time caring for Laios and Marcille alternating that none of her care and emotional energy is left for others, including herself. So she had to get relieved of all of that for a bit, becoming the chimera so she could reset and recenter and remember that she, too, indeed, is there and an important part of her own life.

So you’re probably seeing the duality I’m talking about here, Falin is very self-sacrificial but for specific people in ways that they often don’t recognize or appreciate. She cares but selectively, both in people, putting all her eggs in the same baskets, and in the ways she cares after them. She doesn’t care a lot, but when she does she cares a lot. Falin doesn't have a lot of earthly attachments, but when she does, they're her world.

In canon her arc, especially post-canon, is to grow beyond Marcille and Laios. Her caring for her close loved ones held her back from looking after her own self-fulfillment needs. And this is what I mean when I say she cares too much; she could gain from caring more about the world besides Laios and Marcille, both lands wise and people wise. She cares too little, but her arc centers her flaw around caring too much instead. Her pitfalls that Kui highlight over the course of the story, while of course her selflessness is appreciated for how she saved Laios and everyone, on a personal level is shown to be self-effacing and damaging. She’s undermined by Marcille, without the courage to voice her thoughts and wants, she would dedicate her whole life to Laios. And I mean, it’s text, in the response to Shuro’s proposal extra no less. And she’s so laser focused on her most loved people that she’s fine with being callous and risking others’ lives, even.

Post-canon, she needs to leave to find herself, away from them.

Herself. What if she wants to just be with herself for a while.

And this is me reaching but I feel like, not unlike Izutsumi who learns to feel this sense of never being alone, always having someone on your side what with having two souls, the dragon in her would make her consider herself more. She finds it easier to care after other people after all, and in the purgatory fields sequence she takes care to bring the bit of dragon left with her… Not unlike with Izutsumi, having two souls forces you to think about your identity and figure yourself out. Besides being this sort of duo now, where if she wants to care after herself she can channel it to that other side of her too… In meta dragons are symbols of greed, and I think the bit of dragon would push her to want more and listen more to her desires, primal and self-serving as they might be. The dragon soul which warped her human body with feathers and draconic features, her image of perfection marred, her weirdness externalized in a way that’s not palatable. But she doesn’t care, about if her appearance is palatable for most people, she hasn’t for a while now, and that’s great.

Notes & nuance

I’m struggling with the structure of this post, making my points organized, concise and strong at once. It’s difficult to make any statement without going "things are generally like this, but there’s this time that this contradicting thing happened too" or "it’s ambiguous enough that you should just follow my interpretation for the time of this analysis" haha, so this is the pit where I put all the stuff that wouldn’t fit well in other places but are interesting for Falin’s character. This section is pretty separate from the main thesis of the post, it’s just more Falin observations. The post has reached the 30 pics limit so I can’t just pull it up whenever it’s relevant but I really encourage scrolling up to read the stuff I highlighted in her Adventurer’s Bible profile if you haven’t already.

I think with the shy-looking loner type autistic kid archetype, and knowing she didn’t seem to mind others ostracizing her, it’s easy to lose sight of how she was by no means an unemotional child. In all the bits we see of her as a kid she’s bursting with energy and emotions. Canon confirms Laios leaving the village did affect her and make her lonely and she cried a lot, too. She may not be social in the traditional sense, but she was clingy with her brother, and she also never was all that shy about who she was, wearing her heart on her sleeve.And okay. Okay okay okay. Speaking of appearances. About what I said of her not caring about what people think of her, even seeming defiant with the caravan leader… There’s one istanxe of her caring actually, and it’s about how her face blushes easily. I remembered it as being because Laios’ said it and as I rambled Laios’ words are her world, but actually it’s ambiguous. It’s only Marcille imagining up this scenario where Laios says Falin looks weird because of it, there’s no evidence Laios said or thought that at any point. And on the other hand…

Her Adventurer’s Bible says: "5, Lovely Skin. She isn't particularly careful with it, but Falin's skin is fair and beautiful. Possibly as a result, her cheeks seem to flush easily. Marcille's always saying she's cute, and she secretly has a sizable complex about it." The phrasing makes me think the complex she has over her blushing might have developed because of Marcille more than Laios. "Marcille's always saying she's cute, and she secretly has a sizable complex about it." It could be related to how Marcille gets swept away and infantilizes her, calling her cute wanting her to wear cute feminine outfits etc. Again this feels like it relates to Falin’s struggle to be seen for who she is and what she wants to be seen as, her struggle to be recognized, having ideals and perspectives pushed onto her. Here Falin is insecure over her blushing implicitly because she doesn’t like being called cute over it, but that’s not how she wants people to see her. She doesn’t want Marcille to always see her as her 10 years old adorable friend. Like if your friend said you had puppy energy, it can be flattering, but it can also make you insecure.

Here’s a link to what I mentioned about her being uncomfortable wearing feminine outfits. It does seem to be more about comfort than the aesthetic perse, to me. Interestingly the shirt & shorts don’t seem like they show much more skin than her beach outfit, so maybe it’s more about the shirt and shorts being tight-fitting. Like the skirts and heels they feel stifling. Again a bit with themes of freedom and not wanting an aesthetic pushed onto her. So yes just to reiterate, I think this is more about self-affirmation and how her identity and self-image gets shown to others, rather than wishing to hide parts of her body like her blushing etc for people pleasing reasons. Makeup was a way for her to appear how she wants to and feel more confident. It was a way to take control over her own image. She didn’t keep doing it, the narrator stating the process to be ‘troublesome’. Ultimately she still prioritizes her comfort, and it was a lot of recurring efforts to go through.

And on the topic of appearances… A friend once asked me: "Does she really hide herself or not? I keep thinking about "falin is herself first and foremost" (in her Adventurer’s Bible profile) it’s just so. Hmmmmmmmm... I just keep seeing people say she hides her real self from people when I feel like the issue is more about her charitable traits straying too far into becoming flaws but people around her dont realize that..."

Imo the thing is, I don’t think she hides her identity, but I do think she suppresses her individuality for others’ sakes if that makes sense. In the way that only post-canon does she allows herself to go see what the world is like, but that’s not personality wise it’s needs and wants wise. And I do feel like that’s the closest interpretation of canon, she says it herself she doesn’t know what she wants because everything she’s done was always about Laios or Marcille, but she doesn’t change her demeanor or personality for others. But she *will*, like, not ask for things she wants directly, like sharing lunches with Marcille at the academy, she suppresses her wants, doesn’t ask things from people and doesn’t hope for more, hope for better. I don’t think we ever see her actively repress her personality, except like what, being more laidback than enthusiastic but I do feel like unlike Laios with her it’s less ‘appearing stoic to fit in more’ and more ‘yeah i’ll just chill until I’m needed or something activates my enthusiasm’. To which said friend quoted: "to feel like you belong you need to be useful. when you can’t be useful the next best thing is being convenient."

And speaking of passivity… I want to speculate about Shuro’s proposal some more. Shuro and her got along well though we don’t know how much, or how often they hung out, she even saved him from a nightmare. Why did she take so long answering Shuro’s proposal? Was it an effort to preserve or was she really just that conflicted? Procrastination probably yes, but what is the core motivation of itl Considering she ended up saying no to travel the world instead, I don’t think it was as simple as ‘she wanted to say yes for convenience’. Logically it’s what would have been best, but it’s not what she wanted for herself, but it was and still is hard for her to even know what she wants. Probably, since like she states it was a great offer and she doesn’t think she’ll get proposed to again, it’s that self-effacing tendency that yes it’d be convenient and logical, and that makes her want to say yes even if her spirit isn’t in it, because if it’s convenient then that’s more important than her feelings on the matter. Man also… Obviously Marcille is very vocal about how she shouldn’t get with Shuro, but imagine how Falin’s whole perspective on marriage must have felt when her only friend ever is a Romantic with a capital R who gushes about idealized romances and grand gestures and True Love and doing things with fully pure feelings all the time.

AND speaking of passivity!!! How much Falin is "there" as the chimera, just how much she’s master of her actions, is left ambiguous and intentionally so imo, but she’s for sure there & influencing the dragon’s action to some degree. Having a dragon’s foot on her in purgatory that keeps her from moving for sure visualizes how it must have been like, but there’s Falin calling out to her brother Laios, there’s the kind attentions towards Thistle that are so Falin-like, and most explicitly there’s the Adventurer’s Bible stating "Even after becoming a chimera, she has a soul that's as kind as ever", which I honestly dislike, a fantranslation puts it as "Even as the chimera, her caring nature remains" and either way to me it feels like confirmation that it’s her giving those berries to Thistle. Now, wether or not she has the mental capacity of a chicken or something closer to human Falin, no clue, there has to at least be some kind of mind bond between monsters and the dungeon lord, compelling or forcing them to go along with orders, or calling her to him in distress like with the fight on the first floor. But yes, it’s interesting to wonder what it is that a Falin, with her kind soul but without her human mind, would willingly do. On her profile, she’s described as Thistle’s guardian and servant. The power dynamic between the two are very interesting, I already went into how it might have felt like freedom to her while being fake so I’ll reign myself in and just mention it again. She’s still at the heel of someone, only now it’s someone who doesn’t care about her back. Going from being cared for so strongly that it’s suffocating and they would defy death and the world for you, to being devoted to someone who has not one feeling about you besides your utility as a paw . She has all this care to give and to focus onto others and he has none to send back to her and I think that’s part of it. In a way, being left with only her own feelings and a void, without expectations or feelings or ideals pushed onto her, it might have been soothing in itself, and eye opening. But yes the way I think of it, her care for Thistle isn’t unlike the care she gives the ghosts.

Interestingly, the care she extends for the ghosts is sending their soul to a peaceful death, freeing them, of life and any earthly attachment. Take that as you will with the themes of freedom and burden of life and mind, immortality and becoming a warped version of who you were, and such and such.

But going back on the topic of connections and bonds for a bit, I think academy days Falin & Marcille is super interesting bc we’ve never really see Falin form a connection besides with Marcille and even that is kept pretty ambiguous. When was the point that Falin started seeing Marcille as a friend and seeking her out? When was the "I’ll lay down my life for you" point? I’m so fascinated by how she wanted to share lunches with Marcille but never truly asked, only made little "hey want this? I found it isn’t it cool?" gestures of showing things to her… It’s the only way she knows to ask, or maybe it’s the only way she feels comfortable to. In all the scenes of young Falin and Marcille Falin seems comfortable in her friendship with Marcille, but at the same time… I think we see Falin at her most insecure around Marcille, because she really does care about Marcille and what she thinks of her so much, and while Marcille is a bit of an unstoppable force tornado style (affectionate) Falin is something of a doormat. I’d usually say showing her berries was her earnest way to connect and be like "Hey bestie look at this! :]" , but there’s a real possibility that she was self-conscious and holding herself back.

Friendship and Marcille! Involving Laios into this too but, again with the autism thing of not showing you care in ways that others understand, Marcille being very overtly affectionate and clingy was so so soo important… Marcille keeping on hanging out with Falin and caring after her, and being undeterred/unbothered by Falin not always seeming like she cares all that much back in the conventional way, as in Falin acts nonchalant and a bit like she didn’t mind wether she was there with her or not during her outings to the cave dungeon. Caring and being clingy and so affectionate despite that in such a classic Marcille way is soo needed, because so often people will get discouraged by say, their friend not keeping in contact regularly/well, seeming disaffected or as happy-go-lucky as ever even if you haven’t seen each other in a while or when they’re alone, and yes there’s potential for a strong friendship there but someone like Falin won’t be committed enough to reciprocating attention the same way… I hope I’m making sense but yes this angle in particular strongly correlates to autism. And the way Marcille always initiates physical affection, both Toudens being awkward about initiating touch because they don’t know if that’s allowed, if they’re going about the social interaction the right way, if they’re allowed to ask that out of someone…

Another fun observation to make is about the 4 years Falin and Marcille spent apart. Marcille despite being of a long-lived race treated these 4 years of separation with more gravity than Falin did. Falin brushed it off very dismissively to say the least. But then you remember that the amount of time Falin and Laios didn’t see each other after he left the village was 8 years. Double the years, double the time. And that reminder makes Falin’s actions so starkingly understandable. Of course she wouldn’t see 4 years of separation as a long time if 8 years of separation with her beloved brother is her point of comparison. Of course she’d see it as worth it to leave Marcille for 4 years if it meant ending those 8 years instead, especially if she was worried about him (the reason why she followed him into his caravan job).

A friend always says that while Falin is the center of Marcille’s world, Laios’ is at the center of Falin’s, and I tend to agree.

It’s fun to think of how her career dreams had always been shaped by Laios, even when they were kids. Of course there’s how traveling the world began as a dream they talked about and shared, but there’s how he reassures her by listing cool jobs she could do like traveling exorcist, etc. And then of course, she gave up on her magic academy and career path to follow him and do odd jobs, etc etc.

I should go into the violence of Faligon more tbh, because I think there’s an interesting parallel to how she has no problem wacking things with a mace, wether a ghost when she was a kid or a walking mushroom as an adult. Something that often surprises fans when they remember, I don’t really want to get into the whole " Falin hates violence and hates seeing people in pain to an intense degree. ‘If you die do it somewhere where I can’t see’ style’ interpretation, it has some weight but on the whole I don’t vibe with the theory she has a particular aversion to violence, she seems to be fine resorting to it as much as any other adventurer as long as it isn’t needlessly against ghosts. And Falin’s sudden mace hits are fun to me too because it’s not her becoming a berserker when the need arises as much as her becoming active because something she cares about is threatened, and that brings her out of her passivity from 99% of the rest of the time. Thistle included. Falin always could be violent, she just dislikes senseless carnage. The Shuro party vs chimera fight is a bit ambiguous on it, because you can argue she only attached after being provoked, presumably offscreen as well while the ninjas went off to fight the harpies. Falin becomes the most active when she needs to protect someone, she has no qualms doing whatever’s needed for that, wether it be leaving the academy & Marcille without notice no matter the consequences or what her parents think, or teleporting the party, etc.

I’m working on a post specifically pointing out all the differences between Falin and Laios, but yes I think both of them selfishly desire freedom in different yet similar ways. Falin’s dark secret is "Ethics and risks are optional if it means I can protect those I love" like the teleportation, and Laios’ is "Ethics and risks are optional if I can be free of all this bullshit" aka humanity aka his wish with the winged lion.

Conclusion

Flighted birds have hollow bones. With freedom and wings there comes risks and sacrifices.

Tldr: Falin doesn’t care all that much, she’s very go with the flow. For example if someone hates her she doesn’t really care because that’d require her caring about what they think of her in the first place, and she only cares about her loved ones. She smiles, but it’s more a state of being rather than out of active goodness: she’s canonically very genuinely kind, but it’s more out of a general want for pleasantness than active care itself. She’s passive, and softspoken because that’s just how she seems, but she has no problem hopping into bushes or getting heated if something calls to her enthusiasm or calls for action and a hit of the ol’ mace. Her loved ones needing tending or protective is what makes her go from passive to active. That familiar autopilot mode of making someone the center of her world and following their every move is what made her so easy to be controlled as the chimera, even ferociously defending him with her life. Faligon is most interesting to me with the theme of freedom. She’s shackled to Thistle and out of her mind, but there’s also a sense of empowerment and freedom from expectations and society. She spends all her time caring for Laios and Marcille alternating that none of her care and emotional energy is left for others, including herself. So she had to get relieved of all of that for a bit, becoming the chimera so she could reset and recenter and remember that she, too, indeed, is there and an important part of her own life. There’s a way of caring after others that can be selfish, not unlike Marcille being overly coddling and not listening to Falin. In Falin’s case, I think it was so selfless that it ended up looping back around to erasing her sense of self. In losing sight of herself, that devotion becoming neither quite selfish or selfless but a fact of life and a state of nature, muddled by its lack of direction.

She’s sooo used to never being able to ask things out of others, you get the crumbs of affection and approval that others offer to you unprompted and that’s it don’t hope for more don’t ask for more. (Also reflected in how she follows her loved ones around without complain or personal opinions and how she’s not willing to rock the boat and affirm herself in her relationships like with Marcille during canon)

Falin cares so much, so much and so laser focused on her few loved ones that it blinds her and she loses sight of everything else, she ends up neglecting herself and the rest of the world. As Kui puts it, Falin is herself first and foremost. She just had to remember the importance of that.

-

I see her as an enneagram 9, which can be surprisingly accurate and fun to research through the lense of Falin. Excerpt below from this book, but like my god, good way to put it

That’s it, ty for reading. Even if it’s a bit of a mess, hopefully you’ll have gained a thing or two from it. Falin is a character hard to pin down, but it is very gratifying when you find the way that the puzzle pieces fit together right for your own understanding of the story. Fantranslation of the shuro proposal comic by @/thatsmimi here.

Here’s my spotify playlist for her if you’d like

Sometimes love is about letting go, a lesson a lot of the cast needed to learn. Self-love’s important too, and just like with diets we need a healthy balance.

[moonkhao]

WE ARE | EP16

[benevolenterrancy]

May your hardened heart be woken By the soft and distant song Of all you left here unspoken All the shards we keep stepping on - Take this body home Take this body home Call the wind, and let her know Take this life outgrown Take this broken soul Call the stars, call them all And take it high, take it far, take it home

[justaz]

thinking about arthur who has crazy quick reflexes and is a relatively light sleeper who woke up to the sound of someone in his room and saw merlin crouched down messing with his keys before softly asking “whatre you doing?…before breakfast?”

[starry-bi-sky]

tales of the passerine - danny fenton being bruce wayne's first kid

okay okay. so this is like a continuation/elaboration of my oneshot/prompt i wrote about the idea that Danny was the first batkid. We have a lot of aus where he joins the family after the rest of the bats do, right? So hey! Lets shake things up a bit. Danny is the first to be adopted by Bruce Wayne.

Danny's parents and unfortunately Jazz die shortly after the events of TUE -- how so? I was gonna say an ecto-filter explosion, that would call back to the TUE explosion and trauma behind that. But lets do something new! Carbon-monoxide poisoning.

It's not too unexpected for something to break in the Fenton house, especially with the Fenton parents' questionable understanding of proper weapon handling and lab safety. The water heater broke from a stray shot by one of the weapons, and was promptly MacGyver'd incorrectly. Danny went to stay with Tucker for a guys' night, and came back to a dead silent house.

(Danny's neighbors got a very unfortunate shock when he ran to the next house over in hysterics.)

There was a lot of shuffling around with CPS, the police. People had to be called in to handle the equipment in the lab, and the GIW was rumoring to show up in aid to clearing the scene. When Danny heard of that, he immediately went and dismantled the ghost portal to the best of his abilities. He burned the physical blueprints of all his parents' inventions, their blueprints on the ghost portal, and their most dangerous weapons were destroyed beyond recognition. Anything to prevent the GIW from getting their hands on his parents' tech.

It opened up another investigation, but he was not under the list of suspects. He was placed in the care of Vlad Masters, where they then went back to the rebuilt castle mansion in Wisconsin. Danny, terrified of the future that has once passed and may do so again, shuts down in his grief. Inadvertently, he ends up somewhat repressing his ghost half. Something Vlad, who is grieving Madeline but relishing in Jack's demise and his custody of Daniel, is not very happy with.

Vlad's... gone into a bit of a mental health spiral. He's becoming increasingly possessive over Daniel, the final remnants of his friends and a liminal being like him. He doesn't like that Danny's repressing his ghost half -- both out of genuine concern as a ghost, but also because of his desire to control Danny and groom him into the perfect son. If you ever had a phase where you read Dark SBI found family fics, first off; me too bro, and second off; those are the vibes I'm thinking of.

Danny's mentally shut down from grief! And fear. He's dropped into a bad depressive state -- paralyzed with grief and the terror of the inevitable. Clockwork saved his parents because he believes in second chances, but what's the point of that when his family ended up dead anyways? Danny doesn't wanna believe that he's destined to become evil, and he's holding out onto that hope, but it's a thin line, and he feels utterly hopeless and trapped. He hasn't used his powers or ghost form since he trashed the lab, and Vlad has alarms set up to prevent him from trying to escape.

He's also unintentionally cut off Sam and Tucker -- both of whom are so scared and concerned for Danny too, and are trying their damndest to reach out to him. He keeps ignoring their texts. Danny basically haunts Vlad's manor. He goes out to eat if he has to, attends parties Vlad drags him to, and stays in his room all day if he can.

At parties, Vlad doesn't allow Danny to leave his side, or really talk to anyone -- not that Danny wants to. A product of Vlad's increasing possessiveness. Well, he almost doesn't let Danny leave his side. Danny has a habit of slipping off to hide somewhere for the parties whenever he can, and Vlad reluctantly allows it so long as he stays alone.

This becomes an advantage when eventually, Bruce Wayne returns to Gotham after missing for years, and holds a bright charity ball to celebrate the return. Vlad has been chomping at the bits to get his hands on Wayne Industries, and with the return of its owner there is no better opportunity to wipe out his rival. He goes, and he as normal, brings Daniel with him.

Vlad thinks Wayne will bleed his little heart out for Daniel's poor orphan sob story -- he's a fellow orphan himself, after all. He's not wrong; Wayne's little heart will bleed, just not in the way that benefits him.

Bruce sees Vlad and Danny approaching before they're even close enough to introduce themselves - and like with many of the children he will soon come to care for, it's like someone set a mirror into the past right in front of him.

Danny Fenton's suit is tailor-made for him, and despite the fact that it's his perfect size, the sag in his shoulders, the ducked down head, and the way he hunches into himself all pictures the image of a child in shoes too big for him. There's a far away, glazed over look in his eyes and grief marble-cut into the lines of his face. There's not enough makeup in the world that will hide the dark circles under his eyes.

("My nephew, Daniel Fenton." Vlad's hands are possessive on Danny's shoulders. Bruce immediately notices the way the boy tenses under his touch. "His parents passed recently, and as his godfather I was designated his guardian.") ("I'm so sorry, the loss must've been terrible.") ("Yes, carbon-monoxide poisoning caused it. Daniel was out with friends, when he came home... they had already passed.") (Bruce immediately dislikes that Vlad shared the details of their death unprompted -- he likes it even less when Danny flinches at the reminder and hunches into himself.)

Danny runs off at some point earlier into the charity. At this point, parties are still being held at Wayne Manor (because iirc google search mentioned that was a thing at first before it was changed), so he disappears and hides in one of the empty rooms nearby. It just so happens to be the same room Bruce Wayne hides in when he needs a break from all of the socialization.

Thus begins a long, long process of trust. Bruce can't reveal his hand as being smarter than he looks, but he can be compassionate. Kindness needs no measure of intelligence. He keeps Danny company for as long as he can before he runs the risk of being found.

Rinse and repeat. Vlad insistently wants Wayne Industries, and he'll go to as many Wayne parties as he can to get his hooks into the man. The problem is that Bruce Wayne is never alone, and getting him alone is impossible. Finding him too. It's like the man never stops moving. Always talking to someone, always circling somewhere. He orbits around the room as if he isn't the sun of the Gotham Elite's solar system.

Danny's had such repetitive behavior that Vlad never thinks to believe that Bruce Wayne is disappearing to go talk to him. That "Vlad's" son is even interacting with him at all. Danny never gives him a reason to think so, and neither does Bruce.

Danny doesn't actually acknowledge Bruce until a handful of parties in, where he hands Bruce a small slip of paper he smuggled in that says; "don't trust Vlad". Danny's face stays carefully blank, but he's so tense that his hands are trembling, and he's purposely looking away from him. Bruce plasters a smile onto his face, slips the paper into his pocket, and tells him "okay".

(he's been busy with his own goals with the mafia, but he sets aside time to investigate Vlad Masters. He was holding off. Until now.)

Danny does eventually start speaking to Bruce, he's starting to really like the guy. He's starting to see a little hope, even as Vlad is starting to get more and more agitated with him the more he refuses to use his powers.

He reaches out to Sam and Tucker again, and starts trying to reconnect with them. Vlad has spyware on his phone, and he limits the amount of times he can talk to them. A weird parental control lock of some sort that leaves a time limit on how long he can talk to them for. 30 minutes. Danny doesn't tell them anything about Mr. Wayne.

Danny, slowly, wants out of here, and he's slowly gathering the motivation to do it. Vlad is genuinely scaring him -- and Danny wonders just how truthful the past-future Vlad was when he told him that Danny wanted his ghost half separate. He starts trying to come up with an escape plan.

Vlad has anti-ghost wards everywhere around the mansion, and while they're always on, they boost to full power at sunset. The doors and windows are always locked, all main exits have alarms set on them. The only reason it's not super extensive is because Danny hasn't tried leaving at all yet, so Vlad hasn't had to tighten anything.

At night, Vlad locks the door to his room and puts up an anti-ghost ward around the room. The mansion is on the outside westward side of Madison, more entrenched in rural Wisconsin. The closest town is a four-way stop sign with one house on three corners, and an open bar on the fourth. Not much to go.

He refuses to go to Sam and Tucker; Vlad would look there first. It's too dangerous. Vlad would sound alarm bells and have a manhunt looking for him, Danny can't risk going just anywhere. Too much risk of being found, sold out, or caught. There's really nowhere for him to hide.

Until there is. Bruce is telling Danny about the history of Wayne Manor, and says, as casually as saying the weather; "The manor has dozens of empty rooms, I'm sure Alfred wouldn't mind filling another one if he could." And quietly, hesitantly, Bruce places a careful hand on Danny's shoulder, unrestrictive and gentle; "He wouldn't mind getting one ready for you if you need one."

And there it is. There's his out.

Danny, just as quietly, replies; "I'll keep that in mind."

The ball starts rolling.

Now I've been trying to summarize this au as much as possible for length convenience, but Vlad has been steadily growing more and more controlling. More emotionally manipulative. More agitated at Danny for not using his powers.

He wants Wayne Industries under his thumb but he's been steadily growing more and more concerned with Danny. He's started grabbing him, yanking him around, shaking him; trying to goad him into using his powers. He gets angry when Danny doesn't react, or tells him he doesn't want to use his powers. He hasn't outright attacked him, but he's getting there. This has been happening over the time it takes for Bruce to indirectly offer Danny sanctuary at his home.

It all comes to a head when Vlad stops going to parties at all -- something Danny has to pretend he isn't upset about -- because Vlad doesn't want him around other people anymore. Vlad rarely goes now without him, and only leaves to go to a Wayne function or to handle something at VladCo.

Danny can't wait for Vlad to leave long enough to escape. So he leaves during the night of a big storm. Vlad's locked him in his room, but Danny doesn't bother trying to go for it; he goes to the alarmed window instead. Danny's been repressing his ghost half so long that he can't access his powers immediately anymore -- he can feel it, he knows its there, but he can't quite reach it.

He breaks the lock by hand.

Immediately the alarm goes off through the entire castle, filling the room with red, and he scrambles for the rope the Wisconsin Ghost left for him a few months back. Danny's already out and climbing down the side of the castle before Vlad even reaches his door -- the only good thing about the entire room being ghost-proof is that Vlad can't get in that way.

The rope ends before it reaches the bottom, and he's still twenty feet in the air. It won't kill him if he lands it right. Danny takes his chances, and drops. He breaks his ankle, but he survives.

And he fucking books it to the back garden. He hears Vlad shrieking over the thunder and rain.

I'll save the full experience for a future oneshot, but Danny makes it out into the nearby woods and forcibly experiences what it's like to be in a horror game, trying to hide from the thing that's hunting you. There's only one thing going through his mind; "i'm going to die"

I have this mental image for this scene. Very stereotypical horror imo. Where Danny is hiding behind a tree, with a hand over his mouth, and Vlad is a few feet away from him, glowing ominously red through the trees, trying to search for him.

Danny doesn't get away from this unscathed, but he does get away alive. That's all he could ask for. He gets away by getting his ghost half awakened long enough to transform into Phantom and fly to Gotham.

But he gets to Wayne Manor, he gets to Bruce. Or, at least, Alfred answers the door from his insistent pounding. Danny's just in tears and Alfred gets him in the living room, wrapped in a towel, with ice on his swollen leg before he has to step out and alert Bruce.

Bruce already breaks multiple traffic laws on a nightly basis. And that's just with the sheer existence of the batmobile itself, not including the speeding and military artillery attached. He breaks double the amount trying to speed back to the cave and get out of the suit.

Right off the bat: Bruce will know, at least before Dick enters the picture, about danny's powers. He'll figure out something considering the fact that Danny traveled from Wisconsin to New York in a single night. That'll be a bit of complicated affair, but I've already got something in mind.

Actually it'll probably be very soon after Danny joins the family, because Bruce tries to offer to fight for custody for Danny - the state Danny was in at arrival is clear enough evidence for a trial. But Danny immediately shuts it down, says it's not going to work and then Vlad will know Danny's with him and he won't be safe. He tells him that Vlad cannot know Danny was with Bruce.

Danny's biggest regret was not telling his parents he was a halfa, and while he doesn't want to tell mister wayne (yet), he does tell him about Vlad being one. He needs to know why Danny can't be seen with Bruce. So he tells him, and Danny's current plan is to just hide out from Vlad until he turns 18. That way, he has no more legal jurisdiction over him. After that? He's not sure.

And to wrap this up, since this has already gotten very long and I can make more posts about this au later; I've thought about it, and I'm going to say that Danny does become a vigilante before Dick enters the scene. He goes by, as you probably guessed; Nightingale. "Gale" for short.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[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.

[pepperpixel]

Initial drawings of that old man… I literally, I haven’t finished reading the book of bill yet!!! I had to stop and take a break for a week to feverishly draw fanart of myself petting fords floofy hair and giving him attention and shit…!!!! The urge was too great….!! I’ve literally. I had a crush on this guy the instant he was first REVEALED in the show, but I did not have the artistic prowess to draw good looking old men back then… but I do now… thank god… thank fucking god

[realbeefman]

stacy is sooo interesting because she's in love with house but knows that they will never ever be able to have a healthy, stable, sane relationship because they're too similar so. she finds house-lite instead and marries him and. essentially moves on with her life! and is successful in this because she's a moderately well-adjusted person!

wilson, in contrast, never manages to escape the inevitable, in spite of his best efforts to find a house-lite of his very own, because he's an absolute fucking freak and ends up glued to house to the bitter. bitter end

[autisticaradiamegido]

thoughts on dave and aradia (<>)?

day 356

BIG fan tbh. in this house we love and respect timerails

truly yall read this log and tell me theyre not cute

[naamahdarling]

.

[chloecherrysip]

I don't know where I'm from. My earliest memory is arriving. I was so lucky they found me! They took me in, raised me like one of their own, and when I was ready, they made me their princess.

[sandsofsolstice]

alright listen. let the record show i do have oc art i could post but im soooooooooooooo estranged with art right now we're having a temporary divorce.

but i did manage to draw these after many a week of drawing absolutely nothing

sorry for getting into spn in 2024. you jump in to your friends' watch party (in s6, in some of s6's worst episodes) for funsies and then three days later youre watching s1 "just to have something in the background." and then you watch spn for 20 days straight from start to finish. and then the tragic little gay people haunt you

[jash-updates]

Most normal energy drink consumer