just finished reading absolute regression is holy shit it is so fucking good. i love mugeuk so much and now I want to write fic but wow is it hard to come up with whump. why does mugeuk have to be so strong... can’t poison him or hit him with qi dispersing poison for depowered hurt bc myriad poisons immunity, can’t assassinate him because he literally can kill and did the king of assassins, and for obvious reasons, can’t have forced misunderstandings plot… gotta think up another way bc he def deserves a hug esp from his father
You are a fan of internationally-acclaimed K-pop group Huntrix. They drop a new single to wild success and its debut performance is canceled without clear explanation. Huntrix's management says something about a medical condition with the lead singer.
At the same time a new boyband debuts with a song that tops all the charts. The boyband doesn't seem to have a management company. Or names. Maybe that doesn't matter because their sound IS catchy. Huntrix is completely out of the public eye except for two appearances alongside this new boyband where they are there exclusively to beef. It's maybe a PR stunt. It's maybe because Rumi is exes with one of the only two named members of the Saja Boys.
People start going missing at a rate 4x the national average. You probably wouldn't even know about this except that 3 of the missing people were big names on Stan Twitter so it's kind of a big deal. There are four different high-traction posts claiming all the recent missing people were Saja Boy fans. But that's like claiming all the recent missing people drank water and breathed air.
Rumi is still on medical leave but Huntrix management is saying Huntrix WILL be at the K-pop Awards. Someone on Twitter's uncle's friend works in a recording studio and he says Huntrix is debuting a song which tells the Saja Boys to die. The exes theory gets a lot of traction. Twitter tries to doxx Jinu to confirm the theory but no one can figure out who he is. Twitter tries to doxx the other Saja Boys to the same lack of success. One account said she had "a lead" but her Twitter has been silent for 72 hours since.
Rumi is back from medical leave for the K-pop Awards just in time to have a massive falling-out and break-up on stage. This probably devastated you but you don't really remember it. The Saja Boys invite everyone to a concert. A lot of people who went don't remember going, and you'd call that suspicious except you also went and don't remember going.
Somehow no one in the crowd of 10,000 thought to record the concert on their phone. Maybe there was a "no phones" rule but usually there are still leaks. No one has any video or photo evidence of this concert happening. However you all collectively remember hearing "What It Sounds Like" at the concert (before it debuted 4 days later from Huntrix's label.) This does not make a lot of sense because this was a Saja Boys concert, supposedly. Someone says they saw Zoey impale at least one of the Saja Boys. You would brush this off as a stupid rumor but 2-dozen other people are saying the same thing and you a little bit remember it too.
There's a lot of people saying "Let's wait for an official statement from the Saja Boys" on Twitter but they've been saying that for 2 weeks now and no one has seen or heard from them since the concert. There's a lot of people saying "Zoey killed them fr" which was a joke at first and now, is not not a joke, but it hits a little different.
Most of you are kinda over SB Twitter at this point so you kind of don't care anymore but there are a few remaining fans who've doubled down on the doxxing effort to figure out if they're okay. It's not going well. One person claims to have found Jinu's identity but everyone thinks she's stupid because that guy died literally 400 years ago. YES the royal court's painting of him looks identical and yes that guy was a singer too, but come on, the K-pop look is 90% make-up anyway.
Thought exercise. You are me, you are hungry, you want to make my world famous pancake recipe. This recipe needs four eggs. You have three eggs. Do you:
a) go to the store. yes you have a cold, but you could be in and out fast. then again you could run into someone you know. embarrassing.
b) go across the street to your grandparent's house and ask to borrow an egg. you may or may not get a lecture about not being at church. is it worth it.
c) use two of the raw eggs and two hard-boiled eggs. surely this will work out fine
if you picked c, congratulations, you correctly picked my thought process. i have committed an affront to god and my tummy hurts so badly
i'm no longer on ungodly amounts of cold medicine! i wish i could tell you i have no memory of making this post, and by extension the pancakes, but unfortunately i do!
An Archive of Our Own, a project of the Organization for Transformative Works
Chapters: 1/1
Fandom: 原神 | Genshin Impact (Video Game)
Rating: General Audiences
Warnings: No Archive Warnings Apply
Relationships: Alhaitham/Kaveh (Genshin Impact)
Characters: Alhaitham (Genshin Impact), Kaveh (Genshin Impact), Mentions of Cyno - Character
Additional Tags: Acting Grand Sage Alhaitham (Genshin Impact), Overworking, Worried Kaveh (Genshin Impact), Kaveh is Protective of Alhaitham (Genshin Impact), Character Study, of sorts i suppose, or rather more of a relationship study, Introspection, Stream of Consciousness, in the first half at least, kavehs rumination on domesticity
Summary:
With Alhaitham’s appointment as the Acting Grand Sage, suddenly, the new normal Kaveh’s grown used to is upended once more. Truly, Kaveh never thought the day would come where he would be concerned over Alhaitham’s work-life balance.
By the end of the fourth week, Kaveh decides he’s had enough. If, for some inconceivable reason, Alhaitham has suddenly decided to become so acquiescent, when Kaveh has never known him to be compliant or obedient in his life (before this, Kaveh would have said that Alhaitham had rather committed himself to being a nuisance), then Kaveh will have to be the one to force him to take a break.
-
finally finished my fic for the haikaveh 2025 summer flash exchange! written for aletheas for the request “domesticity”. go check out all the other amazing works in the collection too
The improvement in alhaitham and kaveh’s relationship post-parade of providence is TANGIBLE!!! I’ll talk about things of note from cyno's story quest 2 before posting my deep diving into what this all means for them <3
Firstly, kaveh’s appearance in the tavern being to pick up his order of wine, only to show his parting from the traveller, to ask lambad whether his order includes ‘the coffee beans’ – which is a direct reference to his 2023 bday letter in which he and alhaitham test coffee beans together for his birthday, and now, canonically, this can be observed as a common practice for the two of them – this is symbolic of domesticity, as the two only do this outside of the player’s sight, confined to the privacy of their home.
Alhaitham’s introduction within this quest is waking the traveller up (to which they ignore haikaveh and honestly, valid) due to their discovery of the temple of silence – and I think this is a little self-indulgent on my part, but I think it’s Interesting that tighnari mentions that the tent paimon picks is prone to being stumbled into by ‘sleepwalking fungi’, which prompts cyno to encourage the traveller to safeguard their tent with a weapon. Paimon comments on the improbability they will be attacked or woken up by uninvited guests, and lo and behold, haikaveh turn up – implying they are the sleepwalking fungi? it’s reminiscent of alhaitham’s story quest where alhaitham questions if kaveh would devolve into a fungus, to which kaveh replies he would be a fungus with empathy… if this is at all deliberate, it’s a really cute parallel!!
The completely unnecessary flashback scene in haikaveh’s house, it’s purely there to showcase the development of their relationship - there was no need to animate something that could have been exposition?
(The scene is established with alhaitham reading a book with kaveh offscreen preparing snacks and wine for the two of them, and when kaveh enters, alhaitham puts the book down and directly engages with kaveh’s conversation with a CRIMINAL smile on his face. Kaveh continues the conversation whilst sitting on the table, which shows his comfort and familiarity within the house? With alhaitham? This is also heightened when he leans back on the table during the conversation. Alhaitham is shown thinking about the case and kaveh offers to draw the emblem on the paper of the extortion letter – when kaveh turns his back to do so, their conversation is halted, and only then does alhaitham bring out the book again, but there is a deliberate still on his face as he looks UP from his book to look at kaveh sketching? There was no need for this.!!.>!!!
When kaveh returns to show alhaitham the sketch, the book is gone again, and the previous distance between them is closed – kaveh sits on the table in front of alhaitham, and this creates an intimacy as the two directly face each other. this couldn’t have been established solely by sitting next to each other on the divan. Alhaitham smiles at the sketch and notes that he recognises it, to which kaveh smiles(!!!) at and questions this. Alhaitham recognises the ARCHITECTURAL signets within the symbol, which not only relates back to their joint thesis but also their character concepts as mirrors, as alhaitham appropriates kaveh’s architecture, and kaveh has appropriated alhaitham’s language – which suggests a balance between the two.)
Alhaitham and kaveh working together to identify the emblem to be that of the temple of silence acts as the catalyst for the chain of events within the story quest
Kaveh quipping at alhaitham keeping the salary of the acting grand sage – but with no animosity behind it!??? his last expression during this dialogue honestly looks exasperated but in a fond way…. Im ill….
Alhaitham and kaveh looking at each other when discussing how the case doesn’t make sense… just alhaitham and kaveh looking at each other and deliberating over the other’s thoughts… finally… listening to each other and working together…
The additional (HIDDEN) scene in the house of daena where they begin researching, with alhaitham commenting that he will look for texts pertaining to the temple of silence, to which kaveh says it will take too long, and then agreeing to help alhaitham, without alhaitham having to ask, which demonstrates their improved synergy. Kaveh asks alhaitham how to teach him in gaining information on the sly, to which alhaitham DOES but teases him about it at the same time, but so fondly... I would say this scene mirrors the additional scene in the archon quest, with kaveh talking to alhaitham by the bookshelves and accusing him of stirring trouble in sumeru, while alhaitham appears bitter that kaveh was in the desert during the overturning of the sages. There is a distinct shift in their relationship here – in the past, the two missed an opportunity to work together, whereas here they are voluntarily banding together (which ive discussed here)
COFFEE MENTION 2! Alhaitham mentions how he wants to drink coffee, to which kaveh laments that he wasn’t able to bring any from home. When using nahida’s skill on them, alhaitham can be seen thinking about wanting coffee,,, and then kaveh is thinking about how to get to coffee to them by using mehrak. Even their thoughts are working in tandem??? This contrasts with their individual thoughts in alhaitham’s story quest, where kaveh is thinking about how alhaitham was being vindictive towards kaveh drunkenly writing on the bulletin boards, and labelling alhaitham as having ‘terrible thoughts’, all the while alhaitham is thinking about how dusty the bookshelves are… the progress is STARTLING
When the group reconvene in the house of daena, alhaitham and kaveh have progressed their research on their own accord and based on what naphis has told them. When explaining, the two complete each other’s sentences, and this rounds off with alhaitham conjecturing that the goal of the assailant was to get cyrus to see the letter, which makes kaveh realise cyno’s motivations, and for alhaitham then to ascertain cyrus’s whereabouts. Naphis then assigns alhaitham and kaveh to be in charge of the house of daena, to which they both agree, and alhaitham… smiles? With so much pride? WE GET IT YOU’RE WORKING TOGETHER!!!! SHUT!!!
Cyno and tighnari mention TWICE how essential it is that kaveh and alhaitham worked together, with mentioning how imperative it was that kaveh spotted the emblem and that alhaitham connected it to the temple of silence, and then how alhaitham gave tighnari advice on desert cultural traditions, which aligned with kaveh’s experiences with desert tribes, which gives tighnari the idea to turn the tables on the temple of silence
Returning to the house of daena, cyno highlights that it is STRANGE that kaveh and alhaitham are working together, in that he is surprised to see them studying together? This draws further attention to the unlikeliness of the situation, and that this MEANS something in regard to their relationship!
Kaveh stressing about having to pack away their copious research materials, only for alhaitham to reassure him that there’s ‘no rush’… so gentle
Cyno and tighnari thanking alhaitham and kaveh for WORKING TOGETHER as it allowed them to find a swift and good outcome
COFFEE MENTION 3! Cyno offering to take everyone for coffee, which alhaitham agrees to, and kaveh agreeing to, although he says that because of the last few days, he’ll order something different (confirming that alhaitham has the caffeine tolerance of a tank and kaveh gets caffeine jitters thank u @ hoyo). On the table the two were studying, two trays of a pair of coffee cups and coffee brewers can be seen… the same that can be seen in their house??? Meaning they brought their domesticity to the library with them… and they also sat across from each other, which reminds me of how kaveh sat in front of alhaitham in their house, rather than next to him…
Kaveh and alhaitham sitting next to each other in the café <333
KAVEH CALLING THE HOUSE ‘HOME’ TO ALHAITHAM??? IN FRONT OF THEIR FRIENDS?? This is a big contrast to kaveh in a parade of providence and alhaitham’s story quest who hated to having admit such a thing. And then alhaitham AGREEING that the house is ‘HOME’, and again their thoughts align with ‘my thoughts exactly’. Alhaitham and kaveh leaving together, to the house of daena (where they met, where it ended, and where they have been shown to bond together in this quest) and then back to their shared ‘home’... oh......
from this, kaveh no longer seems defensive or reserved in front of alhaitham, and makes no notion of criticising alhaitham, offering to help alhaitham into researching, and even asking alhaitham to teach him something he deems as a useful skill which he lacks. he openly takes onboard alhaitham's views on the case and responds in kind in order to come to a resolution. he actively makes time in his day to spend with alhaitham, seen in them enjoying snacks/wine/coffee together and talking about his day. he describes the house they share as a 'home', which, for kaveh, is imperative to his character due to his loss of family (which ive posted about here)
alhaitham, similarly, is less critical of kaveh, and this is because a seemingly resolved miscommunication between them. he is receptive to, and encourages, kaveh to communicate with him when it comes to things that kaveh believes to be noteworthy, actively focussing solely on kaveh, rather than his book, when kaveh initiates conversation. he equally seems to enjoy this time spent with kaveh, as he is seen nowhere else but by kaveh's side during this story quest, wanting (kaveh's) coffee within the library which would establish a familiar and domestic setting elsewhere outside of their home. when leaving his group of friends at puspa's, saying that it's him 'done for the day', he retreats with kaveh, back to their shared 'home'
overall, alhaitham and kaveh's relationship has improved VASTLY since their first interaction in the archon quest. there seems to be an understanding between them now and this results in comfort and familiarity where they used to be miscommunication and snipes, and there appears to be a balancing of their viewpoints as they appreciate in the other what was once viewed as mirror opposites never to align, being that of language and architecture. a sense of harmony(?) balance(?) has been established here, and this is shown to be the ideal course of their reconciliation. im so weak......
nothing funnier to me than when AI does math wrong. like I get why it happens, it's a language model that's treating the numbers you feed it as words rather than integers and then giving you an answer based on how those words typically appear in a block of text instead of actually performing a calculation. but the one thing computers are genuinely incredible at. you fucked up a perfectly good calculator is what you did, look at it it's got hallucinations
Modern au where wwx and the Jiangs/Wens (he could be with either family for this) grow up poor, and wwx keeps joking about how he's going to marry rich and then murder his wife (or husband, after he comes out as bi) for the money. It's a running joke in his family by the time he leaves for university.
Then he comes back over the holidays with lwj, youngest son and heir of the famously wealthy Lan family, and the joke is suddenly a lot less funny.
Cue awkward tension as wwx's family tries to feel out whether wwx is actually planning to murder lwj or if it's ok for them to grow attached to him, without letting lwj know they're worried about him getting murdered, whereas lwj is fretting about making a good first impression. And wwx, once he realises his family's confusion, plays it up on purpose because he finds the entire situation hilarious.
Although I have my issues with the storytelling and underutilization of the visual medium in these past patches of HSR, we Phaidei fans have been eating well. I want to focus on this moment in particular:
(This post turned into a light linguistic analysis, so I apologise in advance. Disclaimer: The observations only apply to the English localisation since I can't speak for the other languages.)
I love it that they let us into Mydei's head for a while by giving him a bunch of dialogue choices that he can't bring himself to say. He can see that his friend is hurt, he's got enough insight to know why his friend is hurt, and yet he can't address any of that directly. He wants to offer Phainon a chance to talk about the failed trial and is contemplating various approaches, which I'll lay out here.
(1) "How's your recovery coming along, my friend?"
(2) "Winning and losing are all part of a warrior's life. Don't let it get to you."
(3) "Why don't you take a bath to recharge, buddy?"
(4) "Keep your chin up. You have greater things to achieve."
(5) "Want to grab a drink with me, pal?"
(6) "If you're up for it, let's have a talk."
In terms of pragmatic linguistics, asking Phainon to talk about his recent failure is a face-threatening act. It threatens both his positive face (the desire to be admired and approved of, ie. to be seen as tough and capable) and his negative face (the desire for autonomy, ie. not be forced to talk about something difficult). Mydei is trying to navigate this minefield by finding words that alleviate the threat (aka. save face).
Words like "friend", "buddy" and "pal" can be used to enhance the hearer's positive face (specifically the desire to connect and belong) by emphasising their social closeness to the speaker. Mydei is thinking about using these to soften the face-threatening act of directly asking about Phainon's recovery or asking him to do something (ie. have a bath or grab a drink). Phrases like "why don't you" and "if you're up for it" are also attempts to save the hearer's negative face by forming the request as a suggestion and throwing the ball in Phainon's court. Options 2 and 4 are the most direct and thus threatening, but even they do attempt to enhance Phainon's positive face by defining him as a warrior and expressing faith in his future accomplishments.
The problem is that Mydei's got immense trouble with vulnerability. He has to protect his own positive face, that being the image of a tough Kremnoan prince who bathes in the blood of his enemies. So in the end he can only resort to his usual banter, making an observation and leaving the choice of talking or not talking entirely up to Phainon (hence protecting his negative face). Instead of using friendly but hollow terms of address like "pal", he opts for the semi-sarcastic word "Deliverer", which is ironically probably better at emphasising their shared bond despite its intended bite. Although the utterance "I see you still alive and kicking" threatens Phainon's positive face by implying a chance that he might not have made it, Mydei does manage to break the ice and Phainon eventually opens up to him.
TLDR; This single moment is an incredibly powerful moment of characterisation, and it's achieved through dialogue options, not even dialogue itself. Sometimes less yapping drives the point home much better than paragraphs of exposition. God I wish they were consistent with it.
Comparing Phaidei and Other Hoyo MLM Ships (Part 2)
<- Part 1 is back that way.
In the first part of this, I laid out some of the ways Phaidei fits within Hoyo's normal pattern for queer-coded MLM ships: They're equals but opposites, perfectly matched; they've ostensibly got a "rivalry" as a cover for their laser focus on each other; their models are deliberately placed closer together in cutscenes than other characters' are, and they're intentionally paralleled to a heterosexual married couple. All of these are traits that other Hoyo MLM pairs also show, a sort of foundational standard for Hoyo's queer-coded MLM ships.
But then Phaidei just took a huge side-step around all of them, and started doing things that Hoyo hasn't done in any of their other recent games. (Tiny aside here: HI3 does wildly different things with its characters; I think that being first published when Hoyo was a more obscure company allowed them to get away with things--like the Bronya/Seele kiss and Welt and Co.'s cross-dressing, for example--that "modern" Hoyo games cannot get away with do to greater levels of public scrutiny.)
I said it in the other post, but it bears repeating:
You really aren't imagining things--Phaidei is actually different.
So I wanted to take a closer look at what was making it feel so unique, by comparing its differences to other popular Hoyo MLM ships.
Here we go:
1. The Feeling's Mutual
There was no heterosexual explanation for this framing.
In Part 1 of this post, I noted that Hoyo has a typical personality pattern they follow when queer-coding their male characters, particularly in using "difficult" personalities to create an artificial sense of distance between the characters. If one character is angry all the time, or tsundere, or using sarcasm to cover for their fear of getting close to others, Hoyo can mobilize that personality gap as a shield to give anti-LGBT+ players plausible deniability. Hell, there are people still out there genuinely convinced that Alhaitham and Kaveh have a toxic relationship. There are people out there saying Ratio despises Aventurine because he was mean to him one (1) time while undercover. That's how effective injecting a little bit of bickering into a queer-coded relationship is.
Hoyoverse is very, very familiar with creating this delicate balance of teasing the ship while feeding anti-LGBT+ players and censors just enough "Look, they don't like each other; they're arguing!" contrary material to avoid setting anyone off.
Which... makes it absolutely bizarre that they made almost no effort to do this with Phainon and Mydei.
Sure, on paper we're told that Phainon and Mydei are rivals. Phainon describes it as "He's both my friend and my foe." And yes, they have their quips (Phainon's "It's exhausting talking to you sometimes" comes to mind).
But animosity--the genuine desire to one-up each other--is completely missing from Mydei and Phainon's "rivalry." They aren't Sasuke and Naruto. They aren't Izuku and Bakugou. They don't actually even want to beat each other--they want to be equals. If you defeat Mydei in the 3.0 competition, Phainon immediately folds and calls the contest off. If you let Mydei win, Mydei immediately folds and declares no contest.
Although Aglaea notes they compete because they're "impulsive youths," what she was actually missing is that Mydei only let himself be goaded into Phainon's hot bath competition because he was worried about Phainon and wanted to take Phainon's mind off the failed trial. Then, immediately after beating Phainon in the hot bath challenge, he lets Phainon win the "take more people home" challenge, to tie up their score again.
In fact, Mydei and Phainon's relationship is so devoid of the actual back-and-forth typical of other Hoyoverse MLM ships that at one point, Phainon even asks for it:
(Though he's equally quick to demand compliments from Mydei too.)
Instead, virtually every line from Phainon and Mydei through both 3.0 and 3.1 reiterates that they care deeply about each other, and are concerned for not only each other's physical well-being but also each other's mental and emotional health. They freely and consistently support each other both on the battlefield and off, confessing their struggles and relying on each other for advice. Whenever they're separated, the game intentionally hammers home how worried they are without the other around.
Over and over and over again, the devs tell you how well Mydei and Phainon know each other and how much effort they're putting in to take care of each other:
The game doesn't let us forget that they are one another's
"closest person," and that the respect they have for each other is mutual. Although I wouldn't go so far as to speculate they actually recognize romantic feelings, canon makes it clear that they are aware their emotional connection goes both ways. They don't just value each other's battle prowess, intelligence, or usefulness--they value each other's feelings explicitly, every single time emotions are expressed between them in the game's text.
In fact, Mydei even scolds Phainon for approaching their goodbye with a straight face; he knows that Phainon is hurt by their parting, and he wants Phainon to be honest, as Mydei is being honest in turn:
The rainbows in the background really sold the scene, ngl.
This isn't Renheng, where resentment has taken away any glimmer of joy. This isn't Ratiorine, where even if Aventurine were in a more stable mindset, Ratio's inability to spit out his feelings might keep them from going anywhere. Even with Haikaveh, the Hoyo ship known for Alhaitham's devotion, Kaveh's own struggles and refusal to accept Alhaitham's kindness are an active plot point keeping them from progressing. Maybe you could draw a parallel between Phaidei and Cyno/Tighnari for levels of "mutual," but even then, Cynari interactions are often left off-screen or in the background, for the players to fill in the blanks. On the contrary, Phainon and Mydei's fondness for each other is constantly in our faces.
The devs wanted players to know Phainon and Mydei are invested. We're supposed to see how much they want to be near each other.
More than that, we're supposed to understand just how deeply they trust each other.
Okay, okay, yes, I know this is massive foreshadowing to the inevitable betrayal and tragedy impending (come on, Amphoreus wouldn't qualify as an ancient Greek drama without it!), but I think that a lot of people are missing the key here: By this point in the story, Mydei already knows how he's going to die. He knows someone is going to stab him in the back and finally end his immortal life. When he entrusts Phainon with this secret, he's not trusting Phainon to keep him safe. He's trusting Phainon to do the opposite.
He's telling Phainon: "I want it to be you."
If the prophecy can't be changed and fate is set in stone, then Mydei wants Phainon to be with him in his final moments, to be the one to finally set him free from the "curse" he perceives his own immortality to be. Of course it would be Hoyo who makes "I want to die by yours hands" into a declaration of ultimate trust, but it is an explicit statement of trust, in a way that very few--if any--other modern Hoyoverse MLM ships get to show each other on screen.
Phew, that was a lot!
But I think this is one of the clearest and most defining differences between Phainon and Mydei and other Hoyo MLM ships--the devs took away players' ability to claim they don't get along. You might still be able to call them "just friends" or "brothers in arms," but unlike Alhaitham and Kaveh who fight, Ratiorine who scheme, or Renheng who are actual enemies, Mydei and Phainon explicitly like each other. They trust each other. They seek one another out.
It might seem like a small thing on paper, but this is actually a big thing in practice. Hoyo is pushing the boundary here, reducing the avenues for deniability. It is harder for anti-LGBT+ fans to claim that Phainon and Mydei don't have obvious in-game ship-tease than for virtually any other modern Hoyoverse MLM ship. (By the way, this is why people have resorted to calling Phaidei "industry plant yaoi;" because they can't deny the queer-coding is actually there this time, they instead have to try to de-legitimize the ship in other ways, such as dismissing it as nothing more than bait.)
This also means Hoyo has less of an "out" if people start to really question. It would be harder to explain away Phainon and Mydei's relationship than it would be to explain away even Alhaitham and Kaveh's. Alhaitham and Kaveh have "They're always arguing" and "Their friendship was ruined by their fight" or "They're just roommates," etc. to lean back on. Phainon and Mydei... are really bad at even pretending to be rivals...
All of this to say: Hoyo made a bold and deliberate choice allowing two of their mainstream male characters to be so emotionally close and attentive to each other on screen. They went outside their own current comfort zone for this one, guys.
2. We're Conspicuously Missing a Twink
Moving on from Phaidei's emotional differences, I wanted to talk specifically about Hoyoverse's perspectives on gay men, and how easy it is for companies to slip into not only stereotypes for gay characters, but also extremely heteronormative portrayals of gay relationships. As sad as it is, it is easier to market queer-coded male characters if they fit into the expected pattern for heterosexual relationships: a highly masculine man to "wear the pants" in the relationship, paired with a delicate, effeminate man to obviously be the bottom.
Now, don't get me wrong: Gay relationships come in all varieties; people have different preferences, and categorical groups like "twinks" and "bears" exist so people who have those preferences can find each other. Obviously plenty of hyper-masculine gay men do want more effeminate partners. But "masculine man with feminine man" isn't the only kind of gay relationship around, despite what yaoi ship-tease might suggest.
I don't want to say that Hoyo's track record on this front is bad, because honestly it's not. Their male characters often have surprisingly complex expressions of gender identity, with interesting blends of masculine and feminine traits. But... Hoyo does have a pattern. Plenty of their queer-coded MLM ships fall into this same general (and kind of stereotypical) profile: a masculine man with a more feminine man. Alhaitham is inexplicably ripped and represents calm rationality, while Kaveh is "the spitting image of his mother," has to wring out his wrists when he uses his own weapon, and represents passion and romanticism. Ayato is the head of his clan; Thoma holds housekeeping classes for Inazuma's other housewives. Xingqiu is the "refined" rich boy in ruffles; Chongyun is the down-to-earth working lad. Wriothesley is the most masculine man in Genshin Impact; Neuvillette mothers the entire race of Melusines. Over in Star Rail, Aventurine covets pink diamonds, bathes himself in sparkling perfume, and is so tiny Ratio's hands can encircle his waist. (I don't actually think Aventurine is that feminine, but trying to pretend that he isn't designed to evoke queer tropes is just silly.) Moze is as ripped as Alhaitham, while Jiaoqiu is... very pink. I'm going to talk more about Renheng in a sec, but Renheng is also this way, with the more "delicate"-looking Imbibitor Lunae to Yingxing/Blade's solid frame.
Mydei and Phainon don't fit this pattern at all. Both of them are as tall as Star Rail models come, and while Mydei's build has an impressive degree of bulk, Phainon is no slouch either:
Neither one of them is visually effeminate in any manner, and they're also not effeminate in personality or role in the story. Neither of them is a housekeeper or a home-maker; (again, poor Aventurine catching strays, but:) neither of them is in the business of blinding people into deals with their good-looks or careful facade of helplessness.
Theoretically we could say the devs tried to squish Mydei into a more heteronormative role by giving him traditionally "feminine" traits: he cooks, he plays house with children, he puts milk in his juice and turns it pink, he's paralleled almost exclusively to his own mother... But his role in the plot is such a quintessentially masculine story (son of a self-fulfilling prophecy, father-killer, god-slaying warrior, king to his people, aura-farming champion of the Amphoreus battle cutscenes, etc.) that clearly we are not meant to perceive him as a stereotypically feminine figure. The whole "malewife Mydei" thing comes across as so comedic because he is so masculine.
Conversely, Phainon, despite being the "gentler" of the two characters, the one who is described as having a soft heart and being outgoing and kind, is even less suited to being called feminine. His "Messiah"-esque role in the story, literally being the "prodigal son" of Amphoreus, paints him as the very picture of a classical male hero. Even more so than Mydei, he is a private and closed off person who hides his heart--and his own identity--from those around him, traits more often stereotypically associated with emotionally-closed-off men than female characters.
Up to this point, Hoyoverse had a relatively stable pattern in the MLM ships they baited in their recent games. They primarily played it safe, sticking to queer-coding relationships that both visually and narratively reflect heteronormative relationships.
But Phaidei once again broke the mold.
This time, Hoyo chose to queer-code not the more delicate-looking man (although I guess there's still plenty of time for Anaxa, I shouldn't sell him shorter than he already is lol), but two overtly masculine male characters, who can't be readily projected on to a stereotypical heterosexual relationship. This was a big departure from the norm, and I think this actually deserves a lot more respect than people are giving it. Hoyo didn't have to pick their two muscle-bound warrior male leads and make them close and caring. They didn't have to expose themselves to the obvious question: "Why are two 'manly' characters being so soft on each other?" It is harder to pass off Phainon and Mydei's queer-coding as accidental, or suggest the fans are just reading too much into it, when nothing about them can be mistaken for a "traditional" heteronormative relationship. For a game produced in China, where standards for depicting men and masculinity in media are so high, making the choice to bait two masculine men together (let alone this expansion's "hero," who is an expy of a beloved former character), was a very bold and risky choice on Hoyo's part.
Companies don't make bold and risky choices on accident.
Finally, I wanted to make one more point about why I appreciate Phaidei's emotionally attentive depiction--it's because there's a whole other realm they could have taken the "definitely going to turn into a villain" queer-coded main character. As I mentioned in the first part of this post, queer-coding villains is a trope as old as dirt. When you queer-code a male villain particularly, you add an extra layer to the danger: Now the male villain is not just a physical threat, but a sexual one. Adding queer-coding to the male villain conflates homosexuality with deviance or perversion and suggests sexual violence even if nothing ever truly occurs.
Maybe the real Hoyoverse queer-coding was the red flower petals we threw along the way.
I said I was going to bring up Renheng, and here it is: Unfortunately, Blade and Dan Heng fall into this latter pattern a bit. Although he has his reasons, the game's portrayal of Blade's "pursuit," especially in the early portion of their story, casts Dan Heng into the role of the victim, a young man being hounded by a crazed stalker who refuses to let him go. Their cutscenes, including Dan Heng's nightmares, paint Blade as an overwhelming presence who invades both Dan Heng's physical space but also his mental space, making it impossible for Dan Heng to escape his clutches. This "We must pay the price together" absolutely reads, out of content anyway, as some sort of yandere death pact. Their lightcone is literally called "Nowhere to Run."
Even though Blade is not deliberately engaging in any form of sexual behavior, his obsession with Dan Heng gives some impression of a cliched "depraved homosexual" and the implication that sexual violence could occur is present through their early interactions. I'm not going to lie, part of Renheng's early appeal was how scary and dominating Blade came across as. The subtle sexual implications of pursuit are the point. As things progress, of course, we saw this dynamic dissipate, which I think speaks to the devs reflecting a bit on how they want Blade to come across to audiences.
We know that Phainon is headed for a downfall. It's been so obviously foreshadowed at this point that there's really nothing much more to say than that--however, even though he will likely also descend into villainy like Blade, and even though we know he's very likely going to kill Mydei... I don't think that the devs will use Phainon's queer-coding as part of his Flame Reaver identity. I don't get any sense that the dev team will conflate Phainon's potential homosexuality with depravity, or use it as a motive for his descent into villainy (he might be gay and a villain, but he won't be a villain because he is gay). I definitely don't think we will see the kind of sexually-threatening physicality between Flame Reaver and Mydei that the devs did earlier with Blade and Dan Heng, even if "stabbing someone from behind" does have an inherent sort of sexual symbolism.
I appreciate that even in a story headed for the obvious "stabbed in the back by the villain form of the man I loved," the devs seem like they will avoid any portrayal of gay men as predatory.
3. Leave Room for the Trailblazer
In part 1 of this post, I mentioned that Hoyo uses the placements of characters in scenes to indicate closeness, and I already pointed out that Mydei and Phainon stand really... really... close together, much closer than they stand to other characters.
However, it's not just that their models are literally positioned closer together in cutscenes--it's that their body language explicitly closes other characters out. Plenty of Hoyoverse MLM ships are ship-baited by moving the models of the male characters closer together, but very, very few of them are positioned to so consistently exclude even the player.
For comparison, consider the well-known scene where Alhaitham brings the Traveler and Paimon to his and Kaveh's house, which was framed with both domesticity and intimacy:
Although Alhaitham and Kaveh are also prone to the "stand shoulder-to-shoulder" thing that Hoyo does when they want to imply closeness between characters, the framing of their scenes nevertheless leave enough space for the Traveler and Paimon to be active participants in the conversation, enough space between Alhaitham and Kaveh for Traveler to not look blocked out.
For example, despite standing next to each other in that moment above, the camera deliberately cuts Alhaitham out, so that only Kaveh and the Traveler duo occupy the shot. Later on, Alhaitham bridges the divide between the Traveler and Kaveh, turning away from Kaveh toward the Traveler--once again, the conversation and scene are open to the Traveler, and thus, to the player.
Here's a live demonstration of my earlier point: Alhaitham and Kaveh stand closer together than the player and Candace, indicating their closer connection.
Other scenes play out similarly--although Alhaitham and Kaveh are close, their body language doesn't actively exclude other characters or the player from feeling like part of their conversations.
Over in Star Rail, we see the same general situation. We know that Aventurine rarely stands close to other characters, with Ratio being the one relatively consistent exception, but even so, the camera will usually give them some breathing room, making it feel like there's enough space for the player on the other side of the screen to be part of the moment:
Meanwhile Blade excludes both Dan Heng and the player, putting us on equal footing to Dan Heng and giving the impression that the player and Dan Heng are standing against Blade together. There is still room for "us" in this scene.
However, once again, Phaidei proves the exception. Mydei and Phainon don't just stand close--they don't even want to share air with anyone but each other.
A very normal way to have a group conversation. Definitely.
Consistently when standing side-by-side, they turn inward to face each other, rather than facing other characters in the conversation, literally forming a closed unit despite the fact that they're supposed to be in a group scene:
The thirdest third wheel to ever third wheel.
If it wasn't enough for the devs to just imply that the Trailblazer isn't able to break through Mydei and Phainon's circle, they decided to call it out in the text itself, echoing the player's own thoughts: "What about me?"
As I mentioned in the first part of the post, the devs also consistently use specific camera angles to capture both Mydei and Phainon in the frame together, at the same time, further emphasizing the closed nature of their conversations.
You will never see so many over-the-shoulder shots again in your life. You are the outsider looking in!
Perhaps most telling about the devs' intention to create an intimate air for Phainon and Mydei's conversations is that literally everyone else disappears when they speak to each other. For example, Phainon and Mydei's first goodbye takes place in the Garden of Life, which is actually a pretty bustling plaza with numerous NPCs. But every single NPC was deliberately removed by the dev team for Mydei and Phainon's scene there, to allow them a private moment:
Even in their final farewell, where Mydei was seen off by a literal bustling crowd of NPCs, not a single person is visible during their goodbyes--until the exact moment Mydei reminds Phainon that the whole rest of the world is waiting for him. The whole rest of the world didn't even exist for Phainon until Mydei forced him to remember.
It's not just the Trailblazer (and us, the player) who is third wheeling Mydei and Phainon's relationship. They literally exist in a world of their own when they speak to each other. No other modern Hoyoverse ship is on this level of excluding even the player--excluding even the damn NPCs!--to make a point about their closeness.
I thought I was going crazy the first time I was watching these scenes, thinking "It can't be that the devs actually went that far in framing Mydei and Phainon as a pair." But they did. They actually did.
The envelope has been pushed off a mountain, my guys.
But that still wasn't enough for the devs. They needed to go further.
4. Deploy Shoujo Manga Trope #57
I know I just said that Phainon and Mydei's relationship doesn't map well a typical heteronormative male/female relationship, but that doesn't mean the devs gave up on any and all attempts to apply typical romantic cliches to Phaidei. On the contrary, the dev team's thought process seems to have been "Hey, we're doubling-down on our queer-coding for Phainon and Mydei. How can we make it really, really, really obvious they're a ship?" And then they literally spun a roulette wheel of romantic tropes and threw every single one of them at patch 3.1 at the same time.
We have the "romantic lead beautifully framed by red rose petals blood glitter":
The "You used my love to manipulate me" subplot:
Phainon begs for compliments, and Mydei's reaction is to look away demurely and call him a scoundrel?? Am I seeing things?!
This is where he'd be blushing like a tomato if he was a female character.
The "please look after my dear husband when I'm gone" tragedy trope:
THE RING???
"LET'S MEET AGAIN IN THE NEXT LIFE"?!!
What do I even say about all... this...? Do I even need to say anything at all? Has any MLM ship in a recent Hoyoverse game gotten remotely as many romance flags? Alhaitham, where is Kaveh's ring?!
What I actually want to say isn't a specific breakdown of any of these moments, but what they mean in totality. Remember that Hoyo made every one of these choices with deliberate intent. They knew what the picture would add up to. These are explicitly romantic tropes that are extremely difficult to interpret in other lights.
You are supposed to read "If there's a chance in the next life" as "I want to be reincarnated with you; I want to meet you again; I want to be with you in a softer world."
You're supposed to think of the ring as a wedding ring. For one, Gorgo would only have gotten it through her marriage to Eurypon, but even more so--there was no reason this item needed to be a ring in the first place except to evoke images of wedding rings. We already knew from 3.0 that Castrum Kremnos used crests and seals for identification. Why make it a ring and not just the crest of Castrum Kremnos? Furthermore, why involve Phainon at all? The audience would never have known any different if Chartonus just said "Found this I did, have it you should, Mydei." It's a ring and it's a ring deliberately from Phainon because the devs want you to see it as a wedding ring.
What an incredibly bold move on Hoyo's part, and I don't even really mean just in the context of being a Chinese company, but even in the context of being a global company. Hoyo lives and dies by the revenue of their character banners, and choosing to explicitly and (nearly) exclusively apply romantic tropes to their male lead and deuteragonist in a brand-new patch cycle was a legitimately daring choice. Their deliberate application of romantic staples to an MLM ship, in a way that is difficult even for anti-LGBT+ fans to write off, was a very, very calculated decision. I genuinely hope it pays off for them. I hope Mydei and Phainon's banners both sell well, so the devs' receive a clear message in turn that fans appreciated their boldness and their commitment to creating queer content for these two characters.
I'm just going to end on one final note, about a scene that you may have noticed I conveniently skipped. Yes, the most conspicuous scene of them all:
5. A+ Censor Dodging
By some miracle of obliviousness, some Olympic-level mental gymnastics, or by sheer force of will, I think some people might still have made it to this point thinking that Phaidei was not being deliberately baited by the devs. You could maybe, somehow, convince yourself that the blood glitter rose petals and the shoulder-to-shoulder emotional conversations were just coincidences, that the tsundere "I'm not worried about him" was just dudes being tough guys, that the Trailblazer was a third wheel because Phainon and Mydei are "just good friends."
But then devs said "No, we need to be unmistakable. We need to make ourselves 1000% clear. We are baiting the yaoi fangirls, guys; please stop ignoring our hard work."
If going further than they've ever gone with Mydei and Phainon's body language wasn't enough, if Phainon's being willing to kill a god to save his man wasn't enough, if implying a wedding ring wasn't enough, what else could the devs possibly do to remove all plausible deniability and make it undeniably clear that Mydei and Phainon are queer characters (even if it is only for the benefit of yaoi fangirls)?
They can do something they've never done in their recent games before: Imply actual sex between male characters.
(Side note, Hoyo lesbians have had this implied sexual content pass from the beginning. You will always be famous, Beiguang. It's only the male characters that can't even have implied sex. 😂)
Obviously Phainon and Mydei are not having sex in the game. The dialogue even goes out of its way afterward to remind us that they remained fully clothed in that bath, thank you. But the refusal to show what was actually happening--censorship used as a tool to imply--the cut to the black screen, the narration of one animal pursuing another, the discretionary water droplets between the moaning...
From the player's perspective--and examining this as a choice on the dev team's part--there is no way to read this scene other than "sexually suggestive." You're supposed to think "This sounds incredibly sus." Because it is sus. Because the devs added this scene knowing that it would intentionally make people think about the idea of Phainon and Mydei having sex.
Sure, this scene is really funny in context. You're supposed to come out of it laughing, going "Wow, they're idiots." But you will also, whether you like it or not, come out of this thinking "Damn, Hoyo really went all in on the yaoi bait, didn't they?"
You can't "Devs didn't mean it" out of this one.
Which is brave as hell on Hoyo's part, to be honest! Even if this is nothing but queer-baiting, they saw that sick yaoi fan money and decided to go all in on it.
Say it with me: A dev team from a country with notoriously strict rules against depictions of homosexuality in media, from a company with a huge global fanbase including many conservative and religious countries, and with a majority male target audience, went out of their way to undeniably include sexually suggestive gay content in their game.
Whatever their motivation--be it simply money or from a genuine desire to tell gay stories--this wasn't a casual decision. This took commitment. This decision almost certainly went all the way to the top brass of the team for clearance. Someone probably had to fight to get this added.
But they did it, and not with Kaveh and Alhaitham (the previously undisputed kings of current Hoyoverse queer-coding) but with two brand-new (to Star Rail at least) characters who have extremely important roles in the game's on-going narrative--major characters who can't be overlooked.
Phaidei is literally built different.
But I'm still left with one lingering question:
Is Hoyo queer-coding or just queer-baiting?
Even though I played 3.1 in a sort of stupefied haze because I actually couldn't believe what I was seeing in Phainon and Mydei's scenes, I also ended it with a pretty bittersweet feeling.
How amazing that Hoyo pushed the envelope so far with Phaidei... But at what cost?
Did Mydei really have to leave Okhema never to return? Or is he being banished from the plot because his relationship with Phainon was too intense?
Isn't this just the "bury your gays" trope, in essence?
Lore-wise, there isn't any reason Mydei actually has to leave Okhema forever. Sure, he presumably is going to fight the Black Tide where it manifests across Amphoreus, but what about that requires him to "never return"? Demigods aren't geographically bound to the locations their Titans blessed, or Aglaea and Anaxa wouldn't be able to leave the Grove. There shouldn't be any reason Mydei can't visit Okhema when he wants.
The more you think about it, the worse it looks that the dev team implied Phaidei harder than they've ever implied an MLM ship before, only to immediately turn around and go "And then Mydei left forever." As if the only way it's okay to make characters that gay is if you then get rid of at least one of them. (Speaking humorously, at the rate Phainon and Mydei were going, if the devs didn't get rid of Mydei, he and Phainon probably would have been making out on on-screen by 3.2, but you know what I mean.)
Sure Phaidei can be the MLM Star Rail ship with the most support in canon--but only at the cost of never being seen together again, apparently.
I'm not sure I like this trade off.
However, I am telling myself to remain cautiously optimistic. We know that Mydei's role in the story is not done, and that he and Phainon are destined for at least one more reunion, even if it won't be a happy one. We've been told that Amphoreus's story will be "heart-warming." I choose to believe that the devs will try to scrabble some sort of positive ending out of all this. At the very least, perhaps we'll end with a "in another life montage," and get to see Phainon and Mydei finally meeting in that library.
So is Hoyo queer-coding from a genuine desire to include gay characters or just baiting hard to sell Mydei to fangirls?
I'd say let's wait and see. Amphoreus has barely started cooking.
In the meantime, I think it is worth examining (and appreciating) Hoyo's willingness to mix up their own patterns, break their own trends, and to try something truly new and different with Phaidei. Even if this is all the content we ever get, Hoyoverse did things they haven't done before in any of their recent games, and showed that they're willing to push the limits for queer content in order to tell the stories they really want to tell.
I am a served fan, Hoyo. Well played, well played.
my 10 holy grail pieces of writing advice for beginners
from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)
show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."
no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.
if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.
never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.
every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.
every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.
arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)
epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.
your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.
plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.
As someone who's also done some writing, this is all Extremely Sound Advice. :->
Here are a couple of point enhancements, and a rant about how a famous production torpedoed itself - IMO, anyway - by getting fixated on one of them
*****
(2) Head-hopping / POV change - think screen format and a change of camera angle. A "dinkus" (one or more asterisks, bullets or other symbol) between paragraphs is enough to indicate this, and you're good to go.
I do something similar in my own posts, including this one, though properly speaking the asterisks would be centred. I've done that with the next set, though since I've done the centring by inserting spaces, they may be well off-centre in other themes:
*****
(3) and (4) Treat info- and expo-dumps like pungent seasoning. Your recipe (story) needs them, but Not All In A Lump.
A good way to do this (the equivalent to "stir in gradually") is to combine them with other action - eating a meal, a walk-and-talk, watching some non-essential business like someone grooming a horse, washing a car, mowing a lawn etc., etc.
Intersperse the necessary dialogue of the info-expo with descriptions of and comments on the other business. If that business can be made relevant to the info-expo (comparisons, side-comments etc.) so much the better, but the point is to break up what can too easily be what TVTropes calls A Wall Of Text.
Thriller-writer Philip Kerr's later books are notorious for this: there are numerous instances where a character starts to talk ("Open Quotes") at the top of one page and - without interruption and sometimes even without paragraphs - doesn't finish ("Close Quotes") until halfway down the next.
Worse, the character is often reciting a chunk of background information from Kerr's research files which should have stayed there, or at the very least been pared down to its bare essentials as something a human being might say during a conversation with another human being.
Which Does Not Happen. :-P
*****
(8) about epithets, tackles something well-enough known that it has a TV Trope, "Burly Detective Syndrome". This has a cousin, "Said-Bookism", and no matter what you might have heard or indeed seen posted along with lists of sometimes-ridiculous alternatives on Tumblr, "said" is not dead.
It's alive, it's well and it's doing its job, which is to be the unobtrusive hook from which dialogue is hung. As I've said more than once, if a hook attracts more attention than the thing it's holding up, something's gone wrong.
*****
(10) If there's a scene that's likely to be fun to write, and another that's likely to be a slog, then if it works for your writing habits try to swap to and fro between the writing of them, with fun as a reward for slog.
If chop-and-change writing like this throws you off, then write the slog first and the fun after since once again, that's the reward, something to look forward to. Doing it the other way means you're looking at the slog to come, and that's not my idea of a reward.
Also, it can happen (personal experience) that after the refreshment of the fun, you'll come back to the first-draft slog bit and revise it into something better.
*****
I'd suggest (6) and (7) about subverting expectations - whether characters' or readers', and the one will become the other as reading happens - are something that need approached with care, and should always have a solid reason beyond (box tick) Not What They Expect.
Showing an unsubverted episode or incident - for instance the character's going-out preparations, or their commuting-home routine - is necessary, often more than once *, to establish Normality, so the character and reader are aware that This Time Is Different.
(* I've seen this done by cut-and-paste repeating the same description from one chapter into the next. It was imaginative and effective there, but could easily have tripped up on its own cleverness by seeming UNimaginative. YMMV.)
Why is the character including a concealed weapon in their party dress-up? Why is the character concerned they might be tailed during that commute? A comparison between ordinary and extraordinary is needed to show this doesn't happen every single time.
It's also a good way of racking up page-turning tension before invoking (5) that cliff-hanger chapter ending... :->
*****
And now the rant... :-p
Subverting expectations as a (box tick) action because it was So Effective That One Time is what transformed the final seasons of a once-popular fantasy adaptation into such a disappointment.
"Game of Thrones" is an excellent example of subverted expectations, such as the Red Wedding where - despite the way heroes are expected to escape at the last minute - a crapsack world like Westeros means bad things play all the way through to their bad conclusion.
*****
It's also an excellent example of how bad writing and a (box tick) attitude can lead to subversions that should have been left alone.
One instance is the way Jaime Lannister's redemption was abandoned "to subvert expectations" (box tick) complete with redemption-dismissive dialogue that was a slap in the face to several seasons of character development.
The lack of any hint or implication that such a thing was even possible suggests - to this viewer anyway - that it was no more than a (box tick) without additional thought as to whether it was logical in-story, as long as it generated yet another "Oh No, we didn't see that coming!" reaction from the audience.
(Of course nobody saw it coming, since neither plot requirement nor character development had any reason for it to happen.)
Sometimes a story should play out logically as a story because It's A Story, Not A Documentary. Terry Pratchett knew this and called it Narrativium, the element which drives stories. TV Tropes calls it The Theory of Narrative Causality.
Whatever the name, and however storytellers may tinker and tweak with it, they ignore its basic rules at their peril.
*****
Another example is Cersei's death.
When a writer as amiable as C.S. Lewis said:
"Let there be wicked kings and beheadings, battles and dungeons, giants and dragons, and let villains be soundly killed at the end..."
...just dropping a building on her without involving any of the many other High-Profile Characters she'd hurt throughout the series was ridiculous, especially with one of those High-Profile Characters already in the vicinity.
It may well have subverted expectations, but it was a lousy resolution.
It was also bad storytelling which abandoned at least one long-anticipated set-up (all too common in later GoT), and still vexes me since in a storyline filled with subversions for the sake of shock value, NOT subverting audience expectations but instead rewarding them with what they want (what they really, really want) becomes a subversion in itself.
*****
It's not hard to imagine more original and entertaining ways of bringing Cersei's pigeons home to roost, the most obvious being a fatal encounter with Arya-reFaced-as-Jaime.
This IMO would have been a much more satisfying use of her well-established Faceless Man sneakmurder skills than that no-setup leap from nowhere onto the Ice King, another Bad Guy built up to deserve a more spectacular termination than his you're-done-now-kthxbye demise.
Certainly after eight seasons of scheming, murder, cruelty - and infuriating smugness, oh yes, that too - having Cersei "soundly killed" should have involved something, anything, more conclusive, up-front and personal than a load of bricks landing on her head.
Subvert, yes. But not just for the sake of doing it.
*****
And as @writeblrfantasy concluded, no matter what way you're doing it, have fun in the doing of it...
You've seen "you fool" (derogatory) and "you fool" (desperate), now get ready for "you fool" (loving)(sacrifical)(100% certain he's not going to live or even be remembered)(oh my god I can't do this)(what the hell what the hell what the hell)
Just barely started on 3.1 but Hoyo are you actually telling me that--
In a trial set up by Nikador that deliberately preys on people's worst fears, one which we confirm is targeted directly at Mydei by the inclusion of people Phainon and Trailblazer never met...
Phainon's death was one of the central provocations?
Nikador thought that losing Phainon would be a core part of Mydei's worst fears?
A weakness he could prey on?
And yet Mydei never even doubted for a second that Phainon was still alive, because he just has that much faith in Phainon's abilities?
This deliberately Mydei POV close-up on Phainon's face with the blood-flower petals majestically swirling around him???
...Isn't this... Isn't this too much bait, Hoyo?
I'M BEING FED TOO WELL; I DON'T KNOW WHAT TO DO WITH ALL THIS FOOD--
A Look at Ratio and Aventurine... and Ratio/Aventurine
I was morally obligated to use this picture.
Anyway, I got an ask about my understanding of Ratio and Aventurine's relationship both in canon and as a ship that I have been holding on to for a while now because... phew, there's like... a lot to talk about there... But I felt I should at least give it a try, so here is my attempt to comment on the intersection of two of Star Rail's most complicated personalities. Long post is longgggg; you have been warned.
First, Aventurine's canon relationship to Ratio:
In the interest of not hitting tumblr's image limit, let's just throw out some of the information we have in one go:
It's pretty complimentary. (Yet somehow...)
The implication of the infamous "Keeping Up with Star Rail" video is that Ratio understands Aventurine better than anyone else, and Aventurine knows this. At the very least, putting all shipping aside, Ratio is the person who can explain Aventurine's behaviors best. He's the person Aventurine chooses do so. This suggests significantly more knowledge of each other's lives than the game first led us to believe.
Other people (read as: my GOAT Owlbert) perceive respect from Aventurine to Ratio, and although I read them as a bit sarcastic, the 2.1 mission logs not only repeatedly confirm that Aventurine views Ratio as smart and reliable, but that Ratio is reliable "as always," again indicating a longer and closer history of collaboration than we get to actively see in game. The devs were working hard to tell us "Penacony isn't Ratiorine's first rodeo," which is interesting--given Topaz's voiceline recommending the Trailblazer avoid working with Aventurine whenever possible, we're led to believe through 2.0 and 2.1 that not many people will willingly work with Aventurine more than once, let alone many times.
While going through psychological scrutiny from the Ghost of Christmas Yet to Come his Harmony-infused self, the "Future" Aventurine suggests that Ratio and Aventurine are quite similar, and that Aventurine puts a surprising amount of trust in Ratio, to be willing to hinge such a dangerous plan on something as untested as Ratio's ability to act. At the very least, Aventurine's own psyche is pondering on Ratio and whether or not their connection has any emotional meaning.
But despite all this evidence suggesting Ratio and Aventurine spend significantly more time with each other than we get to see in game, Aventurine's own thoughts cast strong doubt on whether he and Ratio are actually close.
Aventurine's "About Dr. Ratio" voice line suggests that Aventurine believes Ratio does not particularly like him. He seems to think that Ratio would prefer to stay away from IPC operations where possible, and it's "unfortunate" for Ratio to be stuck with Aventurine as a conversation partner. He's tolerated, rather than enjoyed. His overall impression seems to be that Ratio mostly views them as distant coworkers.
When the "Future" Aventurine suggests Ratio did not betray Aventurine willingly, actual Aventurine immediately pushes back:
(Personally I'm on the fence about whether this was real doubt or just a ploy to continue sussing out Sunday; see my other post about this scene for some more thoughts.)
But if we take this statement to be played straight, it implies that Aventurine doesn't fully believe Ratio will side with him, even (maybe especially) in dire circumstances. If this statement is real doubt, then despite considering Ratio the person who best understands him, despite building an entire life or death gamble around Ratio's loyalty... Aventurine still doesn't think Ratio even likes him.
Aventurine's not stupid or blind, so theoretically he should be able to read the situation better than that. But actually, there's plenty of evidence both in the game and outside it to suggest that Aventurine is not the most accurate judge of his own relationships to others and is a down-right terrible judge of his own worth as a person.
"Future" Aventurine suggests that one of Aventurine's deep inner flaws--the truths that he rejects about himself--is a massive inferiority complex. This is backed up well by the mission text, where Aventurine's thoughts about himself spiral into self-harm, and the scene in the maze, where "Future" Aventurine taunts our Aventurine with the unforgettable fact that his entire life was only worth pennies:
There's also pretty consistent self-deprecation, with both "Future" and real Aventurine noting several times that he's a pathetic mess of a person that other people don't trust or like.
The overall impression 2.0-2.1 left me with is that Aventurine is perfectly capable of respecting and caring for others, but virtually incapable of accepting other people genuinely respecting and caring for him.
Part of this seems to stem from the directly-stated sense that he's a failure whose only worth is in transactional exchanges, using and being used by others (there's so many layers to this--internalized racism even), but I also suspect that much of his inability to accept genuine connection from others is defensive behavior.
Aventurine's true self, Kakavasha, is deeply hidden away, like the ghost of the child that manifests from his Harmony delusion in the Dreamscape. Although Aventurine clings to that person, claiming that he has "never changed," he actively coats over his beliefs, his kindness, and his authenticity with the mask of a "cavalier gambler," with glitz and glamor and showy distractions. No one gets to see Kakavasha. No one gets to know him, because being buried deep in the dirt is the only way to remain untouchable, and fiercely keeping one's distance is the only safe bet. (For both Kakavasha and any fools who would doom themselves by daring to care for him.)
So: Canon is telling us that Ratio is one of, if not the, closest people in the world to Aventurine. But canon is also telling us that that still means absolutely nothing at all, because Aventurine won't let himself be close to anyone living.
Aventurine's senses of self-worth, trust, attachment, and safety have been warped so badly by ongoing and untreated trauma and mental health issues that, at least until the end of 2.1, I just don't think he was capable of even accepting genuine friendship from Ratio, let alone anything more.
(Interesting side note here: Ratio is actually one of the people Aventurine calls "my friend" the least. He only says it directly to Ratio a single time in all of their lines of dialogue across 2.0 and 2.1, and even then, does so only when right outside Sunday's door, while almost certainly being spied upon by the Family. Anyone who knows how often "my friend" is peppered into Aventurine's dialogue otherwise should know that the absence of the phrase is actually pretty telling. It almost feels like canon Aventurine's not even sure he can call Ratio his friend, at least to Ratio's face.)
Which makes Ratio's canon relationship to Aventurine quite sad and ironic:
From start to finish, Ratio canonically esteems Aventurine more highly than almost any other character in the game. I'm not even talking about shipping when I say that there is no character Ratio is closer to in the entire game.
At present, Ratio has only four voice lines about other characters, and of those four, Aventurine's is the only one that isn't someone from the Genius Society. The only one. Ratio's voice lines are also notably, uh, not very complimentary. Herta is "talented but not helpful to others" and "sees no one as her equal" (read as: she's self-absorbed). Screwllum is a "monarch, rather than a genius" (with the vague implications of being a tyrant), and Ruan Mei is overly ambitious and "fooling everyone."
Meanwhile, Aventurine is "our man" (who is "our" Ratio? who?) whose success "can't all be chalked up to luck," implying that part of Aventurine's success must come from skill. Ratio notes that Aventurine questions his own ability... but as far as Ratio's evaluation goes, he seems to doubt that Aventurine will ever experience a downfall. For someone who thinks 99% of the people he meets are mediocre failures scrambling around in the filth of existence, to be recognized as skilled and unlikely to fail is quite obviously glowing praise.
Then, of course, there are numerous moments that echo Aventurine's hints, implying that Ratio spends significantly more time with Aventurine than we see on-screen, that he knows Aventurine extremely well, and, although he tries (vainly) to pretend he isn't, he's clearly quite concerned with what Aventurine thinks of him.
Especially this last one. "No wonder that gambler likes you so much" is pretty intentional on the devs' part, confirming that Ratio and Aventurine are having off-screen conversations we players are not privy to, which obviously would indicate a closer relationship than the in-game cutscenes could cover.
Then, Trailblazer has the option to flat out ask Ratio to "rate" Aventurine. (Star Rail ship bait is not even subtle.)
At first, this line might read as all over the place:
"The bosses say we're partners but I wouldn't say that" -> Read as: Ratio wants people to know how their relationship is classified but doesn't want to admit to being actually invested.
"I see myself as the teacher to everyone I meet" -> Read as: Ratio at least pretends that he doesn't view anyone as his equal; everyone is either above him--geniuses--or below him--students.
"Aventurine is not that bad of a student" -> High praise; even Ratio can't pretend Aventurine's untalented.
"Actually, Aventurine's probably in metaphysical danger" -> Read as: Ratio is aware of the "void" Aventurine is experiencing and his mental struggles.
The ultimate takeaway of Ratio's "rating" actually says more about Ratio than Aventurine. When it comes down to it, Ratio's choice to answer this question for the Trailblazer instead of dismiss it tells us that Ratio has spent time quantifying and trying to define his relationship with Aventurine, is willing to at least discuss that relationship with other people (when we have no evidence he ever discusses any other personal/non-academic matters with anyone), and that Ratio pays attention to Aventurine's mental states.
Canon Ratio is not beating the allegations, I'm afraid.
But actually, I think the biggest tell about Ratio's canon relationship to Aventurine is that Ratio's behavior completely changes the moment Aventurine appears in the game.
In every single one of Ratio's other appearances, two facts are hammered home again and again:
First, Ratio hates interacting with fools and "noisy" people. He wears his plaster bust so that he doesn't even have to see them. Canonically, we're informed by both March 7th and Argenti that Ratio brought and was wearing his headpiece in Penacony. Curiously though...
The players never see it throughout 2.X--probably because 90% of Ratio's scenes are with Aventurine, and Ratio is never shown wearing his bust on screen with Aventurine--even in their very first meeting in the Final Victor lightcone. Aventurine clearly knows of the bust, but despite Ratio verbally going on and on about how Aventurine is the most "flashy" and "devoid of logic" person Ratio knows... the devs deliberately send their message: Ratio has chosen not to cut himself off from Aventurine.
Aventurine can be more "clamorous" than a screaming peacock, but Ratio will still not put up walls against him. This isn't accidental. The devs had every opportunity in the world to go the opposite route and make jokes about Ratio refusing to take the bust off in Aventurine's obnoxious presence; instead they decided that Ratio apparently has a glaring, Aventurine-shaped exception to his "I don't want to perceive you fools or be perceived by you" life rule.
This "willing to tolerate shenanigans only if Aventurine is involved" behavior continues basically throughout all of Penacony's plot. In 2.3 for example, if you turn around and talk to Ratio again on the Radiant Feldspar, he flat out says:
But there's no actual explanation for why he's there in the first place. He mentions he was assigned to watch over "the IPC's ambassadors," which theoretically should apply to Jade and Topaz, yet we never see him interacting with them in any capacity. He's never even shown in the same room as Jade or Topaz, and he's not shown doing any other form of business for the IPC on the Feldspar either. Theoretically, he could have been on the Feldspar to meet regarding the Divergent Universe... except Screwllum wasn't there yet, and Ratio doesn't mention a single word about the Divergent Universe to the Trailblazer.
The only person Ratio talks about in his dialogue on the Feldspar is Aventurine, and the only non-Trailblazer he talks to in 2.3 at all is also Aventurine, replying to him and only him in the group chat.
He looked like he might give it a shot to try to befriend Boothill and Argenti at the end of 2.3... but immediately changes his mind and leaves without saying a word to them.
It's not really a stretch to suggest that the only reasonable excuse for Ratio to attend the party on the Feldspar was if he was there for Aventurine, a behavior that he himself notes is out of character. ("A waste of time" he says, as he stands there anyway.)
But, second and even more importantly: Ratio's single most defining character trait is that he believes people need to pick themselves up. The entire point of his debut appearance in the game was to present his philosophy that if the powerful or privileged intervene to continually "save" the mediocre, ordinary people will never learn for themselves or get the chance to grow. It is in times of desperation, he says, that fools exceed their limits and reach greatness.
This is why, in 1.6, he insisted on Asta and the Trailblazer being the ones to solve the attacks happening on the space station, without relying on Screwllum or the other geniuses. Although Ratio did actively intervene a little (using the phase flame to save the researchers from death), he did so only from behind the scenes, where his actual help would not be noticed by those affected and where it had no impact on their decision-making or their struggles to solve the mystery.
He let Asta and the Trailblazer panic. He let them flounder. He even deliberately misled them at points, claiming that Duke Inferno must have kidnapped the researchers (when it was actually Ratio himself who re-routed them).
Ultimately, Ratio let Asta and the Trailblazer grow from their experiences.
This is also why he lets the Trailblazer go blazing in to fight Ruan Mei's faux emanator of the propagation, despite knowing that Trailblazer was not actually strong enough to win. Ratio watched and was ready to intervene... but in the end he did not, because it was the Trailblazer's fight to lose.
Ratio's most defining character trait is that he believes standing back and observing is the true kindness, rather than inserting oneself and denying people their autonomy or opportunities to grow.
Buttttt... then there's Aventurine, and suddenly the story is completely different.
Suddenly, Ratio isn't an observer but becomes essential to the plan. He's even walking around making big claims about being the manager of the task, flexing all of his C+ acting ability to actively carry out their mutual ploy.
In 2.3, he claims he was just there to watch, and his Penacony sticker asserts he's only "a supporting character"--yet we have never seen Ratio take a more active role in the entire game. Unlike with the Trailblazer in 1.6, he's not primarily watching events unfold from shadowy corners. He's in Penacony as Aventurine's active partner in crime.
And, even more telling--he later jeopardizes their entire mission just to ask if Aventurine needs help.
What? Huh? The character who is famous for the voice line "You look distressed. Is something troubling you? If so, you can figure it out for yourself" is suddenly offering his assistance entirely unprompted?
The guy whose motto might as well be:
Is suddenly out here throwing his own core philosophy out the window to solve Penacony's mystery for Aventurine and save him from himself in Aventurine's hour of greatest need?
A lot of people get hung up on the second half of Ratio's letter, the part about staying alive, which of course is very sweet. But I think the second half causes people to forget that the first part of Ratio's letter is, quite literally, the answer to Penacony's mystery.
Ratio gave Aventurine the answer.
This is like if your professor just gave you and you alone the score key to the final exam and then turned around to insist he "doesn't play favorites."
Of course, Aventurine is brilliant and didn't need Ratio's answer about dormancy, which makes the fact that Ratio went out of the way to give it to him even more odd. Ratio despises unnecessary repetition. If he wasn't dead worried, he would never have given Aventurine an answer that Aventurine had the power to find on his own.
And, as far as canon tells us, Ratio has never done this for anyone else.
The difference is night and day. It's literally the Gordon Ramsay meme, with everyone else in the entire game being the "fucking donkeys" to Aventurine's "Oh dear. Gorgeous."
So: Even if we entirely put aside shipping, if we look strictly at what we're given in canon:
Ratio treats Aventurine with more respect than he treats most other characters in the game.
He involves himself in Aventurine's struggles in a way that he flat out refuses to do for anyone else.
He compromises his own beliefs purely out of concern for Aventurine.
So, at least as far as we've been shown in canon, it is accurate to state that Aventurine is the closest character to Ratio--and unlike Aventurine (king of self-gaslighting), Ratio isn't even good at acting like he doesn't care.
Frankly, the whole thing is a little sad. Ratio's behavior is so blatantly out of character that a smart person like Aventurine should easily be able to determine it is genuine, but Aventurine's personal hang-ups and ongoing trauma make it difficult for him to even see that authenticity, let alone put faith in it. Even in canon, Ratio is mostly unable to help himself when it comes to Aventurine, which is especially unfortunate given how badly skewed Aventurine's perception of himself and others is by the start of Penacony's story.
PHEW! I finally made it through canon content!
Now there's just... everything else... 🫠
Well, to be honest, I don't think I could ever manage to put all my thoughts about this ship into one post. Probably not even fifty posts.
So rather than trying to say everything there is to say about Ratiorine, what I want to focus on is how fantastically these two characters just fit together. Like puzzle pieces that need to be mirror opposites in order to link, these two characters parallel each other while also perfectly filling in each other's voids. It's some of the best character pair writing I've seen in a long time (though I'm still sort of convinced it was at least 50% sheer luck on Hoyo's part), and my perspective on their ship can really be tied to my underlying perception of Ratio and Aventurine's characters as remarkably similar individuals:
It's obvious that Aventurine is not a healthy or well-adjusted adult man, but like... neither is Ratio.
Both of these characters are "not quite right" marginalized people who, at least in my interpretation, have essentially given up on even faking normality and are now just vaguely play acting their way through being functioning members of a universe that is entirely unequipped to accept them for who they are. In a world full of cyborg cowboys and people with wings growing from their heads, the game still manages to somehow convince us that Aventurine and Ratio are odd ones out.
Kakavasha can't even exist in the dystopian capitalist hellscape of the IPC's machinations. "Aventurine" isn't even a real person, just a never-ending performance, a slick, devil-may-care persona without a single ounce of substance.
Ratio, meanwhile, is a world of one, rejected from the only place he thought he could find validation and acceptance but unable to lower himself to fit in anywhere else.
Aventurine is so bad at making genuine connections that he turns everyday conversations into gambles because he doesn't believe people will care enough to keep talking to him without tangible incentive.
Ratio's insistence on treating everyone as students, not as equals, also means he has an excuse to never emotionally engage with anyone he meets. (This is not at all a textbook method of intentional avoidance to prevent any chance of social rejection. Not at all.)
At the end of the day, Aventurine and Ratio both come across as desperately lonely, and so caught up in their own situations that they really don't have the ability to climb out of that hole on their own.
Preventing them from even being able to maintain any form of relationship is also the fact that neither one of them can even find justification. Neither one of them has a reasonable answer to the question "Why am I alive?" anymore, because Aventurine's reason died on Sigonia and Ratio's reason died with an IPC invitation instead of a Genius Society letter. Though their differing perspectives have led them on opposite paths pursuing their own answers to that ultimate question of "Why should I keep living?" (Aventurine was headed toward giving up before the end of Penacony, while Ratio has invented an immeasurable, impossible goal to distract himself from feeling purposeless), both of them are pretty much miserably unfulfilled in their current lives.
They're also both violently allergic to emotional vulnerability and to having any of their flaws or true desires actually be perceived. Both of them put up insanely high walls. Aventurine pushes boundaries with everyone he meets to provoke their hatred in advance, before they can come to disdain him for his "real" flaws. He acts out harmful racist stereotypes to use others' preconceptions for advantage, manipulating every situation he's in--incidentally affirming the stereotypes against his people by doing so.
Ratio puts a physical wall of plaster between himself and others, but the plaster bust actually doesn't have anything on the mental and emotional gymnastics he's engaged in to justify his isolation from the world, doing everything in his power to convince himself that he's isolated by choice, that it's perfectly logical for Veritas Ratio to have nowhere to truly belong, no one to truly belong with. He's so mundane after all. Of course the geniuses don't want him, that's just commonsense. But everyone else is so... different, so foolish, so illogical... It just wouldn't be reasonable of him to try to become one of them either, to be their friend instead of their distant educator. (You know, if you never try to integrate with others, then they can't reject you. Ratio has learned his lesson.)
Somehow, Aventurine and Ratio are two of the most competent and successful people in Star Rail's entire universe and simultaneously also two of the most misfit, reject, dysfunctional messes in the game. Like... Blade has a better support network than Aventurine and Ratio combined. The 7000-pound murderous mech with a disabled, genetically-modified war veteran who never got to live a normal human life hiding inside it is more capable of making friends than Aventurine and Dr. Ratio.
Which is why I love that the devs decided to make their canon backstory: "Some absolute treasures in the IPC and the Intelligentsia Guild had the galaxy-brained idea of pairing Ratio and Aventurine as strategic partners." The game's writing really said: "These two characters are so socially stunted, they have to be assigned a relationship like it's homework."
They may not have it all figured out yet, but the fans see the design: Now that Ratio and Aventurine have each other, they're not alone anymore. I have never seen two characters better fit the "Is anyone going to match my freak?" meme only for the actual answer to be "Yes."
Ratio is "plays chess with himself" levels of loner weird? No problem--Aventurine is "Wanna take bets on who's going to die today?" weirder. Ratio wears a plaster bust to ward off idiots? Aventurine transforms into a monster on command, which is pretty much guaranteed to achieve the same effect.
Ratio wasn't chosen by Nous? That's fine, Aventurine's one job as a "chosen one" was to save his people and now they're all dead. Nobody can keep up with Ratio in conversation? Watch a single comment from Aventurine turn him into a fumbling mess on live television.
Ratio's inability to relate to the experiences and development of any peers his own age have left him extremely isolated and with a permanently scarred sense of self-worth? Wow, I wonder if Aventurine knows exactly what that feels like.
They just... fit.
And, changing focus a little here at the end: While I personally think that recovery from trauma requires internal motivation and self-kindness foremost, I also think that Ratio and Aventurine's relationship should be considered from the perspective of how they help to fill each other's gaps.
Unlike any connection at the Genius Society who will always evoke unpleasant memories of Nous's rejection, Aventurine isn't going to make Ratio feel intellectually inferior. Aventurine has nothing but good things to say about Ratio's intelligence, and it's even apparent that Ratio felt comfortable enough to at least mention his Genius Society woes to Aventurine, something he explicitly does not do with anyone else.
Even when it comes to social interactions, Aventurine isn't going to make Ratio feel inadequate, because honestly? Aventurine's almost as bad at them as Ratio. Aventurine is much better at faking it socially, but when it actually counts? When he's trying to be real with others? A solid 70% of the people who meet Aventurine still end up wanting to strangle him. The guy tried to apologize for threatening to detonate the Trailblazer like a bomb by buying them a model train...
Then there's this:
Aventurine is the only character explicitly called Ratio's equal in game, and more than just treating him respectfully as an equal, Aventurine also exhibits one extreme appeal that no one else in game has ever shown to Ratio: Aventurine makes Ratio feel needed. For Aventurine, Ratio is not a forgettable after-thought as he is to Herta and most of the other geniuses. He's not just "some weird guy who scolds me about school" like he is to the Trailblazer. Ratio's intellect and skill were integral to Aventurine's plan from step one to the very end. Ratio has a place in Aventurine's plots. For a character who directly assesses worth by how beneficial a person can be to others, the fact that Aventurine can make Ratio feel wanted and valued probably produced some of the strongest personal fulfillment Ratio has had in years.
On the opposite side, Ratio's in a unique position. Out of every relevant character in Aventurine's story, Ratio is the only one who has nothing to lose by choosing Kakavasha over "Aventurine." Ratio doesn't profit off Aventurine or take any expensive gifts from him, like the Trailblazer does. He doesn't need Aventurine's luck for anything at all. He'd be able to work for the IPC even if Aventurine wasn't in it. Ratio certainly doesn't want the glitz and glamour of a shallow gambling hustler persona. His work doesn't require Aventurine's continued involvement like Topaz's and Jade's does. He'd probably prefer not to know any Stonehearts at all, thank you for asking.
Outside of deliberate-acting insults about Sigonians for Sunday's sake, we're not told that Ratio has any connections to--and therefore has no preconceived biases against--Sigonians. Being a person who values self-determination and a refusal to live in mediocrity above all else, he would have nothing but esteem for how far Aventurine has managed to come despite the harsh circumstances of his life. Ratio probably wouldn't even think Aventurine's belief in Gaiathra is that strange; one of Ratio's doctorates is actually in theology.
Unlike literally everyone else in the universe who needs "Aventurine," we have every indication that Ratio's respect and admiration will only grow when he finally gets to meet "Kakavasha."
Loneliness, rejection, betrayal, a lack of understanding from others--all of these can leave wounds that only genuine, deep bonds with others can heal.
On death's doorway, in the darkest shadow, when Aventurine had to make the choice between passing on to be with the family that loved him and choosing to return to a reality without them... Ratio's letter was there, telling Aventurine the exact thing he needed to hear to choose life: Someone is waiting for you to come home.
If the resounding rejection of Star Rail's Nihility is belief in humanity's power to make meaning in our own lives through our connections to others, then the ultimate message of Ratio and Aventurine's arc in Penacony is that no one needs to be alone. The world is not as empty as you fear.
And that is a message that Ratio and Aventurine can learn best through each other.
I know I've talked a lot about Alhaitham actually being one of the funniest characters in Genshin Impact, but every time I think about him, I find something new to laugh at.
Alhaitham's character stories and personal criticisms of Kaveh largely hinge on one specific point: That Kaveh's genius intellect and artistic abilities are incongruous with his idealism. Kaveh possesses more talent than a selfless person should reasonably have, leaving him vulnerable to constantly being taken advantage of.
However, Alhaitham states these complaints about Kaveh's personality while having the exact same problem himself.
Alhaitham is literally the definition of "personality and talents do not match." Sir, you are the pot calling the kettle black.
It's a given: Alhaitham is exceedingly competent. He is intelligent, rational, and capable of being impartial when needed. Despite being a slacker as the Akademiya's scribe, during his stint as the Acting Grand Sage, the game goes out of its way to note--in several places--that Alhaitham was actually going above and beyond what was expected of him, taking the position very seriously, uncovering and fixing major issues in the Akademiya, and demonstrating a deep care for the sanctity and future of the Akademiya as a whole when Sumeru's people's will to research and learn declined after the collapse of the Akasha.
By all accounts, Alhaitham is (was) a fantastic Grand Sage. Compared to Azar, who is shown as inherently self-aggrandizing and unconcerned with Sumeru's well-being, Alhaitham genuinely did his best during his brief time as Sumeru's leader, protecting students' research, concerning himself with how to address the people's problems, and even diving in to solve mysteries that normally would have been left for the matra. As Acting Grand Sage, we're told his behavior and judgments were fair, and he addressed problems immediately and with his full effort.
In short, there is literally no one else more qualified to be Grand Sage than Alhaitham.
And yet, despite possessing every talent needed to be the leader of a nation, Alhaitham doesn't have the personality for it. He has every single trait a good leader requires... And yet he refuses to be a leader. His own talent vastly exceeds the slow-paced life his personality leads him to seek, making his particular abilities more incongruous with his values than Kaveh's--by a mile. People keep trying to promote him into positions of leadership because his talents are so obvious, and yet he does everything in his power to deny his own abilities and instead fly under the radar--and under the level of his full potential too.
Awful hypocritical for you to claim Kaveh's talents don't match his personality when yours match even less, Alhaitham...
