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kaijutegu · 9 months ago

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Aug ABSOLUTELY deserves the praise, @ryukikit. St. Augustine Alligator Farm is one of my favorite animal facilities, hands down. It's a pretty zoo, doable in an afternoon if you kinda like crocodilians, or an all day affair if you REALLY like crocodilians. Here are my favorite things about it and why I think it's worth supporting.

1. They keep animals in interesting social groups.

Crocodilians are heavily involved parents, but most places that breed them don't have the enclosure space to let the babies stay with the parents. St. Augustine does. One of my favorite groups was their crèche of slender-snouted crocodiles. They had the parents and then a yearling cohort and a new hatchling cohort. This aligns with how these guys live in the wild- the babies stick around longer! They have the space for it, and they are very in tune with the social needs of their animals.

Very, very few zoos can keep their baby crocs with the adults and still perform maintenance and animal health checks safely. This doesn't mean these facilities are bad- it just means that they have different management practices. And frankly, a lot of these species aren't frequently bred elsewhere. Your average zoo doesn't need a setup where you can have a multiyear crèche for slender-snouted crocodiles. Some species have better success when the young are pulled early, and some zoos are better set up to raise out any offspring separately or behind the scenes. Every facility's practices are different, and this just happens to work well at St. Augustine and be really enjoyable to see as a zoo patron.

Crocodilians are exceptional parents and very protective. It's a sign of incredible animal management practices and animals that feel very comfortable with staff that St. Augustine can do this with nearly every species they breed.

2. They understand the social needs of their animals.

Some crocodilians are social. Some are solitary. Some can live happily with a member of the opposite sex but get territorial around members of the same sex. St. Augustine pays incredible attention to their social groupings to ensure that they aren't just meeting the animals' physical health needs but their social needs as well. They do continuous scientific research about social structures in crocodilians, taking blood samples to test stress hormones and observing stress behaviors to see how group dynamics change.

For example, St. Augustine is home to one of the world's largest known living saltwater crocodiles, Maximo. And his comparatively tiny mate, Sydney. During the educational presentations with these two, they point out that even their monster of a croc needs his social group- he won't eat if she's not around and he is calmer during medical checks if he can see her. These animal share a deep and special pair bond, and they make sure to talk about how the social aspect of these animals' lives is integral to their care. It's a unique aspect of the way they talk about these animals, because he IS a spectacle and he IS a sensation, but they don't talk about him like he's a mindless killing machine- they talk about him like he's a big, complex predator with social needs like any other animal. Aug is the only facility I've been to where the emotional and social needs of crocodilians is part of the education they provide guests- and speaking of education...

3. Their demos and presentations are extremely good.

The presentations at St. Augustine are some of the best I've ever seen, and I've seen literally hundreds of animal talks on everything from aardvarks to zebras. But as you... can probably tell from my blog content, I've spent a lot of time learning about and working with reptiles. I really enjoyed all of their presentations because they are very scientific about things and avoid sensationalism. They really want you to be fascinated by these creatures and love them- but more than anything else, they want you to respect them.

Also, they do a really good job handling their ambassadors. I really enjoyed something as simple as watching an educator tell us about snakes. Throughout the whole presentation she made sure that most of the snake's body was looped in her hand. The snake was always supported and was very calm. She gave the snake plenty of head room so that it didn't feel constricted- it was just good handling all around.

But also, the presentations made it clear how much the park cares about the animals' well-being. When they do the feeding and training presentations, they make it very clear that the animals' participation is entirely voluntary. They do things differently for their 9-foot saltie and their 16-foot saltie, because the 16-footer is so large and heavy he actually struggles walking on land sometimes. They adapt their programs and his care to ensure that he's completely comfortable- and he didn't actually participate in the whole feeding when I was watching! At no point did they try to push him into anything uncomfortable; they offered, he didn't engage, and they moved on. It was a clear expression of his boundaries, and I really appreciated how much his caretakers respected that.

4. Ethical Interactions

I've been to... a lot of tourist locations in Florida that have animals you can hold. Almost always against my will! Many of them are pretty terrible, and you don't actually learn much, if anything. But I really found that to not be the case at St. Augustine. Every single animal presentation and interaction opportunity was accompanied by education about the animal's biology, habits, and- crucially- their conservation status.

When I held a baby alligator at St. Augustine, the proctors- there were two, one to ensure I was holding the gator correctly and the other to educate- were very informative about the role alligators play in their ecosystem and their conservation history. The animals were all properly banded, and one of the two proctors was there to ensure that none of the baby alligators were uncomfortable. As soon as they started getting squirmy or tense, they were removed, unbanded, and taken to an off-exhibit area to relax. And when the babies age out of petting size, they just go in the lagoon to live with others of their species. I saw one upset alligator the entire time I was there, and he was clearly upset that his escape attempt was foiled by a keeper during my nursery tour.

Even though he's restrained in this shot, you can see that his full body and tail are supported, and the grip, while firm, is gentle. He's distressed, but after I took this picture, she put him in his enclosure and he calmed down immediately.

Sometimes when you have petting attractions with baby animals, those animals... don't have a happy ending. (See: cub petting.) But St. Augustine's program is fine- the gators are all aged out of wanting to have mom around, there's no declawing/defanging, and they're handled with care. And it's worth it, because people love what they understand. St. Augustine was integral in raising public awareness about alligators back in the 60s when they were endangered, and now they're thriving- largely in part to programs like St. Augustine getting people to care.

And speaking of getting people to care, let's talk about their research.

5. Shared Research Results

St. Augustine is also home to more species of crocodilian than anywhere else in North America- all of them, usually. (They didn't have a Tomistoma when I visited- that may have changed.)

Because of this species diversity, it's an incredible research resource. Having every species means that you can do a lot of work comparing their behaviors, their growth patterns, and more. They've been a major research site for crocodilian biology since the 1970s. Today, they're one of the key sites for studying crocodilian play and social behaviors. They actually maintain a blog where they post copies of papers that were written using their animals, meaning that you can actually see the results of the research your admission helps fund. You can see that right here: https://www.alligatorfarm.com/conservation-research/research-blog/

All of this adds up to a zoo that provides a unique experience, tons of actual education, and transparency about what its research and conservation steps actually are. St. Augustine's come a long way since its opening in 1893, and they really do want you to leave with a new respect for the animals they care for. Ultimately, if you're a fan of reptiles, you can feel good about visiting the St. Augustine Alligator Farm- their care and keeping are top of the line, they do a ton of innovative conservation research and support for conservation organizations, and you can see this animal there:

(Gharial from the front. Nothing is wrong with her that's just what they look like from the front.)

#long post #st. augustine alligator farm #alligator #crocodile #reptiblr

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misscammiedawn · 3 months ago

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Time Loops and Dissociation

CW: suicidal ideation, glitchy unreality, overt depictions of self-harm, parental abandonment

This essay contains full game spoilers for In Stars and Time.

You wake up to your alarm at the same time every day. The same view greets you from your window. Same sheets. Same outfits in your closet to get dressed in. Same choice of drinks in your kitchen to put in the same choice of cups. Same 24 hours but a different day. What better way to capture the existential horror of disconnecting from the world than to simply take away the words "but a different day" and make it the same 24 hours.

Time Loop fiction likes to capture the monotony of being caught in a rut. For some stories, like Groundhog Day, the rut could be that of not working on one’s self and accepting the eternal trappings of a never ending moment and not seeking change. For others, like Palm Springs, it is the conflict within a romantic relationship between one partner wishing to grow and find new experience while another wishes to remain in the safety of the known. Others still, like All You Need Is Kill, the conflict is a matter of maintaining one's optimism and drive in a hopeless fight against an antagonistic force that will crush their spirit upon the weight of eternity.

The constants in this genre are the forces of change and stagnation. Exit can be accomplished via self-improvement, it can be accomplished by having the bravery to risk leaving safety, it can be accomplished by killing every last time looping alien until you’re the only one left. But the allegories are always there. Tomorrow can only be attained by growing beyond Today. Change doesn’t happen in a day and as those stuck in a time loop know… a day can be an impossibly long time. And what does a person do during that impossibly long time? Repeating the same acts over and over again, where people become predictable and all the complexity of life has been stripped down until there’s nothing but cold empty and predictable monotony? You dissociate.

Dissociating is the experience of detaching from reality. Dissociation encompasses the feeling of daydreaming or being intensely focused, as well as the distressing experience of being disconnected from reality. In this state, consciousness, identity, memory, and perception are no longer naturally integrated. Dissociation often occurs as a result of stress or trauma, and it may be indicative of a dissociative disorder or other mental health condition.(*)

Every time loop story inevitably includes a segment where the pain of going around and around becomes simply too much to handle and the audience must witness the protagonist's mental health decline in real time. It is the moment in the story when they no longer feel able to connect with other humans, when they disconnect and just succumb to the weight of the eternity that they are trapped within. For most the idea of being stuck in a rut is a horrific thing. People are a social species. We seek connection and we seek change. We actively want to grow. But this is not true for everyone. Some are so scared and scarred by the world that they dare not ruin the safety that they have managed to find. Narrowing one's world down to avoid conflict and danger is a common feature in Complex Post Traumatic Stress Disorder, particularly in those with a tendency to freeze in the face of their emotional triggers.

The flight-freeze type avoids potential relationship-retraumatization with an obsessivecompulsive/dissociative “two-step.” Step one is working to complete exhaustion. Step two is collapsing into extreme “veging out”, and waiting until [their] energy reaccumulates enough to relaunch into step one. The price for this type of no-longer-necessary safety is a severely narrowed existence. - (Complex PTSD: From Surviving to Thriving - Pete Walker)

And that is the heart of any time loop. Safety at the price of a narrow existence.

For this essay I want to talk about a piece of media that masterfully manages the time loop dilemma while managing to depict a remarkably strong representation of Complex Post Traumatic Stress Disorder. Today I want to talk about In Stars and Time. Because if I'm gonna highlight a time loop story for my essays on dissociative disorders then I'm going to do the one which has a "Press X to dissociate" mechanic.

In Stars and Time is an RPG Maker game in the stylings of Earthbound and Final Fantasy. The star of the play game is Siffrin (he/they), a silly little one who tells light-hearted puns and has their tongue stuck out in a :3 cat face smile.

As the thief type of the party he leads the group through dungeons to deactivate traps and find keys he can sometimes be bad at his job. They have managed to help the team get to the final dungeon and take on The King who has managed to freeze most of the nation of Vaugarde in time. Their adventuring friends are Mirabelle (she/her), the housemaiden; Isabeau (he/him), the fighter; Odile (she/her), the researcher; and Bonnie (they/them), the kid. Siffrin finds themselves trapped within a time loop. Reliving the same 2 day period as the party make their approach to The King and must defeat him to release Vaugarde from being eternally frozen in time. The game speaks frankly and kindly on many topics beyond mental health and trauma. Among the many rare and beautiful things it organically depicts it has an asexual and an aromantic discussing society's pressure to enter relationships and perform intimate acts, a trans masc discussing the destructive and yet necessary process of transitioning and two expats discussing how difficult it is to integrate their cultural roots (or lack thereof) with the values and expectations of the dominant culture of their new environment. Keep that last one in your back pocket for now. It'll be important for later. This is the last chance to check the game out unspoiled and so if anything I have said intrigues enough then please buy the game (Steam - Switch - Playstation 4 - Playstation 5 - GOG - Itch.io) and enjoy it. The game is about 20 hours at a casual pace (WR speedrun is 2.5 hours) and it has much in the way of hidden conversations and content that can help a person stick around and dig deep to find all the content in the game (but watch out). Go with my blessing and check DoesTheDogDie for content warnings if needed. For those who have played or want to read on into spoiler territory, then please forgive my long-windedness. I've too much time on my hands and have not cultivated the skills or talent to present this as a video for passive enjoyment. Let's begin. The game is split into 6 acts so in the interests of not bombarding with information. Shall we follow suit?

Act 1 - The Stage

The curtain rises and the play begins. Act 1 makes up the first loop from Siffrin's perspective. If not for the time loops then this would be a very short adventure. Siffrin wakes up from a nap in a field as they will every single loop from now on. They are in the final town before the enemy stronghold, one final day to rest and gather their strength and resolve to save the country. The group's leader, Mirabelle, has decided to have a sleepover. One final day, one final dungeon, one final fight... and then it's all over. The world will finally be saved. It'll all be over... Siffrin spends the day speaking to their friends, making a wish on the local Favor Tree to spend time with an ally after the adventure and then it's on to the adventure. Isabeau has something he wants to tell Siffrin but decides it can wait until they have saved the world. Entering the house and moving through the first few rooms all seems to be going well. The party of friends beat their first few enemies and Siffrin is sent to check for traps in a corridor leading into the main areas of the house. He checks and checks and checks and doesn't find anything so...

The trap is activated by feeling safe.

For clarity I wish to say much of the analysis and discussion is our personal read of the plot. Before writing this essay we reached out to insertdisc5 to ask about how they approached depicting mental illness in the game and they responded that it was not a matter of research as she was worried about checking off boxes rather than depicting authentic experience. Which makes it all the more impressive that the game was able to depict so many aspects of Complex PTSD so seamlessly. From Walker's book the primary symptoms of CPTSD are:

Emotional Flashbacks Tyrannical Inner &/or Outer Critic Toxic Shame Self-Abandonment Social anxiety Abject feelings of loneliness and abandonment Fragile Self-esteem Attachment disorder Developmental Arrests Relationship difficulties Radical mood vacillations Dissociation via distracting activities or mental processes Hair-triggered fight/flight response Oversensitivity to stressful situations Suicidal Ideation

Over the course of the game Siffrin displays many, if not all of these. One of the core conflicts of the game is Siffrin's feelings of loneliness and abandonment as well as their inner critic and toxic shame.

Another common trait of those with C-PTSD not referenced in the above list is a sensitive startle reflex. It is mentioned in the same book at a later point, however:

A startle response is the sudden full body-flinching that survivors experience at loud noises or unanticipated physical contact. This is usually a somatic flashback to previous abuses.

I bring this all up now because Siffrin's first death. The cause of the first loop. HIS FIRST FAILURE. Was because he let his guard down. He felt safe for even a moment. This is not a reading or something which can be brought up for debate. On floor two of the house there is a book that explains the traps and speaks of the boulder that landed on Siffrin's head earlier:

Throughout the entire adventure Siffrin will have the toxic and universe validated belief that if they ever drop their guard, even for a single moment they may die. This belief will only get worse as they progress, unfortunately. For those with Complex PTSD they walk through life in a state of hyper-vigilance. Never quite feeling safe. Siffrin died the moment he let his guard down. [Dawn here. This is turning out to be the longest Media, Myself and I article by a wide margin. For the sake of not destroying everyone's timelines I'll put the rest of the game under a readmore. I would so very much love it if you did click on, though.]

Act 2 - The Performance

The curtain rises and the play begins. Again. Much of Act 2 is spent trying to get to The King and defeat him. Mistakes such as forgetting a key on an earlier floor or taking a wrong path will cause Siffrin to need to loop back. All the while inwardly berating themselves for their carelessness, knowing that in a world without the time loops they would have been trapped and unable to challenge The King at all. We are also introduced to Loop, a star who watches over Siffrin during his journey. Loop is in the time loop with Siffrin and can follow his progress, offer advice and comment on everything. Loop is a little disaffected and likes to play things silly and coy and can be a little mean at times. But they say they're here to help Siffrin. As the adventuring friends climb to the final boss we get to see Siffrin's rapport with the party. Siffrin likes to stay on the sidelines and listen in to other people having animated conversation. Everyone is nervous to touch him having universally come to an understanding that Siffrin does not like to be touched. They make fun of Siffrin's poor memory (another common trait of those with dissociative disorders that we will talk about more in time) and they treat one another warmly. However during a bit of banter in a snack break...

(source: ISAT Script Project) Note that Siffrin internalizes the comment "we're not friends." instantly. From this point of the game until a latter moment all times that Siffrin's monologue refers to his party the word "friends" is replaced with "allies". They are so sensitive to abandonment and rejection that the they simply accept Odile's words, not even aimed at Siffrin themselves and internalizes them deep enough that the HUD of the game itself changes to accommodate this belief. It was mentioned at the start that Siffrin is a silly traveler who enjoys puns and makes light of most situations. In battles the game uses a Rock, Paper, Scissors weapon triangle and all of Siffrin's attack names are puns. In the profile menu he sticks his tongue out. His battle image is a playfully confident smirk.

During the game we always have access to Siffrin's inner monologue and can tell how they interpret the world around them but they seldom ever voice their opinions. This allows us to see how often they are convincingly laughing on the outside while hurting on the inside. Siffrin, unable and unwilling to approach their shame and self-loathing and terrified of becoming a burden to their friends allies will deflect whenever he sense that they are hurting.

A person (or dissociative part) may avoid being aware of inner experiences such as feelings or thoughts that might evoke shame. Thus, he or she is not aware of the experience of shame, typically does not acknowledge the negative experience of self, engages in denial, and attempts to distract self and others away from the painful feeling. For example, a person who felt ashamed in therapy might start making jokes or flippantly comment that the session is boring or useless, or he or she might try to change the subject entirely or even switch to another part that has a different agenda. The experience becomes neutral or positive; shame may be disowned or denied, or overridden with joy or excitement in distracting activities (joking around, talking about something else). There is little to no awareness of shame or one’s shameful actions, faults, or characteristics. The motivation is to minimize the conscious experience of shame or to prove that one does not feel shame. - (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

The other key thing we have come to learn about how others perceive Siffrin is their memory issues. Memory issues are a constant part of dissociative disorders with a lack of childhood memories being a key feature in Complex Dissociative Disorders such as Depersonalization/Derealization Disorder and Dissociative Identity Disorder. If I am being honest about my motivations for writing this essay, while playing it I keyed in on the lack of memories early and assumed it to be an allegory for such trauma. Even made a Tumblr post stating this. On the top floor of the house of change in a secret room and only during Act 2 there is a bit of dialogue where Siffrin speaks about their childhood.

This was the moment we knew we needed to write about this game. What is missing from the text above is that when Siffrin stammers on their words there is a time loop effect. The first one in the game that is activated by something other than a death or the natural end of the loop. Siffrin edits out this conversation so that not even he can remember it.

Amnesia goes far beyond normal forgetfulness. It involves serious memory problems that are not caused by illness or extreme fatigue, by alcohol or other mind-altering substances, or normal forgetting. Amnesia falls on a continuum. People with a dissociative disorder may recall some aspects of an event but not other essential parts of it. In some cases all memory for certain events is unavailable for conscious recall. Some people with a dissociative disorder describe their memory as being like “Swiss cheese holes,” “foggy,” or “full of black holes.” They may suspect that something happened, or may have even been told by others that something happened to them, but have no personal recollection of events and often feel afraid to think about them. People may have amnesia for longer periods of time during which normal life events took place, for example, a person may report being unable to remember anything from the fifth grade, or from ages 9–12. - (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

Instinctive use of time travel to edit out parts of a conversation that a perspective character does not wish to accept or confront is a fantastic allegory for how dissociative symptoms manifest. When a person or dissociative part stumbles too close to a severe trauma trigger. To speak from personal experience it is a moment where in a conversation a question comes up and the answer feels wrong in your mouth. Like you just lied. But you know you didn't intend to lie... so of course you interrogate the piece of information and the wall of confusion that hits can make a person feel truly powerless. Like you're not even certain of what you are saying anymore and a mixture of shame and fear flood in and tell you to stop talking, stop lying, stop exaggerating, stop speaking, stop, stop, STOP. Poor Siffrin shouldn't have their memory made fun of. But... his friends allies don't know. Do they? How could they? Siffrin doesn't speak up and when he does it tends to be a showy performance of being light hearted and silly so no one can see how hurt he is. Because if he does try to be honest... well. You saw what happened when they tried to open up. Through hard work and persistence the allies loop enough times to gain the knowledge and strength to win against The King. The King's first attack will force the allies to see a vision of the future and without a special magic shield will kill them in a single strike. Siffrin stays determined and prepares his allies. Helps them become stronger. Helps them win. The world is saved. Everyone in Vaugarde is released from the time freezing spell... But something's wrong... Siffrin is given a chance to talk to everyone as they all happily speak about what they'll do now that the country is saved but no matter what happens. Isabeau attempts to confess the thing that he wished to tell Siffrin if they won but is interrupted before he can get the words out, much to Siffrin's annoyance. The world is safe. All is well. It shall return to normal soon enough... only thing to do is speak with the head housemaiden and accept the praise and thanks for all the hard effort in saving Vaugarde... Then world starts to fall apart and... The second act comes to an abrupt close.

Act 3 - Family and Culture

The curtain rises and the play begins continues. The loop begins with Siffrin back at the start, even though the day was saved. Simply killing The King must not be enough. There must be a reason that the loops are continuing, even after Vaugarde is saved. The only way to understand is to find out more about why The King is able to freeze the country in time and if it has anything to do with why Siffrin can loop back. Speaking with Loop, Siffrin recognizes that as long as there are ideas and leads to explore then giving up is not going to happen. Loop seems reluctant to encourage Siffrin to continue, in fact Loop seems doesn't appear surprised by the time loop continuing at all. Loop is an interesting character and deserves an article unto themselves. We should focus on Siffrin right now.

Their first order of business is to attempt the Golden End exit route. It worked for Bill Murray, why not in this situation? Simply work out a way to make everyone have a perfect loop. Saving the world isn't enough. Siffrin can solve everyone's problems. Here we learn that Bonnie, the kid, harbors a deep well of shame for allowing Siffrin to be blinded in an eye while protecting them earlier in the adventure, before the loops. Siffrin, true to their dissociative nature, did not even remember the event. Siffrin also spends quality time with the adults in the party. Always hoping Isabeau would be brave enough to confess this loop. On this journey up the house of change the team are closer and more caring. No one makes fun of Siffrin for bumping into the counter. Siffrin discovers that the other party members have noticed his breathing exercises. Very helpful for those with dissociative disorders, by the way. They ground the body and allow one to ease somatic symptoms by soothing the nervous system and preventing activated sensations worsening symptoms. As they get closer to The King the warm and familial banter continues with Odile using the word 'friend' out loud. A guarded Siffrin allows themselves to confront Odile on saying that they were not friends (something she did not even say this "Golden" loop) and through an awkward but kind conversation she confesses she, a Too Old For This lady cannot feel comfortable calling a group of people with a pre-teen "friends" but she can perhaps call them "Family" The menu updates. Siffrin's Allies are now Sif's Family Members. This remains true in all the menus no matter what happens in any loop. But in this moment, there is a golden ending. There is joy. Though Isabeau is unwilling to discuss his confession when Sif is feeling vulnerable. They need to have a Feely-Feels talk. Sif hates the idea of a Feely-Feels talk. Yet, even still... In this moment Sif is loved.

Many people with Complex PTSD have attachment wounds from their family of origin. The concept of a found family is common among survivors, particularly in those who choose to go Non-Contact with the family of origin. Others, like Sif, have lost their family to tragedy and simply have no roots to return to. The role of a chosen family is vital in the healing journey. Survivors can become aggressively attached to those who they view as chosen family and are often activated by the concept of another loss. The wounds of losing one family enough to have massive impact on how the survivor handles relationships going forward. It is why unstable relationships is listed as a symptom of CPTSD and why there is such a big overlap of CPTSD and BPD diagnosis.

There’s no way around the fact that on the journey to finding your chosen family, you will get hurt. People you thought would be there for you will abandon you, people will decide they no longer have the emotional capacity to hold space for you, and… people who made promises to be by your side will betray those promises. That’s not anyone’s fault. It’s just life. Not everyone belongs on our journeys, but… when you find the right people, don’t let go of them. Nurture the relationships, reciprocate the support, and above all, respect the myriad of ways that people can and will show up for you. - (The Role of ‘Chosen Family' in Trauma Recovery - Monika Sudakov)

Sif is desperately attached to the Family Members that they travel with. In many ways the only reason they can endure the time loops is to protect them. Any time there is a prompt which threatens these relationships Sif's monologue insists that they will not abandon the script that ensures their safety and happiness. Yet despite all this power of love and Family, the loops continue. Which is fine. Golden Ending was a long shot anyway. Clearly it has to be related to The King and it's power to stop time. It seems to know the mysterious art of Time Craft. Talking to The King will help. The answers are still attainable and now Sif has a Family. To get the information required to learn about Time Craft and The King one must interact with as many books and items in the house of change as possible. In doing so we learn more about Sif and their history. By this point in the story the concept of croissants has come up a number of times for the party. In the opening town Sif has the option of buying one from a bakery and gives an uncharacteristic scowl. When they are spotted in the house Sif tends to duck out of conversations, not caring to listen to people talk about the pastry he loathes so desperately. He jokes about it and obfuscates but Sif hates croissants. With a burning passion. There is literally a food that can kill him in the game (he is allergic to pineapple and can die on a banana plantain peel) but his ire always turns towards croissants. Croissants are an emotional trigger for Sif. They harbored such a deep hatred of croissants that when, in Act 4, he is pressured to tell everyone what he wished for at the start of the game he says that they wished for croissants to disappear forever. Sif's reactivated trauma is related to croissants. Up until now he had been living his life blissfully unaware of his dissociated experiences and yet a croissant cracked the amnesia barriers that kept him safe and now each time he sees them they cannot help but be reminded of "The Incident". By examining the Silver coin in their inventory a number of times one can see "The Incident", a moment that happened days before the plot began which informs Sif's entire emotional state throughout the game...

(source: ISAT Script Project) Note the time skip at the tail end of that sequence. Sif was thinking too heavily about the trauma again and skipped time to avoid thinking about it. Dissociative barriers. He literally cannot think about it. The universe won't let him. Sif's home isn't there anymore. In the canon of the game where reality can be rewritten on the whim of a wish, the country that Sif comes from was wiped off of the map and all knowledge and memory of it has been erased, even from those who lived there. Sif's trauma is that he lost his home. His family. Everything and everyone that he ever knew. Through traveling with his family members he has gained a slither of the emotion, comfort, connection and safety that he lost and in being reminded of all that he lost so close to the end of their journey he was reminded he can and will lose it all again and the thought is too terrifying to process. This is the core conflict in Sif's heart for the entire game. The more they interact with memories of the destruction of his homeland the more keenly aware he becomes of the fact that the quest will end and his family will go their separate ways and abandon him. They have no home to return to when this is all done. CPTSD is not currently recognized by the DSM-5. An official diagnostic description can only be found within the ICD-11. On the ICD-11 page for Complex-PTSD there is a specific segment for "Culture Related Features" that reads:

Cultural variation exists in the expression of symptoms of Complex Post-Traumatic Stress Disorder. For example, somatic or dissociative symptoms may be more prominent in certain groups attributable to cultural interpretations of the psychological, physiological, and spiritual etiology of these symptoms and of high levels of arousal.

Given the severe, prolonged, or recurrent nature of the traumatic events that precipitate Complex Post-Traumatic Stress Disorder, collective suffering and the destruction of social bonds, networks and communities may present as a focal concern or as important related features of the disorder.

For migrant communities, especially refugees or asylum seekers, Complex Post-Traumatic Stress Disorder may be exacerbated by acculturative stressors and the social environment in the host country. - (ICD-11 for Mortality and Morbidity Statistics)

We do not learn much of Sif's culture of origin but we know that they were in tune with The Universe, that they had spiritual aspects that allowed them to use Wish Craft and follow when fate leads. Act 3 is an info gathering quest on The King's motivations and we discover that King and Sif both hail from the same country and have lost all their social bonds, networks and communities and cannot even recreate the specifics of their culture. It has literally been erased. No culprit is ever named for this atrocity but from Act 3 onwards Sif mourns this lack of roots and via the power of the magic that prevents anyone from remembering the country they cannot mention this tragedy to anyone. Though Odile is able to infer it. Odile is also an immigrant to Vaugarde, her mother was from Vaugarde and her father from Ka Bue. Her mother abandoned her and Odile's quest in Vaugarde is to find parts of her history within the foreign land and fill in the parts of her soul that she feels are incomplete from the lack of her mother's presence and history in her life. In Act 3 the two bond over it as part of Odile's "friendquest", in Act 4 and beyond Sif's inner monologue seethes with bitterness and envy for Odile having connections. The initial connection of them both being foreigners in an accepting land caves to the pain of loss that consumes Siffrin whole.

(source: ISAT Script Project) What's worse is that some of the things that the family members joke at Sif about for being too forgetful to know the words "Kiln" "Pottery Wheel" or "Stuffed Animal" (though they do remember on some loops) become less about silly forgetful Sif letting incidental information slide out of their dissociative mind. It becomes making fun of a person speaking a second language and not having complete mastery over it. By Act 5 Sif has no patience for the playful jabs because they happen every single loop and they hurt. Minimizing is a lot harder in a time loop. Every small moment of tiny pain repeats again and again. Every time Sif bumps their hip on a counter the party laugh at him. Well... except for the time he screamed at them for it... or the time he collapsed into a defeated pile on the floor on the verge of tears. Heaven help me if bumping into a counter hasn't been the last straw to break my facade when the weight is too much to carry. Poor Sif... As Sif learns more about Time Craft and the country that both he and The King come from, Sif starts to gain an understanding of The King's motivations. After losing one country he couldn't bear to risk losing another home. Vaugarde was so kind to him and took him in and he wants it to remain perfect and safe forever. Frozen in time like a photograph. Now that Sif has come to recognize how important his Family Members are to him, they understand. To have people you love and consider Family is so important and the idea of losing that is simply unspeakable. It is a fate worse than the time loops. By now Sif has done the Golden Ending a time or two...

He understands why The King would do this. The final loop of Act 3 allows Sif to attempt to convince The King not to fight. The pair have attempted to bond over their roots, they have tried to force The Universe to allow them to speak the name of their nation (but it refused to be said) and now Sif wants to try and use understanding. The King agrees. He stops the fight. Asks Sif to come to his side and... Then he freezes the Family Members in time. He understands now that Sif is using Wish Craft to fight him and he cannot win on traditional terms so he decides to carve it into Sif's memory, a reminder of what happens if he continues defying The King's will. He picks up poor little pre-teen BonBon... and FORCES SIFFRIN TO WATCH AS HE CRU-

Act 4 - Shame Spiral

The curtain rises. The play begins continues. And Sif is not okay. They witnessed the game break the well established rule that the kid was not able to be hurt. Even in runs where you lose to The King Bonnie always gets away. The Family will always go out of their way to ensure The Kid survives. It's happened so many times by now one doesn't even think to question it... And the player had to watch. There is no avoiding that event. Sif will lower their guard to speak with The King and offer compassion and trust to someone they thought of as a kindred spirit and no sooner had they laid down their arms for a moment they were punished for it. Brutally. It's the rock again. Feel safe, even for a moment, and it comes crashing down to crush with full weight... only this time it's not the Sif taking the hit. Sif can take all the hits in the world. It was BONNIE. Someone else was crushed because Sif trusted. From this moment on Sif's intrusive thoughts become louder and meaner. Look above at the conversation with Odile about her roots and notice the changes between Act 3's inner monologue and Act 4's. By this point in the story Sif is losing track of how many loops they have gone through. Unless you keep your Memory of Self equipped you will find that any time you loop forwards or backwards the loop counter will jump up by leaps. Sif is so numb to the cycle by now that they're just dissociating through iterations of the time loop. Other times he 'blacks out' bits of time include sleeping at the clocktower. We learn that he never ever sleeps at the tower. He just blacks out and comes to at the house ready for the next run. All Sif can remember is what the player sees. But stuff does happen besides that which we see. It's not just the amount of time that Sif has been in the loops that is causing this degradation of mental health, though. It's the continuous activation taking a toll. When a person is continiously hyperaroused they become disaffected, chronically dissociated and begin experiencing somatic symptoms. Headache, stomach ache, exhaustion with no ability to sleep, hunger without ability to eat. At this point of the story Sif is constantly hungry and is not sleeping at all. The primary cause for this is the attachment trauma being continuously triggered. Where in early acts it was a matter of worry over losing his new family while being reminded constantly of losing his old one, now he is reminded of allowing his family to die because of his actions. The shame spiral claims him and his emotions become wild, even if he is not able to express them outwardly. This level of emotional sensitivity is a primary symptom of Borderline Personality Disorder. The similarities between CPTSD and BPD are enough that much of the discussion around the potential for including CPTSD in the next revision of the DSM centers around whether it should replace or be combined with BPD. The Foundation for CPTSD writes on the topic:

At one-time, complex post-traumatic stress disorder was proposed as an alternate form of borderline personality disorder because of the shared link to severe childhood trauma. The jury is still out to recognize CPTSD as a diagnosis in the DSM, but it is believed that the symptoms and causes of BPD and CPTSD overlap substantially, but it is not warranted to replace one diagnosis with the other or conceptualize CPTSD as a subtype of BPD. Borderline personality disorder and complex post-traumatic stress disorder are commonly found together, with between 25% and 60% of people living with BPD also having CPTSD. Complex post-traumatic stress disorder is listed in the 11th edition of the International Classification of Diseases (ICD-11), and this has spurred research differentiating the two disorders. Evidence suggests that CPTSD and BPD may represent a continuum of the stress response, and both seem to have a component of dissociation involved. The most significant difference between the two diagnoses is when they form. CPTSD typically forms in early childhood, while BPD forms during early adolescence. Having both CPTSD and BPD makes life difficult, to say the least. - (CPTSD Foundation)

BPD is a personality disorder categorized by attachment wounds. Part of the diagnostic criteria includes "Frantic efforts to avoid abandonment, whether it is accurate or not, by family and friends" It is safe to say Sif feels this way about their family. They lost their entire home, their history, their family of origin. They cannot conceive of losing the family that they have gained. The concept is simply too painful for them to consider and so emotional and dissociative barriers force away anything which could potentially bring the topic of losing them to mind. Heaven knows we can understand the impulse... But since being directly responsible for failing the promise they made to protect Bonnie this is no longer a matter of fear of the unknown, it is shame in having failed to keep a promise to protect. This shame grows and cripples Sif's emotional regulation, leaving them prone to volatile outbursts of their repressed rage. Either forcing it inwards on the self or outwards on others.

When you feel chronic shame, you believe that no amount of punishment or corrective actions would be sufficient, and you are unable to forgive yourself or have any empathy for the terrible suffering shame brings to you. It is as though chronically ashamed people have received a life sentence of shame with no hope of parole, even when they are unsure of exactly why they are bad. In fact, some people will say there is no particular reason they are bad and unworthy: The mere fact that they exist and take up space on the earth is shameful enough. They believe they are not worthy of living and do not deserve anything good. In such cases, shame is an emotion of hiding: The last thing an ashamed person wants is to be open, vulnerable, and seen by others. Thus, it is an emotion that often is not addressed sufficiently in therapy, even though it is a major impediment to healing. - (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

Act 4 is about learning the origins of the Wish Craft that rewrites the universe and allows for Sif to use Time Craft. We learn that any time they are upset they will instinctively rewrite history to prevent the things that they fear from coming to pass. This includes moments when their anger gets away from them and they lash out at their family. Some optional scenes include forcing Isabeau into a kiss or screaming at Odile when she knows too much and tries to help Siffrin. Any time these outbursts happen time rewinds and only Siffrin is left with the knowledge that they happen, deepening the growing well of shame. All the while Sif feels more hollow in the interactions he has with his Family. In forcing them to be their best selves via the "Friendquest" events every loop he starts feeling like he is manipulating them. Where he felt loved the first few times he now accuses himself of forcing them to love him.

To the degree that our caretakers attack or abandon us for showing vulnerability, to that degree do we later avoid the authentic self-expression that is fundamental to intimacy. The outer critic forms to remind us that everyone else is surely as dangerous as our original caretakers. Subliminal memories of being scorned for seeking our parents’ support then short-circuit our inclinations to share our troubles and ask for help. Even worse, retaliation fantasies can plague us for hours and days on the occasions when we do show our vulnerabilities. I once experienced this after being very honest and vulnerable in a job interview with a committee of eight. Over the next three insomnia-plagued nights, my outer critic ran non-stop films featuring my interviewers’ contempt about everything I had said, and disgust about all that I had left out. Even after they subsequently and enthusiastically hired me, the outer critic plagued me with “imposter syndrome” fantasies of eventually being exposed as incompetent in the new job. - (Complex PTSD: From Surviving to Thriving - Pete Walker)

It doesn't matter. Sif tries everything. Learns all the things that they can learn. Explores all the hidden areas of the house of change. Nothing matters. It's hopeless.

And with each loop The King's attack shows Sif a vision of the future. What do they see? Endless looping or... does Sif see the future beyond the loops? After the party return to their various homes? Act 4 ends with The Head Housemaiden, the only one who could have potentially held answers telling Sif outright that there was no escape... Before the loop begins anew.

Act 5 - Curtains

[Hello there. It's me, Dawn. I'm pausing the essay and dropping the cute little play structure to reiterate the Content Warnings from the start of the post. During Act 5 there are options to commit self-harm that a player may stumble across unintentionally. During previous acts one has to work exceptionally hard and against the game and characters within it to unlock a means of self-harm and it is unambiguously seen as a bad thing. In Act 5 there are no external forces to comment on Siffrin's actions.] The curtain rises. No point in wasting time. Get the actors. Make them strong. Beat the king. Do it right this time. Unfortunately our star has lost all of the mental fortitude they had. They were so strong for so long but there is only so much a person can take before they let the anger win. It is all too common for people with significant trauma to harbor resentment and anger in their soul. It sometimes remains repressed under layers of emotion numbing dissociation, it sometimes turns inwards into self-destructive acts and viewpoints and it sometimes turns outwards into explosive acts of physical or emotional violence. But it's there... lurking within the injustice of all the pain a person has felt.

When you have experienced a trauma, anger often becomes the central emotion that you feel. Angry thoughts about revenge may consume you. According to Enright and Fitzgibbons (2000), your anger is more destructive if you focus it on another person or people; it is intense, even in the short term; it leads to a learned pattern of annoyance, irritation, or frustration with others who are not the source of your anger; it is extremely passive; it is extremely hostile; or it is developmentally appropriate for someone much younger than your actual age (e.g., you act like a two-year-old and have a temper tantrum). - (The PTSD Workbook Mary Beth Williams)

and so... with the 5th act of our play about to begin, the star wakes in a familiar meadow for what may be the hundredth time... and they simply cannot take it anymore.

The actor on stage has reached Rock Bottom and likely unlocked the skill Rock Bottom to go with it, though they are beyond the silly puns now. Rock, Paper, Scissors, Breathe or Heal. Just get to The King. Just kill it. One. Last. Time. The GIF above starts with the line "YOU WANT YOUR FAMILY BACK!!! NOT THE FICTIONAL CHARACTERS THAT HAVE TAKEN THEIR PLACE!!!" Up until now we have only spoken about dissociation in terms of zoning out or blocking out memory. I now want to talk about Derealization and Depersonalization. DPDR has been a subject of other Media, Myself and I essays, most notably our discussion on Night in the Woods. To be brief about it for this essay Depersonalization is a detatchment from one's sense of self and Derealization is a detatchment from reality. Our star has become so disillusioned with the endless looping that they no longer view their surroundings as real. The people in their life are just actors in a play that they are directing. Everyone says their lines. Even the star must say their lines. But there's still some stage direction. Some purpose that our hero must fulfill. They know that there is a chance if they can just kill the king without Mirabelle landing the final shot. Then. Maybe... In their disaffected state and unable to convincingly perform their lines in the play, our star manages to upset everyone else on stage causing them to doubt if it would be safe and productive to continue traveling with such a horrible disgusting unreliable stupid person. This causes the final act to be a solo performance. One final walk through the house without friends allies family actors to help. At the clocktower the other actors talk about our star and are uncertain if they can trust them any longer. Our star reacts by rejecting them entirely and going it alone. There is a concept in BPD called Splitting in which a person devalues or exaggerates the value of an individual in their compromised emotional state. It can cost a person relationships if they act out of these temporary emotions. At the start of Act 5 the actor manages to scream at the kid for getting in danger, calls the fighter a coward and mocks the researcher for her mother abandoning her. The individual, so desperate to shield their wounded heart, pushes the people they love away because their proximity is too close to their open wounds and they push away to maintain space. This is particularly true in those who struggle to create healthy emotional boundaries. This game is such a god damned call out at times. As the actor climbs the house everything is broken. The universe itself is trying to maintain the reality of two wishes that it needs to make a reality. "Save Vaugarde" and the one the main character wished for in Act 1. Do you remember what it was? The Universe cannot allow Siffrin to remain with their Family Members if they run off alone and reject them. The Universe simply cannot accomodate such a reality. Everything is falling apart. What proceeds is the ISAT equivalent of a Genocide Run in Undertale. Everything is broken and wrong. Rooms are breaking the collision boundaries of a video game, textures are cut wrong, doors lead to the wrong location, time is looping without rhyme or reason. And the menu is blunt. You cannot change your equipment, now stuck with Memory of Emptiness with the description (Nothing comes to mind, hahahahaha!) Some rooms contain hallucinations that make our star feel more abandoned and empty and mournful of their situation. In rooms where they would normally receive a modicum of physical comfort brushing against the other actors there is nothing now.

(Aaaaaaah…) (You rub your arms once, twice, thrice.) (Your throat tightens) (You feel like you're floating in your own body.) (If only someone would touch you to make sure you're real! Someone, anyone!)

This is an example of extreme depersonalization. Also the garden has a table with 4 healthy plants and 1 dying plant to the side. Our star notices it and it acts as a visual indicator of the barriers between the director and their actors. Some of the other rooms on the Act 5 climb depict overt self-harm...

It can be understood as a substitute action for more adaptive coping that attempts to deal with a variety of overwhelming problems, many involving too much feeling (for example, loneliness, abandonment, panic, inner conflicts, traumatic memories) or too little feeling (numbness, depersonalization, emptiness, feeling dead). Self-harm is thus often related to the need for regulation skills, that is, finding ways to modulate and tolerate unbearable inner experiences, such as painful emotions, or traumatic memories (Gratz & Walsh, 2009; Miller, 1994). Some people harm themselves in secret and carefully hide the inflicted wounds from others. Other people harm their bodies in places that are visible to people around them. (Coping With Trauma Related Dissociation - Suzette Boon, Kathy Steele, Onno van der Hart)

The shame only increases upon doing these optional (but distressingly unprovoked) actions. Honestly, if I had one criticism of the game and its depiction of mental health it is that there is no way to know that looking at the cupboard with the eye patch conversation would cause a self-destructive action. As someone with extreme sensitivity to depictions of suicide and self-harm I felt that having no agency or warning over that (I had no reason to assume this would happen. Any other form of self-harm requires selecting a menu option. This one jumps out at a player unexpected) was... unfair. It is noted in monologue that breathing exercises no longer work by this point of the narrative and due to not being at the clocktower our star is proceeding with no food and no sleep. Their already bottomed out mental and emotional state is in sore need of external intervention. Something the actor both desires and rejects in equal measure. Upon finding and fighting The King our hero is frozen in time and locked in a dream. Placed face to face with their worst fears and worries of how their actors Family would perceive them.

(source: ISAT Script Project)

After the screen stops being blurry and the player wipes the wet spots off of their Nintendo Switch. The fear of being perceived. The fear of being seen as manipulative. Being seen as insincere. Being seen as lazy or too afraid to change. Callous. Aimless. Manipulative. So many survivors have these negative scripts and inner critics. Caught in their cycles. Their own little loops. But there's still hope. Family. The chance to be vulnerable. The game concludes with Sif's Family saving him from The King. But even though The King's spell is broken and the people of Vaugarde are unfrozen the sky has a giant red crack in it. Sif's wish is still tearing the world apart. Realizing that when the quest is over everyone will go home Sif has their temper tantrum, becoming the final boss in which every move is a choice to either lash out at the party or lash out at themselves. A boss mechanic version of the final embers of a violent extinction burst. That is to say a person who does not have control over their ability to maintain a sustained behavior will lash out and attempt to assert control in order to prevent losing the conditioned routine.

An extinction burst is characterized by a temporary increase in the frequency, intensity, or duration of behavior being extinguished through operant conditioning. This phenomenon occurs when the reinforcement for a previously learned behavior is removed, leading to an initial escalation of the behavior before it decreases and eventually ceases. While not all instances of extinction involve such bursts, they are observed in some cases, particularly during the treatment of problematic behaviors. Extinction bursts can complicate the treatment of behavioral disorders, as they may temporarily increase undesired behaviors like aggression or self-injury, making it challenging to assess the effectiveness of interventions. (*)

In this case Sif is lashing out because he has no way of preventing his Family from going back to their lives. It's a destructive and unhealthy mechanism. The fight ends with everyone refusing to let Sif run away or hide anymore. He is forced to admit that his wish was to stay with everyone. That he didn't want the family to go away. He opens himself up to the vulnerability of being seen of being understood and yes, even potentially rejected. The Family agree to travel together at least long enough to get Bonnie back to their sister. But there are no guarantees what happens beyond there. There is love. There is acceptance. There is honesty. There are no more time loops. Maybe now, finally... there can be change. Growth. Tomorrow.

In time loop fiction everything eventually loses meaning. There are no permanent consequences, no external pressures, nothing inherent to strive for, no meaning but what the protagonist(s) give themselves. The option to just accept things and remain is always there as Andy Samberg's character in Palm Springs does. The option to never stop trying to escape is there for those like Keiji in All You Need Is Kill.

The brilliance of In Stars and Time is that there are two wishes that are influencing the universe. The wish of the people to save Vaugarde from being frozen in time and Siffrin's wish to remain with his family. Change and Stagnation. That's what it always comes down to in these time loop stories and the conflict in this game is that those two forces are playing against one another. The only outcome was to give up on one or the other. As we'll learn in Act 6 there is no reality where Siffrin gets to stay with all 4 party members. They will have to separate at some point. Accepting change is accepting that things can and will and do end and life will go on and you have to be okay with it. Many of our essays have focused on representation that includes a healing journey from Ange Ushiromiya accepting the circumstances of her tragic past to Elliot Alderson's 4 season long representation of trauma therapy for dissociative clients. I think the thing I love about In Stars and Time is that it's the long and arduous process of a chronically traumatized individual asking for help. It's the first step on the healing journey. Acceptance. Siffrin spent the entire game in denial and rejection, making jokes and pushing things aside. Our long and hard journey was just getting to the point where they were able to recognize and admit it. And I really hope that Sif and their family members will be okay. I wished on my leaf for Sif to see Ka Bue with Odile. I hope they get to go. But as insertdisc5 says when asking any questions about what happens next "it's your turn" -

Stars that was a long one. Thank you for sticking with me if you read the whole thing. We like to write these essays as a matter of helping our study on dissociation (we, ourselves, are a DID patient and reading and comprehending this material is essential to our recovery and treatment) and providing a little insight to bits of media that are positive examples of what we go through. If you enjoyed always feel free to leave an ask or leave some silly tags. I never care if I get a flop post as writing is its own reward but the encouragement is good for my ego <3

Special thanks to @insertdisc5 for answering when I reached out for comment on the writing of this essay. The reply was helpful and encouraged us to take our time and write this with extra care. (In Stars and Time can be found on Steam, Itch, GOG, Nintendo Store and Playstation Store. The Prologue Game can be found on Steam and the Start Again comic on insertdisc5’s website) Media, Myself and I is a series of Tumblr Essays for positive depictions of dissociative disorders. Other essays include: A History of Murder Alters Discworld and Plurality Incidental, intentional and accidental representation Gender, Dissociation and Clinical Stigma in The Third Person Recontextualized Memories in Umineko Derealization in Night in the Woods and Metal Gear Solid The Dangers of Hypnotic Personality Play in Penlight System Origins in The Incredible Hulk Relationships with Systems in The Incredible Hulk The Healing Journey in Mr. Robot

...wait... what happened to Act 6?

I did say Loop deserved their own essay, didn't I?

#dawn posting #say the line siffrin #media myself and I #watch me post my trauma in public #cptsd #bpd #let's do the time loop again #in stars and time #siffrin #odile #isabeau #bonnie #mirabelle #isat #isat spoilers #time loop

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