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anominous-user · 2 days

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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.

#honkai star rail #double indemnity #veritas ratio #aventurine #golden ratio #ratiorine #an attempt at analysis by one a-u #relationship analysis #you know what‚ i guess i can tag the other names of this ship #aventio #raturine #you could make a fucking tierlist of these names #um‚ dynamics (yk what i mean) dont really matter here in the analysis just fyi if youre wondering its general enough #also if you're wondering about the compilation thread - its not done. it'll take a while (a long while.)#this post was so long it was initially just a tumblr draft that i then put into google docs. and it ended up being over 2k+ words long #is this a research paper‚ thesis‚ or essay? who knows! this just started as just a short analysis after watching the movie on may 5 #final word count according to docs (excluding alt text): 13013 - 43 pages with formatting #i wish i could have added more images to this‚ 10k words vs 30 images really is not doing me any favours…#plus‚ i hit the character limit for alt text for one of the images.#if you see me mixing up british and american spelling‚ you probably have!#oh yeah. if any of the links happen to break at some point. do tell. i have everything backed up #there also may be multiple links strung together‚ just so you know.#I link videos using the EN and CN voiceovers. Just keep that in mind if the jump between two languages seems sudden.#I had to copy and paste this thing from the original tumblr draft onto a new post because tumblr wouldn't let me edit the old one anymore.#Feels just like when I was finalising my song comic…#(Note: I had to do this three times.)#I started this at May 5 as a way to pass the time before 2.2. You can probably tell how that turned out.#Did you know there is a limit to the amount of links you can add to a single tumblr post? It's 100. I hit that limit as well.#So if you want context for some of these parts... just ask.#I'm gonna stop here before I hit the tag limit (30) as well LMAOO (never mind I just did.)

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chloecherrysip · 1 year

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

#mario movie #mario movie spoilers #super mario bros #princess peach #super mario bros movie #super mario bros movie spoilers #cherrysip edits #mario movie was like ' let me just drop some wild new lore in here and then not come back to it in any way' lolol #DOES PEACH HAVE PARENTS BACK IN THE REGULAR WORLD THAT MOURN HER TO THIS VERY DAY????#i don't know how feasible this would be but it feels like you could do some research to look up reports of missing children matching her #description over the last couple of decades and see if anything intriguing comes up :O #but i do love how this makes the relationship between peach and the toads so much more emotional and meaningful #they're not just her subjects. they saved her and gave her a loving home!!! they are her family and she would do anything for them!!!#they cared for her and now she cares for them even if it requires self-sacrifice #(another intriguing detail: the castle already exists here. did the toads have another monarch before this???)#(have they just been making unsuspecting humans wandering through the pipe royalty for hundreds of years????? HMM)

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raven-at-the-writing-desk · 1 year

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inch resting…?

In one of Vil’s Yasmina Silk lines, he reveals that he didn’t actually visit the Scalding Sands (which is why I guess he doesn’t have associated vignettes or involvement in the actual event story). Rather, Trey bought the outfit for him as a souvenir because apparently (this was never said anywhere else else before) Vil had expressed an interest in the fashion of that country. Vil tells him to stop it because Trey is “spoiling” him (as well as like, everyone else because he’s “too considerate”) 😂 but I guess that doesn’t actually help??

Okay, kind of weird??? I never thought of these two are particularly good enough friends to the point where one of them just buys the other a present for no particular occasion…? They definitely speak on polite terms in some vignettes, but I didn’t get the impression they were good friends. I also kind of understand Trey dumping extra cakes on others because he does it to everyone, but getting a whole outfit for Vil from a foreign country?? That’s not even a “considerate” thing to do, that seems like going above and beyond. I feel like you wouldn’t do that for anyone except a really good friend (especially since it’s mentioned that the fabric is pretty nice quality). If Trey wanted to get something wearable from the Scalding Sands for Vil, he could have just gone with a smaller accessory, no??? Not a whole outfit which costs… who knows how much?? I guess Trey was okay with just asking for an extra outfit (from the Asims)??

Maybe I should revisit those vignettes 😂 and sniff out their friendship…

#twst #twisted wonderland #Trey Clover #Vil Schoenheit #disney twisted wonderland #notes from the writing raven #bruh if Vil never went to the Scalding Sands why does the card and Groovy art look like he did #I like to think Vil used the Film Research Club’s props to do an impromptu photo shoot for funsies/j #that could have been what the vignettes were about (if he actually had any)#I thought it would make more sense if Cater got it for Vil???#you know like in hopes of getting a collab or getting in Vil’s good graces as a fellow Magicammer

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cirrus-grey · 3 months

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Fuck fuck fuck fuck fuck the goddamn music-

I don't know the name for the technique but there's this thing that was in there that's the string players, like, tapping the instrument with the bow to create a more percussive sound and normally I wouldn't think too much of it but I swear to god it sounded like creeping spider legs. During the case set at Hill Top Road. With the very obvious references to the Buried and the Stranger and all the rest. Which dropped about a hundred Achives references including Jon's fucking name???

I have always respected the soundscaping they do at Rusty Quill but they're really going above and beyond for this show.

#i dont know if ill have any more coherent thoughts for this episode thb #my mind is just circling on 'celia knows celia KNOW tapes and manila folders??? doing her own research??? anything SPECIAL about #the ones that get read aloud?????#celia tma didnt know that much how does celia tmagp know did she talk to georgie and melanie after it all does she have news about them-#jon jon jon jon jon #lena worked for starkwell didnt she #jon-#did colin just fucking punch sam?????#j-#oh gwen you are in way over your head #dark coat does this worlds gerry work for starkwell too #celia KNOWS #JON #i hope people dont get too annoying about 'its really him' yall know it could just be an ai #SAM TALK TO CELIA ABOUT THE EMAIL FROM JON #i can send email - no shit really??'#...yeah. my brain's a mess right now #this is what i get for listening at 1am #the magnus protocol #7 give and take #tmagp spoilers #tmagp audio #my magnus protocol stuff #original post #queue cause i'll be at work when the episode airs

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skitskatdacat63 · 1 year

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“Do you think love can bloom even on the battlefield?”(Monaco 2010-2013)

#the caption is (mostly)a joke and i *do* think im being funny with it #but that quote just suddenly popped into my brain and I could not stop laughing #but honestly tho that is my motto for any f1 ship but particularly abt drivers on the podium being touchy #like 'yeah you just beat me but i can respect that and so im gonna hug you about it'#(yeah yeah ik them hugging probably isnt that deep but their affection to their competitors means to much to me emotionally <3)#i like that the red bull boys are always at the scene of the crime its like they started it in 2010 and then committed to it #im particularly insane about the sebson and martian ones but as always webbonso going above and beyond #nando really said fuck these weak mfs bro-hugging im gonna clutch mark like hes my lifeline even tho he just beat me #btw i did research into all of the past 24 monaco podiums for this but these had the most flavor and theyre all directly chronological #sorry ik the spain gp is practically upon us by now but im still in monaco hell #i gotta get all the monaco posts out of my system #monaco: all bangers all the time #also this was meant to just be a photo post but then i looked at the actual footage and it turned into a gifpost oops #sebastian vettel #mark webber #jenson button #nico rosberg #fernando alonso #martian #sebmark #sebson #webbonso #sico #f1 #formula 1 #monaco grand prix #monaco gp #we do a little bit of f1

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laundrybiscuits · 1 year

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(FINE I guess this is a series now. whatever.)

“He’s where,” says Steve.

“Off to see the wizard, my dude.” Argyle passes him a pipe. Steve’s not really sure where it came from or when Argyle packed it, but he’s got manners, so he takes a hit and hands it off to Jonathan.

“Murray,” elaborates Jonathan, on an exhale. “The…you know. Oh wow, I guess you’ve never met Murray either. That’s weird, right? I mean, you were there, you were just…”

“Babysitting, probably,” says Steve. “Wait, why is Eddie meeting this guy?”

Argyle gestures in a big loopy way. It reminds Steve a little bit of how Eddie waves his arms around. “Eddie’s on, like, a spiritual journey. A dream quest, but…real life. The realest.”

“Not spiritual like church,” adds Jonathan. “Like, gay spirit. Is that a thing? Shit, why doesn’t anyone know Murray.”

“I don’t know Murray either, man,” says Argyle.

“Is…Murray a real person?” Steve asks. He doesn’t think it’s an unreasonable question.

“Yes! Jesus. He’s real, okay? Nancy knows Murray, we—yeah. Nancy knows him.” Jonathan looks kind of dour and depressed, but he always sort of looks like that.

“How’s Nancy doing?” Steve doesn’t really want to know, but it seems like the polite thing to say.

“We’re fine,” says Jonathan.

“Okay,” says Steve, who hadn’t asked that at all.

“Everything’s fine,” Jonathan repeats. Argyle reaches over to pat Jonathan on the head, then takes the pipe from Jonathan’s hand.

———

“Hm,” says Murray. It’s hard to tell what he’s thinking behind all the facial hair and glasses. “Okay, I don’t usually do this, but…what the hell. Kiddo, you are way too young to be talking like that. Your life’s not over, and if you’re smart about it, it doesn’t have to be over any time soon.”

Murray sits back on the couch, kicking up his feet. There’s a hole in his left sock.

“You think happily ever after only looks like one thing? That’s the thought of a child. If you really want, you can make some kind of picket fence life for yourself, suburbs and all. But you’re a queer, so that means you don’t have to do that shit because nobody’s expecting you to anymore. You get to decide what matters to you.”

“I don’t know any way to be gay that’s not lonely as hell,” Eddie says.

“That’s because you’re an idiot and an infant,” says Murray gently.

“You don’t have a—a boyfriend.” It comes out a little too sharp and mean, but Eddie’s feeling cornered.

Murray laughs. “Kid, what did I just say? I don’t want a damn boyfriend. Some guy coming over here all the time, eating my food? Hell no. We’re degenerate homos, we get to decide what to keep and what to shove down the god damn garbage disposal. I got some arrangements in place, and that’s the way I like it. The whole lovey-dovey romance shit isn’t for me.”

Eddie draws his legs up, wrapping his arms around his shins. His boots are probably leaving marks on the couch, but Murray can deal. “I think it…I think that is for me. I want that to be for me. Um. In general.”

Murray actually tilts his head down to give Eddie a scathing look over the top of his glasses. “No shit, Joan Jett. Your whole ooh please push past my defenses to prove you love me schtick is visible from space.”

“Fuck,” says Eddie, knocking his head against his knees. He closes his eyes, humiliated beyond words, feeling scooped-out and awful.

“C’mon, it’s not that bad.” Eddie feels a tap on his arm, and when he looks up, Murray’s holding out a glass with about an inch of amber liquid in it. “We all go through something like that. It’s a rite of passage, just like it is to get so wasted you throw up on the stranger you dragged into a club bathroom. You’ll do that too. You’re gonna be messy and embarrassing anyway, so just enjoy the ride. And take the damn Talisker, it’ll help.”

Eddie takes the damn Talisker and knocks it back in one go, just to be an ass. Murray rolls his eyes but pours him another one.

“Ah, practical shit…” Murray scratches at his beard thoughtfully. “Been a while since I had to do this. Poppers are great, don’t overdo ‘em. Splurge on the fancy medical lube if you want but Vaseline or Crisco’ll do the trick just fine. And listen up, kitten, because you can ignore everything else that comes outta my mouth, but you can’t ignore this: always wrap it up. I mean always. I don’t care if he’s your soulmate, I don’t care if it kills the mood, I don’t care if he says he’s a blushing goddamn virgin. If he doesn’t want to wear a rubber, he doesn’t care if you live or die.”

Murray looks down at his own glass. For the first time, Eddie thinks he looks—tired.

“I know there’s probably a big part of you that doesn’t care if you live or die, either. But you gotta remember there’s people who do. The kid who sent you to me. He doesn’t want to go to your funeral.”

“Yeah,” Eddie says. It comes out too quiet; he swallows and tries again. “Yeah. I know. I’ve—been to funerals too.”

Murray barks out a surprised laugh. “God, you have, haven’t you? Think I was almost thirty, my first time. I’m sorry, Joan Jett, this isn’t a great time to be young and gay. Go make friends with some dykes, they’ll keep you sane.”

Eddie, who has held Robin’s hair back as she ralphed into a bucket after losing a Peeps-eating competition with Steve, has his doubts, but he just nods.

Murray looks at him for a moment, then takes his face between two big hands and kisses him on the forehead. It feels neither sexual nor familial, but something beyond all of the easy categories Eddie’s known.

“Now piss off,” Murray says. “Don’t get some crazy idea that this means we’re friends, or that you can start coming around whenever you feel like it.”

“So, just Tuesdays, Thursdays, and every other Sunday,” says Eddie, and ducks out before Murray can start cussing at him.

———

See, Eddie’s little crush on Steve is meant to be purely recreational. It’s fun to crush on unavailable guys he knows—way more fun than celebrities or whatever. It’s just nice, to feel his heart speed up a little when Steve’s around, safe in the certain knowledge that he’s never going to do a damn thing about it. It even feels good to hurt a little bit over it, achy and sharp, like pushing on a bruise.

Yeah, Eddie knows he’s a little fucked up. But he figures this is harmless enough: a secret little vice that nobody’s ever going to know about.

Apparently, everybody knows.

“Um,” says Jonathan, wide-eyed. “Was it…supposed to be a secret?”

“Yes,” hisses Eddie. “Because this is Hawkins, Indiana, and I don’t want to fucking die. Did we or did we not just have a conversation about the many and various perils this whole thing entails.”

“My dude, if you don’t want it to be, like, public knowledge, maybe don’t flirt with him so much?”

“Betrayal!” Eddie gasps, staggering around like he’s been stabbed in the back, because he fucking has. “An unjust hit by Argyle the Assassin.”

“Argyle the Assistant,” says Argyle. “I’m assisting you, bro.”

“I don’t flirt with Steve!” Eddie screeches. “We’re friends! I flirt with you two dickwads more than I do with Steve, because I don’t flirt with Steve!”

“You really do,” says Jonathan apologetically. “Kind of…a lot. Remember when we were out by the quarry, and you kept calling him princess.”

“As a joke!”

“Ohhh yeah,” says Argyle. “That was the day you, like…took his jacket, right?”

“I was cold!”

Jonathan grins. “Is that why you kept asking him how it looked on you?”

“As…a joke,” says Eddie, weakly. He’s starting to remember that it might’ve been even worse; the words do I look pretty in your clothes, Stevie may or may not have been uttered.

“Hey, man, it’s no biggie. That was a million years ago and he didn’t say anything, so you’re free and clear. Totally righteous.” Argyle throws an arm around Eddie, who curls into him sulkily. Argyle’s tall and solid and kinda hot, so it’s a real shame Eddie can’t crush on him instead.

Eddie sighs. “If Jonathan weren’t here, I’d ask you to make out with me until I felt better,” he says.

“What,” says Jonathan. “You can’t—I mean, you can, and I, uh—support you? Should I leave?”

“Aw,” says Argyle, and ruffles Eddie’s hair. “That’s sweet, dude. If Jonathan weren’t here, I would.”

“What is happening,” says Jonathan. “I’m gonna—should I leave? I’m gonna leave.”

Eddie whines, “No, c’mon, stay, we’ll do that seance. That’ll make me feel better too. Maybe we can resurrect my deceased heterosexuality.”

They don’t manage to raise any ghosts or any heterosexualities, but it does make Eddie feel a little better anyway.

#cw: reference to the AIDS crisis #fic: young man what do you wanna be #yup that's the new title. yup it's from the YMCA song by the Village People.#1) it's a gay disco standard 2) it represents the level of seriousness with which you should treat this series #I genuinely do not know if this will ever be posted on AO3 because I'm putting so little effort into making it a coherent story #instead of a vehicle for eddie + jargyle interactions #ALSO I do not actually know if pipes were super common in the 80s. I did zero research on any part of this. just go with it shhh

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starsundertheceiling · 2 years

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I’m probably a little late to the party (heh) but there’s something I’ve noticed concerning color theory and Max, and Max in general

When she is introduced to us as MADMAX, her situation with Billy makes her feel lonely and angry. She’s wearing red clothes (with a white stripe!) and her hair is down (letting her rage roam free).

In here, she’s clearly annoyed. She’s just left Billy’s car, Mr. Clarke made her stand before the class and named her Maxine when she just wanted to melt into the background and get over her first day at an unfamiliar school, still not thrilled about having to move from California.

Still, she’s zipped down, since those people didn’t do anything especially hurtful towards her and maybe she’s a little hopeful about them.

When she’s mad after an interaction with Billy she’s wearing red:

Darker red! She’s at school where she won’t have to deal with Billy for a while. She’s cooling like lava but there’s still one streak of the anger in the back of her head.

When the boys approach her, her zip-up sweatshirt is unzipped to show some of the color underneath. She’s happy! She will not let her guard down completely but she won’t hiss at them immediately! Still, she’s ready for disappointment and snapping right back to being fully red.

Yellow is not a lighter shade of red, but it’s definitely close on the color wheel. Closer to white, too! She is showing she’s not only mad, there also is softness inside her! It’s still a shade connected to red (anger) but yellow by itself is more of a happiness color. She wants to make friends but is still scared because of the new environment and Billy.

In the car with Billy (the scene where he wants to run over the party), the entire scene is shot in a way that’s barely letting us see her clothes. It’s mostly covered by hair, too, but we can see it’s still at least a little unzipped as there’s a bit of the yellow collar visible.

In the scene, she’s defending Hawkins saying, that it’s not that bad and that she can’t see any cows (yellow). She’s scared of Billy, so she’s trying to cover up her sympathy towards Hawkins and towards the boys (with red and her hair, Billy saw her get out of the car with the sweatshirt zipped up and hair down, now she’s covering her softness with what is familiar to Billy, so that he doesn’t see anything has changed, notice that softness and hurt her. That’s exactly what she does when she says she doesn’t know the boys trying to protect them from getting ran over).

Yellow! Fully yellow :) She’s happy to be shown weird pollywog-like creatures with the rest of the Party!

Right after Will gets possessed, her question as to what “true sight” means gets brushed off by all of the boys. She’s hurt and feels excluded, but her hurt makes her angry again. Next time we see her, she’s all red again.

“Party members only! This is non-negotiable.”

“I thought you guys wanted me in your Party!”

At the arcade! She’s already acclimated to Hawkins, and the arcade is her favorite place.

Alright, I’m getting tired and my third eye is slowly closing, so I’m going to wrap this up quickly, since I think I presented what the gist of the idea is.

In season 3, yellow, patterns, colors! She is now fully a member of the party! She has friends, she knows the secrets, El is back. This is the happiest she’s been.

Clothes are important in both of the girl’s characters! (El changes from murky colors to vivid patterns when she finds herself and there’s a post about El shedding layers of blue in season 4. I’d link it but can’t find it, I’m sorry!) There being a scene like this, with them fooling around with their clothes is basically the peak of happiness :)

Here Max gets really worried because of Billy. She’s feeling a bit guilty ‘cause that’s her step-brother that’s sowing chaos and hurting her friends. El is straining herself. The situation is looking BAD. Blue!

Beginning of season 4

Blue - she’s grieving and feeling guilty, Black coat - she’s hiding herself in a shell. She’s not particularly hiding her grief but she can close off at any moment.

(Btw Lucas is also wearing a blue shirt with some coats. I’d say he is sad because Max dumped him and doesn’t want to tell him things but the coats have a couple of colors because he’s hiding away his nerdiness in order to be cool :)

Now, the overcoat is blue with yellow elements - Max is being honest about her grief. She’s targeted by Vecna, the Hawkins gang knows she is SAD. It’s her last day, she can unfurl. The sweatshirt is unzipped and showing red and white underneath, the same colors we’ve seen her wear when we first met her. The girl that slammed the door of Billy’s car. The one that was scared of him. That girl is still inside Max.

Sometimes, she’s wearing this. Grief covered up with brownish-reddish... Red. She’s going back to her previous self, she is talking to Lucas again and he SEES her... But to get that shade of red you go more towards black on the color wheel. She’s not that vivid, fiery red anymore. There are bits of that girl deep inside her, but she’s too tired to make it her entire self. She’s tired.

#idk if this makes sense #i did not do research befor this i literally got this idea while changing clothes #and it works for the most part #maybe a bit delusional here and there #but i choose to choose being chill and just in awe of the costume department #i am also pretty sure you beautiful people have decoded this long ago #since the color theory makes a big part of the show #either way i love max #if she doesn't wear the prettiest colors in s5 then why should i live to see it #i hope SHE will be able to see it though #although blind max is beautiful; she doesn't deserve it :(#max mayfield #stranger things #lumax #elumax #elmax #not really color theory because i don't know the color theory :) literally just vibes #aaand i'm not gonna reread what i've written cuz i'm tired. hope it makes any sense.#but you're smart too so you can probably get the gist of what i was trying to say

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mrs-lockley · 1 year

Text

where the spirit meets the bones

Summary: Above, a merciful Sirena roams the seas of the East. Below, a lonely king seeks retribution. Your paths cross one war-torn night when you save the life of a man from the sea with feathered wings on his ankles and ears that point to the sky. Enchanted by your siren song, the feathered serpent king becomes determined to find you, even if he must wait for half a century.

Posted on AO3 here.

Pairing: Namor (K’uk’ulkan) x Filipina (Kapampangan)!Fem!Sirena!Reader

Word Count: 6.6k

Warnings: Mentions of colonization (burning of a Spanish flag in a sea storm but nothing graphic), mentions of drowning and burning (nothing explicit), slow burn (pun not intended), mutual yearning and pining, mentions of death and the afterlife. Physical descriptions of the reader include dark hair and eyes

Tagging: @justrunamok @artsynellyyy @theatreslave @musing-magpie @lostfleurs @alathan13 @velvetmel0n @mattmurdockswife @ameliachastain

Author’s Notes: Hello my darlings! After nearly two years, I have written my first fic. Please be gentle when giving feedback and I apologize if my writing is a bit rusty. But this fic is very loosely based on the Little Mermaid with some Philippine and Maya mythology.

The reader is Filipina, but from an unidentified region from the province of Pampanga, Philippines. Kapampangan is also the reader’s first language (and my second language) and does not speak Tagalog. This is the first part of a trilogy.

Translations: Kapampangan, Yucatec Mayan, and some Tagalog is used in the fic. For smaller phrases, translations are found throughout the fic in italics. For longer sentences in Kapampangan and Yucatec Mayan, translations are found at the end of the fic (with additional author’s notes).

Namor’s monologue is in italics in respect to his language. An online translating generator was used. If there are any errors in Kapampangan and/or Yucatec Mayan, please let me know and I will correct it.

How’s one to know I’d meet you where the spirit meets the bones in a faith forgotten land?

Lubao, Pampanga, June 1827

The moon was full when you rose to the surface, the night quieter than usual. Rain clouds begin to depart as the rain lightens into a steady downpour over the calming sea. The quiet after the storm, but your burning skin and aching bones say otherwise.

On the beach, a mother cries in relief as her daughter clears the water from her lungs, her arms immediately circling around her as she thanks Apong Díos and the angels above. Beside her, the father embraces his family with a joyous shout.

You had caught the girl wandering the beach earlier that evening at the peak of the rainstorm. It was high tide then, the water lapping too close and too angry as she ran along the shore. One moment she was playing on the sand, and the next, the ocean had tried to swallow her whole.

You fought against the current in search for her, your lungs aching for air as the water screamed in defiance. Your tail cramped as you dove beneath the surface, narrowly fitting between the crevices of the sharp rocks and stones. Only slivers of moonlight guided your path through the dark stormy waters.

But you found her a moment later with her head barely above water, her arms and legs thrashing to stay afloat. Her pleas for help were drowned over the sound of the beating ocean and pouring rain, falling deaf on human ears. The girl’s panicked movements only propelled her deeper into the sea, and it was a matter of seconds before she would draw her last breath.

Softly, you began to sing to her. At the sound of your voice, the girl began to still, her movements drawing to a halt as you approached her. Her eyes fluttered shut, but her breathing slowed as her body was calmed by your song. The water around you began to bend to your will the louder you sang, enchanting the creatures and tides around you into submission.

With ease, you wrapped your arms around the child and held them in a tight embrace as you swam to the shore. Her head on your shoulder, you continued to sing softly to her to quiet her mind and relax her body.

You returned her to the surface as you gently laid her body on the sand, your hand cradling the back of her head. In the distance, the yellow lights of a nearby village hut began to flicker with shadows racing across the window. Quickly, you brushed her hair out of her face and pressed a gentle kiss to her forehead, your hand squeezing hers.

“Gumising na.” Wake up.

At the sound of approaching voices, you released her hand and returned to the sea.

The little girl stands and holds onto her mother’s hands as they depart from the shore, but she hesitates. You watch as she tugs on her mother’s hands and turns to her, urgently pleading for her mother to listen. The mother gazes at the sea, her expression unreadable as her eyes search for answers. The girl turns and points, but her mother shakes her head and carries her in her arms as the father shields them both from the rain, retreating into the safety of their hut.

You ignore the sharp pang splintering in your chest before you turn, floating on your back with your arms outstretched and offering yourself to the sky. Up above, the clouds continue to depart as the rain slows into a whispering shower kissing your skin.

As you bask in the moonlight, you run your fingers over the curved surface of the golden pendant resting on your chest. It was the last relic of your past life, the only physical memory of who you were before the ocean had claimed you as its own. Tonight was far different than the last night you walked on land, but it was quieter nights like these where your mind wandered into the past. One by one, it all came back to you.

A gentle mother’s touch on your hand during a monsoon. A sister braiding your hair by the window. A father teaching you how to sail. A lover sneaking a kiss between dances.

The heaviness in your chest deepens, spreading to your neck and to your eyes as they sting with tears. With pieces of your past echoing in your mind, you look up to the night sky and beg for comfort. One hundred years you have served the ocean. One hundred years you have saved your people from drowning. One hundred years of protecting the secrets of the sea.

But it has also been one hundred years of loneliness.

You were unlike the other creatures who dwelled in the sea. While the sirenas feasted on men and dragged them to their deaths, you rescued them and returned them to the shore. The kataws walked on land and were mistaken for humans as they manipulated the water to their will, while you tamed the water to save the innocent. Siyokoys devoured mortals, but you loved your people who walked on the land and found beauty in their world. While you have the sea turtles and dolphins at your side, your heart remains heavy as they whisper behind you. You were not their kind, why would the ocean choose to have mercy on you?

Gazing at the moon with the water holding you close, you stretch your hands and pray. Why did save me? Must I always bear this loneliness?

The only answer you receive is the pause of rainfall and a full moon sighing in the sky.

Mérida, Yucatán Peninsula, July 1858

By the time you open your eyes, the last of the sun’s rays had settled under the sea with the cool ocean breeze tickling your skin. The dolphin who carried you whistles softly as you wake, its tail brushing against yours as it waits for your command.

“Dakal a salamat,” you whisper. Many thanks.

With a soft smile, you affectionately run your hands over the dolphin’s back as it clicks before disappearing into the sea.

You do not know how long or far you have traveled, but as you take in your surroundings, you realize that you have wandered into foreign territory. As the sky darkens into the blues, violets, and greens of the night, the ocean welcomes you into its soft embrace. Around you, the waves fall into a steady calmness. Just as you enchant humans with your voice, this new ocean comforts you in a strange way you could not quite understand, almost as if it were welcoming you home.

For a brief moment, you allow yourself to relax in these new waters by diving into its arms. As you swim beneath the surface, you find yourself finally able to breathe for the first time. You were far from your home in the Pacific, and you were far from the angry voices of the merfolk who haunted you.

“Alang cuenta,” the sirenas sneered at you when you had rescued stray fishermen from falling into their trap. Furious at your intrusion, your sisters lunged for you and tore at your tail and skin with their webbed claws and bared teeth. You screamed for mercy as you fought back, but their teeth and nails were stronger as they dragged you deeper into the darkness of the sea.

Either out of boredom or mercy, your sisters finished their prey upon you and left you in the cold depths of the ocean where the light of the sun did not reach. Hours passed before you were able to move and swim to the coral reefs where the dolphins and sea turtles found you nursing your wounds. With your arms covered in bites and your chest and tail in cuts, you found refuge in the dolphins and allowed them to carry you far away from your tormentors.

Rising to the surface, you push your hair back and run your hands over your face, suppressing a childish giggle at the realization of your newfound freedom. For weeks you traveled with the dolphins to escape their persecution. Despite spending the past one hundred years alone, for the first time in over a century, you feel nothing but relief. You were never welcomed by the creatures of the ocean back at home. Perhaps you could find a new home here.

You pause. Around you, the ocean suddenly grows cold as ripples slowly reverberate throughout the surface of the water. A chill descends your spine as you suddenly become breathless and frozen.

On the seashore, a man slowly rises from the water, holding a scepter adorned in engravings in one hand with his back turned to you. A golden plate rests on the back of his neck with matching cuffs on his arms, wrists, and legs reflecting the glow of the rising moon. A similar belt rests on his hips and above a pair of dark green shorts, the only article of clothing he wears. In the dim light, your eyes trace the broad expanse of his shoulders and the thick muscles of his back, arms, and legs. An air of regality surrounds him as he fully emerges from the water and stands in his full form.

This man is not human, you realize as he walks along the beach, the water yielding to his presence. He is a man of the sea.

Your brows furrow in confusion as he kneels on the sand.

Wings. There were wings on his ankles.

Something inside of you whispers to swim closer to the shore. With the waves beckoning towards you, you have no choice but to obey.

Holding your breath, you submerge yourself deeper into the water and hide behind a rock to avoid being seen. On the sand, the man with the winged ankles speaks softly in a language you don’t recognize.

“Jach tak in wilech,” he whispers and lowers his head. I miss you.

His movements and words are gentle as he places a white flower on the sand, his voice soft and low as he continues to speak. Your heart pounds in realization as you watch him revere someone who could not be seen. This was a grave.

Guilt consumes you as memories of your past life flood to the surface, your pendant weighing heavily on your chest. Turning away from the shore, you close your eyes to force down the tears that threaten to spill. How silly of you to think you could run away when your family rests at home across the ocean. Here, the water belongs to another. Who were you to leave your home behind and reside in a place as sacred as this?

Wiping at your eyes, you turn back to the shore and find the man speaking to the spirits. Even in the dim moonlight, you catch a glimpse of his face, his dark eyes full of emotion and grief.

Slowly, you reach for the sampaguita flowers in your hair and cradle them in your hands. One by one, you sing quietly to yourself as you place the flowers in the water. You linger for a few moments, your fingers running over the pendant on your chest as the water guides them to the beach.

“Patawad na,” you breathe. I’m sorry.

With a final prayer, you return to the sea.

On the beach, a soft hand reaches for the jasmine flowers. Dark eyes look to the horizon in search of the one who brought them, but the only answer given were the quiet waves lapping at the shore.

Gently, the man with the winged ankles places the white flowers on the sand, creating a trail from the grave and towards the spirit’s old home before disappearing into the water.

The only evidence of his arrival is soon washed away by the rising tide of the ocean.

Philippine Sea, near Manila, August 1894

Tonight was much like the last night you walked on land.

The air was laden with tension and uncertainty. Word from the fishermen and villagers had gone around that the conquistadors were having trouble with their colonies in the West. On the surface, you often found the land-dwellers running through the shadows of the trees in the jungle. The islands seemed to hum in anticipation at the whispers of a possible revolution.

In times like these, you turned a blind eye to your sisters drowning the oppressors on the beach. But your hands weren’t clean and bloodless either. As your sisters feasted on their flesh, you were the one to sing to them, distracting them with your sweet voice and innocent smile.

(You would do it again in a heartbeat, you soon realize. With each conquistador that steps into the water, another revolutionary returns safely home.)

But tonight was different from those quiet nights of revolutionaries lurking in the shadows of the jungle. Tonight was a war.

Lightning strikes through the stormy sky and fuels the flames licking at the near abandoned trade ship drowning in the fury of the summer typhoon. The white sails darken into ash as the Spanish flags fade into dust.

Around you, your sisters call to them with outstretched arms, promising to save them from a violent death. You do not sing to invite them further in, nor do you move when your sisters feed on their flesh. You watch silently as your enemies fall and drown to their death, your skin heated by the scorching fires of their sinking ships. With memories of your last night flashing through your mind, you gaze at the burning flags in contempt. It is only fitting that the last thing they see is your face before falling to their demise.

Suddenly, one of your sisters screams and points to the sky.

Aswang!*

The sirenas shriek and recede into the water as the remaining men on deck scream in terror. Lightning illuminates the sky once more and reveals the silhouette of the figure flying in the air.

Your breath stops in your throat as you glimpse at the figure, your eyes falling to their feet.

The man with the feathered wings on his ankles.

You look up at him, your heartbeat mirroring the resounding claps of thunder. The man with the wings pays no heed to your sisters retreating into the safety of the water. Instead, his gaze is focused on the colonizers clinging onto the debris of their sinking ships.

He raises his spear and strikes.

The ocean thirsts for violence as crimson stains its waters. With each strike of lightning and roar of thunder, the further the Spanish ships sink to the bottom of the sea. Screams and gunshots plague the night as the monsoon beats its anger onto the surface world. One by one, the colonizers perish by the sea, the bloodthirst of your sisters, or the man exacting his vengeance from above.

Your eyes widen. On the deck of the last ship sailing, a colonizer opens fire and aims his weapon at the sky.

“Saguli-!” You shout. Wait!

Everything moves in slow motion. Before the trigger is pulled, bursts of red, orange, and yellow blinds your vision. Your ears ring from the explosion as your left shoulder is consumed by a sharp pain that resembles shark teeth digging into your bones.

As your vision begins to clear, the rain continues to pour. Furls of silver smoke surround you as the burning fires devour the last wooden planks of the sunken ship. Despite the rumble of thunder and cries of the sea, the night is suddenly quiet with only the low crackle of flickering flames filling the silence. Your sisters have disappeared. The colonizers have perished.

In the sky, the man from the sea burns before falling into the water.

Without hesitation, you dive into the sea to search for him with the flickers of the dying flames guiding your path underwater. In the distance, the glint of his spear reflects the light of the surface fires with its owner sinking beside him, his eyes closed and his back covered in black ash.

Ignoring the pain in your shoulder, you wrap your arms around his torso and hold him close as you swim towards the surface.

Please be alive, you pray as you break through the water, your lungs aching as you carry the man in your arms. Please.

...

The monsoon begins to falter when dusk brightens the sky. The rain slows into a steady downpour and the wind turns from a thunderous gust and into a whispering breeze. Gray storm clouds weigh heavily in the sky, but cracks of sunlight peek through the horizon.

Tears burn your eyes as your cries echo in the cove. Pain engulfs your left shoulder and your body screams in agony from fighting against the violence of the waves and the rage from the skies. With a cry of pain, you push yourself up and untangle your arms from the body of the man you rescued. The man from the sea with feathered wings on his ankles.

A gasp of relief escapes your lips the moment you feel the steady drumming of his heartbeat underneath your trembling fingertips.

“Salamat,” you breathe, a childish laugh rumbling in your chest as you wipe at your eyes. “You’re alive.”

With a gentle hand, you brush his dark hair back. The dusky rays of sunlight kiss his tanned skin, casting shadows of the planes and contours of his peppered cheeks. Drops of jade sit beneath his pointed ears and mirror the jewel on his nose. Beads of white pearls and golden rings adorn his neck. A large plate rests on his chest with two deep blue serpents meeting in the middle, a large pearl sitting in the center.

In the dim light of the early morning, you cannot help but gaze in awe at the beautiful man laying in your arms.

Who is he? You wonder as you softly trail your hand from his hair and down his arm, a frown settling on your lips at the sight of dried blood and deep bruises at his side.

You glance back at his face once more. You should be afraid of him, a stranger from a foreign land who showed no mercy to his enemies. But despite the violence of the previous night, you remember the first night you saw him on the beach in the Atlantic. You remember his dark eyes full of grief, his gentle hands cradling the flowers, and his soft voice whispering in the wind.

The man sleeping before you now was not the same man that tormented his enemies at sea, but the man you met on that summer seashore.

Gently, you lean forward to caress his cheek and sing.

“Potang paintunan mu ku, lumwal ka, talanga ka. Akit me ing bulan a masala karin mikit kata. E na ka matakut, e na ku naman migaganaka, uling balu ku balang beni mikikit ka king laman ning bulan a masala.”

As you sing the last note, the man begins to stir.

Panic floods through you as you look down to find his hand wrapped around your right wrist. His grip is firm but gentle, with the heat of his skin warm against yours.

Swallowing the ache in your chest, you lean forward to cup his face with both of your hands, your thumbs stroking his cheeks as you gently press your lips to his forehead.

“Mikit tána pasibáyo,” you whisper. We will meet again.

With one last look, you squeeze his hand and retreat into the water.

…

Whispers of a man from the sea with feathered wings on his ankles spread across the surface. From the villagers and fishermen to the convoys and rulers, people spoke of his existence in hushed tones, afraid that speaking his name would incur his wrath. Parents passed his story to their children as folklore, but those who were old enough remembered seeing him walk along the beach before his footprints were washed away by the waves of the ocean.

K’uk’ulkan, they called him. The feathered serpent god.

The King of Talokan prided himself as a benevolent ruler and a protector of his people. For three hundred years, K’uk’ulkan kept their kingdom a secret under the sea. He lived, breathed, and bled for them, enduring the pain from the surface world to protect the Talokanil from the violence of the land-dwellers. For this, K’uk’ulkan reigned as their king, their feathered serpent ruler.

While tales of the feathered serpent were considered myths to the tribes on the beach, another name was whispered across the seven seas. From the clergy and the admirals, no one dared to speak the moniker out loud.

El niño sin amor, the Spanish priests warned. The child without love.

“Namor,” his enemies gasped as they looked up at him, their eyes wide with fear.

It had been five weeks since the Spanish ships departed from the Atlantic. Five weeks before he finally found the ships that had stolen the resources from his kingdom. As the monsoonal rain raged its wrath over the blazing fires of the splintering ships on a foreign sea he was not familiar with, Namor raised his spear and struck with no mercy.

It all unraveled so fast. One moment he vanquished his enemies, and the next he was swallowed by flames.

He vaguely remembered the ocean welcoming him as he fell from the sky. In the dark stillness of the water, Namor could only watch a dark shadow pass above him. Three hundred years he served his people as their king. Three hundred years he fought, protected, and bled for his kingdom. Maybe just this once, he could overcome the trials in Metnal* and leave the crown behind.

But the gods had other plans for the King of Talokan. Behind the dark veil of his eyes, a soft voice called out to him. The voice was different from the songs of the Talokanil and sung in a language he did not recognize. Her voice was lower, deeper, but sweet and comforting.

A siren song.

With eyes as heavy as stone, Namor willed his body to move, his hands grasping at rough skin. It was a song that willed him to return to the land of the living, willing him to carry the crown and breathe.

For a brief moment, he felt the ghost of her hands stroking his face and her lips on his skin. But when he opened his eyes, he found himself alone in a cove with the monsoon slowing into a whisper.

Running a tired hand over his face, Namor sits up and breathes a deep sigh. His lungs ache from the sharp exhale as he takes in his surroundings. Straight ahead, the wide entrance of the cove welcomes the quiet low tides of the sea. Despite the storm clouds, the horizon brightened into hues of deep blues and violets with the distant call of songbirds singing in the distance.

In the calmness of dawn, the King of Talokan could still hear the soft whispers of the siren song singing to him in the cove. Like a fog, his senses were enveloped by her, his skin prickling at the memory of her touch and his ears mistaking the sound of songbirds to the likeliness of her voice.

As he stands, his eyes flicker to the reflection of the rising sun in the water, a small burst of light catching his gaze. Ignoring the pain in his back, Namor rushes to where the edge of the rock meets the sea.

His heart pounds and his head spins as he cradles the item in his hand, his breath halting in his throat.

In his hand was a golden necklace with its delicate chain torn in two, a pendant of a small flower resting in the center.

The same flower he found on the Yucatán seashore.

“Yaan in kaxtikech,” he breathes. “Ma importa u tojol.”

I will find you, no matter the cost.

Philippine Sea, December 1910

It had been sixteen years since Namor heard you last.

The skies disagreed with him when he returned to the sea where you rescued him. For several months, the monsoons raged throughout the region. Time to time, he encountered trade ships from the North, South, East, and West sailing through the merciless monsoons. Other times, he found war on the sea with different flags flying through the wind and crimson being spilt on the waters. Echoes of gunshots, fire cannons, and war cries sounded throughout the night with the tumultuous tidal waves consuming everything in its path.

With each passing ship, Namor heard the distant sound of the siren songs calling to the unsuspecting sailors and soldiers. With their heads barely above water, he watched the sirens bewitch their prey, their eyes glassy and unseeing before falling to their death. More than once, he found himself entranced by their voices. But each time his ears registered their harmonies, he turned away.

Their voices were beautiful, but they were not you. They were not his sirena.

Only you were the one to enchant the feathered serpent king.

Tonight was different from that summer night, for it was the start of the dry season. Up above, the moon glowed brightly in the night sky without a single cloud in sight. The luminous glow of the moon reflected on the surface of the water, but its reflection was distorted by the growing ripples and the quiet tide of the sea.

The air cooled his skin as Namor reached the surface, his back turned to the full moon. It was almost as if no time had passed since the last time he was in the cove. Although the tides were lower, Namor could still hear the distant melody of your song echoing throughout the cove. It was as if he were drowning in you all over again.

Sixteen years ago, he first heard your siren song. But it had been fifty-two years since he first met you.

A deep ache ate at his chest that particular night. After distracting his generals and evading their watchful eyes, Namor sought refuge on the sand. For three hundred years, he reigned as the King of Talokan. When the crown became heavy to bear, he would slip away from his advisors and find solace in visiting his mother on the surface. He carried the souls of the departed in his heart and their memories in his mind, but sometimes the water suffocated him. Nearly two centuries have passed since he last laid his mother to rest and cleaned her bones, but her memory was clear as day in his mind. He may have been born in the water, but his mother had walked on land - it was all in his blood.

“The Talokanil look to me as their King, their God. I would do anything for them,” K’uk’ulkan whispered as he gently placed the water lilies on her grave. “Just as you did everything to protect me.”

He loved his people just as they loved him. He did not regret taking the throne at a young age and the responsibility of leading and protecting them, but there was a heaviness growing deep inside his chest. An emptiness that he often ignored, but was constantly consumed by its hand.

He remembered watching her hair turn silver and the fine lines settling on her skin as he remained young. In the eyes of many, he was still a child. Yet, he carried the years inside him as centuries passed, watching the people he loved age before they breathed their last breath.

“Every day I see our people grow old, but I remain young and know one day I will mourn and miss them as much as I miss you, na’*.”

The only memories K’uk’ulkan had of his father were the stories recounted to him by his mother. When he sat on her knee, he remembered the smile on her face as she showed him the bracelet she wore on her wrist. Tracing the pearls with his fingers, he could feel his father’s love radiating from each bead. Despite their circumstances, he admired the love his father had for his mother, the same love that he carried in his veins.

“I may be King, but I stand at the throne with no one to share it with, and sleep with no one to hold at my side,” K’uk’ulkan whispered. “I am lonely, na’. So incredibly lonely.”

He wondered what it would be like to love just as his parents did. To have someone to wake up next to, and to fall asleep with every night. To hold and be held by the arms of someone who loves you.

The King of Talokan did not expect an answer, nor did he expect to see white jasmine flowers drifting towards him on the seashore.

The very same flower that rests in his hands now.

The petals are soft in his hands as he places it on the quiet whispers of water. In the beginning, Namor thought of the flowers as a strange coincidence. He knew that such flowers were native to the lands in the East, but he had seen trade ships sail across oceans and between continents. It was possible that cargo could have fallen through the cracks.

Initially, Namor tried to ignore it and stop himself from jumping to conclusions, but something foreign gripped his heart. A small glimmer of hope that maybe, just maybe, there was someone out there meant for him to love and be loved.

It had all come together when he found your necklace on the rocks.

For sixteen years, your siren song haunted Namor. He had met sirens and other merfolk throughout his lifetime, but there was something different about your song that called to him. Other siren songs were meant to hypnotize their prey before they drowned or were sacrificed to water deities. Their songs meant destruction to anyone who heard their voice, but your song was sweeter, more gentle. Rather than death, your song brought him back to life.

That was something he still did not understand. Why would you save him?

With the jasmine flowers as an offering, the King of Talokan begins to sing.

“X ciih x ciichpan u tz’ u likil yook kaax; tu bin u hopbal tu chumuc can caan tux cu ch’uuytal u zazicunz yookol cab tu lacal kaax chen cici u tal iik u utz’ben booc.”

As he sings, the tidal waves begin to slow into a lull. The ocean did not dare to drown his melody.

“Pitah nookeex luuz u kaxil a holex ba teneex hee cohiceex uay yokol cabile x zuhuyex x chupalelex hel u.”

The water stills on his last note, but the ocean breeze carries his lullaby throughout the cove. His heart beats heavily, his grip tightening on the necklace as he turns. Dark brown eyes flicker to every corner and crevice of the cove and his ears strain to hear any sudden sounds that could indicate your presence.

It is not often that the feathered serpent god sings. Rare and far in between, the only times he ever sang with his heart was with his mother. She taught him the songs she learned when she was a child on the surface, especially this song.

“When I was young, my friends and I would gather and sing this song to keep and bring back a lover.”

“Did it work?”

His mother smiled sweetly at him and playfully poked the tip of his nose. She could not help but laugh when he scrunched his face. “It did. This song was how I met your father. It is the reason you are here.”

He holds his breath as he waits for your arrival in the cove. With each heartbeat echoing in his ears, a heaviness begins to settle in chest. Hope turns to fear, its icy hands crawling at his skin as the waves rise with the tide.

Shadows of the waves dance across the dimly lit walls. Above, the stars whisper to the moon as the celestial beings await your arrival.

Swallowing the growing ache in his heart, Namor turns his back to the moon and starts his way towards the darkness of the cove.

A small splash disturbs the silence.

“Maryu ka man kabug ning salu mu, saingsing mu panamdaman ku.”

The King stops in his tracks.

“Balu ku, atindian ku.”

It is you. His sirena.

“Akit me ing bulan a masala, karin mikit kata.”

Like ivy growing around a stone, your song ensnares him.

“E na ka tumakut, e na ku naman migaganaka.”

Slowly, he turns around. Underneath the silver halo of the bright moon, you rise to the surface.

“Uling balu ku balang bengi mikikit kata king lalam ning bulan a masala.”

Hanging onto each word, Namor walks towards the edge, his senses enveloped by you. Your voice is soft and deep, comforting and captivating as you swim closer to meet him.

“Parati mu sa’ng tandanan, muran man atiu ya ing bulan.”

Your dark eyes meet his gaze as you look up at him. His eyes never leave yours as you sing the final note with a small smile gracing your lips. Time seems to still, his heart skipping a beat as you finally meet where the land meets the sea.

You are more beautiful than he could have imagined. White jasmine flowers adorn your dark hair like little stars shining in the night sky. In the moonlight, he catches a glimpse of your dark green tail, its scales reflecting the glow of the moon beneath the surface of the water.

His sirena, his lool.*

He finally found you.

The feathered serpent god slowly falls to his knees right in front of you, his head bowed in respect.

“Because of you, my people still have a King,” his voice is gentle as he speaks. “You saved my life, and I will forever thank you.”

He still remembers that morning when he returned to his kingdom. For almost a week, Namor had left Talokan in search of the Spanish ships across the Pacific and placed his leadership into his advisors and top generals. This was not the first time he left to protect the borders and identity of Talokan, but it was the first time he did not come back on the day he promised.

Fear flooded his mind when he fell through the sky. He was always strong enough to destroy his enemies, but he was never this defenseless when his unconscious body hit the water. Any remaining survivors could have exploited his lack of defenses, but he was stunned to wake up in a sea cove with his wounds nearly healed.

You reach for him, your gentle hands cradling his face as you silently plead for him to look at you. Almost hesitantly, he follows your command.

“Who are you?”

He has many names, but he wishes for you to call him only by one name.

“My people call me K’uk’ulkan.”

K’uk’ulkan closes his eyes and leans into your touch as your fingers delicately trace his face, your voice enchanting him once more as you repeat his name.

He remembered your palm caressing his cheek and your lips on his skin. As King of Talokan, he often hid this soft side of himself away from his people. But with you, his walls crumbled like tidal waves dissolving castles in the sand.

Pulling himself out of his trance, he opens his eyes and covers your hand with his own, his thumb lightly tracing over your knuckles.

“What is your name?”

Your voice is quiet as you speak, almost as if you are hesitant to reveal yourself.

“Y/N.”

A beautiful name for a beautiful soul.

K’uk’ulkan repeats your name as he grasps your hand and gently raises it to his lips.

For a brief moment, the King catches a flicker of sadness in your eyes, but it vanishes as you conceal it with a small smile.

Little did he know that he is the first person to call you by your real name and touch you with such care in two hundred years.

Not wanting to frighten you, K’uk’ulkan softens his voice as he speaks. “I believe I have something that belongs to you.”

Confusion passes over your face, your brows furrowed and your lips parted in a silent question.

Although he did not know the importance of your necklace, he noticed the rust and scratches that eroded at the delicate metals. The necklace was worn with love, but it was crafted by human hands and not intended to withstand the cruelty of the ocean. With care, he brought the necklace to his jewelers to restore it to its former glory with the addition of two pearls and the revived jasmine pendant in the center.

A sharp gasp escapes your lips as he presents your necklace to you, your eyes wide as they brim with tears.

“May I?” He asks quietly.

You nod and bow your head.

With soft hands, the feathered serpent god leans forward and places it over your head. Once it settles over you, you cradle the pendant and pearls in your palms in awe.

“I thought that this was gone forever,” you whisper as you look up at him, a stray tear streaming down your cheek. “Thank you for bringing it back to me.”

“Nothing is gone forever, only lost until it is found.” K’uk’ulkan cups your face gently, his warm hand brushing away the tears that had fallen down your cheeks.

His heart warms at the sound of your soft laughter and the sight of your smile. How true his words were. In the fifty-two years he had met you, he thought you were a dream, a possible figment of his imagination that his mind created to cope with the growing emptiness in his bones. But you were real. You were the one watching over him when he found the flowers on the seashore and rescued him from the scorching fires that raged across the sea. He vowed to find you, but he had gotten it wrong.

Each time, you were the one to find him.

Looking into your eyes now, he finds himself drowning in them. Dark, deep, and inviting, a silent storm brewing inside of them. The King of Talokan had seen eyes like yours before– eyes that look young, but have seen years of pain, heartbreak, loss, and grief– yet, there was a vulnerability to them. Despite the centuries you carried in your heart, he knew and understood the violence you endured to be this kind.

You thread your fingers with his, your hands locked in a delicate embrace as you begin to pull yourself away from the rocks and swim closer to the waves.

You call his name tenderly, your voice a soft plea. “K’uk’ulkan.”

With a gentle tug on his hand, the feathered serpent god descends into the water.

Come with me.

There is no song to entice him. It is only you.

Long ago, K’uk’ulkan heard tales of a red string of fate that tied two soulmates together from the Far East. Perhaps it is the red string that pulls him closer to you now as you guide him deeper into the water, your hands entwined together, your lips whispering against his and your tail curling around his legs. With your dark eyes and gentle voice, he has no choice but to follow.

Only the bright full moon bears witness to the reunion of the sirena and her feathered serpent king disappearing into the sea.

Translations

Alang cuenta (Kapampangan) - Useless, no meaning

Aswang (Tagalog) - Monster

Potang paintunan mu ku, lumwal ka, talanga ka (Kapampangan) - When you look for me, go outside, look up

Akit me ing bulan a masala karin mikit kata (Kapampangan) - We will see each other when there is a bright moon.

E na ka matakut, e na ku naman migaganaka (Kapampangan) - Do not be afraid, do not worry.

Uling balu ku balang beni mikikit ka king laman ning bulan a masala (Kapampangan) - I know one night we will meet underneath a bright moon.

Na’ (Yucatec Mayan) - Mother

Metnal (Yucatec Mayan) - The Yucatec Mayan term for the Underworld. Not to be confused with Xibalba, “the Place of Fright.”

The Flower Song (Yucatec Mayan) - 1, 2

The Flower Song is originally ancient Maya lyrical poetry from the Songs of Dzitbalche. According to John Curl, the Flower Song was a “rite” to keep a lover that was traditionally sung by a group of women–typically under the supervision of an older woman– and performed under the moonlight. Later parts of the poem mention offering plumeria flowers to create a love potion.

For the purpose of this fic, K’uk’ulkan learned the song from his mother.

X ciih x ciichpan u tz’ u likil yook kaax; tu bin u hopbal tu chumuc can caan tux cu ch’uuytal u zazicunz yookol cab tu lacal kaax chen cici u tal iik u utz’ben booc - The most alluring moon has risen over the forest; it is going to burn suspended in the center of the sky to lighten all the earth, all the woods, all the lights shining on it all.

Pitah nookeex luuz u kaxil a holex ba teneex hee cohiceex uay yokol cabile x zuhuyex x chupalelex hel u - Take off your clothes, let down your hair, become as you were when you arrived here on Earth.

Maryu ka man kabug ning salu mu, saingsing mu panamdaman ku (Kapampangan) - Your chest/heart will feel heavy when we are apart

Parati mu sa’ng tandanan, muran man atiu ya ing bulan (Kapampangan) - Do not forget that the moon will be there when it rains.

For the complete lyrics and song, please refer to the YouTube link here.

#namor x reader #namor x fem!reader #k'uk'ulkan x reader #namor x filipino!reader #namor x filipina!reader #namor x woc!reader #namor x asian!reader #namor imagine #namor x you #the amount of research i poured into this to make sure i did it right- if there are any errors please let me know #please be gentle with your feedback too #I'm sorry for using emojis but i do not know HOW to make a nice banner like some y'all between paragraphs

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little-mouse-adventures · 1 year

Text

A Timeline of Events in the Artemis Fowl Series

If anyone's interested, I did do an actual analysis for where I pulled some of these dates from. But because I cannot type succinctly to save my life, it's 5,000 words long, so that's below the cut. I also put the timeline there again, but in three separate images, so hopefully they load well enough to be fully legible if the above isn't.

A thousand thanks to @sadbitchapologist and @zahnie for their help and advice with this, despite neither of them having any more than the barest interest in the series and therefore having no clue what I was on about. Thanks also to @orangerosebush for fielding completely out-of-the-blue questions about the French school system, so I didn't have to attempt to navigate web search results to figure out what mandatory gym classes were like for the sole purpose of plotting Luc's birthday on here.

An Analysis of the Timelines in the Artemis Fowl Series

A Brief Introduction

The Artemis Fowl series is made up of eight books covering a range of years and events. I wanted to see how accurate the timelines present in the books were, as well as try and plot out some other details implied in the novels but not explicitly stated, to have a better understanding of the overall world-building. To that end, I went through the series and made the above timeline. I colour-coded it based on the relevance of the specific items to certain categories, namely Humans, Fairies, Villains, and the Series itself. This does mean that some things could have fit into multiple categories. For instance, you will see some items involving Opal categorized as Fairy-Specific (such as her college years, as those are fairly neutral to the main plot or her villainy), Villain-Specific (such as her setting up her emergency fund, as that is mostly related to her schemes as opposed to relevant to her existence as a fairy, or part of the main plot of the series), and Plot-Specific (such as her opening the Berserker Gate, the primary plot point for the final book).

Before we really delve into things though, we should establish the baseline assumptions I was working with. Firstly, I am only using the original series. I have not used anything written in The Fowl Twins trilogy, given that those books seem to ret-con a considerable amount of the original information, and that is far too many headaches to give myself. Any supplemental series information, such as the short stories found in The Artemis Fowl Files, or anything from interviews is also not included. The premise here is: using just the original books, what is the event timeline of the world? The second thing we need to establish is that I am using the North American releases of the novels. I did make notes on where each bit of information comes from, but there isn’t really a citation style for this kind of thing, so I’m not sure how relevant that is. The third assumption is that the first book takes place the year it was originally published. According to my copy, the original publication was 2001, with the first American paperback edition coming out in 2002, and the first mass market paperback being released in 2003. This means our starting point is in 2001.

For sake of clarity, this analysis will start with setting the dates of the books and continue on from there.

The Basics of The Books

With that out of the way, let’s talk about the first book, Artemis Fowl (AF). It is actually not until the very end of the book that we get a solid answer for when it takes place. It’s only in the last few pages of the novel that Angeline Fowl leaves her attic room after all the plot points are tied up and announces that it is Christmas Day. This might be cause for concern – Angeline had not previously been established as a particularly reliable narrator – but given that we are asked to believe that Holly’s ‘feel better’ mood booster worked, and that neither Butler nor Artemis balk at or question the pronouncement that is Christmas Day, we’ll accept that it’s true and move on. This means that, with Butler’s earlier announcement that he was stuck doing four months of stakeout, we can say with a fair amount of certainty that Artemis obtained and translated the Fairy Book in September 2001, and managed to capture a fairy in December of the same year.

Moving on to Artemis Fowl: The Arctic Incident (TAI), we are given a decent chunk of information, albeit spread out a bit. The first is the announcement that the ransom drop for Artemis Fowl I is to be held on the fourteenth. The fourteenth of what, you might ask? Well, we are told that Artemis is currently thirteen years old. Clearly, things are past September 1, 2002 (we know Artemis’s birthday is September 1 based on information in both the fifth and seventh books). We are also told that Luc Carrere has been trading with the goblins for six months, starting in July. That puts us in either December or January, but we can narrow it down further since Artemis gives us another helpful clue. He mentions they are not expecting to see the dawn while attempting to rescue his father in the Arctic. There are only a few latitudes on Earth where polar night (of any type) occurs, and at Murmansk, polar twilight occurs between December 10 – January 2. Combining all of this, we learn that TAI takes place December 14, 2002, give or take a few days to either side.

This can be corroborated by information in Book 3, Artemis Fowl: The Eternity Code (TEC). After Holly heals Artemis Senior, we are told that it takes over two months for him to wake up. Since we are specifically told two months, as opposed to two and a half or three, we can conclude that the events of TEC take place in March 2003. Mulch gives us some information that confirms this. He was living in LA “less than four months ago,” and since he was conscripted to help with the events of TAI in December, a March plotline fits the bill. We are given further confirmation as well: Spiro mentions that Artemis will be fourteen in six months. A specific date for Artemis & Co.’s attack on Spiro’s Needle can be pulled from the throw-away line that Pex and Chips are “burying” Mulch on the full moon. A quick web search tells us that the full moon in March of 2003 takes place on March 14, and the rest of the events in the novel take place roughly two days to either side of that.

In Artemis Fowl: The Opal Deception (TOD), the fourth book in the series, we are given several very clear indications of when the events take place. Firstly, Artemis is contemplating that at fourteen years and three months old, he is the youngest person to successfully obtain The Fairy Thief. Based on previously noted details that his birthday is in September, the events of TOD must take place in December of 2003. Additionally, we are told that things are the middle of winter and Opal has been in a coma for eleven months and counting as of the end of TAI, another December plot.

Artemis Fowl: The Lost Colony (TLC) requires the most math and interpretation so far to figure out when it takes place. We know Artemis is still fourteen, so the main events clearly happen sometime between January 2004 and September 2004. Beyond that, we are using a fair amount of context clues. Artemis and Butler have evidently been traveling for four months looking for demons, so we are dealing with events in at least May. But that still leaves us several summertime months to work with, so to establish a timeline here, we will need to look forward a bit. In the sixth book, Artemis Fowl: The Time Paradox (TTP), it’s noted that Artemis is not yet fifteen, and has, on multiple occasions, spent the full moon in the study. Ergo, he’s spent at least a few months back from Hybras. If he has been back for two months and not yet turned fifteen, he would have had to have returned by July at the latest, and since he returns almost three years later than he leaves, we are looking at him returning in either May or June. This would have him disappearing to Hybras – and by extension, dealing with the earlier events in the book – in June, July, or August. After his conversation with Minerva, he notes to Butler that they “are planning a June wedding,” which wouldn’t make sense to say if they were currently in the month of June. From all of this, we can extrapolate that the first three-quarters of TLC take place in late July or early August 2004, with the triumphant return of our intrepid heroes occurring in June 2007.

As previously stated, TTP mentions that Artemis is still not fifteen, but is nearly there. He has also been home again for at least two months. This would put the events of the sixth book in August 2007. At least, the events set in the current time period. TTP does bring back time travel, and with it some problems. We are told that Artemis and Holly jump back nearly eight years to Artemis being ten and trying to fund searches for his missing father. This would put the events of the past in early 2000. However, other details presented regarding Artemis Senior’s disappearance, which we will discuss later, make that impossible. Artemis also admits, in TEC, that he was eleven when his father disappeared, not ten. If we take a bit of creative license with our interpretations and base the time-jump to the past on other presented information as opposed to the dates given in TTP, we can say that Holly and Artemis instead return to early 2001. This lines up with further details, such as the sinking of the Fowl Star (as calculated a few paragraphs down in this analysis) occurring in December of 2000, and the textual confirmation in TTP that it’s barely two months past that sinking when Artemis brokers the deal(s) regarding the silky sifaka lemur. Since, at the end of the day, the time jump impacts very little in the grand scheme of things, and the year 2001 actually fits in better with other textual evidence and events, that’s what I’m going with for this timeline.

The seventh book, Artemis Fowl: The Atlantis Complex (TAC) gives us a very helpful base point! It takes place on Artemis’s fifteenth birthday, September 1. From our previous results on setting dates for book events, that would be September 1, 2007. The sections in which Butler and Juliet are fighting mesmerized wrestling fans and meeting up with Mulch are noted in the novel as happening “the day before,” which would fall on August 31, 2007.

Artemis Fowl: The Last Guardian (TLG), the eighth and final book in the series, creates some problems. If we assume that Artemis starts receiving treatment for his Atlantis Complex immediately after diagnosis in TAC¸ that would put him receiving treatment in September 2007. We are told he is certified as cured after six months. Yet we are also told that the rest of the events of the book take place in the week or so leading up to the Christmas holidays. Everything so far has said that the Artemis Fowl series follows the current calendar, in which case there is no way that six months can fit between September 1, 2007 and December 25, 2007. However, the only reference to Christmas is in two lines noting that the Fowl parents were planning on holidaying with their children on a foreign beach. If we simply say that six months have passed, and they are instead planning on spending the Irish school system’s spring holidays in the French Riviera, everything else lines up much better. So that’s what I’ve done. This would also put the resurrection of Artemis, after the events of the book and a further six months have passed, at roughly September of 2008. There is a pleasing symmetry to Artemis being born and then re-born in September, though if you want to get really technical and say the events of TLG take place during the 2008 March full moon as Opal claims (as noted in another web search as March 28), a six-month wait time for the clone to grow would put the resurrection in October. Still, there is something to be said for having a boy’s ghost haunting a clone of himself close to All Hallows. Since it’s the last plot point of the series, you can choose which you’d like; it doesn’t have to lead to anything else after it.

Let’s Talk Timelines: The Beginning of the Line to The End of The 19th Century

Now that we have our baseline book time periods established, we can get into the math used to determine some of the events in the timeline above. Several events are easy; we are given specific dates for them. Turnball Root meets Leonor in 1938, Juliet wins the Miss Sugar Beet Fair beauty contest in 1999. Other things are based on some basic math, such as Artemis claiming his parents got married fourteen years prior to AF¸ putting that event in 1987.

The majority of the items on the above timeline, however, do take some mathematics, extrapolation, and interpretation to plot out. To try and keep everything organized, we’ll start at the far left of the timeline, and work our way forwards, looking at events oldest-to-newest to explain why they are where they are on the graph. I won’t be getting too in-depth on everything in the graph, since I’m not sure how relevant the notes on the very minor side characters such as Carla Frazetti are, but I’ll at least try to touch on some of the more relevant points.

To start with, the Battle of Taillte was noted in the 2000’s as being ten thousand years ago, putting that at 8000 BCE. Similarly, the last dome breach at Atlantis was apparently eight thousand years ago in the 2000’s, so that would be 6000 BCE. Troll sideshows were legal in the early middle ages, which implies they were not legal after that. A quick web search says the early middle ages ended around 1000. The first crusades were in 1096-1099, and as those crusades are the start point of the Butler-Fowl working relationship, a point for noting that comes next on the graph.

From there, we get into more modern – relatively speaking – events. Briar Cudgeon and Julius Root are noted as attending the LEP Academy together and being raised in the same tunnel, as well as having about 600 years of history together. If one assumes “being raised in the same tunnel” is similar to the human equivalent of “growing up in the same neighbourhood,” we can assume the two were born roughly 600 years ago, in the 1400’s. Vinyaya is portrayed as being of a similar age to Root, so her birth can also be put in the same general era. We are also told that Fowl Manor was originally a castle built in the fifteenth century, that in the early 2000’s the theories of timeline corruption were first introduced over five centuries ago, and that cloning has been banned for over five hundred years, so those three events are also tossed into the 1400’s.

Julius Root is noted as doing his LEP basic training 500 years ago in Ireland, so that would have to be in the 1500’s. He would have attended the Academy before then, putting that in the mid-to-late 1400’s. As previously stated, he was in the Academy with Cudgeon. Opal also met Cudgeon in college, and competed with Foaly for science prizes there, so they were all in school at the same time.

Mulch now enters the picture. We aren’t ever given a specific age range for him, but we are told about his career. He has, apparently, spent three centuries in and out of prison after a couple centuries of success as a thief. This would make him at least five hundred years old. There is a brief mention that he tried the athletic route at college before becoming a thief, so he would have to be an adult at that point, putting his age at roughly 550 years during the events of the series.

We then enter a period filled in from one-off lines throughout the series, presumably added to give some depth to the world. Things about the wine cellar at Fowl Manor being a seventeenth century addition, Captain Eusebius Fowl and his crew dying in the eighteenth century, and Mulch first faking his own death over two hundred years ago.

Time Marches On: The 20th Century

There is nothing of much relevance to linger on between the 1550’s and the 20th century, so we’ll jump ahead to the 1900’s, when we have Holly Short’s birthday. She is in her eighties during TLC, and her father died “over twenty years ago” when she was “barely sixty” as of TAI. Based on that, she would have been in her early eighties in 2002, putting her birthday sometime in the 1920’s. What a doll.

A few more birthdays now appear, and we’ll ignore, for the most part, some of the irrelevant ones. I don’t think we are at all concerned with Gaspard Paradizo’s birthday, or Mikhael Vassikin. We are, however, rather more interested in Jon Spiro, Domovoi Butler, and Artemis Fowl I.

Jon Spiro enters the series in TEC, as a middle-aged American. A quick search on the Internet says that middle age is generally noted as being between the ages of 40 to 60. We are told that Spiro has worked in three main industries over the past two and a half decades. Additionally, we are told that law enforcement has been “trying to put [him] away for thirty years.” If we assume he entered the working world at twenty, spent five years developing his professional self, and then started going down a path of questionable legality to get the police after him, that would put him at fifty-five in 2003, and born in the late 1940’s.

It was a bit easier to determine Domovoi Butler’s age, and we can get more specific with his actual birthday. We are told that he is forty at the start of TEC, and he is still forty during TOD. From that, we can assume his birthday is not between March – December, which means it has to be between January – March. Now, we can just leave things there, but contextually, Butler says in late March 2003 that “a lot of people know [him] as a forty-year old man.” Since I doubt he’s the kind of person who introduces himself by announcing that his birthday was last week, we can assume that his birthday is not in March. Since about half the books in the series take place in December, and there is never any mention of Butler’s birthday coming up soon, we can likely assume it isn’t in January. We can therefore conclude Butler was born in February, 40 years before 2003, which puts his birth year in 1963.

We then have Artemis Fowl I. This one took the most extrapolation to determine. We know he has run an ethical empire for a few years as of 2007, which coincides with his return to his family after being kidnapped by the Mafia. He apparently ran a successful criminal empire for two decades before that, though, so in 2007 he has been working for at least 25 years. Based on the interactions he had with his own son, I’ve assumed he was also taught to take over the family business from a young age. If he started working at his age of majority at 18 (as possible in the 1980’s in Ireland, based on a web search), we can assume he was born in roughly the mid 60’s.

Billy Kong, born Jonah Lee, is one to touch on. He plays a large role in TLC, during which we are given possibly the most backstory of any villain in the series. He was evidently born in the early 1970’s, and was eight years old in the early 1980’s. Mathematically, that can only lend itself to so many birth years, so it’s easy enough to put his birthdate somewhere in 1973, and his brother’s death date in 1981.

While we’re here, let’s talk about the 1980’s. A lot of things happen in the 80’s, so we’ll be here for a few paragraphs. Butler would have graduated Madam Ko’s Academy in the early ‘80s, Artemis I would have started working in his family’s business and stolen some warrior mummies (of note, the theft is only noted as being in Artemis Sr.’s “gangster days,” but if you are a young, rich criminal, you’d likely commit a wild theft in your early years as opposed to your thirties, which is why this is put in here). Additionally, in the mid 1980’s, Holly graduates the LEP Academy and her mother dies, as noted in TTP when she is contemplating missing three years of her friends lives.

Butler would have started his five-year stint in Russia with an espionage unit in the mid-to-late 80’s, and become a big brother in 1985. Juliet is noted at being four years older than Artemis in AF in 2001, and he is twelve then, making her sixteen at the time. We can extrapolate the month from TEC, wherein she is apparently eighteen when she is called regarding her brother’s apparent death. At the time, we are told what gifts she received for her birthday, implying it was fairly recent. Additionally, Artemis was only thirteen at that time, which would make Juliet five years older than Artemis. If, however, we trust that acolytes at Madam Ko’s start their training on their tenth birthday and get one chance to graduate per year, it would make sense for that one chance to be on their birthday, or within a day or two to allow for as much training time as possible. Since Juliet was in the midst of this one graduation evaluation when she gets the phone call and joins the crew for the March heist at Spiro’s Needle, she’d have to be born in March. (We can also corroborate this with some details from AF: if AF takes place in mid-September, that would be just after Artemis’s birthday, which puts the 4-year age difference back into play.)

Spelltropy begins for the People in 1987, if it appeared 20 years ago from 2007. Artemis I and Angeline Fowl would get married in 1987. They would have their first child, Artemis Fowl II, in 1989, as calculated by Artemis being twelve during the initial siege of the Manor in December 2001. Artemis II’s grandfather was noted as having been dead for over ten years at that point, and it was mentioned in TEC that Angeline married her husband before he really took over the family business, so those events would likely happen when Artemis was but a baby in 1990.

The ‘90s are a period where a lot of things are happening, but few are particularly important. Spelltropy has a cure found, Minerva Paradizo is born, Juliet begins her bodyguard training and her brother refuses to let her shave her hair. These, and other events in the 90’s, are mostly calculated by math along the lines of “Event A happened X number of years ago,” but since the 90’s was mostly a time of worldbuilding events rather than plot events, we’ll just skim over the specific details.

‘You Are Here’: The 21st Century, and Where The Storytelling Begins

Welcome to the 2000’s! The kick-off point of not only the 2000’s, but also the entire series, is the sinking of the Fowl Star. We aren’t given a specific date for this, but we are given enough information to extrapolate the date. Specifically, in September 2001, in AF, we are told Fowl Sr. has been missing for almost a year. In TAI, in December, we are told he has been missing for almost two years. That does have the potential to have the ship go down in either December or January, so we need to use a bit more details from TAI to make a final determination. Mikhael Vassikin and Kamar were told to dump Fowl’s body in the Kola if he didn’t wake up in “another year,” so they’ve been looking after him for one at that point. Fowl Sr. wakes up two weeks before the deadline, and as noted earlier, the ransom drop for him takes place December 14, after he has been awake for perhaps a week. From that, we can tell that the deadline for “another year” was mid to late December, putting the initial sinking of the Fowl Star in late 2000.

The analysis gets a bit confusing at this point, because 2001 is when future Artemis and Holly join the party via time travel, as well as having their regular selves in the timestream. Essentially, we’ve established the timeline for the events of TTP above, so we know the whole lemur fiasco takes place in March 2001. Artemis wakes up at the end of that book thinking about fairies, which ties in rather neatly to him then dragging Butler across three continents for six false alarms (with an assumed approximate 3 weeks between each jaunt) before striking metaphorical gold in Ho Chi Minh City in September. During their time-traveling, Holly also gets a chance to talk to Root, who wonders why she isn’t in Hamburg, which was noted in AF as Holly’s first major failure as a Recon officer and was nearly preceding the events of AF. The time-traveling would also mean that Opal would have had to harvest her DNA for future diabolical plans before March 2001, when her younger self travels to the future. Since it takes up to two years to grow a clone to adulthood, and her clone has to be ready in September 2003, we are a few months off in the time requirements, but really, for a practice that’s been outlawed for 500 years, I can offer a bit of leeway.

We are now well and truly in the thick of the main events of the series. Most of this will be tied into the initial assessments we made way at the beginning of this essay, where we established when each book occurs. Because of this, we aren’t going to spend time on anything plot-related. However, a brief note on Turnball Root and Artemis’s Atlantis Complex is likely in order. Artemis was, as previously stated, dealing with his return from Hybras and the after-effects of stealing magic during July and August of 2007. His Atlantis Complex, and Turnball Root’s plan to escape the Deeps prison, are in full swing in September of that year. We have a brief note in TAC during the evacuation of Atlantis, that Turnball had, a month before, spied on Artemis and noted his Atlantis Complex developing. Therefore, Artemis’s Complex likely came into play in late July or early August 2007. This is close enough to Artemis’s magic theft to make sense for the deterioration of his mental health, and enough time for Butler to have started to notice something was wrong, as he did. We can therefore assume that Atlantis Complex, at least in the case of magic-stealing humans who have a propensity for time travel and getting involved in supremely complicated and improbable plots, develops relatively quickly.

This leaves just one major discussion point from the last few books: the age of Artemis’s twin brothers, Beckett and Myles. The twins are first introduced at the very end of TLC. They are written as being two during the events of TTP, three during the events of TAC, and four during the events of TLG. Regardless of the time-traveling shenanigans of their elder brother, it is impossible for the twins to age two years in the eight months between Artemis’s return from Hybras in June 2007 and the finale of the series in March of 2008, so we need to look at what makes sense.

Myles has already potty-trained himself, and done so at fourteen months, so they must be at least that old. Their other behaviours would make sense for them to be two in TTP. Diapers are still a part of their lives, and their language and vocabulary fit what a two-year-old would have, at least in Beckett’s case. Since Artemis was surprised by their existence, it doesn’t seem likely that Angeline would have known she was pregnant, or at least not have told Artemis yet, when he went to Limbo. Ergo, they can’t be any older than two, since (one would hope) Artemis would have noticed his mother’s pregnancy if the twins were any older.

Additionally, in TLG, we know Artemis gave his brother a birthday present, so he had to have been around during the twin’s birthday at least once. With this fact, the twins cannot be born between March – June, which just leaves the question of when are the twins born?

The most logical answer is February 2005. If Angeline was early on in her pregnancy, say six weeks (which is when most women start noticing symptoms), when Artemis disappeared in July 2004, she wouldn’t necessarily have told him yet. Then, if we assume that since most twin births occur around the 35-week mark, that would math out to having the twins be born in February of 2005. Fast forward, and they would turn one in February 2006, and two in February 2007, which puts them at the correct age for the events of TTP. [One could argue, of course, that a twin pregnancy in an older woman (unfortunately, there is nothing in the series to indicate Angeline’s age) and in a woman already dealing with significant stress could result in a very premature birth, thereby voiding any of this math and leaving the whole question of the twin’s birthday unanswered. However, since I’d rather not subject the Fowl parents to the strife and misery of having one son missing and presumed dead, and their younger children in the NICU with a low survival rate, I’m working with the assumption that the pregnancy was a healthy and normal one.]

The brief comment from Juliet in TAC about the twins being three can be passed off by them being a little over two-and-a-half and Juliet not being around as she is touring in Mexico. By the time TLG takes place, in March of 2008, the twins would have had their third birthday, allowing for Artemis to give Myles his chair as a birthday present, Beckett to be old enough to no longer need diapers, and the behaviours to act more like children than infants. While this doesn’t quite allow for the repeated textual confirmations in TLG that the twins are four, we’ll go with what mathematically makes sense.

That brings us to the end of the timeline! Not everything is touched on in the timeline, and not everything in the books is plotted (we are never given enough context to know Foaly’s or Opal’s birthdates, for instance). But the main events of the Artemis Fowl series are all analyzed, mathematically or logically or textually corroborated, and plotted out, for use or ignoring as personal preference dictates.

#artemis fowl #af timeline #you have no idea how irritated I am that there is nothing - NOTHING - in the series to give ANY context #on the ages for Angeline Fowl or Arno Blunt or Damon Kronski.#i can make GUESSES but they would be entirely based on my own bias and thoughts and vibes #which is INTENSELY irritating because i have basically EVERYONE ELSE #on the timeline SOMEWHERE #oh well. i think i have most of the events of the series on there?#if i missed something i'd love it if someone could point it out so i have a complete 'map'#oh though to be clear: i did very much do this for me!#this isn't meant to like...take away anyone's headcanons or ideas or whatever #if you wanna do something that directly contradicts the above - go for it!#i am just - as my cousin put it - 'that kind of fic writer' in which i will do insane amounts of research for the smallest of details #the one i wanted this for is honestly in a fic i haven't even started #and that is in fact several ticks down the Want To Write list #but that's neither here nor there!#i now have an outline of when things happen so i can do whatever i want with it :)

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