#just the format is long

[drawing-way-outside-the-lines]

➖ Mature content, 18+ ➖ check the trigger tags each time ➖      

Chapter 26 - Old Messages, pt. 2.

--------------Congo's point of view--------------------

I had promised myself there would be no more between me and Andy, but already the next day, I knew it was impossible to keep. I wanted him more than ever, and breakfast was almost impossible to get through. Marius was sweet, lovingly sitting on my lap, trying to feed me breakfast pancakes, while I was trying to pretend to read the morning news paper. I was mainly trying to avoid eye contact with him. I had never cheated on a partner before. And the burning feeling in My stomach was awful to bare. I had tried reading a few lines of the paper, but I kept getting interrupted by visions of Andy and I kissing in the forest last night. It was impossible to concentrate in anything. It was impossible denying I wanted more. The whole day I was wandering around aimlessly, I couldn't get Andy out of my head, and being with Marius made my guilt grow every minute. So late afternoon I decided to drive 2 km to a small mountain town, located behind my dads house. Not even the fresh air could clear my head, even though I tried my best. The evening seemed to run at snail speed, so I decided to call it a night already around 9. It was early for me, and Marius did question it a bit. I couldn't sleep however, thoughts of Andy and how this situation could possibly turn in my favor, were racing my mind. I had loved him 10 years. 10 whole years. Since the very first night I met him. And now he had finally fallen for me. But being engaged to a vampire, was a deadly cocktail, at least for the one standing in the way. I knew I needed to get as far away as possible, but he was my Andy. It's safe to say I hoped and begged it was him on the line, when suddenly my phone lit up in the dark bedroom later that night.

Andy: I miss you. A lot. I wish I could wrap your arms around me, and fall asleep like that. Safe. I sit here looking at the pics of you and Marius… all I can focus on is you… Your lips Your beard How I wanna run my fingers through your hair Your chest Your upper arms I love you I just wanna see you again. I know I need to shut up and move on. I don't wanna hurt you. I know I said everything yesterday… but I just keep running it on repeat. I just wish there were some way we could be together… and no one getting hurt. I just really need you! Close. Always. You keep me calm. You always made me feel safe. You were always so nice to me…. took so good care of me. I miss you so fucking much!! Miss your smell…. I love you.

Congo: I love you too.

Andy: You have no idea what those words mean to me.

Congo: I know what it means to hear them from you.

Andy: <3 I'm so in love with you!

Congo: I'm so in love with you too.

Andy: What are you doing now?

Congo: In bed.

Andy: Were you sleeping? Did I wake you up?

Congo: No, I couldn't sleep.

Andy: Oh… why not?

Congo: Thinking of you.

Andy: Good or bad?

Congo: Both, I guess.

Andy: What was the good?

Congo: YOU.

Andy: (He sent a smiley with stars in it's eyes) And then what's the bad?

Congo: That I can't have you.

Andy: I know! (Smiley crying on the floor)

Congo: What are you doing? Just sitting around in your room?

Andy: Yeah… can't sleep. I'm too restless… horny… confused…

Congo: I guess I feel sort of the same. Plus, it's too hot to sleep.

Andy: Take some clothes off.

Congo: I'm already naked.

Andy: :3 DAMN (followed by a row of blushy and pervy smileys)

Congo: You are crazy.

Andy: You love that about me.

Congo: Yes.

Andy: You make me hard!

Congo: By telling you I'm naked?

Andy: Yes!!! Of course!! You are fucking hot!!! GOD! That bulgy chest of yours!!!!!!!

Congo: What more?

Andy: Your big warm arms.

Congo: Anything else?

Andy: Your kind eyes… Your sexy beard Your strong upper arms Your v of muscles above your jeans line! Your firm ass Your muscly thighs GOD! I fucking want you so much!!!!

Congo: I want you too.

Andy: How much?

Congo: So much that I'm touching myself.

Andy: (Crying smiley, followed by a smiley leaning against a wall) First one was a finger spass… sorry…

Congo: What does the second one mean?

Andy: I wish I was outside your bedroom door!

Congo: Me too!

Andy: I want to feel your naked body against mine… making love to you all night and morning.

Congo: Mmm yeah… I would love that. Feeling my hands all over your perfect body. Tasting your skin. Feeling myself grow inside you.

Andy: Fuck!!! I wanna taste you too… and feel you so badly!!!!! You're so strong and warm. I can't get enough of your warmth! I wish I could push myself inside you, and just live in there…just merge with you… Are you still touching yourself?

Congo: Yes.

Andy: DAMN! I wish I could crawl under your blanker and give you a blowjob. I really wanna swallow you, taste your cum again. Mmmmmm! Tell me how you touch yourself…

Congo: I am slowly stroking my dick, and pulling lightly in my balls. Thinking of you. Wanting your hands and mouth on me.

Andy: Fuck yeah!!!!!!!!!! Wait… what are we doing? I;m so hot now I'm almost burning up!! And I'm touching myself I'm so hard it almost hurts!

Congo: The sweat is running off me. I want you so bad I think I'm gonna scream out your name soon!

Andy: FUCK!!! We need to cool down!

Congo: I know. How about we take a shower? Together. I mean, as together we can. I'll go jump in my shower, you go jump in yours… We jerk off with the thoughts of each other, and when we are done, we meet up here again? You can go to your bed as well, and we can keep talking till we get tired enough to sleep, or simply keep going till we fall asleep?

Andy: Yes! I'm in! I really need to cum! But as I'm quite challanged on that some days, I really need help… this might do :3 just the thought of you makes my insides buzz and my heart pound!

Congo: I know! I feel the same way about you. I'll meet you here in 10-15 minutes. I love you.

Andy: I love you too. (20 minutes later) I'm back!

Congo: Me too.

Andy: :) you make me smile and get butterflies in my stomach.

Congo: :) you too.

Andy: Really??? :D

Congo: Yes.

Andy: I'm melting!

Congo: :)

Andy: Did you cum?

Congo: Yes :) you?

Andy: Yes! Could almost not stand on my legs, that's how good it was!

Congo: Perfect!

Andy: Yes! :3 I kept thinking of your face :3

Congo: Only my face?

Andy: More or less. Only one time I thought of you sucking me. The rest of the time, I just pictured your smile… well, your profile pic here mostly…

Congo: You make me so happy.

Andy: Why? :)

Congo: Because now there's no longer a single shred of doubt in me. I know you are in fact in love with me too. That it's not just lust and a crush. I mean. You didn't just focus one me naked or fucking you. It was my face. Me as a person.

Andy: I told you! :)

Congo: I know, but it sounds too good to be true. Well, it is, since we can't be together. It stings in my heart every time I think of it.

Andy: :/ I don't want you to get hurt, or get bad health because of this. If its easier I'll stop writing these things to you, and we will somehow rewind time till before I told you… at least imagine that part…

Congo: No. Please. Even if it makes things a million times harder, I need to know you love me too. You did the right thing. We will find a way to control this, cause we have to. But for the rest of this night, let us just go to bed, and pretend to cuddle, how does that sound? No bad vibes before sleeping :) Let's keep it light.

Andy: Sounds nice. I would say perfect, but perfect would be you laying next to me, in reality…

Congo: I know sweety. Let's crawl to bed at least this way.

Andy: Alright, I just need to finish eating my bread…

Congo: You're eating? (Back then Andy had a lot of trouble eating. He had gotten of alcohol after around 10 years as an alcoholic, and his stomach wasn't used to solid food. On top of that he had a lot of anxiety around food, so it was a rare thing to see him eat more than a bit of fruit salad or a small bowl of cereal with milk or yoghurt)

Andy: Yes, a big piece of bread with butter and raisins :)

Congo: That makes me happy <3 thank you.

Andy: You don't have to thank me :) I don't wanna die any longer, remember? (he also used to be very suicidal)

Congo: Yes :) but that's also almost too good to believe.

Andy: :) just give me 2 minutes to get done…

Congo: Sure take your time.

Andy: (A few minutes later) I'm done, but I have raisins all over my mouth, I'm gonna go brush my teeth… Congo…how heavy does Marius sleep?

Congo: Pretty heavy, why?

Andy: Uhm, I'm in my own bedroom, so A surely wont hear me. Maybe if you think it wont wake up Marius, I could call you, and we could whisper a bit to each other? Or just be on the line, so we can just feel each other near? Or is that stupid?

Congo: No, it's not stupid. I would very much like that :)

Andy: :D I'll be right back!

Congo: Yes.

Andy: (Another few minutes later) Can I call now?

Congo: Yes :)

Andy: :D

We talked for about 45 minutes that night, till I no longer got an answer. I could hear him breathe deeply, and it was comforting knowing he was safe asleep. I kept pressing my phone againts my ear, as if I was trying to get him closer to me. I fell asleep much later with a smile on my lips, but a heavy heart knowing it was all wrong, and we had to stop.

[shikisei]

i played turnabout big top today

[hychlorions]

a what-if i've been thinking about for forever... trucy knowing the truth before anyone could tell her

[petrii-dish]

Lots of little loops. Nightmare that they are to draw

[falmerbrook]

Falmer appearance and attire headcanons

(click on drawings for more details and notes!)

Hair

In Skyrim, we pretty much only see two hair styles to go off of: completely bald and the hair the "shaman" have (which are also the only females we see (a post for another day)).

In concept art, particularly Adam Adamowicz's, we see more potential hairstyles. He draws it as wispy and messy, as well as containing braids and the ties we see in the shaman in the game. This art is largely what defines my own interpretation of their hair.

I picture the typical Falmer hair as wavy, thin, wispy, and looking frizzy. Given the high number of hairless Falmer we see, I imagine baldness is common, particularly among males, and sometimes among females. Their hair can be commonly styled into braids or knots to keep it under control.

The ability to grow long, thick hair is less common, but those who can tend to style it in other unique ways. Especially among females, long hair is commonly styled into large dense locs (akin to a Polish plait) and held into shapes using ropes or leather ties.

(While I think the intention with the way their hair is drawn and modelled in the game models and concept art was that it was braided and held up with those ties, before looking at it closely I always sorta interpreted it as too stiff to just be braided. As a result, I developed the locs headcanon and have become kinda attached to it even though I have 0 in game or lore support for it)

Materials

The material used in their clothing is obviously dependent on what is accessible to them, and given their unique situation that makes the materials they use and value unique as well. In Skyrim, we see that almost all of their armor (which is mostly what we see them wearing) and homes are made of chaurus chitin (and potentially shellbug chitin), so this is likely the most common resource available to them for non-combative coverings as well. Other materials from their arthropods companions could include their cocoons, unhatched eggs, etc.

Bones from other creatures (draugr, skeevers, trolls, adventurers, bandits, etc.) underground or from aboveground raids could also be used fairly often. These could also provide a source of leather or fur, albeit not a lot of it.

Falmer groups and subcultures inside or in close proximity to Dwemer ruins probably make regular use of the materials present in those ruins as well. With all the metal and machinery present in Dwemer ruins, metal probably makes regular appearances in their clothing (and general decorations) even if they can't manipulate it themselves. Falmer more separated from Dwemer ruins would make much lesser use of these materials, however. Additionally, We see implications of Falmer preparing, cooking, and potentially cultivating fungus in-game, but see nothing indicating they have any plants in their diet, and therefore it is unlikely they regularly make or use textiles or fabrics in their clothing, and if they do they likely come form Dwemer ruins or raided adventurers/bandits/settlements from the surface.

On that note, we know that there have supposedly been incidents of Falmer coming to the surface to attack its inhabitants and travelers, as well as instances of them killing bandits, adventurers, and researchers who venture below, so it's not far fetched to believe that they have access to some materials from the surface. This could give them some access to furs from surface animals, beads, glass, jewelry, textiles, metal objects, etc. they might not otherwise have access to. The rarity of these material among the Falmer would depend on the amount of access any given group of Falmer have to the surface, but among many of them these materials could be seen as more valuable for their rarity and the difficulty to gain them.

While gemstones and ore might be accessible from both natural deposits and underground ruins, unless they had some kind of auditory function or unique texture, they might not have much value to Falmer.

General Attire/Accessories

I like to imagine that the Snow Elves, and by extension the Falmer, have an innate cold resistance in the same way Nords do, and therefore don't require clothes for the purpose of warmth even in the chilly caves of Skyrim. Additionally, their blindness likely means that wouldn't dress for visual aesthetic either. My thoughts are that they are then left with the sense of sound and touch to communicate with each other, and their clothing and accessories could reflect that.

Falmer clothing, decoration, and society in general is very heavily based on touch and texture and little on appearances. They touch each other very often for both communication, movement, and just general day-to-day interactions, and their clothes isn’t very modest, but the tactile patterns and materials used can communicate certain things such as position in society, “wealth”/power, whether they are taken, single, pregnant, with a child, etc., their roles, their age, notable achievements/skills, who is who, etc. on both their clothes and buildings. The more noise one makes, the more attention they draw and the more they drown out other noises, and the more noise making things they can “afford” to have, so the amount of noise one makes in a Falmer settlement is a status symbol. Certain types of noises or noise makers are more coveted than others (chitin beads are common, while furs are less common, and materials only gained from raiding the surface are rare and coveted).

Some noise making accessories could include:

Dangling metal, bones, beads, chitin, etc. that hangs off of their clothing or ears and jingle/clank against each other (in my drawing I show them as pretty uniform in shape and size, but they would probably be much more irregular than I depicted them)

Bells (metal or other materials) that are affixed to or dangle off of their clothing or as earrings.

Hollow bracelets, anklets, necklaces, or other accessories that are filled with rocks or beads.

Rattles tied to the body (made of chitin, dried hollow chaurus eggs, dried chaurus cocoons, beads, etc.) with leather or rope.

Flute or whistle like tubes made of metal, chitin, or dried and treated tube-like fungus that makes a woodwind-esque noise when air passes through it in a certain way. They have been designed to make noise easily from even the slightest movements.

Dried grasses (more temporary) tied to the body that make a swishy noise. More permanently, a similar thing can be achieved with hair. The hair can be sourced from Falmer (either through just cutting hair or through taking it from fallen enemies) or killed humans/mer/draugr. That sort of thing can also act as a kind of trophy.

Necklaces with various materials dangling close together that jingle against each other.

Various materials can be tied into braids or the leather ties in their hair as well.

Some textural accessories could include:

Beads. Since they wouldn't have the ability to tell the color of the beads, the patterning of beadwork would be based on the roughness, material, size, or shape of the beads. (I'm sorry I suck as drawing beads)

Furs. This wouldn't be as common since the Falmer likely don't have too much interaction with furry mammals, but some they may have access to that are big enough to make clothing/accessories out of include skeevers or trolls (and potentially rarely animals from the surface). A potential meaning of wearing furs could be as hunting trophies, but it could have other meanings as well.

Chaurus chitin would like be the most common material in Falmer attire, and depending on the part of the chaurus body, the size of the chaurus, or the life stage of the chaurus it was sourced from it could have different textures. Some chitin parts could include large spikes and deep groves, while other parts could be smoother and less rough. The use of this chitin in clothing could take advantage of this contrast in textures. Additionally, chitin or shells from shell bugs might be a different texture from the chaurus chitin. (it's unclear to me whether shell bugs are exclusive to the caves around the Forgotten Vale or if we should consider them distributed throughout Skyrim's underground)

The placement of textured components on the body could have their own meaning to it alongside what accessories or textures are being used.

Specific Falmer Subcultures

While most Falmer settlements we see in Skyrim are just a small-ish collection of huts and chaurus corrals, there are two distinctive settlements that are larger, seemingly more organized, and I like to think have their own distinct subcultures worth mentioning: Blackreach and the Forgotten Vale. The unique scope and environment of these Falmer cities (as I like to think of them) could lend to unique clothing cultures as well.

The Falmer of Blackreach have access to a vast Dwemer settlement and have has the space to spread out throughout it more fully since it seems to be more in tact than other Dwemer ruins we see. These guys would likely have a clothing culture much more heavily based on what the can access from these Dwemer ruins (metal scraps, leftover fabrics, etc.)

The Falmer of the Forgotten Vale would also have access to unique resources, such as Vale deer, Vale sabre cats, and frost giants for fur and leather. Additionally, materials accessed from the Chantry of Auri-El such as textiles from clothing, bedding, tapestries, etc. could give them a greater access to fabrics than other Falmer groups. We don't see many close Dwemer settlements to the Vale, so they would have less Dwemeri influence in their clothing than other Falmer groups.

I like to think that the Falmer's evolution exclusively underground has made them poorly equipped to handle the outdoors during the day and has made them particularly susceptible to sunburn, necessitating the need for covering for those in the Forgotten Vale who have significant settlements outdoors. With greater access to textiles and leather, they could use them as coverings when outdoors.

Armor

I actually have very few notes on armor, for two reasons. 1) I hate designing and drawing armor. It is the bane of my existence. 2) I really like the armor they have in game! I think they look awesome aesthetically, and I like how clearly they are made from chaurus chitin. Per usual, Adam Adamowicz's designs seem to have been the major inspiration for the Falmer armor, and he did a great jobs (even if it isn't the most functional looking armor ever).

(off topic but I also just want to add that he draws them with little hairs and tufts on their ears and I love it. ok that is all)

I do have a few thoughts about armor though.

Even attire made of textiles make noise when someone moves in them, and I can imagine moving around in armor, especially armor made of hard, insect shells would make a lot of noise when someone moves around in it. When you're relying on sound to navigate your environment and pinpoint potential threats or targets, wearing something making a lot of noise would not be ideal. On the other hand, getting into a fight unarmored would be a problem.

So here's my solution: heavy armor (see below) would only be worm within the camps/settlements where noise was already high and space is more cramped (and therefore more risky in a fight) as a sort of guard in case they were attacked. Those guarding the settlements along the outside might still wear armor as well, but less of it. Those going out to scout or hunt (if they do hunt) would wear as little armor as possible, and try to wear it strategically so that it wouldn't rub against itself and make noise. This is why most Falmer we encounter in the game are wearing little except for loin cloths and kneepads.

One more idea I have for armor is a specific armor piece. On the note of guarding or protecting a camp or settlement, I imagine the noises of it all (especially with the noise based headcanons I've laid out here) would make it hard to actually catch any potential threats when you can't see. A large slightly concave piece of armor worn behind the head could block out noises from behind the wearer, as well as a help focus sounds ahead of them.

That is all! Thank you for reading! A lot of these concepts around the culture of sound I think could also be applied to their buildings and even a culture of music, but those are posts for another time.

All of the concept art I used was taken from here and all of the Skyrim screenshots are from UESP.

[filurig]

OK I WENT AND SCANNED THE ZINE I MADE AND... here are most of the pages - so every middle "spread" has one left and right page on the back of it and then a bigger pic once its unfolded, but didnt include every side for every larger spread.

this basically explores a bit of folke and adrian's relationship - adrian, the Creature, ends up finding folke's brother's recently deceased corpse and imitates his appearence, the only real way for a basilisk in their world to learn to shapeshift into something.

So their relationship is a bit complicated. but also, it ends up eventually settling into something that isnt only full of bitterness...

[pianokantzart]

I know I've mentioned this before, but whoever worked on the script of The Mario Movie and decided to lay the groundwork for Luigi's Mansion by establishing that Luigi has a fear of dogs of all things needs a raise.

[screebyy]

A little crowlyon dawning comic wheee i finished it please clap

Next

I have lots more written on this but idk if i will do another comic or write part of it as a fic or some mix of both. im just very normal about them right now 🙂

ID/transcript below cut

Panel 1: Crow is walking down a path outside of the dreaming city with a brown cross-body messenger bag slung over his shoulder. Crow is holding the strap of the messenger bag and looking up in exasperation as he talks to Glint, who is floating beside him and speaking emphatically. Crow: “There's still time to turn back…” Glint: “Don't!” Crow: “But -” Glint: “You said you wanted to go through with this!” Crow: “I know but -” Panel 2: Close up of Crow’s eyes as he spots something off-screen. He looks startled. Crow: “!-”

Panel 3: Jolyon is standing next to a natural stone wall, looking away from the viewer. He is resting one hand on the wall and staring out at the Dreaming City watchtower and buildings in the distance, which are overtaken with taken corruption and several taken orbs hang in the air around the city. Crow is standing in the foreground, looking at Jolyon with one hand resting on his messenger bag. Crow: “Jolyon.”

Panel 4: Close shot of Jolyon turning towards the viewer, he is only visible from his shoulder to his nose so his expression is neutral and unreadable.

Panel 5: Camera is looking over Jolyon’s shoulder as he looks at crow. Crow looks at Jolyon with determination. He is holding the strap of his bag with one hand where it falls across his chest. Glint is transmatting away with an enthusiastic expression. Jolyon’s face is not visible.  Crow: “Thanks for meeting me” Glint: “ok good luck bye”

Panel 6: Close shot of Crow’s face. He is looking down and to his left, blushing lightly. He looks uncertain and slightly embarrassed. Crow: “I’m sorry if you… didn’t want to hear from me.” Jolyon (offscreen): “It’s fine.”

Panel 7: Close shot of Jolyon’s face. He is staring down at Crow with a distant, slightly pained expression.  Jolyon: “What do you want?”

Panel 8: Close shot of Crow’s hands gripping the strap of the messenger bag. He is twisting it with both hands, clearly fidgeting due to nervousness. Crow: “I’m…”

Panel 9: Side shot of Crow and Jolyon looking at each other. Crow is leaning slightly forward, while Jolyon looks entirely neutral. Crow: “I’m trying to make amends.” Jolyon: “Amends. For what?”

Panel 10: Close shot of Crow’s face. He looks confused but determined, and is looking up at Jolyon with a furrowed brow.  Crow: “For-... For Uldren, for everything-”

Panel 11: Extreme closeup of Jolyon’s eyes. He looks angry and his eyes are suddenly glowing with intensity as he glares down at Crow. Jolyon: “No. What specifically?”

Panel 12: Low angle looking up at Jolyon, who is glaring down at Crow with an intense, angry expression, bordering on hatred. Jolyon: “Tell me. What exactly do you remember?”

Panel 13: Extreme closeup of Jolyon’s mouth as he sneers, speaking through gritted teeth. Jolyon: “Crow.”

Panel 14: Shot of Crow’s face, he looks startled and distraught as he stares at Jolyon. Crow: “...”

Panel 15: Crow looks away to his right, looking ashamed. Crow: “I remember enough. I remember when things were good between us. And when they were… less good.”

Panel 16: Extreme close up of Jolyon’s left eye, he is looking down at Crow and looks alarmed. Crow: “I remember the garden.”

Panel 17: Wide shot from behind Crow. Crow is looking up at Jolyon. Jolyon is flinching and looking swiftly away from Crow to his left. Crow: “After that… things start to get confused. Honestly, I don’t understand everything that happened between us at the end… But I know it wasn’t what he wanted.”

Panel 18: Shot of Jolyon looking away, looking extremely upset as Crow talks. Crow: “So… I’m sorry. For all of it.”

Panel 19: Extreme close up of Jolyon’s eyes, he is squeezing his eyes shut and still looks emotional. Crow: “And so is he.”

Jolyon: “...”

Panel 20: Wide shot from behind Jolyon. Jolyon turns back to look down at crow, his face is not visible. Crow is still looking up at him. Jolyon: “Okay. Is that all?”

Panel 21: Shot of Crow’s face, turning down to look at the messenger bag at his hip. Crow looks nervous and is blushing with embarrassment. Crow: “Um…”

Panel 22: Close shot of Crow’s hand as he opens the messenger bag and reaches inside. A purple box is visible inside the bag. Crow: “No.”

Panel 23: Wide shot of Crow. He has pulled the purple box out of the bag, and is looking down at it, blushing slightly. In an inset panel, Jolyon is looking at him suspiciously. Crow: “Do you know about the dawning?” Jolyon: “Yes… The Awoken don’t celebrate it.” Crow: “I know.”

Panel 24: Close shot of Crow’s face as he looks down at the box. He is smiling wistfully, and blushing. Crow: “But… in the city, we give each other sweets, to say thanks. And… I don’t know. Now, it always reminds me of this time…”

The background shifts to a black backdrop, with white snowflakes falling quickly.

Panel 25: Extreme close up of Uldren Sov’s face in a flashback. It is dark, and snowing. Uldren is wearing a hood and is hunched over while looking straight ahead at the viewer. His hair is obscuring his right eye, and he looks serious and intense. Crow: “It was centuries ago. Back when the last city was just a tiny settlement.”

Panel 26: Close up of Uldren holding a pair of dark gray-purple binoculars, with glowing magenta lenses. He is resting his hand with the binoculars on one knee in the air. Uldren is wearing a dark blue shirt and black gloves with burnt orange detailing, and a long black cloak. Crow: “I… He was doing surveillance on earth. Keeping tabs on the people trying to build a sanctuary beneath the traveler.”

Panel 27: A wide shot from behind Uldren, who is sitting on top of a dilapidated building on earth. He is looking down on a festive nighttime scene. There are several buildings that have been partially destroyed and reclaimed by time, but dark silhouettes of people have made a home in them. The windows are all glowing with firelight, and the buildings have been decorated with glowing garlands and colorful flags. Between the buildings, many people are visible, holding hands, hugging, and waving at each other. It is snowing very hard, and snow is piled up around Uldren and the village. Four inset panels show closer views of people within the village.  The first shows a woman hugging a man from behind. The man is holding a steaming hot cake inside a baking tray, and is wearing baking gloves. The woman is pressing her face against his neck, and the man is turning towards her and laughing. The second panel shows a human man throwing his arm over the shoulder of a blue exo. The Exo is waving at somebody to the left, and the man is looking the other direction and lifting a tankard of beer in cheers. The third panel shows an Awoken person and a human woman sitting at a table. The Awoken is holding a warm mug of tea, and is smiling lightly at the human woman. The human woman is turned towards the Awoken and is leaning close to them. She has placed one hand on their arm tenderly. The fourth panel shows a closeup of two people, one with dark hair and one with light hair. The light haired person is cupping the dark haired person with one hand, and is leaning in to kiss their other cheek. The dark haired person is blushign and laughing with their eyes closed. Crow: “They had almost nothing. But they were celebrating. Sharing, and laughing.”

Panel 28: Another closeup of Uldren’s eye as he watches the scenes below him, he now looks sad and distant. Crow: “It was snowing, nonstop. It was so cold. And he was so lonely…”

Panel 29: Uldren is walking away from the viewer, through a dark pine forest covered in snow. His cloak is blowing in the wind.

Panel 30: Uldren’s ship is flying towards the Dreaming city in the distance, weaving between two cliffs in the reef. Snow is blowing in the ships glowing purple trail.

Panel 31: Wide, side view of Uldren as he walks through the snow-covered dreaming city. In the background, ornate arches and pillars can be seen, along with an awoken statue. Snow is falling hard, and it looks windy.

Panel 32: Shot over Uldren’s shoulder as he bangs loudly on a wooden door. His hood is up and his face is not visible.

Panel 33: Waist-high shot of Jolyon opening the door. Jolyon is wearing a green sweater with the sleeves rolled up, and gray sweatpants. Jolyon: “Hello?”

Panel 34: Side shot of Uldren rushing inside, tackling Jolyon with a hug. Jolyon looks startled, and is stumbling back inside the doorway as the snow blows inside. Jolyon: “Wha-”

Panel 35: Side shot of Jolyon and Uldren embracing. Uldren has buried his face in Jolyon’s shoulder, and Jolyon is cupping the back of his head tenderly with one hand while his other arm drapes around Uldren’s shoulder. Uldren is clutching Jolyon’s sweater with one hand. Jolyon: “Aren’t you supposed to be on earth? Why are you back so soon?” Uldren: “Why do you think? I was freezing my ass off.”

Panel 36: Close shot of Uldren’s face pressed into Jolyon’s sweater, he is smiling wide and blushing slightly. His hair is falling over his face and his eyes are not visible. Uldren: “Listen- this is kind of stupid, but… Do you want to bake something with me? Something sweet?”

Panel 37: Shot of Jolyon’s hands in present day, holding the purple box that Crow has given him. The lid has been removed, revealing that it is full of cookies. They look like italian almond cookes, covered in powdered sugar and slivered almonds. Jolyon: “Hah… you remember that?”

Panel 38: Crow glances away, smiling nostalgically and blushing lightly. Crow: “Yeah. We made… well, I guess they were kind of like almond cookes? There were almonds in them, at least…”

Flashback Panel 1: In the background, a memory from the flashback is visible. It shows Uldren and Jolyon standing in a kitchen. Jolyon is standing behind Uldren and holding his waist affectionately. Uldren is holding a mixing bowl on the kitchen counter with one hand, and is pouring something into the bowl with his other hand. Several ingredients are visible strewn all over the counter, along with piles of spilled dough. Jolyon: “Haha, what are you doing? You’ve got to measure.” Uldren: “Following my royal intuition.” Jolyon: “Your intuition kind of looks like cat puke.”

Flashback Panel 2: View of Jolyon and Uldren from the front. Uldren is mixing the dough with a wooden spoon, and looking down at the bowl with a soft smile. Jolyon is behind him, with one arm wrapped around his waist. His other hand is holding Uldren’s arm tenderly. Jolyon is leaning down to kiss Uldren’s cheek. Jolyon: “You’re making a mess of my kitchen, Sov.” Uldren: “I’ll clean it up.” Jolyon: “Will you?” Uldren: “For you? Probably.”

Panel 39: In present day, Jolyon is staring down at the tin of cookies, smiling faintly. Crow (offscreen): “We didn’t really have much of a plan…” Jolyon: “Uldren wasn’t big on plans. Or recipes.”

Panel 40: Jolyon says from offscreen, above the rest of the panel: “Whatever they were, they didn’t turn out very good.” In the panel, Crow is blushing furiously, looking nervously at a thought bubble to his left with a shaky smile. Within his thought bubble another memory is visible, of Jolyon and Uldren kissing passionately on a couch. In the background of the memory, several “BEEP” sound effects are visible. Jolyon is on top of Uldren, holding Uldren’s head in one hand while kissing his neck. Uldren is smirking, while pulling Jolyon’s shirt off with both hands. Jolyon (flashback): “Oven’s going off. We should probably get that.” Uldren (flashback): “I don’t give a shit.” Crow (present day): “Um. Yeah. They were kind of… burnt…”

Panel 41: In present day, Jolyon is smiling faintly, looking at one of the cookies as he holds it up in front of his face. Crow (offscreen): “These are better, I hope.” Jolyon: “Seems like it.”

Panel 42: Close up of Jolyon taking a bite of the cookie.

Panel 43: Crow is smiling enthusiastically up at Jolyon. Jolyon (offscreen): “They’re good.” Crow: “Good!”

Panel 44: Close up of Jolyon. His smile is falling, he looks seems distant and emotional as he looks down at Crow. His eyes are glistening with the first signs of tears. Jolyon: “I uh…”

Panel 45: Jolyon turning to his right, digging the heel of his hand into his right eye as his tears start to fall. He looks distraught, squeezing his eyes shut. Jolyon: “I should go.”

Panel 46: Shot over Crow’s shoulder, Jolyon is walking swiftly away, holding one hand over his face. Crow is looking after him, with one hand reaching awkwardly towards Jolyon. Crow: “Wait…” Jolyon: “Thank you.”

Panel 47: Shot of Crow’s face as he watches Jolyon leave. He looks startled and upset. Crow: “...”

Panel 48: Crow facepalms, looking frustrated and embarrassed. Crow: AUGH.

Panel 49: Crow is sitting on a rock on the cliffside, he is hunched over and propping up his face on one hand. He looks defeated and is sighing. Glint has re-appeared next to him, and looks enthusiastic. Glint: “That could have gone worse! He said they were good! How do you feel?” Crow. “Fantastic. Why did I let you talk me into this?”

[cubbihue]

the plot on earth: happening. everyone crowing around the lore: okay but tell us more about pixie office shenanigans please

Once, a new Pixie intern accidentally ordered Blue-White paper with 97 Brightness instead of Cream-White paper with 98 Brightness. It sent the entire Pixies Corporation into an uproar, and they tried to take over Fairyworld as a result. Y'know. To ban Blue-White paper from existence.

It took weeks for Jorgen to resolve it all and bring the Pixies back in line. After that event, interns had to take a 2-course seminar on the differences of printer paper quality before being tasked to order more printer paper.

Bitties Series: [Start] > [Previous] > [Next]

[daintylovers]

oh yeah

[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.

[skunkes]

something silly and badly formatted

[bunniebi]

outfits for the infamous ROs ^-^ (except O, Seb, E and LA... </3 but maybe in the future)

[elliethefroggy]

Picture this:

Tommy and Buck do not get straight back together after that first failed date. Buck doesn’t tell Eddie that it was a failed date, doesn’t tell Maddie about Tommy. He’s a little more insecure and never asks Tommy to meet him at the coffee shop.

Tommy is reunited with the 118, starts getting invited to all the barbecues, he’s still spending time with Eddie.

And Buck is on the sidelines trying not to be awkward, trying not to get in Tommy’s way and accidentally make Tommy uncomfortable, all the while trying to hide his longing glances every time he spots Tommy.

During all this, Buck is working on the new part of his sexually that he’s just uncovered. Maybe there’s a small reappearance of Buck’s 1.0 era where he sleeps around a bit with random men, excited to explore his bisexuality. But that probably doesn’t last long, because what our boy really wants is a long-lasting connection with someone. So the hookups, though fun and exiting and new, don’t last long, and he starts going on dates with men who are not Tommy.

Eddie and Tommy are still going to be hanging out together, only now Eddie thinks that Buck was feeling left out, so Eddie starts inviting Buck along with Tommy, and Buck can’t say no, because saying no would mean explaining just what happened between him and Tommy, and Buck’s probably a bit embarrassed by how he behaved at that restaurant.

And though Buck is still being a bit awkward, all that exposure to Tommy is going to make him relax a bit, and he’s going to get more and more comfortable around Tommy, more and more himself. Unfortunately spending all this time with Tommy is going to make him realise just how incredibly cool Tommy is (as if Buck didn’t already know) and how fun it is to hang out with him, and the longing glances are still there, but he’s hoping they’re discreet and he’s desperately trying to avoid checking out Tommy’s ass because Tommy ended things with him, and he’s trying to respect Tommy’s decision no matter how good Tommy’s ass looks in jeans.

Meanwhile Tommy is having the exact same problem. He’s getting to know Buck better, and the more time he spends with Buck the more adorable he thinks Buck is. But Tommy figures ‘wrong place, wrong time’, and keeps his own longing glances to himself while being quietly disappointed by what could have been.

Buck’s going to start coming out to people. Does he tell them that Tommy was the one who helped him discover his attraction to men? Does he keep it to himself? He’s far too earnest and honest, but at this point, Tommy has probably been hanging out a lot more with the 118, so maybe Buck doesn’t say anything because he doesn’t want it to be weird especially for Tommy (Buck remembering how Tommy said he was jealous of how close the 118 is, and Buck not wanting to ruin Tommy’s chances at also getting that closeness).

Buck’s going to be out and proud, having done a speed-run through his sexuality crisis, and has no problem talking about his dates with the 118.

Eventually, they’re all going to be at a gathering or something with Tommy there as well. Someone is going to casually ask Buck how one of his dates went, and Tommy is going to silently piece together that Buck went on a date with a guy, and everyone seems be aware of the gender of that date.

And Tommy’s going to be even more disappointing because, in his eyes, Buck is moving on from him, and maybe Tommy’s also a little jealous that it took so little time for Buck to come out of the closest, something that took Tommy decades to do.

But Tommy and Buck are going to be around each other more and more, always with someone from the 118 as buffer. And as they hang out, they’re going to get closer and closer, their crushes on each other getting bigger and bigger as it gets harder and harder to force themselves not to flirt with one another. These two have incredible chemistry together; it’s going to be impossible for them not to unknowingly flirt with each other. Maybe sometimes they accidentally slip up and get close enough to flirting that Hen starts side-eyeing them. Tommy will probably clock the times Buck slips up because he’s pretty observant like that, though he’ll try not to get too hopeful.

Then one night, when they’re meant to be hanging out with Eddie, Eddie bails on them at the last minute, so last minute that Buck and Tommy are already at the bar (maybe it’s trivia night karaoke). And for the first time since the disastrous date, they are alone together.

Maybe Tommy finally congratulates Buck on coming out and on doing it so gracefully (compared to Tommy who took years to work up the nerve).

Buck will bring up their disaster date, saying that he could have used a lot more grace that night.

Tommy will respond “You’re doing pretty well from where I’m sitting,” while trying so hard not to flirt even though he desperately wants to (Buck would also be struggling not to flirt).

And maybe Buck will mention that he could be doing a lot better actually, and then Tommy will ask what Buck means by that.

Buck will say that despite his best efforts, he still can’t stop thinking about Tommy, “You’re kind of hard to get over,” he’ll add.

“The feeling’s mutual,” Tommy will say, though he’ll probably say something way smoother than that.

“Yeah?” Buck will say, all hopeful, though trying to damper that hope.

“Yeah, I mean, you’re a catch,” Tommy will say, taking one hopeful figurative step to what they both want.

And before Tommy can regret what he said or try to retract it, before he can take that small step back, Buck will take a gigantic leap of faith “Want to try again?” he’ll ask, putting his hand on the table, near the centre, waiting to see if Tommy will meet him halfway.

Tommy will hesitate because he’s cautious regarding his heart. Buck will add “I promise not to mention anything about picking up chicks this time,” all earnest just like he always is. And Tommy will smile, and place his hand over Buck’s on the table, because how could he refuse Evan.

(And then they go make out in the car park)

[cactuslester]

I FEEL LIKE I'VE KNOWN YOU MY WHOLE LIFE

i. 14 year old phil's game // dan and phil ii. school nights // chappell roan iii. are dan and phil connected? // dan and phil

[scatterbrainedbot]

the trouble with being the one who survives is you must keep on doing it

inspired directly by @onionninjasstuff 's heart wrenching comic of Future Donnie's death (read it!!)