#research paper vs thesis
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Thesis Vs Dissertation Vs Research Paper: Know the Difference.
If you are a student pursuing a Master's or a Doctorate it is essential to learn the differences between Thesis, Dissertation, and Research paper. All these terms can look similar yet they hold distinct meanings. Understanding the difference eases the struggles of working on one of these. At the end of this article, you will be able to differentiate all three.
What is a thesis?
A thesis can simply imply a summary of the research findings you have been working on, all through the Master's and Doctorate.
This serves as a project that showcases students' abilities and skills acquired throughout the program it provides information on their unique research, argument, and hypothesis. Also, it supports and proves research based on evidence and relevant resources.
When it comes to Thesis Vs Dissertation thesis is shorter than a dissertation and contains up to 80 to 100 pages.
What is a dissertation?
A dissertation is often a project worked on by doctorate students. It requires comprehensive and in-depth research. It signifies the highest level of research and contributes to the field of study.
It often demands extensive research that finds a solution to a certain problem or a question, Data collection, Interpretation, and an extensive literature review. They must be unique and original with the ability to produce new insights.
Thus it is much more impactful in the field, It is almost like a whole book consisting of 300 to 500 pages.
When we compare a Dissertation Vs Research paper, Dissertation is deeper and takes more effects to create.
Research Paper vs Thesis.
All three Thesis research papers and dissertations are a part of academic documentation, they all serve different purposes.
Thesis and Dissertation test the ability of students to conduct an independent research project and requires originality to solve unique problems that are never touched before. It is also required to go through a rigorous review process with the committee of industry experts to be approved.
Whereas a research paper just shares research findings, analysis, and insights with the wider academic community.
Another crucial difference we could find with the comparison of Research Paper vs Thesis, or Research vs Dissertation is that dissertation and thesis demand more originality but a research paper can be created with existing research findings or proving perspectives.
Thus to sum up the major differences when it comes to dissertation vs thesis vs research articles it is in the length and primarily the originality of the research and the process of review. Hope now you would have got clarity on what is what. Here at United Innovators, we provide you with research guidance and writing services. Visit our website and contact us for more information.
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#dissertation vs. thesis#research article vs thesis#thesis vs dissertation vs research#disseration vs thesis#research paper vs thesis
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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.
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[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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Thesis For Research Paper – How To Find A Good Thesis Topic
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I am now at a level of obsession with Disco Elysium where I am watching at least a little bit of every playthrough I come across. Last time this happened was with Undertale almost a decade ago. With UT this helped me get a very thorough handle on the way the game was designed and with the subtler bits of player manipulation. DE is not subtle about anything and so instead I'm getting insights into the people playing it, particularly as it spreads beyond the youtube leftist bubble.
The one I'm having the most fun with right now is by this guy named Brady, who is a therapist specializing in addiction. The fun part is not so much his insight into Harry as an addict - again, the game is not subtle - but his absolute discomfort with politics. He refuses to engage with any of the ideological choices, and that makes the game a bit of a bumpy ride for him. It's particularly striking because he's willing to read into everything else that goes on in Harry's brain - he breaks out his Johari windows and his CBT flowcharts and pins the butterfly right to the corkboard - but he shuts down when the game asks him to pick a side.
To extrapolate wildly from one dude's hangups, I think this is just part of the deal with therapy. The aim of a therapist is to make the subject more functional (particularly these days, when if you're lucky insurance will pay for ten sessions, and you better document exactly what worksheets you made your patients fill out) - and being functional means being able to be happy and productive in the society you're currently living in. If I go to a therapist and say I'm bummed out about all the murdering my government is doing they will suggest I stop watching the news, or, if I'm lucky, they'll try to help me figure out why I feel guilt about things I can't control. Delving into the whys and hows of said murdering is actively counterproductive.
This is not to say that therapy is inherently bad, or, like, counterrevolutionary, because making you a more functional person does help with a lot of things, including your ability to help others. It's just a useful thing to keep in mind when therapy and politics bump into each other. I read this paper when I was googling ABA for podcast reasons and it stuck with me. The thesis boils down to: because the world is imperfect and people need skills to live in it we should continue to torture children, and we don't have enough research to conclude that torture could be traumatic. This is on one level reasonable and on one level insane. It depends where you stand, and whether you think "ability to express affection towards parents" is worth that kind of intervention. But the authors wouldn't construe this as a political argument.
Anyway: with all this in mind, I very much recommend reading "The Saint of Bright Doors", which we will be covering on wizards vs lesbians soon.
#disco elysium#the saint of bright doors#in the ways therapy can be helpful category Brady also points out how Harry sees everything in terms of power dynamics#which I never noticed because I also do that. I wonder why??
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taps mic. ahem.
help a student write a dumb rvb research paper? pretty please?? for funsies???
This is exactly what it sounds like.
My current final of the year for my language composition class is a massive synthesis + argumentative research paper on any topic of our choosing, and Roosterteeth + RVB has too much messy junk going on that I’m knee-deep invested in mentally at this point to pass up the opportunity to write about it.
And yknow, I see a ton of media analysis posts coming out of the fandom all the time and I’ve always loved seeing it and reading into it and sharing ideas and whatnot and this feels like my way of doing that too.
Essentially what I’m reaching out for is for you guys to help me crowdsource resources and share your ideas with me to include in my term paper*.
things that would be wizard cool of you to send me are:
any interviews or behind the scenes with the cast and creators you happen to know of
your own analysis or hot takes of the characters or the show as a whole
what the show has meant to you
any clips of old Roosterteeth expos
for the older fans, a rough idea of what the release timeline looked like for the episodes and what the buildup and fan reaction was for each one
any commentary or hot takes on how the fandom has changed since you joined/that you know of
what Roosterteeth did wrong (writing wise and irl)
what Roosterteeth did right (writing wise and irl)
tropes within the show you noticed whether originated by the show or not
tropes within the fandom, things like similar portrayals or bad/good takes on characters or face canons that span artists
literally anything you can give me, media, commentary, or opinion wise
(not to say I can’t find things on my own, I already have, but this is also about varying opinions and the general outlook of the fandom as a whole and measuring the broader impact of a show like RvB and it would be incredibly cool of you to help me out even with just crumbs of character opinions)
The idea is to get evidence together from clips, personal anecdotes, and opinions so I can present an accurate read on the fandom, especially when it comes to fan interpretation of RVB vs Roosterteeth’s intentions for the show (and behavior as a company) and explore what the show was supposed to be, what it literally is, how people see it, what its impact has been, and a general overview of the it’s legacy and lifespan, that sort of thing.
My thesis is most likely going to end up something in the ballpark of “How Roosterteeth exemplifies the Franchisation of Indie Media” or “Why RvB is one of the most complicated/misunderstood/divisive shows in modern media” or “How Fandoms interpret and recontextualize media”
I’m going to guess that I likely won’t be able to post the finished paper up online without a solid buffer window to avoid the two mortifying scenarios that are (a) being accused of creative plagiarism and (b) having to tell my instructor that the tumblr account with a 100% match to my course final is, in fact, my tumblr account, are two things I desperately want to avoid.
However if I can, simply for the sake of contributing to the fandom and creating something for us to all contribute to and discuss and crediting various peoples’ help and input would be ideal and, if at all possible, that would be the end goal.
so yeah. if you’re up for it I’d love for you to dm me your thoughts or (more conveniently for the both of us) fill out this Google form down here!
*im not gonna, like, repost your detailed character analysis as my own or something. I’m just trying to find some good quotes, general opinions, and ideas from the fandom so that I can accurately represent them and do our little corner of the internet Justice. And also because the audience of a work is a massive factor in media analysis lmfao. and also to create a community sourced Fun Thing™️ we can all look at and bite the corners off of instead of watching Roosterteeth crash and burn in the backgroun
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Random actual vent that is probably more venty than my usual random little things, but occasionally I have to step back and think how asinine the salary system for PhD students can sound to people outside of academia. I really just want to like... lay it on the table, because it really is fucking dumb and I occasionally want validation that its fucking dumb.
Note that this is all coming from a traditional lab sciences, in the US perspective. Also, I'm really fucking ADHD and have a really, really shitty brain for bureacracy, so this is a rant and isn't really intended to be informative and might be wrong in places, its just me word vomiting.
Let's start with something straight off the bat- grad school isn't really school. It's work that creates value for the university, and you happen to take one or two courses on the side that the university has determined will make you better at that work (your mileage may vary). It's an entry level job, essentially. You create value for the university in one of two ways- you either contribute to research that gets them grant money, or you teach undergrads that pay tuition. We'll get back to how that affects you later, but first lets talk about something else: what the university claims they pay you vs what you actually get paid.
On paper, my income is approximately 3 times as much as my actual, take home income. There's two reasons for this. The first is that I am technically charged tuition by the central university, which is then immediately paid off by the source of my income. In official job titles, that's technically included in what you're getting paid, although most universities don't even bother advertising that. The other confounding factor is that you're literally always considered part time. The exact % time varies depending on your exact schedule, and of course your university, but its actually weirdly consistent even between universities. Technically, the work you do on your thesis isn't "work", and the university doesn't technically pay you to do it. Even though the work you do on your thesis literally generates revenue for the university in the form of grant overhead. But we'll get to that. If you're a researcher for a given appointment term, you're expected to also do research activities that are unconnected to your thesis- which is ridiculous, because there's no lab in existence where the work isn't all interconnected in some way.
Half time appointments are common, but lots of different percentages exist.
So, if you ever see a figure that says that a grad student position is paid at about $80k a year, that's whats going on. The highest take-home income I have EVER heard of in the US for PhD students is $54k, at Stanford neuroscience. I think its a bit higher now, but that at least gets you a ballpark. Most STEM PhD students on the high cost of living coasts are paid 30-40k ish, and in cheaper areas you can expect to take 5k off of that. These are for degrees that usually make six figures on the job market.
And then there's the other convoluted problem- the source of the funding. This is where the academia salary model really has a unique brand.
Basically, when you're a PhD student, you're not working one job for the full 5-7 years. You're constantly flipping between job titles within the university, and who exactly is paying you changes as a result.
The most basic distinction is researcher vs teaching assistant. TA is easy- you work "part time" (but oh my god those workloads are not part time sometimes [although the class I'm TAing now is very chill so its w/e][fuck you molecular genetics at my master's uni tho]), and the department you're teaching for pays for your tuition and your salary as a result.
Researcher is a bit weirder. Basically, each lab is conducted as its own independent financial unit, managed by a Principle Investigator (PI, or to any grad student, the professor/boss/research advisor/liege/monarch/authority of the lab). The PI is constantly writing lab wide grants to supply the core funding of the lab, including the salary of the grad students. Grants can be pretty general, but there are also very specific ones that check in how the money is being spent. These include training grants/fellowships/tbh the name is arbitrary for a lot of these. Those are grants that are written to supply the salary of a specific grad student.
Couple things to note- the university charges the PI in a lot of ways on this. Notably:
They charge tuition on every grad student, as mentioned previously, which under a researcher appointment is paid from the PI to the university.
They charge overhead on grants- basically, they take money out of every grant the PI gets.
If the previous two sources aren't enough, oftentimes universities will pay rent on the amount of building space a lab takes up (although this is very inconsistent between universities)
Researcher appointments are considered favorable to teaching appointments, because they mean you can spend more of your time on your thesis. But, its dependent on whether your PI has the funding to pay you all that, which is a big if. So, every quarter or semester or year or however much your university decides to renegotiate it, you essentially switch jobs, in a way. Obviously its a lot more simple and streamlined than actually switching jobs, but your title, responsibility, source of income, and sometimes your actual pay changes constantly.
And to anyone who has been through a PhD, you're nodding along like this is all the basic stuff, because all this is so NORMAL. Like this is all the normal system, and this is the bare basics of it as well. And it's weird that it's normal, right? Like, most of my career has been tied to academia, so I don't have a fantastic benchmark for this, but this isn't how it works outside of academia like... at all.
Over the course of late last year and bleeding into this year, multiple graduate student unions have had strikes or negotiations regarding pay scale, but its been a very difficult situation for the average grad student to untangle because of how weird the source of pay is. Because technically, even though you functionally work a single, salaried job with slightly changing obligations, what's happening behind the scenes is that you're essentially hopping between jobs every couple of months. In an ideal system, those jobs always have the same pay, but that's increasingly becoming not the case. Sometimes that means getting paid more overall, sometimes slightly less. Union negotiations have made this pay slightly higher overall, but its still a mess of a system.
And obviously, there's paperwork associated with so many of these steps.
So in my last post, when I said "getting a grant", that was what I was referring to- applying for training grants that will guarantee that I don't have to teach extra or get extra money from my PI for the time I'm here. I'd love to get more teaching experience, but ofc I want to do it when I want to, not when I have to. I'm applying for multiple training grants over the next couple of months that will hopefully fund my salary specifically, and hopefully I'll get at least one of them. And tbh, I don't even care that much about teaching, I more want them because it'll dramatically simplify all this for me.
I love what I do to death, but untangling this shit is what gives me imposter syndrome more than anything. I think my arrogant streak shows when I can genuinely say that I've never felt imposter syndrome based on my scientific knowledge. I have felt it over two things- my motivation/productivity (which is a different rant entirely), and the fact that I am really, really bad at untangling the level of bureaucracy required to just... exist here. Just give me my fucking paycheck and let me do my science, and tell me when you want me to teach.
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1.1.1 "Monsieur Myriel"
okay. i am not a guy who can write essay-type posts on the fly. but i've started my annotations and i think i want to just share some bullet point thoughts each day?
i've got a color-coded sticky note system to track: darkness, light, The Infinite, animal comparisons, labor/exploitation, sexual purity, education (those being the Big 3 from the thesis st- i mean the preface), autobiographical references, religion, law, the Great Man theory, bothering/social condemnation, translation notes/questions, and things to research. (phew.)
alright here goes!
interesting that Hugo would bring up how what is said about men influences their destinies as much as what they do in literally the second paragraph - it seems to me like a pretty deliberate reference to the "social condemnation" he cites in the preface. the preconceived notions about Myriel having come from a "privileged family" take a lot of outrageously good deeds to dispel; later it will take all of Valjean's saintly deeds (and then some) to convince Marius, already most of a Republican, that he's more than his criminal past.
I Want To Know more about how Myriel became a priest. Hugo deliberately doesn't tell us, but it would be so interesting and I want to draw parallels between his past as a man "devoted to worldly pleasures" and Valjean's past as a convict.
Hugo's description of Mlle Baptistine is the first time we see him talk about a person who "had never been pretty" gaining "the beauty of goodness" - I'm going to try to pay closer attention this time to the other examples of this! the one that comes to mind is Grantaire, but I think the concept comes up with little Cosette too?
"few families had known the Myriels before the Revolution" and he lived in "deep seclusion" in Brignolles before coming to Digne. is he a solitary person by nature? has he grown to prefer it since living in exile? what's the connection between his self-imposed seclusion and the forced isolation of convicts like Valjean?
Hugo mentions that the bishop and the presiding judge visit Myriel when he first gets to Digne and that he visits the general and the prefect - I have no idea if that's just standard custom for a new bishop or if there's some kind of significance to who visits Myriel vs. who he chooses to visit.
interesting that Hugo notes that a bishop ranks just below a field marshal. if I *were* writing a paper, which I'm *not*, I'd argue something about the structure of the Church being similar to the structure of the army and the connection that's being drawn there.
technically this is a thought about the preface, but I can't stop thinking about "by reason of law and custom". he's so clearly stating that all of these problems could be solved through legal reform and changes in social custom, and yet 150 years later people still blame people who have been imprisoned or othered for their own misfortune. sigh. someday this book will stop being necessary.
#les mis#les mis letters#lm 1.1.1#alex goes ib mode#(seems like as good a tag as any for me Decidedly Not writing essays about les mis)
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A fun read, even if you don't entirely agree with the thesis. Full of delightfully illustrated examples. I'd rate it 75% correct.
I'd add examples of what it used to be like going to used bookstores looking for that one out of print book, vs searching amazon now. Or what I previously wrote about World of Warcraft optimization.
For the other 25%, well...
Sam Kriss wrote a while ago about the death of hipsters.
The hipster was an information-sorting algorithm: its job was to always have good taste. The hipster listened to bands you’d never heard of. The hipster drank beers brewed by Paraguayan Jesuits in the 1750s. The hipster thought Tarkovsky was for posers, and the only truly great late-Soviet filmmaker was Ali Khamraev. The hipster bought all his toilet paper from a small-batch paper factory in Abkhazia that included small fragments of tree bark in the pulp. The hipster swam deep into the vastness of human data, and always surfaced with pearls. Through its powers of snobbery and disdain, the hipster could effortlessly filter out what was good.
Almost any economist will tell you, that information gathering is just a different sort of price people pay for products. They can pay $300 up front for a good experience, or they can spend hours scouring and networking to find a similar quality experience for $100. If they find these two bundles equivalent, then that information gathering labor was worth $200 to them.
The difference is, when the naive consumer just pays *someone gets those extra $200*, whereas if the information gathering is labor (big if), then that extra labor doesn't actually pay anyone, and the world is just $200 of effort worse off. So, cetera paribus, it's better if everyone knows all the good places and at least the local industry is reaping the surplus.
So this is the death knell of hipsters, as all the information they had to seek out is accessible by everyone and just goes into rents for the producers.
...
Except we know from experience, it doesn't *really* work like that. For one, a lot of us ENJOY the hipster information gathering experience. It's a fun activity in moderation, and we even develop an identity for having a personal research base to use as a resource. How do you calculate the labor surplus lost if you're having fun? Well, I'm sure the economists can find some way to.
The other problem is that Freddie is only talking about a certain class of hipsters. The same ones Sam refers to in his essay. You can look at it as a sort of pyramid.
Top: quasi-autistic savants who are on Discords talking about secret places, or going out and mapping territories themselves.
Middle: hipsters who casually seek out new things they heard about and report back in indy magazine columns.
Bottom: the great mass who do one google search and flock to whatever they are told "the best deal" is.
(Now it's more complex than that. To be honest these three are probably only the top 25% of people, and the real base of the pyramid has no idea what any of this is about. And there's networks and lines of communication between the different layers. But you get the idea.)
For a while in the 90's and 00's, being a hipster became easier, and maybe that middle layer grew a bit in both directions. And then in the 10's the process Freddie describes ramped up, and so the value of just being a middle-tier hipster shrunk again.
But there are still a lot of secrets out there. You just have to be a much more dedicated information gatherer. Being in the top tier - which in travel might be as simple as driving places instead of flying to them IME - will still find you things where no one else is there.
This month I'm going to visit the cement factory where they filmed scifi movies like the Crowe and Super Mario Bros, and I expect to be the only one there.
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Not to drag this out further, but you and other biologists and ecologists that study species that are widely hated by people for no good reason are what inspired me to write my undergrad thesis.
I don't understand how to crack the code to get adults to care, but I do agree that exposing kids to these widely hated species of animals and why they're important is one of the best ways to curb the negative attitudes.
I think the problem (which you probably already know) is that most adults w/ this weird complex/issue just want to be stubborn and don't want to put in the work when it comes to unlearning that fear or just being open to respecting these animals.
My paper focused on how aesthetics impacted wildlife conservation. Unsurprisingly, my personal research, as well as peer reviewed articles, proved that most laypeople only empathize with or have compassion for creatures they find aesthetically pleasing. It literally applies to other human beings too.
The whole thing is pretty fucked, imo, but I could talk about this forever lmao. I won't keep you too long but it's CRAZY how much value people place on traditionally "cute" or "beautiful" characteristics.
It's an unfortunate issue with science. In that charismatic animals (mostly mammals) get a lot more attention and funding vs. animals considered "ugly".
I'm lucky that I work with bees which are usually an expectation to the "insects are gross".
#can confirm kids are much easier to teach and get to like insects#alot of adults just lose all sense of curiosity#or critical thinking#its like arguing with a brick wall#kids are the future as always
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Art Goals for 2024
This post is a mirror of a post on my website (here)
It’s a few days into the new year. While the feelings of uncertainty from 2023 still lingers, I set myself a handful of goals going forward to give myself some sense of direction, 8 in fact, though I’ll mostly be focusing on my art-related goals here.
Technical improvement isn’t a major focus this year (I mean, I just did 4+ years of that lol). I think it’s time to focus on more external factors of art, like gaining some stability, pouring more focus into doing it part-time while maintaining the personal side. As well as strengthening skills not directly related to illustration. It’s something that’s fell to the wayside until senior year of college, and now that I’m out of school I think at least for this year I can let these factors overtake direct art improvement.
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Finish PC-Mania!
My short webseries! This was launched as part of my senior thesis, but has had multiple hiccups in terms of production. This year I want to smooth out those bumps & be able to wrap it up by the end of this year. The reason I say by the end of this year? My drafts are roughly 40 pages, and even with my other plans for this year I’ll have more time on my hands to focus on comics. So I’m pretty confident I can wrap it up regardless of how it happens.
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Launch Support Streams related to my art
This one was inevitable. Even if it’s a goal of part time vs. full time, I want to be able to do art as a career. Meaning I have to have some form of income to be able to continue doing it comfortably. This one will need time to sort-out though since there are hurtles; Notably my overall lack of reach, as well as inflation times.
Lack of reach is likely due to struggling with consistent posting (even reposts & WIPs slip by me), not wanting to completely bend my practices to algorithms, and migrating between platforms. So that one may be harder to sort-out while keeping it fair to my self & my limits. Inflation is tricky. Art is a luxury afterall, and when the cost of living has skyrocketed across the board I don’t blame people for choosing food and rent over art. I’m likely going to keep it to one-time payments & tip jars indefinitely since I don’t want to launch subscriptions in a time where people looking to cancel them to make ends meet. Plus, with my issues with consistent posting, I’m not in a position to be doing subscription-based works & would also like to better sort out my boundaries before even considering (ie: I don’t want anything that could potentially lead to people feeling entitled to my attention).
I still want to try pushing for commissions & freelance, even with a lack of success over the past few years. Though I also want to look more into online shops & tabling since last year, all of the money I made from art was from IRL sales. So it’s a matter finding those events that are original-art & zine friendly (I’m uninterested in monetizing fanart beyond commissions. Fanart to me = Personal art & I’d like to keep it that way). As well as researching more into online shops as a means to get things out there outside of the convention space.
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Better-establish OC Lore & Worlds
This one is likely gonna be harder than it sounds. Because on one hand I am excited about these project, but I’ve always struggled with getting ideas-to-paper. While I don’t want to claim much since I don’t have an official diagnosis as of writing, I’m very sure I have ADHD meaning getting down schedules, and getting projects done before I jump to another interest has been a long-term struggle. It’s part of what hampered PC-Mania & reach, and hampers my ability to put more info about the projects I’m working on & are excited about (hell last year, I think I ended up drawing Io way more than art for said projects…).
I don’t know if there’s any “ADHD-friendly guides to maintaining projects before you forget them” out there (I’d argue most project guides & tips I’ve seen don’t consider it), so I’m pretty sure I’m on my own in this department. Currently I’m thinking about leveraging my website for this since it’s meant to be a work archive as is, and even if progress is inconsistent it’ll at least give me a central hub to link back to.
If you are curious, the main one I want to establish is Doverhill! It’s where a PC-Mania takes place for reference, and it’s set in modern times in the fictional town of Doverhill MA. Perfectly normal, except for the occasional paranormal encounter. The main cast that has to deal with them are a group of friends & neighbors who live in an apartment complex together. Story-wise it’s an episodic comedy about the sheer absurdity that is life. Even if it’s not a hard world-building project, it deserves a central hub to link back to.
The other one I’m debating on is Fang and Iron, a dark-sci-fantasy world building project about demon-hunting androids. But I think it needs more time in the oven, and I don’t plan on making it a main focus for a long time.
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Learn Blender for making assets & Blocking
I’ve thought about the other skills I’d like to strengthen & learn for future projects, notably writing skills, drawing mecha, desktop publishing software, and 3D. But I picked learning 3D, since I feel like this one will have a ton of versatility in terms of making references for myself. If you’re wondering using 3D assets for references is extremely common, especially within the world of comics where you need to re-draw backgrounds and props. So having knowledge on how to block out scenes in blender will help massively in the long run, especially when my schedule starts filling up again.
(now I just need to finish that donut)
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Shorter Comic Project?
I’m considering this one optional, but if I can squeeze in another smaller 8-16pg comic or zine along the lines of 9:15 Slushie I’d like to. I have an Idea I want to do for it (an idea that existed before 9:15 slushie did!) so the next step is carving out time to make it happen
Those are my main art goals of 2024. For the other 3 main resolutions of mine, I’ll list a short summary of those instead:
Get a job alongside art (I’ll need it. Bills be upon me + even with help from family members, I’d like to transition into being self-sustaining & be able to front the costs for my supplies & projects going forward)
Get my Drivers License (Also needed, especially if I want to continue tabling & other hobbies, and for getting to whatever job I end up at)
Get better at IIDX (and by extension BMS) so I can say I suck at normal 7’s vs normal 4’s lol (my only “hobby” goal of this year. I’ve wanted to get into IIDX for a long time too, so since I’m planning on getting my license & income anyways, I’ll see if I can squeeze this one in)
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Hi! Don't feel obligated to reply to this if you don't wanna answer for any reason, but I saw you answer an ask where you said you archived a fic so you could use it in your personal career and I was wondering what that would be? Like, in what ways can you use fic like that? Again, don't feel like you have to answer if that's a more personal question than I think it is and you want to keep it private 😊
Hi, no worries! Thank you for being very respectful about it 🤍 I think I understand where this question is coming from. We often confine fanfiction to only being a creative outlet with no other usage, when actually it can have a great impact on other aspects of our lives.
I'll list you some of the ways:
If you're an author, you can use your fics by restructuring them into original works of art. (This is generally the most common case, but it involves losing your non-profitable voice. However, there are other ways you could benefit from your fics without monetizing them).
If you're an academic scholar, you can use fanfiction in the fields of literature, interdisciplinarity, creative writing, and linguistics. Whether this may be writing a research paper / thesis / dissertation about fanfiction as a genre, or analysing fics themselves. People really underestimate the power of fanfiction on academia and vice versa.
If you're applying for postgraduate studies in some of the previously mentioned fields, some universities require a portfolio of your creative writing. You can tailor your fics and include them as samples.
In your postgraduate journey, you can exercise applying critical literary theories (eg: feminist theory, postcolonial theory, etc) on fics if you're reluctant to start straight on books. I even like to believe that critical writing is in itself a form of fic writing, because you're writing and trying to prove your opinion about an outer text. Only difference is that critical writing is evidence-based.
You could do comparative studies on books and fics to further understand the workings of monetized vs unprompted writing, the difference in style, or even the use of diction.
If you're applying for certain jobs in the writing field aka content writing / copywriting / script writing.. some companies also require a creative writing portfolio.
All of these are ways you could benefit from fic writing, aside from the obvious which is writing for your good self and evolving your style. I said it before and will keep on saying it: fanfiction is one of the purest forms of love out there. We write fics because we want to share our love of certain characters with the world without a need to financially gain anything from it. It is a small restoration of human goodness and human connection. However, that doesn't say you can't use it for anything else. Quite the contrary, when you understand the power of your words and the influence they could make, this will be the greatest pro of all
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For the wip asks, would love to know more about George's thesis!!
george's thesis!! this was an idea i'd had for a while and when i mentioned it to the poly co discord, everyone was very encouraging and told me i should write it. it's exactly what it sounds like - it's a fully-fleshed out (or at least it will be), fictional thesis paper written by george containing all of his research about The Problem. i can't imagine it will be very exciting to read, but it's a passion project for me and i'm very much enjoying the collaboration of thoughts and ideas with other members of the discord as i write :)
here is my (current) outline for what i want to write [BOOK SPOILERS]:
History of the Problem/Before The Problem
Visitors before The Problem
Iron, silver, and salt as historical defenses
Why rapiers? Why don’t crucifixes work?
During The Problem
Talent
Genetic component? How does it work?
Establishment of the first Agencies
Prestige & Talent in relation to Agencies and Night Watch
Supervisors
The Propaganda Problem
Official recognition of The Problem
Establishment of DEPRAC, Satchell’s, the Sunrise Corporation, Fairfax Iron, Brompton Lavender Works, etc.
Product invention
Metallurgy
University programs and studies on The Problem
Interference by Fittes and Rotwell
Sources on the black market
Relics vs. Sources
Relic-men (and woman)
Who buys Sources?
Visitors in Britain versus Visitors elsewhere
Ectoplasm and what it is
Ghost-touch, ghost-lock, and other dangers of agency work [see also: misclassification]
The classification system
The dangers of misclassification
Cluster cases
Experiments on Sources/Type Ones/Type Twos
Experiments on Type Threes
Theoretical questions
The Other Side
After The Problem
Dismantling of the agencies
Separating the physical world from the Other Side
Psychological effects on former agents
Societal effects of The Problem
Loss of life
Morbid ghost-lock
Technological development cast aside in favor of paranormal defense products
it's entirely possible that not all of this will make it into the final draft and/or some sections/questions will be changed. this is just my personal guide for everything i'd like to at least consider including. i've tentatively completed the section titled "Visitors before The Problem" and i'm currently working on "Iron, Silver, and Salt as Historical Defenses," although it's slow going because i have a lot going on at the moment
send me a title from my wip list and i'll share an excerpt or something about it!
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all of these will be fascinating to me to a similar degree, so interest isn’t an issue; the wealth of knowledge on the topic isn’t an issue either, bc if it’s really small enough to pose an issue I get to make a research question instead of a thesis statement! I just need to decide which article abstracts I’m going to be rapid fire reading through lol.
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The Social Impact of Being Seen as Attractive (or Not)
I'm a psychology student and last night, I read a master's thesis titled "Physical Attractiveness: Its Influence on the Perception of Counselors" (Connie H. Sanders, University of North Florida, 1982).
Overview
This paper is specifically about the influence of a counselor/therapist's perceived attractiveness in a counseling/therapeutic relationship, but the opening section has broader applications. It's important to note that "attractive" does not imply solely or even primarily sexual attraction. Here we are discussing aesthetic attraction, the desire to look at someone and the relative pleasure one takes in looking at them.
one sentence summary: "the work of Berscheid, Dion, Walster and Walster (1971) suggests that physically attractive individuals generally have a considerable social advantage as compared to unattractive individuals."
specific examples (warning - some of these are pretty upsetting. one paragraph mentions sexual violence against women, another mentions mental hospitalization):
- attractive children's severe behavioral transgressions are viewed less negatively than those of unattractive children. When children are unattractive, their bad behavior is more likely to be seen as an enduring part of their personality and adults assume that they are more likely to misbehave again.
- Teachers give more positive evaluations to attractive children. On the flip side, attractive teachers are seen as more competent and interesting by their students vs. unattractive teachers.
- attractive people are perceived as more competent professionals and as more competent parents.
- Attractive people are perceived as being more persuasive, flexible, likeable, confident, friendly and sensitive than unattractive people. Attractive people are preferred as potential social partners.
- Physically attractive people develop more self-confidence as a result of these social interactions and unattractive people develop social avoidance as a result of people not wanting to interact with them. This is seen by some researchers as THE determining factor in the development of "personality dispositions oriented toward ambition and success."
- In court, attractive defendants receive lower ratings of guilt and less severe recommendations of punishment than unattractive defendants.
- Attractive rapists received shorter recommended prison terms than unattractive rapists from both male AND female subjects. In addition, rapists of attractive women received longer prison sentences than rapists of unattractive women.
- Attractive mental patients are hospitalized for a shorter duration than their unattractive counterparts and received more visits from the community (a factor which improves symptoms). Unattractive people tend to seek more professional psychological assistance than subjects from ANY other group. As as result, they are perceived as being more psychologically unstable.
There are a few negative consequences for physical attractiveness as well (which fall mostly on women):
- attractive defendants accused of crimes that involve con artistry or other social manipulation are punished more harshly than unattractive defendants.
- "Dermer and Theil (1975) report when photos of beautiful women were shown to subjects, these women were perceived to be more materialistic, vain, snobbish, bourgeois and more likely to experience divorce than were less attractive women."
- While there is a general bias for hiring attractive people over unattractive people, unattractive or moderately attractive women are seen as better candidates for management positions.
Further Thoughts
the fact that people tend to perceive members of their own racial/ethnic demographic as more attractive than members of other racial/ethnic demographics is pretty alarming when combined with these academic findings. The cisgender refrain “well I just don’t find trans people attractive!” is pretty sinister in combination with these academic findings.
People from majority demographics tend to frame the discussion as being about who they do or don’t want to date/have sex with, but the social implications of our aesthetic preference are so much deeper and broader than sex and romance!
#tw: institutionalization#cw: institutionalization#tw: rape#cw: rape#pretty privilege#desirability politics#social psychology
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Special collections are archives-lite
Cleo, Akila, and Brian see the few items in the library's special collections room which are presented by Khensu in an episode of Cleopatra in Space
There are are specific parts of libraries which don't fit the usual distinctions between archives and libraries. One of those parts are special collections, which generally keep personal papers and rare books, including thesis written by alumni. Access to materials in said library sections is similar to than in archives, but can be managed by archivists or librarians. As such, special collections, just like historical societies and rare books, can be considered archives-lite. [1]
Reprinted from my Wading Through the Cultural Stacks WordPress blog. Originally published on June 15, 2022.
There are a few examples of this in series I've watched and have explained on this blog. One of the first examples is the special collections room of the PYRAMID library in an episode of Cleopatra in Space, holding holograms, documents, and other research materials, making it a repository of sorts. It is more than a mini-archives, but can be seen as operating "in a library-archives space of sorts" as I wrote at the time. More directly than this is the special collections room of the Trolberg library in Hilda. I described the importance of the room to the episode as a whole, writing:
She [Samantha Cross] begins by noting how Hilda and Twig, her deerfox, Twig, find a secret special collections room in the Trolberg library, a room which is only seen one time in the series. While she notes that as a result the room is only seen in this episode it "doesn't make a huge impact on the story as a whole...Hilda photocopies a page of the book that she was reading when the Librarian confronted her in the special collections room, intending to help her friend, David, and her mom...After Hilda enters the secret/hidden special collections room, it is literally underground...Assuming she does not put the book back in the special collections room, this means that the librarian will have to re-shelve this, hinting at the work she will do off-screen...Is this librarian a lone arranger of the special collections room? Or does she have volunteers, unpaid interns, or other staff helping her? It is my hope that this librarian has paid staff helping her...Frida expresses her surprise that the special collections room existed, making it clear it really is hidden...Sadly, the librarian doesn't have a role in any other episodes and neither does this special collections room...
I expanded on this in a post in January of last year, where the protagonists go back into the special collections room. They use it to begin a trek through various secret rooms until they come across the librarian, Kaisa, who ends up being a witch. In the case of Hilda and Cleopatra in Space, there is no doubt there was some level of appraisal even though it not shown directly in either series.
As such, it is clear, that libraries can have archives of sorts within them, and in some cases (like with the Maryland State Archives) libraries can exist within archives. This can help patrons, and even those working in the library, providing with secondary sources to give context to the primary sources within the archives themselves.
© 2022 Burkely Hermann. All rights reserved.
Notes
[1] Samantha Cross noted this on her blog in explaining the Springfield Historical Society in an episode of The Simpsons. Cross also writes about the importance of family records in an episode of Star Vs. The Forces of Evil, or the archives which revealed the truth in an episode of Justice League Legends, and the Hall of Records used by Lisa and Bart in an episode of The Simpsons.
#cleopatra in space#special collections#archivy#archival science#archival studies#archives#maryland state archives#the simpsons#star vs. the forces of evil#svtfoe#justice league of legends#hilda#records#record restrictions#restrictions
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I could write an entire thesis on the differences between yuri vs yaoi fandoms ... like an entire college research paper. it's so.
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