#a small analysis

[myristicisms]

A Semi-In depth analysis of Bloodstained: Ritual of the Night and Miriam

I haven't seen a lot of posts that have a timeline for the events listed and seeing as I write Miriam and am replaying the game, I've taken to compiling information I find important regarding the timeline as well as detailing thoughts I have regarding her characterization and personality, this is definitely something that ended up being a lot longer than I'd intended but regardless I'm very proud of it and wanted to share my findings in case anyone in the fandom was also wondering and wanted information or for anyone I write with that's not fully familiar with Miriam but wants to know her better for plotting/interacting purposes. With that said, there are four main sections to go through with the last two being full of spoilers for the game.

Part I; The Timeline Pre Game

Bloodstained Ritual of the Night begins with detailing the summoning of the hell castle by the alchemist guild in a last ditch effort to restore spirituality in England to maintain funding for their research, as per an unnamed alchemist's notes littered throughout the castle it's found that the prototype of a shard was unintentionally created as a byproduct of an attempt at creating a homunculus in the year 1764, in 1765 there was a demon that appeared and was dispatched by the guild which resulted in the discovery of other shards and their existences alongside the binding effect of the original prototype shard found a year prior, this discovery would eventually lead to tinkering with the idea of combining the shards with the human body to test what might happen and in 1766 it's implied that the first Shardbinders had been created; We see in the alchemist's notes once again that of the Shardbinders, the one that showed the most promise was Gebel however his shard lagged behind in developing further capabilities compared to the other children that had gone through the same procedure.

It's at this point in time that it's important to make mention that, due to other notes that will later be delved into, Miriam was born in the year 1765, one year before the beginnings of the Shardbinder experimentations and procedures became a thing which could imply one of three things; Either the alchemist guild acquired her as an infant and grafted the shard in her when she was a year or two ( unlikely though that's out of my own optimism which might be ill placed in this regard ), the alchemists acquired her as a toddler but waited until she grew a bit older before implanting the shard ( more likely given it's been said the shards attract demonic entities and that would endanger a young child that's defenseless ), or ( the most likely ) Miriam wasn't orphaned until later in her childhood and once she was sent to the orphanage, the guild likely took her in much as they did other children ( As Gebel is just slightly older than Miriam ) and grafted the shard into her during early teenhood.

It's also important to note additional information given by the unnamed alchemist's notes as well as Miriam herself that once the shard effectively bound itself to their flesh, the Shardbinders themselves were put into training against the different demons that would come to the guild and absorb the shards as a means of further expanding upon the guild's research and this effectively lasted until 1783, which is how I was able to find out Miriam's birth year because shes said to be 28 during the current events of Bloodstained, meaning Ritual of the Night itself takes place in 1793-1794, as we know Alfred put Miriam into an alchemical coma right before the ritual to summon Bael, which is stated to be a decade prior to when we start in the Galleon Minerva, with that being said, that's how I was able to calculate the year Miriam was born as well as when the game takes place.

Part II; Humanity, Family, and Grief

With previous timeline stuff out of the way, now I can move onto Miriam lore, I just wanted to get basic timeline information put out there, let's start off with Miriam's early life or with what we know about her early life ( likely around her early to mid teens but not too terribly close to 18 ), we know based on two separate conversations she has with Gebel and Johannes that before the ritual, likely at least a year or so, she resigned herself to feeling as though she was no better than the demons she'd have to absorb the shards of after killing them which eventually led into an argument with Gebel. We aren't given a timeline for any of Miriam's earlier years however with what we are given, it's safe to assume that a lot of her childhood/teenage years were far from normal circumstances and even traumatizing to a degree as per Miriam herself stating that the pain of all of the experiments and the shard itself had left her feeling hopeless as is stated in conversation with Gebel aboard the Galleon Minerva, quote “ I was the one that came to you broken, convinced I was a monster. And you told me— Our power doesn't make us good or bad. Our choices do. I'd given up on my humanity, but you restored my hope. Don't you remember?! ”

We also see her expand more upon this conversation/argument in a conversation with Johannes when he asks her about a promise she had made to Gebel, “ Well, back then, the experiments left me feeling stripped of my humanity. The pain from the crystal was a constant reminder. At one point, I lost my will to live entirely. Gebel and I got into a fight over some stupid thing, and I shouted,"How long are you going to pretend you're human? We're monsters now." ”; “ It cheered me right up. I felt like a person again." ” Followed by, “ And that was when we promised to stop each other if we ever lost the ability to choose. ”, As those are just her lines and not the dialogue from Gebel, I'll paraphrase the in-between; Essentially she had repeated to Johannes what she had said to Gebel aboard the Galleon Minerva, quoted in the previous paragraph.

Additionally Miriam also points out in dialogue aboard the Galleon how painful absorbing shards truly is, “ I'd... forgotten the way it felt... Like uninvited claws scraping across my bones... ” which lends to another interesting point; Miriam's willingness to sacrifice herself to some degree. Throughout the game, Miriam has to traverse the hell castle and absorb different shards in order to gain abilities and make progress, Gebel had knowingly put her into a situation where she would need to absorb shards in order to reach him and ( albeit with little success ) try to convince him to give up summoning Bael/quit being the lord of the hell castle. Something else worth noting is that with each shard that merges with her crystal, the more risk she has of the crystal corrupting and taking over her body which would effectively lead to her death; She's aware of this and even tells Johannes “ I know my body's limits better than anyone. And I'm going to need all the power I can get. ” After he expressed his concerns on the matter, of course this conversation happened prior to her conversation with Gebel and yet even with that knowledge she still put herself at risk in hopes of saving her best friend.

Moving on though, we also find out that Miriam wasn't completely parentless to some degree; Among the alchemists in the guild, she'd taken well to one named Alfred and saw him as a father figure of sorts, unfortunately though it's unlikely that that had been reciprocated as we see in the Den of Behemoths, Alfred's motivations for putting Miriam into the coma and attempting to keep her away from the castle weren't out of a sort of fatherly concern but because she's “ the most attuned ” in reference to her ability to wield demonic power through her shard, essentially making Miriam one of the main keys necessary for the summoning of Bael and effectively making her coma the main reason for the prior ritual's failure, though that isn't to imply he held no care for her either given the fact that he just as well could have killed her a decade prior which still likely would have halted the ritual much the same.

I'll be delving into spoilers now therefore this is the only warning I'll be giving regarding spoiling events in the game;

Part III; Storyline and Character Development

After initiating combat with Zangetsu for the second time ( initiate is a strong word, he decides they need to speak his language; Combat ) and proving herself worthy of wielding the Zangetsuto ( Zangetsu meaning moon slayer/to slice the moon, just neat trivia ), after which Miriam heads to fight Gebel and, depending on the player, will either receive the bad ending or unlock the final portion of the game. Should the player kill Gebel in combat ( this can be done prior to getting the Zangetsuto, similar to that of Castlevania SOTN with Richter and the holy glasses ) then a cutscene will play out depicting Miriam and Johannes standing outside the castle talking about what to do next, the castle has yet to fall and they decide to leave it to Dominique and the church despite both feeling as though something was off, this is the bad or wrong ending of the game. The true ending is unlocked via damaging Gebel just enough for the moon within his room to turn red, after which you need to slice the moon in half with the Zangetsuto which forces Gremory out and leads into another cutscene, this time between Miriam and Gebel.

In this cutscene, Gebel starts off with recognizing Miriam and telling her he's missed her and even thanks her for keeping her promise ( showing Miriam to be someone who keeps her word regardless of how painful it might be for her to do ), while the dialogue plays out, we can see Gebel slowly crystalizing and get to watch Miriam panic over how rapidly the process is taking over his body ( resulting in his death ) and insists she'll handle the castle while trying to convince both him and herself that Gebel will live, he does not. It's right before he fully succumbs to the crystal that Gebel delivers his final line, “ I'm glad I got to see you smile... one last... ” Only to die off which leads into Miriam weeping and Johannes finally making his appearance, it's here where Miriam expresses that she “ has a new promise to keep ” and then eventually finds her way into the Den of Behemoths after slicing the moon in half once more and opening a portal to the location.

It's here where she bumps into a severely wounded ( and dying ) Alfred and Zangetsu, who both reveal to her that they'd all been manipulated by Gremory and Dominique, at this point this leads into another point regarding Miriam's personality where it's mentioned multiple times throughout the game that she's incredibly stubborn as per Johannes and even Zangetsu mentioning the trait in their own backwards ways. Additionally, she's also shown to be incredibly independent as per her mentioning that she should be the one to handle the castle's problems since she's trained properly in combat compared to Johannes who is merely just an alchemist. Johannes also tends to put a focus on dietary needs for Miriam in some of his "extra" dialogue when interacted with after most of his story driven dialogue has been listened to, while not particularly impactful or important to note it can definitely be implied that Miriam could have an issue with not eating enough or simply he's concerned for her metabolism and a lack of proper sustenance due to her alchemical coma, regardless she's displayed delight in both cooking her own meals and eating new foods since she has a special animation whenever she does cook and often makes a happy remark whenever she eats something save for eating the dark matter, which results in a pathetic " that's foul... " And resulting in Miriam being poisoned, this shows she's not quite a picky eater which likely stems from a combination of her being an orphan in 18th century England and the likelihood that the alchemists may not have been too concerned about what was fed to the kids.

Moving on in the timeline as well as further characterization, upon reaching the glacial tomb, Miriam first faces Gremory, it's in this leading cutscene where she witnesses Zangetsu being ( presumably ) dragged down to hell and likely killed, during this scene just before he vanishes with Gremory's arms he says “ Good luck... Miriam. ” which then leads into Gremory taunting Miriam about the fact that while she has the Zangetsuto sword, she doesn't believe Miriam will succeed in killing her only for Miriam to respond with “ Wrong, demon. Zangetsu's wrath and mine are now one. ” Which while a bit of a cheesy cliche ( power of friendship or whatever ) also adds onto how important companionship and friends are to Miriam despite how she continuously loses those closest to her. ( RE; Gebel, Alfred, and even Zangetsu to an extent. ) After killing Gremory and acquiring the shard " Dimension Shift ", Miriam makes her way to the final room of the Glacial Tomb and encounters Dominique.

This encounter is dramatic with how intensely Miriam feels, her sense of justice shining through while listening to Dominique talk about her sought after power and reasoning for her ambitions. Dominique reveals her plan had been to slowly acclimate Miriam's shard to demonic corruption and upon being exhausted from her fight with Gebel, Gremory was meant to possess Miriam much the same as she had Gebel. Dominique further irritates Miriam by accusing Zangetsu of betraying her to which Miriam responds with “ Doing the right thing isn't a betrayal. ”, once again showing Miriam's strong sense of justice. Later in the dialogue it's mentioned that Dominique managed to find a way to receive her own crystal and with the shards sold to her ( or I guess pretend sold to her if the player refuses to do so? ) begins the ritual with the Liber Logaeth to summon Bael, Miriam makes a remark that it's a slow process to which Dominique says “ Do you really think you can stop me before then? ” resulting in Miriam retorting back with “ Oh yes I do. You don't understand what power is for. You wield it stupidly, arrogantly. And now you will pay the price. ” That line among other spoken dialogue throughout this particular conversation demonstrates a strong distaste for those that pursue ambition and power for the sake of doing so, it's after this conversation that Miriam must fight Dominique and unfortunately is just barely too late, resulting in yet another portal (?) being opened and starts the fight with the demon lord Bael.

It's after the defeat of Bael that Johannes uses the Liber Logaeth to destroy the hell castle and the ending dialogue begins with Miriam and Johannes standing outside Arvantville, their conversation essentially is just discussing the losses it took for their victory, Miriam grieving each one while Johannes remarks that they all made their own choices and their lives deserved to be celebrated, not mourned. The scene ends with Johannes mentioning that before Alfred's passing, he'd given advice on permanently halting the spread of Miriam's crystal and while he could not promise it would work, he would do his best. Miriam seems pleased enough and the duo leave to return to wherever they call home.

Part IV; Additional/Miscellaneous information

Miriam is able to play the piano, demonstrating prior training, this can be found in the Secret Garden and if you have the Carabosse summon equipped, will lead into a song, otherwise Miriam just plays a nice instrumental version of said song. Miriam's name has multiple meanings, the main ones being Bitterness, Sea of Stars, drop of the sea, and Beloved depending on which etymology you're looking at, all of which are very fitting of her character. Just before Alfred's death, his final interaction with Miriam is asking for forgiveness for all he'd put her through. While we see that Zangetsu was dragged to hell, players who play in a wider resolution will see his model walk in from the right side of the screen which could either just be a fun little easter egg or is meant to imply that he'd somehow escaped it, I don't really know the answer but I wanted to make mention of that small clip too just to get that out of the way.

[ambrosiagourmet]

I think one of the biggest tragedies of Laios & Falin and their relationship is how much his actions impact her life. But like. Specifically how much they WOULDN’T impact her life as much if they weren’t both stuck in such a shitty abusive situation.

This part of the Falin-tries-makeup daydream hour comic is what got me thinking about it again because truly it just... it seems like such a like an offhand comment that I'm sure Laios didn't mean to be cruel or anything. That's just like. A little kid not thinking about what they are saying. ESPECIALLY when the kid in question is Laios.

But man they depended on each other SO much as kids. Too much. It really feels like they didn't have any other source of positive reinforcement, or anyone else to share themselves with. So of course an offhand comment like that has a huge impact on Falin.

Or this little bit from one of the flashbacks:

This tears me apart. Do you think it tears him apart to think about? I think it does. I think Laios holds every small failure to care for Falin against himself.

And then there's the Bigger stuff. The way that him coping with his own trauma ended up impacting her.

Like his interest in monsters. Like him going to find a ghost, and accidentally revealing Falin's magic to the whole village in the process.

Like him needing to leave. And leaving her behind.

He shaped her life so much, and he carries so much guilt for it. And again, there should have been other people there to help. The same things that made Laios need to leave home are the things that made his leaving so hard on Falin. She ate alone after that. She shouldn't have had to eat alone just because Laios wasn't there.

She was 9 when he left for school, and he was 11.

Nine. And Laios feels like he failed her because he didn't stand by her through this better. As an eleven year old.

Both of these kids deserved so much better from the world.

[catfishofoldin99colours]

something something the main cargo of the tulbar being mouthwash and its main advertising slogan being 'kills 99% of germs without leaving a bad taste'

something something Jimmy desperate to remove the rest of the crew and his mistakes, so far as to try and crash the ship so he doesn't have to face what he did to Anya, killing 99% of germs and bacteria everyone and himself so he won't have to face the bad taste in his mouth consequences of it all

something something eating curly to survive, feeding curly to himself to survive, the fact that human cannabalism infects you in a way you can't heal (prion disease), something something mouthwash will rinse it out, something something have your terrible actions and the consequences they bring without feeling guilty if you just wash it down with delusions mouthwash

something along those lines

[fairandfatalasfair]

Hell demanded ruthlessness from Edwin.

He had to push himself past the limits of human endurance, to set aside his own pain and horror because they couldn't help him. He had to dodge past the tormented souls in Gluttony and Lust and ignore the weeping frozen faces in Limbo, because there is nothing he can do for them and trying would cost him time he can't spare.

(How many times did he try? how many times did he stop, try to reason with them, and die for it, before he concluded there was nothing to be done?)

We see flashes of that ruthlessness in the show. He's immune to Emma's attempts to play for sympathy. He insists Niko "do better" and provide them with useful information, because if she doesn't she'll die (like he did, over and over and over, until his efforts were finally good enough.) He zeroes in on the problem in the Devin house - the murder mystery or lack thereof - rather than consoling the client for her loss.

I think Charles softens that side of him a lot - not just in the way he catches him and reminds him of his bedside manner, but in the way he holds space in Edwin's heart, the way that having Charles welded to his side makes it impossible for him to cut himself off from the world.

He stumbled out of hell after 73 years of having to shut down any consideration for his own or anyone else's suffering... and stumbled into a boy his own age, the victim of bullying just like him, dying unjustly like he did, a boy whose relentless friendliness even as he's dying manages to draw a smile from him. A boy he can comfort, whose pain and fear he can actually do something about, because this is not hell, and kindness here will not get him killed. A boy who deserved better, who died defending others in a way Edwin probably hardly believed possible anymore, who inspires him to see the good in the world, someone who would gently remind him about his bedside manner when his mind is telling him that caring about other people is dangerous.

[biceratops7]

hold- wait a fucking minute...

Beelzebub is acting really freaking weird in this scene.

Ok so I encourage you to rewatch it cause I can't really properly illustrate it in gifs, but they don't sound irritated, or even particularly intimidating. We know Beezlebub to be a very dry person, even in moments they want something and need to manipulate/ convince someone for it. So this abnormally animated and even somewhat friendly demeanor doesn't strike me as part of buttering Crowley up to get him to help them.

This is a weird line. We know Beelzebub isn't like Shax, they've been around a bit more and have a better grasp on things like tone and figurative language. There's almost no way they're unaware that saying this would immediately clue Crowley in to the fact that Heaven and Hell do in fact have communication, so they must want him to know. For whatever reason, it's important to them that Crowley knows they're a reputable source.

And then I remembered where I've heard that tone before.

It's nearly the exact same one Crowley uses to tell Aziraphale that he needs to protect them. It's the kind of tone you use when you need someone to read between the lines and understand more than you can safely tell them. Beelzebub is fully ready to believe Shax when they say Gabriel's in the bookshop, and acknowledge later that Aziraphale was a very fitting and likely candidate to harbor him. They know full well Crowley doesn't want jack shit to do with Hell, and would probably be offended if anything by anyone referring to his "nasty little heart". That is merely a performance to mask what they're really trying to tell him, which is that Aziraphale is in danger.

Without this detail Crowley very well could've turned Gabriel in to Heaven instead of Hell, he certainly doesn't see much difference between the two. Beelzebub is the reason he decisively doesn't, and races home in a panic.

And I think it's genuinely so sweet, this moment of understanding and comradery between them that goes unnoticed, even to Crowley. They drop the shtick and make sure that he knows the book of life is a real threat, and you only need to be merely involved in hiding him to be erased from it. Because to them, there's also the very real possibility that Crowley knows about Gabriel while Aziraphale doesn't, so they're double checking Crowley will not to tell him and instead go straight to them. There’s just something so protective in it.

[lucabyte]

i'm so curious about your character gender reads now tho 👀👀

(You enter the kitchen and see me, eating shredded cheese out of the fridge by the handful)

(I turn around to face you.)

Hi. Do you want me to sell you on amab NB Siffrin? I'm going to try and sell you on amab NB Siffrin. And maybe even a little bit of tranfem siffrin and/or loop. as a treat. just for you.

So, (I put the cheese back in the fridge.)

This read of mine comes from a number of things, a lot of them to do with the game's themes, and to do with Siffrin being a narrative foil to the other characters. And Vaugarde as a whole.

(READMORE WARNING: THIS IS LIKE 6K WORDS LONG. YOU ALL SHOULD KNOW BY NOW I DON'T MAKE POSTS WITHOUT UNCONSCIOUNABLE AMOUNTS OF EVIDENCE AND EXPLANATION. IF ANYTHING I'M BEING RESTRAINED HERE. THUMBS UP.)

(Pre-readmore note: this is in response to me having given an analysis of how I personally percieve Sifloop in relation to asexuality and shipping. Which you can look at here. (x))

It is however, not what my like, no-holds-barred no-rules just-for-me headcanon for Siffrin would be. (which is intersex 'head empty no thoughts' siffrin, for the record). This is instead my close-reading-of-the-text-and-themes interpretation of Siffrin. This is why I'm gonna be saying Read and not Headcanon, to distinguish the two. (Anything I consider a little bit too much of a stretch vis a vis interpretive hard reads I will call a headcanon. But those are for the last bit of this post.)

Unlike *gestures at mass media* All That… ISAT is already packed to the gills with queer rep, to the point where I feel no need to grasp at straws and make overextended reaches into obviously unintended subtext. Like with, y'know, most media. Since here, the subtext isn't unintended. Like this isn't a Transfem Metal Sonic or Aroace Ash Ketchum situation where I know none of the evidence is on purpose and I'm just having fun making a conspiracy theory pinboard out of it. This is like… There's intentionality there. And I want to engage with it on its level, see what the text itself suggests. It's my personal preferred method of expressing deep respect to a text. (Not that it has to be anyone else's, obviously. This is just my way of showing I love a work.)

So yeah, I am, in general, very interested in hearing hard-fought arguments when it comes to interpreting texts. I'm glad ISAT has a lot to pick at here, and so, I will. (and since not a lot of texts ever have anywhere near this kind of depth in this arena, i don't wanna squander it… i'll try and keep my own biases as in check as i can, and already have done by hashing quite a bit of this interpretation out with two people of very different gender identities to mine. To put it mildly, binary-aligned or transfem I am very squarely Not.)

(Now that the cheese bag has been removed from the equation, I drop this framing device, sit you down at the table and begin to dredge up evidence from below it.)

Okay, so. What are my like… Core reasonings here? I think I can split it into three categories. Broadly, with an amount of overlap, so bear with me…

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Okay so up top I'm going to split my argument for Siffrin's gender identity Present and Future here. This means, for now, I'm arguing for AMAB NB Siffrin alone. The transfem stuff is for later (and more for loop, in my mind, too).

I have a few direct observations of the text here that set things up. Here are the things in-game that make me assume that Siffrin, as of the start of the game, has not yet undergone any radical change to their identity in their life. Not on purpose, at least. These are ordered in a messy but logical flow, so uh, try and keep up. I'll synthesise at the end. I Prommy.

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

CHANGE & THE UNIVERSE: PERCEIVED OPPOSITES

When interacting with most objects in the Changing Room in the house, they express a genuine curiosity toward body craft. It seems they are legitimately unfamiliar with it on a deeper level than having simply heard of it.

Despite this curiosity (explicitly stating they've previously wondered about it), they dismiss it as too much work early on in the game. These points combined seem to suggest to me that they have never previously sought out any kind of real change to their appearance or identity. Either for gender reasons, or other body dysmorphia reasons. (Which, despite the dismissal, they do refer to their body as a 'meat prison', which is not particularly positive) However...

This changes in Act 3. In acts 3 and 4 they flatly state: "You're thinking about crafting your body. You seem to have all the time in the world now." While still never spoken aloud, their declining mental state corrosponds with a worn-down, almost nihilistic reckoning with the feelings they masked with the 'meat prison' joke in act 2.

[Image: Interactions with the change craft textbook in acts 2 and 3/4.]

In talking to Mirabelle, they are very self assured that one can stay the same/be comfortable with their born identity. They also seem a little unsettled by the change religion's flippancy in general, which makes sense, as they have been clinging to the famliar (even when painful) to cope with other traumas. (More on this later, section 2)

The Universe Faith appears to heavily disincentivise Wanting for oneself and other expressions of Free Will due to safeguarding against Wish craft. This seems to have impacted Siffrin's mental state majorly, even if they do not recognise it. The followers of the faith are (if Siffrin is to be believed) incentivised to 'go with the flow' and take paths of least resistance, and those that DO make big decisions will tend to justify things as being The Universe's Will. (See: The King's entire Modus Operandi, and the way Loop (and Siffrin) do the same rote actions, constructing worldviews (the play analogy, the Universe's Will) and justify that as what the Universe Would Want (despite a total lack of evidence to prove as such)) As such, it seems as if a follower of this faith as neurotic as Siffrin would be unlikely to act upon any Wants to Change Themselves without a lot of turmoil and backwards-justification. (Of note, Loop's forcible change coinciding with a dropping of pronoun. But that is again for later, section 3) As of the start of the game, they do not appear to have broached this kind of turmoil directly.

[Image: Act 5 interaction with the star journal, emphasis on it being a cautionary tale against reckless usage of wish craft, instilled so deeply to be a children's bedtime story]

Siffrin, in act 5, grows frustrated with both The Universe and The Change God, feeling abandoned by the former. They struggle with simultaneously anthropomorphising the Universe as a cruel onlooker, while also seemingly acknowledging them as a cold, almost scientific fact of nature. This would heavily imply that the 'blame' put upon the Universe by Siffrin in these moments is known to them, at least a little, to be potentially meaningless. It seems that somewhere in Siffrin's belief system is something, be it the core or merely a creeping worry, that the Universe is not a thinking, feeling, thing. And thus that their invocations of "The Universe's Will" are merely rationalisations of random chance and consequence. This is in DIRECT contrast to the Change God, proven to be an emotive sapient entity, who merely refuses to offer a helping hand. (Similar sentiments are, too, spoken by the Change God itself.)

[Images: Interacting with the window in the observatory in act 5, text from the change god meeting]

So. These are the bulk of my observations when it comes to how Siffrin is positioned in contrast to the Change Belief. It would seem to be that Siffrin, inkeeping with their role as an outsider, is a complete fish out of water in Vaugarde's change-centric world. This makes sense! It makes them a compelling foil to the Vaugardians in our cast, and allows the Vaugardians to challenge Siffrin's worldviews merely by existing. It also, more importantly, makes Siffrin an interesting lens through which to inspect our two most Change-driven characters. Mirabelle and Isabeau.

MIRABELLE.

Mirabelle and Siffrin's differing faiths are put on display the most frequently. Interactions like the circle key and the party's disbelief of Siffrin's facts about the stars make this clear. These interactions other Siffrin from the group further, and are another avenue through which Siffrin can ignore their own needs, not communicating with the party and allowing them to dismiss things he deems important.

Obviously, the friendquest is primarily about Mirabelle's struggle with her aromanticism and asexuality. But there's an implicit undercurrent of gender there too. Mirabelle has never made a big change, not like Isabeau. She has never 'changed completely', by her words. And Siffrin distinctly finds this an odd thing to be worried by. Whatever culture he carries has no pressure to explore these avenues, it seems. Siffrin is able to help her by sharing their honest opinions, that he's never felt the need to change these things, and he's happy (allegedly). Why should she?

[Image: Mirabelle's friendquest text] Siffrin is not thinking particularly hard when he first does the friendquests, they are just being themselves. By positioning Siffrin as this unchanged yet confident object, they are in the perfect position to help Mirabelle by being in her almost exact position, both sexuality and transgender status (albeit, with the caveats of potential alloromanticism, and a they pronoun), that they become her ideal foil. (And in fact, the subtle differences between their positions in canon add to this, showing a display of Perceived Genuine Truth, rather than simple in-group camaraderie)

Whereas…

ISABEAU.

When Mal du pays speaks as Isabeau, it says the following;

"I don't want to know someone who won't even try to change, who luxuriates in things staying the exact same like you do."

I don't want to know someone - Shame of being known, that's Isabeau's insecurity. Reflected back at Siffrin, who has become the worst thing imaginable to each of their friends, in Siffrin's own mind. He absorbs their insecurities like a sponge and incorporates them into himself. Empathy turned ill.

Who luxuriates in things staying the exact same - Now THAT'S interesting. This is not Isabeau's insecurity, it's Siffrin's own. But also, it appears as if, Siffrin, whom to Mirabelle was unflappable in that not changing was alright, has internalised some of her worry. That it is MDP's Isabeau saying this, though, shows this is about Personal Change, perhaps even Specifically Gender and Self Image, rather than Mirabelle's spiritual side.

Isabeau and his distinct change in personality and gender, to become someone who he actually likes… Diametric to Siffrin, who has been stagnant for a long time, presumably as far as they can remember. It would seem to imply they have no recourse against this argument. Siffin becomes, in his mind, the opposite to Isabeau, a man he deeply admires the bravery of when told the story of his Change. These are Siffrin's words against themselves, that they consider themselves to have never even 'tried' whatever it is they think Change to be.

So. These are my main points vis a vis: Siffrin as a foil. This reading would posit that Siffrin's He/They status is, well, almost accidental? Which I would imagine befitting of them. They are, at the start of the game, still the mysterious rogue who never elaborates upon anything. They aren't going to be correcting a they/them from a teammate who is likely far more cautious about assumptions.

Notably, Mirabelle excludes Siffrin from the label "man" in the bathroom monologues… But as does Siffrin when in the prologue poem room. Though one needs remember, Siffrin only expresses these thoughts internally.

[Image: Bathroom conversation featuring Isabeau identified as the party's singular man]

[Image: Prologue!Siffrin expressing that they are not a man in very certain terms.]

While I do wonder what Mirabelle's knowledge (or lack thereof, potentially! Did Siffrin actually divulge this to her, once? Or is she making assumptions again?) is here, this is pretty clear evidence that Siffrin doesn't see themselves As A Man. (that, and Adrienne's word of god "fella" comments). I'm sure you can see where I'm going with this… but.

The thesis here is, that Siffrin may want to explore their gender further; doesn't feel connected to Masculinity, and yet, keeps that He pronoun around? Well, the Universe does not, in Siffrin's mind, really allow for personal wants and desires. If their friends start they/themming them, then cool. They like it, but never requested it, so it's the Universe's will. But, asking? Making decisions and requests and rocking the boat? That seems to scare Siffrin a lot. It seems to scare them so much it causes a lot of, if not all of, the conflict in the game. I feel like it's a fair deduction that this aversion to humour their own desires pervades a lot of their existence.

Plus, I think there's meat there. By only allowing Siffrin to reckon with any potential desires to change only after growing closer with the family, you get to explore things like "How does Mirabelle feel that even the person who said she didn't have to change is changing." and the slightly less potentially harrowing (OR MORE, IF YOU WANT IT TO BE? IDK. I'M NOT YOUR BOSS.) "Isa's continued changing allows Siffrin a space to explore it, maybe even just by proxy, or maybe by joining them."

But mostly, this section is about how Siffrin not having Changed Yet makes them delightfully strong narratively; allowing them to relate to Mirabelle, and get cold feet when comparing themselves to Isabeau. I love this as a narrative strengthener. It's very rare in media that we get to explore a nonbinary character's thoughts and insecurities on whether or not they're "doing enough" to be nonbinary. Even less so Aligned nonbinary people. And reading that alignment and insecurity through the lens of a nonbinary person not fully disconnected from their assigned gender at birth? It's a very compelling exploration of a very common and raw and yet underdiscussed feeling, much like the rest of ISAT. I think this is an extremely potent element should it be read this way, and is only strengthened when taking Siffrin's other themes into account.

Speaking of which.

2. SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

HOLDING ON TO WHAT YOU KNOW. (OR KNOW THAT YOU DO NOT.)

I explained above many of my thoughts on the Universe Faith, and trying to keep these two sections separate was difficult, but needed to be done for the sake of clarity. But this section and the above are deeply intertwined.

Siffrin… Holds on to the things they know. They do not know much. But man do they fucking hold. And yet, paradoxically, they are also avoidant about it.

It is made clear in the text, to the point where I really don't feel the need to rehash it here, that Siffrin's disconnection from their homeland is incredibly painful, but that they consider that culture utterly and irreplaceably important to them. They cannot face it, it is too painful. They cannot let it go, it is too important.

Knowing what we know of the Island's irl inspirations (though, word of god, the exact location is not supposed to matter, one can infer it from the text (and I did! within reasonable proximity!)), Siffrin is of an indigenous peoples of some description, more than likely. And at the very least, Siffrin carries with them inherent biases and ignorances that show that Vaugarde's conceptions of things don't quite mesh with their own. Bowing to the Vaugardian way of things could very easily be seen as assimilation, in this way.*

And identity? Gender? Presentation? Role? All of that has a cultural element. There's no telling what specifics Siffrin has lost in that arena, and that's the problem. Neither do they. How paralysing, the feeling, to know that should you change yourself you risk unknowingly erasing another piece of home? I wouldn't blame them for locking it off. Keeping their old clothes, keeping what little they can remember of themselves… It doesn't seem to me a conducive or safe mental space to get experimental.

And the Universe makes for a perfect scapegoat. As referenced in the section above, a lot can be justified should you call it "The Universe's Will", because who's there to call you on it? Hardly anyone. Your divine right to Freeze A Place In Time; Your Deserved Punishment for Wanting to be Loved: All of it the Universe-- If you want it to be. And thusly, if the Universe wanted you to be a certain way, wouldn't you already be? Wouldn't it make you so? (Wouldn't it take away your body, that which makes you human? If that is what it thought of you?) So best to put it out of your mind. Wouldn't want to accidentally wish anything.

But as the game itself puts it, personified by The King, you cannot stay mired like this forever. As Loop themselves puts it, they can "get so fixated, sometimes." At some point they need to allow themselves to grow in whatever direction they need, because in the end, they need to live their life. They don't need to abandon their country, their culture, but they can't let it restrain them either.

(* MASSIVE CAVEAT: im white as fuck boyyy. i cant say shit. im like technically Of The Land im like 90% pictish or something ridiculous like that so my particular line has never moved anywhere but. this is notttt something i have input or insight on. this is all gleaned from reading and listening to indiginous perspectives from wherever they may be. i am simply trying to infer from what the game gives us without inserting my own feelings on the matter.)

3. SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Alright, here's some less heady and purely-thematic points to round things out. And where we'll also address the fucked up star being in the room; Loop.

My last couple of reading points are the most potentially-transfem to me. Or at least the ones that really hammer home, to me, a seeming lack of want to be masculine-aligned.

ANOTHER NOTE ON THE 'NOT A GUY' THING.

Obviously, there is the aforementioned "Not a man/not that you're a boy" thing. This is rather straightforward, but also still pretty ambiguous. You can be masc-aligned and still Not A Guy. But it does seem to be of note that being a guy very much does not seem to be a goal of Siffrin's. I would posit this in direct contrast to… Isabeau.

But not Isabeau's masculinity. I would instead hold it up against Isa's femininity.

ISAT, as a text, has its characters have genuinely different levels of security in their gender identity, and Isabeau, despite still having insecurities, seems super chill on the gender angle specifically! Their internal strife comes not from their 'not feeling like a man enough' or 'hating being a woman', but instead from their self perception as a friendless nerd! Something that seems to be only tangentially related to Isa's gender, really?

The big dumb bruiser thing is certainly aided by being a dude, but Isa still seems completely comfortable referring to themselves with feminine language, calling himself a "mother hen" (prologue) and having "the heart of a fair maiden" (cookie snack time). (However, they also take being excluded from Mira's girly book club as a surprised compliment, implying they weren't expected to be excluded, and find it affirming.) And even further so, Isa states they want to continue changing further and exploring their identity more, being rather blatant that they might lean back into femininity (and more importantly, let themselves be outwardly smart again), since they're starting to feel hurt by everyone assuming they ARE genuinely stupid.

[Image: Prologue Isa calling himself a mother hen]

And man, this is such a breath of fresh air vis a vis representation. I don't think I really need to explain that. A character who's gender identity is driven by chasing euphoria, even if it started out by trying to drive out misery. Isabeau's character is so damn good. But this essay isn't about him, so get back in the crate, boy.

... So here we have Isa, who is genuinely comfortable reclaiming things about their birth gender, and Mirabelle who loves her traditionally feminine traits to the point where she feels a little guilty that she isn't rejecting them to foster change. And then we have Siffrin… who seems to reject masculine language…? Hrm… (… And then we have The King. A Masculine Title. Someone who Siffrin increasingly sees themselves in and deeply, deeply dislikes this.)

APATHY AND SURVIVAL

It should be clear by now that I see Siffrin's core character as being driven by avoidance and survival. This seems to lead to a lot of apathy, brushing off emotions that are too intense or events and occurences that are too painful. (See: just absolutely everything with Bonnie)

It's all Siffrin really seems to be able to do to Survive. They've travelled, seemingly alone, for what would be around a decade by what the game says about the island's disappearance. They've lived alone on the road as a traveller in a country that so openly welcomes strangers that THE KING and his whole motives can happen. Siffrin is avoidant and refuses to acknowledge problems or strive for help and comfort.

So. That line about the dress. Let's unpack the line(s) about the dress.

THE DRESS LINE, AND THE WAY IT CHANGES BETWEEN PROLOGUE, ACT 2, AND ACT 3.

Good god where to start with this. Full disclosure, the first draft here was way more vague in how I approached this line because I remembered it (and another line, I'll get to it.) way more tame, but going and getting the screenshots..... Siffrin. Buddy. We gotta unpack this.

In act 2, we have "You haven't worn a dress in forever!". This is a neutral, if seemingly a little joyous statement. All we really glean from this is the information that Siffrin at some point, wore 'a' dress. No real inferences there. (Maybe you could say that the singular as opposed to plural makes it more likely that they borrowed/only owned One Dress rather than owned several? But that's a massive stretch...)

Then, act 3/4 shuffles this off into a more general "You wonder if you'll ever wear different clothes again." Which is a more despairing and distant statement. Considering Siffrin seems to travel with only the items they can carry, and owns sleep clothes... It's unclear how many changes of clothing they have. The party seems to consider the cloak a pretty permanent fixture, anyhow. But this line doesn't really say much aside from 'oh god i'm losing myself to the time loop malaise'

NOW THE PROLOGUE. Prologue Sif, buddy, pal, Loop, if I'm allowed to call you that....

Thousands of loops in. We are wistful for specifically dresses. You've forgotten almost everything. You dream about someday seeing the sun again. To be anywhere but here. You want to wear a dress again.

I. Kind of do not know what to do here but point at it. Like I said, my first draft had me half-remembering the progression of this line and as such I was far more vague on what I thought it could imply. Instead this is just straight up yearning.

To, try and segue back to what I had initially written, we'll pick up here...

Siffrin expresses a want to wear other clothes, explore changing their body... But instead, they wear a ratty old form-covering cloak that keeps them warm and safe and is a last reminder of home. They are shapeless, formless, hiding their face under the brim of a wide hat. They do not voice their desire to wear a dress aloud. They once again, keep a desire to themselves, because they do not allow themselves to want publicly. Apathy is safer. Apathy and quiet means you do not risk retribution or hurt.

While I do not think the above is exclusively a transfeminine feeling, it really, really reads like one when taken part and parcel with assuming Siffrin has denied themselves prior exploration.

... And here I have to break my first draft again. I was being, once again, restrained in my reading when writing this. Because I had convinced myself I had maybe straight up imagined one of the lines I was basing my reads on, because I couldn't find it. Because it was a line that read so strikingly desolate to me that my brain had slotted it in during Act Five, meaning when I went looking for it neither me nor my friends could find it.

It's in acts 3 and 4. It's a line I already brought up.

"You're thinking about crafting your body. You seem to have all the time in the world now."

good fucking christ. sorry to break the academic tone but Jimminy Fucking Willikers, Siffrin. What's with that bit. The resignation and despair and guilty comfort we know the timeloop brings them, bleeding into the gender.

This. *taps my finger harshly on my desk* THIS, this feels transfem. this feels so wildly transfem to me. The knowledge that they've never changed before this line lends. The admission that they've been holding back because it's 'too much work'. I spent a lot of time during the game relating Siffrin not to myself but to my friends.

If I'm honest, really, truly, I'm not all too often in Siffrin's shoes. I'm the stable one, of my group. I'm the rock people ground themselves on. And I see so much hesitance, all the time. Denial of joy because what if it's taken away, again? Or futilely out of reach? It hurts more to try, and to fail, than to never try at all.

I wanted to shake Siffrin by the shoulders this whole game. Grit teeth beg them to accept help because for fuck's sake people are clearly offering it get it through your skull--

*coughs* Ah. Ahem. Right. The uh, academic tone.

Right. What I mean to say is, this read as transfem to me because of the way it relates to real-world experiences of denial. And this combo of the Dress line, and the progression of the Meat Prison line, the constant evidence of never having strived for what they want, and that insistance that you're not a man, seem to dislike being percieved as a man, but not being able to shed the outward signifiers?

Individually, yes, these points can be read in different ways. The total opposite ways, even, I'm sure! But as a gestalt it feels really, really transfem. Even if yeah, sure Vaugarde is a magical setting where being transgender is accepted, and this hesitance, specifically, around gender, might not 'make sense' in 'the lore'...

Diegesis isn't everything. Sometimes something that reflects a real-world feeling is important, even if it doesn't 'mesh' with 'the lore' of the world.

TANGENT: DIEGESIS AND READING INTO NON-REAL-WORLD-SETTINGS.

This is a Watsonian vs Doylist spectre that's been haunting this whole argument. In-universe (Watsonian), Vaugarde has seemingly no discrimination between genders, sexualities, and a lackadaisical approach to most things in the arena. Reading our own patriarchal/heterosexual/amanonormative/perisexist society unto it does not make sense, not in this context.

In the real world, however (Doylist), ISAT is a text made in our prejudiced society. A text that is distinctly flavoured by those bigotries which it is kicking back against. Because of this, it is not the whole story to simply read the text while discarding our real-world-informed inferences. Isabeau is a big example of this. While perfectly accepted in Vaugarde, he is very obviously a revolutionary character in our real-world space! He has so much to say, specifically BECAUSE things about him that are not readily accepted here, are accepted there! Same with Mira's struggles, and yes, Siffrin's too.

ISAT was written with the knowledge of how it would play against our real world in mind, we know this, clearly, from many an interview. This is most present in how it engages with asexuality and aromanticism (and immigrant identity), but make no mistake, it influences the Whole Text.

Ergo, just because I view certain writing choices here in the context of Our Real World Perspectives On Gender and not Vaugarde's In-Universe Perspectives, it does not make them an invalid read. They are simply a Doylist read.

There's been an admittedly loosey-goosey lack of delineation here between things I'm reading with either lens, because for the most part all of these points have been a vague synthesis of both that I can't quite decouple. Unprofessional, I know, but I'll admit to not having written my thoughts down like this in a good long while. Usually I just hash this out verbally over discord voice to a small number of weirdo literature and classics student friends who are willing to humour me. I'm an arts student too, but animation hardly required I actually write an essay to a literature degree's standard. Lol.

DE-PERSONING. AND LOOP. OH JESUS . LOOP .

Siffrin de-persons themselves a lot. I say de-person rather than dehumanise because, well, there's a subtle difference there. Siffrin doesn't see themselves as vermin or an animal or an object, but they do seem to see themselves as lesser, not requiring the respect they grant others. They aren't, you know, a 'real person'.

People get to have things like thoughts and wants and identities. Siffrin is, at best, Just Siffrin. They have what they have and they don't ask for more and they don't (CAN'T) feel too strongly on what they do have!

When Loop at first offers their pronouns they offer the Royal 'We'. This is at least a little bit, a joke. A nudge toward their true identity, a potential dig at themselves for becoming so understanding of The King. Mostly though, a joke on the first thing…. and a sign that they do not see themselves as a separate entity to the Siffrin stood before them.

When Siffrin rejects this, they settle for they/them. Loop drops the he/him, presumably partially to cover their tracks, but… They just showed their hand with the 'Royal We', and if you wanted to go even further with this, there's no way for us to know whether Loop is treating this pronoun as singular or not. They presumably are, but it is still a potentially plural pronoun.

Loop… Clearly does not see themselves as a person. It's, I would say, a completely reasonable assumption that the form they have taken reflects implicit feelings toward themselves as less than a person, an actor, a monster, a tool, a means to an end. They are rendered inhuman by The Universe, frivolous distractions removed. No mouth, inventory and clothes confiscated, nothing between the legs. Formed roughly in the shape of a person to allow them to do their only job: Help.

Loop's body does not make logical sense, given their continued ability to sleep, dream and their continued habit of deep breaths to self-soothe. It would seem to me, it was made in the image it was, with only the tools it needed to Help Siffrin. Why obfuscate their identity? Because giving the game away too early would likely make them lose hope. Why so deeply, thoroughly star themed? An instant signal, that even if a stranger, they are an ally. They are home.

[Image: Loop saying that they take naps and dream, and evidence of Loop habitually attempting to breathe in the twohats lose-to-loop ending]

And they… Degender themselves. No longer with any bodily signifiers of masculinity, and cruelly disallowed the ability to hide themselves beneath fabric, they are null. The spoiler Q&A (paratext, as it were) states that:

Q. Is Loop: 1. Actually comfortable with both he and they, but only gave the one pronoun to emphasize the distance? 2. Only using they/them because a large life event led to a shift in identity/ how they’d like to be perceived? or 3. time lops stole he from they they :( A. Mostly that first one. But all three of those reasons have a bit of truth to them.

While the 'mostly the first one' comment does imply that Loop would not baulk at being he/him'd (similar to how Siffrin does not), the other reasons, especially the second, having 'a bit of truth' does lend credence to this reading. That Loop's self-perception has shifted, and what I posit, is that this shift is in tandem with a disconnection with humanity. Due, presumably, to the dehumanising experience of the timeloop.

Loop has no biology to speak of, and yet they remain blind in one eye. I take this as an implication that they considered this so core to themselves, to who they could remember being, that it stayed. Even if they had forgotten their own face, trapped in a part of the house with no mirrors, they knew they couldn't see. They kept this, and yet seemingly they, or The Universe, or both of them in tandem, discarded all else.

This isn't like…. Healthy behaviour. That is for certain. But it is interesting that Siffrin and Loop seem to hold on to their masculinity by a thread, and that Loop, when actually given the excuse to make a choice, chooses the Neutral Option. Siffrin might de-person themselves, but Loop, Loop is absolutely dehumanising themselves. From Loop's own mouth (or lack thereof) do they call themselves a Corpse. That's… pretty damn bad.

TANGENT 2: POTENTIAL IMPLICATIONS OF THE JAPANESE TRANSLATION.

Did somebody say 'distance'? Yeah turns out that has some more potential evidence. In the form of First Person Pronouns. See, English, with its third person only pronouns relies on others to gender you. Japanese, you get to gender yourself. And Siffrin specifically has an interesting discrepancy in the way he refers to himself.

(DISCLAIMER: I . DO NOT KNOW MUCH ABOUT JAPANESE. THIS IS SECOND-HAND KNOWLEDGE. SOURCED FROM THIS TUMBLR POST AND OTHER QUICK SKIMS OF WIKIPEDIA)

Loop and Siffrin use the same, very neutral "mostly male but could go either way" pronoun of 僕 boku. Safe, soft friendly pronoun. Used by people on the younger side of adulthood, not so impolite that you can't use it in a formal setting. Such a neutral all-rounder that female singers in japan tend to use boku in their songs to relate to the audience with quiet confidence.

And in their internal monologue? Siffrin uses a completely different pronoun. In his head, for himself, he uses 自分 jibun. Now, this may be an artefact of the monologue's english second-person "You", since jibun can also be used to mean a very neutral "self". A "myself/herself/himself" type 'self'. But when used as a first person pronoun, it has a connotation of being… distant, introspective. Which is… a fascinating implication, if that was the intent.

But I don't know anything about japanese so ! If I'm off the mark, discard this!

LOOP, PART 2: MAYBE NOT A GREAT STATE TO BE IN.

While Siffrin I can comfortably argue that they can like, keep their current gender presentation, whatever you may perceive it to be, once the game is over, Loop, I cannot.

Siffrin's potential issues with their identity are ones that honestly feel like they would best be explored with gentle refinement and searching. They don't need to violently seperate themselves from what they are now, far from it, in fact. They need to learn to grow comfortable in their own skin, and with the people they love. To become open and trusting, with an open mind to where it may lead.

Loop has already lost this battle. They don't get to refine anymore, just pick up the pieces. While I don't necessarily think radical change is Good for Loop, I think they may Need It. For them, resting will probably become stagnation (see: napping all day under the tree, resigned, really, to the idea they're stuck there forever.), they need a shake-up in order to re-find their feet. Even if they end up right back where they started, they still need to do the actual painful process of soul-searching first.

Problem is, they're still rather avoidant. So it basically becomes a question of getting them into a situation where this exploration is forced upon them. At which point, that's a whole new plotline. This becomes fanfiction. Hence, why while I think Transfem-Egg Loop is a Valid Read when extrapolated from Siffrin… I must concede any actual adventures into them acting upon that as headcanon territory. I just do not know how you would get them there without making a whole new Thing, at which point it stops being Just A Read of the text haha. It doesn't help that Loop and Siffrin (grudgekeepers supreme) both have reason to spite the Change God after who was phone.

As for whether this egg-read reflects directly back on to Siffrin? Maybe! They are the same person. But I think that, especially with Vaugarde's lax views, and their actual differences (Loop's general worse mania // Siffrin's incentive to stay a reminder to themselves and Loop of their country) means they could easily go two different routes, along the road to becoming their own distinct individuals. (And in all honesty, growing into their differences is probably the more healthy option in the long run if you're keeping Loop around? But again, we are going so far into the future here this is no longer a read. And I am not here to dispense baseless headcanons without massive disclaimer, so…)

Tl;Dr:

Siffrin's Survival-Apathy and hesitance to change feels really thematic to their being 'what's left' of their homeland

They seem unsettled by the flippancy of the Change Religion at times, clinging to the familiar to cope with the trauma of displacement.

Mal du pays speaks of them that they have not 'tried' to change, showing an insecurity there, even outside of the literal stagnance of the loops.

They are self assured to Mira that one does not have to change, in a very genuinely personal impulsive statement.

They and others exclude themselves from being "A Man", but Siffrin keeps desires to explore their expression to themselves.

The Universe belief, seemingly in Siffrin's view of it, disincentivises Free Will and Wants very heavily. It is not hard to assume they extend this to all elements of their life.

They have self-admittedly never pursued tangible change, likely due to this aversion to choice. Despite this, they express interest in changing, seeming nonplussed with their body, and house at least some desire for more traditionally feminine expression.

Oh Good God. Loop Sure Does Not Treat Themselves Like A Person. Why Does That Come With A Pronoun Change? What Does That Mean?

But most of all:

It makes them such a fascinating foil and lens to Change and characters who believe in it! It makes them eerily similar to The King! It opens up such fascinating debate between characters like themselves and Mirabelle, Isabeau and Loop, on whether or not they want to change in future, or if it truly is okay to never radically change yourself! What genuinely fertile ground for dialogues. And man if I'm not heavily drawn towards dialogues.

(End of essay! Congratulations for making it the whole way! 🎉 I hope this nightmarish deep dive helps with understanding some of the ways I've been writing Siffrin and Loop too. Since while I've not ever focused on the gender side of it (and probably won't in comic form) this does pervade my view of the two, since it would be impossible for it to Not. As you can see, I do think it is pretty relevant to both their themes.)

(Now for some bonus material)

ADDENDUMS:

PERSONAL BIAS NOTE:

Not included in this analysis since this is more a Pet Theme of my own (usually kept quarantined to the realms of my OCs), but something else I see in Siffrin is a reflection of the Dude Issue(tm) of patriarchal irl society disincentivisng Dudes(tm) from ever fucking introspecting ever.

I'm curious about nonbinary/trans characters who have no idea they’re nonbinary/trans because they’ve been disincentivised from thinking/doubting their identity due to societal power structures or simply tradition. I dig around the themes of “a lot of guys are trapped in a societal prison without ever knowing and it makes them miserable but they can’t escape because they don’t even see the cage” like, a lot, in my personal work. It intrigues me. So bleh, cards on the table there. That mode of interacting with nb/trans characters is one I'm inclined to.

This kinda goes hand in hand with the watsonian vs doylist situation i took an aside to mention. But it is so far along the doylist side that I didn't want to include it, since it is a little too assumptive of the text for my comfort. I don't think the game necessarily has much commentary on this specific Societal Bind. But if it does, then hey, there's my thoughts on it.

STRAY SIDE NOTES AND HEADCANONS ABOUT OTHER CHARACTERS (AS A TREAT FOR GETTING THIS FAR):

MID-GAME OBSERVATION ABOUT BONNIE AND ODILE THAT I NEVER WENT BACK TO VERIFY:

I got the impression that Bonnie heavily favours they/them pronouns for Siffrin, and Odile he/him, as a bit of presumed character voice. I don't know that I am right, literally at all, in that observation, because it very well could've been confirmation bias.

BUT! It did give me the impression that one of the things Bonnie was idolising about Siffrin was a degree of "wow!! older person with my gender!! wow!!", which is just like, cute. I like it even if I don't have any solid evidence.

ODILE, WHAT'S HER DEAL?:

Oh she stays just as mysterious as she intends to be, huh? Even with her comments in the Changing Room alluding to knowing things about underground changing operations, you can't draw much of a conclusion about her. I appreciate verily that she's word-of-god unlabelled and also poly. That shit's great. Woman who has stopped drawing lines or caring what she's up against. Nice characterisation flavour I think.

Anyway, I do think that transfem Odile is a really, really nice take. I have no evidence in either direction for her in either direction, and her being a woman of any description makes her relationship with her absent mother something interesting to chew on, but the idea that she pursued womanhood intentionally lends an interesting texture. I've not much to say, but it's a thread to pull on. Makes you wonder what other female role models she had in her life instead. Anyway she's mysterious as fuck I can't extrapolate Jack nor Squat. Shrug! I'm also made curious by the idea of her potentially moving away from womanhood as she feels the weight of her history lifted. This goes either way, really. Diagnosis: mysterious.

HEADCANON NOTE: INTERSEX SIFFRIN

I don't have any in-text support for this so this entire thing is an unbased headcanon to me. but i DO like it because 1. fun and 2. potential for more thematic exploration

haha gotcha its fuckin themes again. its always themes with me.

But yeah. Not much to say here besides drawing a parallel (that I believe I've seen drawn elsewhere in the fandom already?) between ISAT's comments on how a society that values change would view Aroace identities, and how Mira feels about not wanting to change with the real world experiences of Intersex people having alteration and conformity forced upon them, saying the Change Belief would likely be just as bad for them as it is for aroace people.

So, adding it to Siffrin's situation further drags them into the opposition-to-change foil role. Which like I said, think has a lot to explore.

HEADCANON NOTE: A POTENTIAL METHOD FOR GETTING LOOP OUT OF THEIR GOD DAMNED COMFORT ZONE

I think utilising Loop's contrarianism is an effective and funny way to get them to explore their gender. I personally think running with them trying to hide their identity from the party is a hilarious way to do it. Having them try to position themselves in direct opposition to Siffrin to "throw the party off their trail" (not that i think they really need to?), going full feminine-revealing-clothing because it's NOT what a Siffrin would do and accidentally growing accustomed to it. Funny to me. Especially when the party eventually do find out who they are and go . "????? what was the girl stuff about ??? is that something you wanna do now ???".

[Isabeau] "Ohhhh it was a bit! Haha you really are Sif, still a jokester!" [Loop] "HAHA YEAH . JOKES. LOVE THOSE. LOVE TO MAKE JOKES!" [Isabeau] "Yep! Anyway. Tell me if you need anything!"

Bonus bonus:

[Siffrin] "Okay, so, if you're a girl. Does this reflect on like… me?" [Loop] "No doubles. Get your own gender, parasite~!"

[abnomi]

EVERY REASON (that i can think of) AS TO WHY TURBO/KING CANDY IS NEURODIVERGENT 💥💥

i would like to make a disclaimer first and foremost about the obvious, being that Turbo/King Candy is heavily implied to have narcissistic personality disorder (NPD) and antisocial personality disorder (ASPD). Very often, characters with these disorders are portrayed as villains, and Turbo is no exception to this. There's nothing wrong with antagonistic characters having said disorders, per se, but when the only representation available for people with these conditions are found in characters you're not supposed to root for, it can be really disheartening. i won't be erasing these parts of him because i feel it would be in poor taste to gloss over those core elements of who he is, but plz keep in mind that having any kind of personality disorder doesn't make anyone inherently evil!!!🌞 your ACTIONS make you, not your brain

Also if anyone has any suggestions or other ideas for his neurodiversity, i would love to hear them! please do share!! I LOVE PSYCHOANALYZING CHARACTERS AND HEARING OTHER PEOPLE PSYCHOANALYZE THEM !!!! YAY🎉 if u agree or disagree with any of my points I'd love to discuss them further :-]

without further ado... click read more to find out…😈 be ready for a lot of reaches

💥 ADHD 💥

STIMMING

Turbo's constantly moving around in some way; he's a very expressive character! even as King Candy, he can't seem to conceal his frequent giggling. it's a big habit of his; he seems to do it involuntarily to regulate himself, including when he's nervous or uncomfortable.

he seems to display other repetitive behaviors as well, like doing his iconic thumbs-up pose, sticking out his tongue, or hopping around gleefully. he is but a jovial court jester..

i personally like to think that his phrases, "Turbo-tastic!" and "Have some candy!" are vocal stims of his, although i equally really love the interpretation that these (and the aforementioned stims) are tics :-]

another headcanon; i think it would make a lot of sense for him to have an oral fixation of some sort (ignoring the whole sigmund freud part of the term ermm...); just lots of biting, chewing, needing to have something in his mouth. It would align with the whole idea that he smokes, too

HYPERACTIVITY

we can clearly see throughout the film that Turbo has a lot of energy, made abundantly clear by his mannerisms and general behavior. he's constantly moving, using exaggerated expressions and gestures to communicate + express himself. He's one of the most animated and bouncy characters in the movie, next to Vanellope! it's silly how a character not very grounded in reality is such a threat, but i suppose that's what makes him so threatening in the first place...

another factor in this is how he is very adrenaline-seeking, craving activities that give him a rush (sugar rush...😂😂). more on that in a bit!!

HYPERFIXATION

Turbo's fixation with winning is all-consuming for him; it's an obsession. he doesn't appear to care about much else, if anything besides it. this could be interpreted as a hyperfixation for him (or special interest if ur all about that autism lifestyle), as it overtakes all of his focus and impedes every process of his mind.

it's clear that racing is much more than a passion for him, and while that fact is due to how he was programmed, it's a major character trait of his regardless that could be correlated to neurodivergence.

HYPERFOCUS

There seems to be a big theme of "all or nothing" when it comes to Turbo. he will either be fully dedicated to something or brush it aside without a second thought. it can't be denied that he fully wraps himself up in what he wants, whether it's a conflict he can't let go of or a new pursuit he's hungrily chasing after. 

ultimately, his dedication varies depending on if it is relevant to him and his interests or not, but this aspect of him still shares patterns with neurodivergent thought processes.

INSTANT GRATIFICATION

Seeing as he has a tendency to cheat in his use of code to spawn in whatever his heart desires, it can be assumed that this could do with Turbo wanting instant gratification to fill that bitter, empty void inside of him. while this could simply be brushed aside as greed and his belief that he is obligated to have access to whatever he wants, this trait is consistent with his generally dopamine-seeking behavior and wanting to be instantly rewarded by his actions. His obsession with needing to feel good directly relates to his need for another buzz, constantly after the next rush. (a sugar rush if you will☺☺☺)

ADRENALINE-SEEKING

Closely related to the previous speculation, Turbo always seems to be chasing his next high. he loves the thrill of action and being surrounded by crowds of people below him. it's why his big thing is racing! people cheer him on, he can do whatever he wants, he can go really fast and look cool..

it's possible that a big aspect of why he does this is to distract himself from any kind of pain, because pain = vulnerability. bro does NOT know how to independently cope with his own problems.. HE MAD AS HELLLLL!!! 😂😂

STRUGGLE WITH SELF CARE

(i know this is reaching but bear with me... 🐻) going off of his appearance and tendency to make poor decisions, it can be gathered that this man lacks skill in the self care department. his yellowing teeth and sunken eyes not only serve to complement his design, but also give way to the idea that he neglects himself in favor for whatever weird scheme he's up to.

of course, Turbo does prioritize himself above everyone else, but he doesn't strike me as the type to care much about how others think he smells. him being a bother to anyone isn't a concern of his. he cares about whatever gets him the most praise and attention from as many people as possible, which is winning and racing. Who cares about how clean he is when he's up on a podium holding a shiny, golden trophy, anyway?

It's likely that he had to step his game up when he went under disguise as king candy, which is why he looks well-groomed in comparison to his more corpse-like appearance. Ugly hoe. it can also be assumed that he's had more time to focus on himself because everyone loves him without question... Well, except for Vanellope, but who cares about her, right?

also, i know he makes a condescending comment to Ralph about how bad his breath smells, but it's made abundantly clear that Turbo is a massive hypocrite. his comment doesn't erase the possibility that he has suffered from such "halitosis" as well.

💥 ANXIETY 💥

GENERAL ANXIOUS BEHAVIOR

i know, i know, this could technically be chalked up to be "Turbo is nervously giggling and shit because he's scared of getting caught," but guys. g

even in the flashback scene, we can see how easily stressed he can become in an alarmingly short period of time. he is extremely insecure, therefore i am led to believe he is not only emotionally dysregulated, but also by extension, anxiety ridden.

yes, this is purely speculative, but who's to say that he wasn't like this before? being high-strung and intense are significant facets of his personality consistently portrayed throughout the film. as long as he is getting exactly what he wants, he is happy; the moment he loses even a blip of control, however, he immediately grows extremely tense.

if Turbo wasn't anxious about his disguise as King Candy before, he was anxious about how much attention he was receiving on a given day. if not that, then he'd be anxious over how he presents himself. He hates how he can't control how other people perceive him, which is why he is constantly trying to act like he's better than he is.

its why he justifies his behavior to himself, proudly making others refer to him as the "rightful ruler" of sugar rush and relishing in the attention of his countless underlings. Any secure and stable person would NOT ACT LIKE THIS!!!!😭😭😭

FIGHT OR FLIGHT

As we can see a handful of times on screen, Turbo's instinct to protect himself is very easily activated.

 his fear manifests in anger and aggression. we can see at multiple points how easy it is to upset him or fluster him; his anger is one side of the same coin, the opposite end being his fear and paranoia.

Going off of this point, have you noticed that Turbo is either satisfied or furious without much of an in-between? how the second something isn't under his manipulation, he lashes out and fights back? I'm led to believe that this is how he responds to fear (AAUAAYAUUUUGGHHH 🐡🐡🐡🐡🐡🐡🐡). This guy is so against the idea of being vulnerable, that even when afraid, he will utilize violence to regain his dominance over the situation at hand.

CONTROL + PARANOIA

Turbo's always trying to writhe or fight his way out of uncomfortable situations, unable to exist outside of his comfort zone for seconds at a time.

his defensive, paranoid, and controlling behavior are all reflections of how deeply insecure this man is. He feels such an intense need for everything to go exactly how he expects it to go that the moment he senses any kind of threat, he instantly jumps to defend himself and what he feels that he has "earned," regardless of whether there truly is a threat or not.

this could potentially be a coping mechanism for his anxiety and sense of stability; can't forget to mention how territorial he is!! he jumps to conclusions about what others' intentions are before they even get a chance to reply, as seen with his first encounter with Ralph in the movie. 

the racer is so internally discombobulated that he seeks any sense of stability on his environment, including on those around him. his sense of self is so warped that he copes with constant distraction; being under the spotlight, being actively racing, having to be showered with attention, having others make him feel good because he doesn't know how to do it for himself. he needs to feel like everything is under control, lest everything falls apart.

"...if there's ONE thing I can't abide, it's ANYTHING out of order!"

💥 NPD 💥

INFLATED SENSE OF SELF IMPORTANCE

Turbo's most in-your-face trait above all else. It's made more than crystal clear in every scene he's in that his arrogance is a determining factor in how he interacts with others. This is exactly what drives him to desperately crave admiration, to chase after others he's envious of because he thinks he is obligated to take what they have.

he seems to genuinely think he is entitled to get whatever he wants, just because he is inherently "special" or "better" than everyone else. Why else would he have made himself a king, a step above princess?

EXCESSIVE NEED FOR ADMIRATION

Turbo's self worth is COMPLETELY dependent on the opinions of children and teenagers. I think i don't need to say any more than that, but i will. (Evil).

As cartoonishly massive as his ego is, i think that it's fair to assume that Turbo has a very unstable sense of self, distorting his perception of his own worth down with it. his near-constant flaunting and need to be the best is a dead giveaway to his deeply-ridden self-doubt. The foundation of his stability is built around how "good" he is (at racing and winning), how powerful he is, whether or not he is being prioritized above everyone else, whether or not he is the absolute best, etc. etc.

The racer outright manipulates others to shower him with admiration and undeserved appreciation. He is incapable of forming a true sense of internal value, instead heavily and codependently relying on others to form it for him. if he isn't the best, he may as well just be nothing.

INTENSE JEALOUSY

He reacts so severely to what he perceives as others taking away what is rightfully his that it only goes to solidify my previous points even further. the second someone else is getting more attention than him, Turbo will bend over backwards to rip back the praise he believes he so rightly deserves.

being extremely competitive, he will one-up against anyone he thinks of as a threat, dedicating himself to taking them down to the best of his ability, and making sure they STAY down to top it all off.

INABILITY TO HANDLE CRITICISM

if we really dissect the entire one-off joke with Turbo insisting that his stolen pink castle is actually "salmon," along with all of his other domineering behaviors, we can garner that he is very persistent in how he wants others to view him. i wholeheartedly believe that this would translate into him not only being defensive over his supposed "ownership" of Sugar Rush, but also over himself and his own insecurities.

He needs to feel good about himself or else he will die and quite literally try to kill everyone.

LACK OF EMPATHY

He appears to have a fondness for making jokes in very poor taste. Turbo has a big sense of humor, but it's always at the expense of others. Be it a pun about a "fungeon," or jumping to protect himself with a joke about "hitting a guy with glasses," he has a tendency to take serious situations very lightly. It's not that he's unaware of the weight of it; he simply doesn't take it Seriously.

its admittedly impressive how he was able to feign empathy so well for Ralph; it goes to show how he is very capable of understanding that what he's doing is wrong, but ultimately does nothing to change his behavior because it doesn't impact him personally. 

i would like to honor this part of him, because even in the possible alternate path of a redemption arc, his struggle with empathy can be explored in a variety of interesting ways :-] he can understand complicated emotions and situations on an analytical level, but he doesn't feel for them unless it has to do with him specifically. (this obviously doesn't make him inherently evil, his ACTIONS make him evil)

💥 ASPD 💥

LACK OF REMORSE/GUILT

One of Turbo's core characteristics is just how far he is willing to go for his own self-interest with lack of regard for how it impacts everyone else. he has absolutely no concern for how anyone else feels besides himself, willing to go so far as to attempt to mutilate a 9-year-old to achieve his petty goals.

Turbo is shameless when it comes to how he goes about getting his way. While I'd like to believe he isn't fully incapable of feeling regret, he doesn't showcase feeling it in the movie itself. The most regret he'll feel is when he slips up and exposes himself. anything else is the fault of everyone else; he is untouchable in his eyes.

DECEITFUL TENDENCIES + LYING

Where do i even start with this one.

well, first of all, let's acknowledge the... erm, horse? in the room? 🐎😅(Please someone help me there is a horse in my room help helphel) being that Turbo went under disguise as King Candy for at least a decade. Even before this, there's a good chance that he's already had plenty of experience with lies and manipulation. i'd be willing to bet on this!!

one of his specialties is being proficient in manipulation, be it the code of games or the minds of people. theyre basically the same thing to him, anyway... I'm sure you all know the scene where he uses 16 manipulation tactics against Ralph and wins. this was Obviously not the first time he'd done this.

REPETITION OF HARMFUL BEHAVIORS

Time and time again, Turbo can't seem to help himself when it comes to poor decision-making. he never internalizes that his bad choices aren't JUST bad for others, but also for himself, continuing to escalate further and further into very dangerous behaviors until he literally dies.

Here's a list of bad decisions he has made! (at least, that we know of)

Pinning himself above his peers

Harassment + stalking

Carelessly charging through GCS with his car, endangering countless civilians

Attempting to take over a game that isn't his x2

Vehicular manslaughter

Implied mass murder + attempted murder, attempted mutilation

Mass endangerment

Breaking and entering, theft, usurpation, plagiarism

and more!!!!!!!

AND HE LEARNS FROM ABSOLUTELY NONE OF THIS!!! with some of the items listed here, he's attempted to do multiple times! Absolute buffoon.

RECKLESS DISREGARD FOR SAFETY OF SELF AND OTHERS

Considering how he was willing to charge into a game that wasn't his own with the awareness that it could permanently kill him, going as far as to recklessly crash into another car (albeit it's possible this was unintentional), it's easy to gather that he doesn't seem to consider anyone's safety at all in the spur of the moment.

IMPULSITIVITY

his impulsivity and disregard for safety both go hand-in-hand. When it gets to a certain point, Turbo's emotions will boil over and blow up in a cold rage, thus causing him to spiral and act on impulse, becoming a detrimental force to himself as well as everyone around him.

What's interesting is how much restraint he is capable of; he typically is very strategic in how he orchestrates his plans! but once he reaches his breaking point, he snaps and leaves all of his hard work behind in favor of something that calls for his immediate attention.

💥 ETC. 💥

extra tidbits i didnt have enough energy to fully delve into :-]

BPD

Fear of abandonment

Blurry sense of identity

Feelings of emptiness

Self destructive tendencies

Emotional instability

Explosive anger

ODD (oppositional defiant disorder)

He seems so infatuated with his own autonomy that he gets to the point of being resistant and defiant

Resisting against the rules of the world that he directly caused as a result of his own actions, being that one shouldn't "go Turbo."

Enjoys upsetting/getting a rise out of others. this is more speculative as i am going off of the assumption that he thinks pissing people off is funny, based on his other behavioral patterns. (cruel sense of humor, wanting to feel above others via control & manipulation, enjoyment of inflicting pain onto others)

Forcefully defends himself and refuses any kind of criticism

Lashes out when he feels slighted

Excessive persistence despite all odds, whether it's beneficial to him or not

ok bye!! thank you if you managed to read this far ^^ peace and love take care of yourself! all in all turbo is so neurodivergent ok please Okay <3 get this thing his meds

[the-cat-and-the-birdie]

ATSV Fun Fact!! - Mumbattan Cultural Details

Gayatri & Inspector Singh follow the Sikh Religion

Have you ever heard of Punjabi Sikhs?

If you don't know - Sikhism is a religion that originates in northern India, specifically Punjab.

The turban Gayatri's father wears - along with his last name 'Singh' implies that her father is most likely a Punjabi Sikh.

I notice this the first time watching ATSV and was like 'wow that's so cool :)'

It only hit me today that 'Oh wait I don't think a lot of people know about this very-specific, rarely-mentioned religion maybe i should say something,'

And because I LOVE yelling about world culture, LET'S GO!!!

[a SHORT essay where I explain the basics of Sikhism, a religion built on equality and justice. And details in The Singhs design, and exactly why Sikh Representation matters]

So What's Sikhism about?

Often mistaken for Muslims - Sikhs are actually a non-Abrahamic religion, with 20 million followers worldwide.

But even with so many visible practicing members, most people know very very little about this beautiful religion!

Sikhs believe in equality and unity - and defending the oppressed. Their book of faith, The Guru Granth Sahib Ji, is called 'Guru' for a reason - Sikhs see the book as not just a code of conduct, but as a living, breathing teacher for every practicioner;

From Wikipedia on Guru Granth Sahib: Sikhs since then [1708] have accepted the Guru Granth Sahib, the sacred scripture, as their eternal-living guru, as the embodiment of the ten Sikh Gurus, the highest religious and spiritual guide for Sikhs. It plays a central role in guiding the Sikh's way of life.

The Guru Granth Sahib is the spiritual leader of Sikhism, and it's treated as such.

That's why in Gurdwaras - their place of worship - it's treated as such, being clothed and held in ornate structure, constantly fanned throughout it's readings (the fan you can see in the left picture).

They believe that by following the Guru Granth Sahib Ji, they can cultivate compassion, peace, and harmony in their communities, while diminishing 'Mara' - concepts like hatred or violence.

Sikhs believe that every Sikh should revere themselves as champions of unity. And because of this many Sikhs have the same last name -

Kaur for women (Meaning Princess) and Singh for men (Meaning Lion).

Having the same last name also does away with the Indian caste system, making it another point of equality.

In ATSV Gayatri last name is Singh. However from my understanding, her name would most likely be Gayatri Kaur in reality.

I think they kept her last name as Singh as a deliberate choice to keep her initials as GS, like Gwen Stacy.

So is Gayatri Sikh?

Maybe - most likely.

But we can't be sure. Mainly because of her hair.

Gayatri has a short bob haircut, and while that might not seem like it matters, it does!

In Sikhism there are the '5K's - different aspects Sikhs wear to show their faith.

Notice the first one?

'Kesh' is the practice of leaving ones hair completely uncut. That's why you may see a lot of Sikh men with long, long beards!

And hence, the large turbans.

It's done as respect for God's creation - leaving it unaltered.

[Fun Fact! - Rastafarians, a Jamaican religion, also don't cut their hair for this reason. Think Bob Marley. Rastas call God - Jah]

So, Gayatri having short hair means she doesn't keep Kesh.

However, Sikh is a super accepting and open religion, and it's main focus is on acceptance of difference, not conformity - so she could entirely follow the faith without doing all of any of the 5Ks.

Also, if you're curious about the steel sword K - Kirpan, yes that's a thing!

Sikhs of all genders are encouraged to carry a small ceremonial blade with them.

Instead it's a symbol of the commitment to fighting for what's right - and defending those who cannot defend themselves.

A Kirpan can ONLY be used to defend the life of yourself or others, which is incredibly rare.

Why is this all so rad, cool, and important?

If you haven't noticed by now, Sikhism is a religion driven by justice. Not just in theory, but in really life as well.

That's why you may see many Sikh police officers and politicians, even here in the West. Most of them wearing the emblem on their turbans.

In fact, Canada has SO MANY Sikh politicians, that in 2019 they elected 18 of them.

For centuries Sikhs have been dedicated to justice, and developing systems of support, whether that be political involvement or feeding those in need.

The biggest Gurdwara (a place of Sikh worship) The Golden Temple feeds over 100,000 people A DAY.

For FREE.

It's a practice called Langar. A communal meal anyone can enjoy. And of course, Langar food is vegetarian.

Making Inspector Singh a Sikh - and showing him saving people and being warm to his daughter on screen is great representation for a community so often overlooked! Despite the fact they are over 20 million practicing Sikhs.

It's a great detail for Indian and Punjabi representation in specific. It accurate shows their beliefs and commitment towards helping others, no matter the cost.

And from what we can tell, this choice came later in development. We know this because ALL of his concept art shows him with a turban, not keeping Kesh.

It seems like someone later on down the line said 'Wait if his name is Singh I think he's Sikh and if he's Sikh then we're gonna have to redesign him and make that obvious oops'.

That, dear audience, is why you always have an Anthropologist in the writing room. Or some amateur anthropologist like me :)

-------------

I hope you enjoyed reading this, I really enjoyed writing it!! Sikhism is one of my favorite religions and if you have never heard anything from the Guru Granth Sahib I HIGHLY recommend it, it's very optimistic and compassionate. Sikhnet(.)com is also a great resource!

I have no idea if this will pique anyone's interest, but I hardly ever see Sikhs reflected in media and I know many many people may confuse them with Muslim, especially since many women Sikhs keep kesh and cover their hair as well.

But if you ever wanted to know the difference, here it is! If you read this far, thank you SO MUCH. And if you're a Sikh and reading this, I LOVE YOU SO MUCH.

As usual, here's a photo of Hobie for your travels.

BYE.

[hildegardladyofbones]

One of the best things about Disco Elysium by far is that it does not fear ugly women. The world is full of ugly men, but ugly women are so hard to come by.

[nokmietarchive]

so I'm having a well adjusted totally normal silly moment where I'm studying the rottmnt s2 finale frame by frame (thank you VLC player) and a REALLY great detail I stumbled upon here... right after lou's soul is pulled and we see the family react, Leo is the first to switch gears out of panic mode and start running over to help him. he was already cooking with those leader instincts!!! idk it just made me really emotional to catch this on happenstance lol im still so messed up we never got to see him transition to leader organically

[caffeiiine]

kunikidas ideals have the potential to be self destructive and kunikida can be considered passively suicidal, he is also not the polite and respectful man fanon makes him out to be- *gets shot*

[dandelionjack]

something about the fairies taunting jack with rose petals no less. something about the toymaker covering the unit hq in rose petals while he gets shot at. you’ll never get away from the sound of the woman that loves you blessed you with the curse of eternal life

jack loses everybody he loves over and over again and as a reminder of that, rose petals.

the doctor loses everybody he loves over and over again and as a reminder of that, rose petals.

tell me that doesn’t sound remarkably similar to the way fifteen describes the goblins to ruby. the goblins are part of the toymaker’s “legions” — ancient and mysterious entities from the dawn of time, slipping in through the cracks in reality, stimulated by human belief and superstition. goblins abduct little children for their own ends and so do the “fairies”. you don’t know where the chicken or the egg is, where history ends and mythology begins: did the folklore emerge from sightings of the real creatures, or did the creatures coalesce like an egregore because of the proliferation of the folklore about them, a manifestation of humanity’s deepest fears come alive ever since the toymaker changed the rules of the game?

but was it the toymaker? could this all be a chain reaction, kickstarted billions of years ago (or only nineteen, depending on how you look at it) when one headstrong young woman looked into the time vortex and turned herself into a literal deus ex machina, defying all laws of reality, raising the dead and disintegrating the death-bringers? could that have been the moment (lol.) when it all began to unravel?

i haven’t seen classic who. what do i know. but maybe it wasn’t the line of salt at the edge of the universe. maybe it was one girl, seeing everything that ever was, everything that will ever happen, anything that ever could be. the fairies haven’t stopped pursuing jack ever since: he’s the living evidence of her miracle. they slaughter his entire train carriage but they don’t touch a hair on his head. other children are the fairies’ chosen ones, yes, but jack is the chosen one of their goddess. the bad wolf

i wonder who that jonathan groff character in the upcoming series is.

[wandering-tides]

People always rank either Ei or Zhongli (or both) above Venti in power rankings. Like, who is the strongest archon? There are always two answers: Morax or Beelzebul. Never Barbatos.

I like to think otherwise.

This guy has cut mountains with his winds and thrown them so far away into the sea, made winter disappear and turned Mond into what it is today: from a barren rocky land that used to be filled with snow and raging blizzards into this green plain field with gentle winds where agriculture is so much easier then it ever was back then. I don't think people of Old Mond could have ever imagined for Mond to turn into what it is today.

But he still calls himself weak. And people took that to face value. And some still do despite it being proven otherwise by Nahida.

Venti said that an archon derives their power from ruling over their nation. But Nahida denies this later and says that archons gain their power through the faith of the people.

Clearly, Venti lied to us.

And if we go by what Nahida said,,,, Every freakin person in Mond has faith in the Anemo archon. They sing praises of him despite not having been in the presence of their god for 5 centuries. He has a statue and a Cathedral (who else has that?).

So, Venti is Strong.

Remember his gnosis is in the shape of a queen chess piece? Queen has the most freedom on the board. Venti's ideals are freedom. And his element is anemo. Anemo is the free-est element out there.

He might as well suck the air out of your lungs if he so wants to. He governs over it.

My point is, Venti is overpowered.

And let's not forget how that little wind wisp gained archon hood.

It was his desire to protect that helped him into becoming a god. When the nameless bard died, he felt the need to protect whats left. To protect what his friend died fighting for.

And its a pretty cliche concept out their about how a hero grows stronger, in any story. Its their need to protect. Right?

And Venti still wants to protect Mond- despite him saying otherwise. He shows up everytime Mond is in danger. Whether directly or indirectly, he always helps out.

So here is what I think. The reason why he calls himself weak.

Its because he is so strong, strong enough to scare Celestia. So Celestia has put him on some sort of leash. He can't use his powers in it's entirety. There is probably some sort of seal.

So Venti is weak.

Because he can't use all of his powers. Because he is chained to Celestia's whim.

Venti is weakest of the seven because he is the only one who has some sort of leash on him.

The god of freedom, chained.

Plus, it can definitely not be a coincidence that the defiled statue was of Barbatos, out of all the seven. Chained, hanging up-side down and corrupted.

And the fact that the abyss order was going to use Barbatos (chained) statue to create a machine to "topple the divine thrones of Celestia."

None of that can be a coincidence. Knowing hoyoverse, it definitely isn't.

So yeah. Venti is definitely not weak. He just can't use the full extent of his powers as of right now.

Venti is strong, but also weak. If he isn't chained- he is easily the strongest.

He can slice the mountains and throw them far into sea- if Zhongli throws a big peice of meteor on him, venti should be able to cut it in half too. if he has all his power on him that is.

I really hate it when people call him weak just because he said so himself. Especially when it's been proven that we shouldn't take his words to face value.

He is not like our sweet little Nahida, people.

[stopper-my-heart]

Heartstopper S1E3: "Kiss" -- A very non-inclusive sample of fantastic acting via facial expression by Joe Locke

You can practically see words running across Charlie's face here. "I don't under- What do you mean?"

Look at this LIP QUIVER after Charlie looks down. This is just before he takes the bold step of moving them from the abstract into the concrete by touching his pinkie to Nick's, and then asking, "Would you kiss me?"

Charlie has been working very hard to remain outwardly patient, calm and positive-neutral after they've kissed. When Charlie asks Nick if he's okay (with an eyebrow twitch of hopeful pleading that escapes his careful containment) and Nick's focus is taken away from Charlie's face, it's safe for Charlie to momentarily drop his mask a little bit. We then catch a glimpse of just how much Nick's answer to this question matters to Charlie before his face re-softens for Nick.

[bowtiepastabitch]

Historical Analysis: class and injustice in 'The Ressurrectionists' minisode

Alternate title: why we're tempted to be upset with Aziraphale and why that's only halfway fair

Okay so first off huge thanks to @makewayforbigcrossducks for asking the question (and follow-up questions lol) that brought me to put these thoughts all together into a little history nerd ramble. That question being, Why is Aziraphale so clueless? Obviously, from a plot perspective, we know we need to learn some lessons about human moral dilemmas and injustices. But from a character perspective? A lot of this minisode is about Aziraphale being forced to confront the flaws of heavenly logic. This whole idea that "poverty is ineffable" basically boils down to 'yeah some people are poor, but their souls can be saved just as if not more easily that way, so it's not our problem and they probably deserve it anyway for not working hard enough,' a perspective that persists in many modern religious circles. Aziraphale isn't looking at the human factor here, he's pretty much purely concerned about the dichotomy of good and wicked human behavior and the spiritual consequences thereof, because that's what he's been told to believe. His whole goal is to "show her the error of her ways." He believes, quite wholeheartedly, that he's helping her in the long run.

"the lower you start, the more opportunities you have"

So here's what we're asking ourselves: Why did it take him so bloody long to realize how stupid that is? Sure, he's willing to excuse all kinds of things in the name of ineffability, but if someone in the year of our lord 2023 told me he was just now realizing that homelessness was bad after experiencing the past two centuries, I'd be resisting the urge to get violent even if he WAS played by Michael Sheen.

Historical context: a new type of poverty

Prior to the 19th century (1800s), poverty was a very different animal from what we deal with now. The lowest classes went through a dynamic change leading up to the industrial revolution, with proto-industrialization already moving people into more manufacture-focused tasks and rapid urbanization as a result of increasingly unlivable conditions for rural peasantry. The enclosure of common lands and tennancies by wealthy landowners for the more profitable sheep raising displaced lots of families, and in combination with poor harvests and rising rents, many people were driven to cities to seek out new ways of eeking out a living.

Before this, your ability to eat largely would have depended on the harvest in your local area. This can, for our purposes, be read as: you're really only a miracle away from being able to survive the winter. Juxtapose this, then, with the relatively new conundrum of an unhoused urban poor population. Now if you want to eat, you need money itself, no exceptions, unless you want to steal food. Charity at the time was often just as much harm as good, nearly always tied deeply up in religious attitudes and a stronger desire to proselytize than improve quality of lie. As a young woman, finding work in a city is going to be incredibly difficult, especially if you're not clean and proper enough to present as a housemaid or other service laborer. As such, Elspeth turns to body snatching to try to make a better life for herself and Wee Morag. She's out of options and she knows it.

You know who doesn't know that? Aziraphale.

The rise of capitalism

The biggest piece of the puzzle which Aziraphale is missing here is that he hasn't quite caught onto the concept of capitalism yet. To him, human professions are just silly little tasks, and she should be able to support herself if she just tried. Bookselling, weaving, farming, these are all just things humans do, in his mind. He suggests these things as options because it hasn't occurred to him yet that Elspeth is doing this out of desperation, but he also just doesn't grasp the concept of capital. Crowley does, he thinks it's hilarious, but Aziraphale is just confused as to why these occupations aren't genuine options. Farming in particular, as briefly touched on above, was formerly carried out largely on common land, tennancies, or on family plots, and land-as-capital is an emerging concept in this period of time (previously, landowners acted more like local lords than modern landlords). Aziraphale just isn't picking up on the fact that money itself is the root issue.

Even when he realizes that he fucked up by soup-ifying the corpse, he doesn't offer to give them money but rather to help dig up another body. He still isn't processing the systemic issues at play (poverty) merely what's been immediately presented to him (corpses), and this is, from my perspective, half a result of his tunnel-vision on morality and half of his inability to process this new mode of human suffering.

Half a conclusion and other thoughts

So we bring ourselves back around to the question of Aziraphale's cluelessness. Aziraphale is, as an individual, consistently behind on the times. He likes doing things a certain way and rarely changes his methodology unless someone forces his hand. Even with the best intentions, his ability to help in this minisode is hindered by two points: 1)his continued adherance to heavenly dogma 2)his inability to process the changing nature of human society. His strongest desire at any point is to ensure that good is carried out, an objective good as defined by heavenly values, and while I think it's one of his biggest character hangups, I also can't totally blame him for clinging to the only identity given to him or for worrying about something that is, as an ethereal being, a very real concern. Unfortunately, he also lacks an understanding of the actual human needs that present themselves. Where Elspeth knows that what she needs is money, Aziraphale doesn't seem to process that money is the only solution to the immediate problem. This is in part probably because a century prior the needs of the poor were much simpler, and thus miraculous assistance would never have interfered with 'the virtues of poverty'. (You can make someone's crops grow, and they'll eat well, but giving someone money actually changes their economic status.) Thus, his actions in this episode illustrate the intersection of heavenly guidelines with a weak understanding of modern structures.

This especially makes sense with his response to being told to give her money. Our angel is many things, but I would never peg him as having any attachment to his money. He's not hesitant because he doesn't want to part with it, he's hesitant because he's still scared it's the wrong thing to do in this scenario. He really is trying to be good and helpful. So yes, we're justifiably pretty miffed to see him so blatantly unaware and damaging. He definitely holds a lot of responsibility for the genuine tragedy of this minisode, and I think Crowley pointing out that it's 'different when you knew them' is an extremely important moment for Aziraphale's relationship with humanity. Up until now, he's done a pretty good job insulating himself from the capacity of humans for nastiness, his seeming naivity at the Bastille being case in point.

In the end, I think Aziraphale's role in this minisode is incredibly complex, especially within its historical context. He's obstinate and clueless but also deeply concerned with spiritual wellbeing (which is, to Aziraphale, simply wellbeing) and doing the right thing to be helpful. While it's easy to allow tiny Crowley (my beloved) to eclipse the tragic nature and moral complexity of this minisode, I think in the end it's just as important to long-term character development as 'A Companion to Owls'. We saw him make the right choice with Job's children, and now we see him make the wrong choice. And that's a thing people do sometimes, a thing humans do.

~~~

also tagging @ineffabildaddy, @kimberellaroo, and @raining-stars-somewhere-else whose comments on the original post were invaluable in helping me organize my thoughts and feelings about this topic. They also provided great insight that, in my opinion, is worth going and reading for yourself, even if it didn't factor into my final analysis/judgement.

If I missed anything or you have additional thoughts, please please share!!! <3

[midnightkolrath]

One thing I like about DMC is the parallels they sneak in where at first you may not think it is...but the more you think about it...

Like the scene in 3 with Arkham is essentially Vergil's first big footsteps into hunting for his father's power years later after the tragedy he endured. He's looking for a way to grab that power, and here comes Arkham to begin to properly set him on the path that builds up the domino effect that THEN sets up the rest of the suffering he has to endure. From his clash with his twin, to his defeat, then his attempted clash with Mundus that leads into his enslavement and weakening that sets the stage for DMC5 with the birth of V and Urizen.

Then, in Visions of V, the climax has it where V embraces Urizen and encounters essentially the form of his fears and weakness as his younger self. Of course, V is met with immediate act of aggression through instinct of self defense by his younger manifestation but he still is prompted to not show his special book to return to him, but also remind him that 'Power alone is not enough'.

That line alone has me thinking like....wow. A complete opposite to the context of the moment with Arkham, where there's the talk about power and the desire for it. The fact that its basically himself on the other side of his own sword in VoV telling him that is, to me, such an interesting display of character growth. I don't know if that moment in VoV was meant to reference the Arkham convo in 3, but I like to believe it was. Its so alike, that it'd be weird if it wasn't to me.

Here's another cheeky one I like too, by the way.

The very night that Vergil reclaims Yamato and heads home to split himself into V and Urizen has a full moon. JUST like the very night when Vergil first defeated Dante that would eventually lead into the escalation of 3's plot and even having an ironic callback in 5 that would lead into Dante unlocking his Sin Devil Trigger.

One's a moment of victory over his twin brother, asserting his power. The other? A moment of reflection of losses that haunt him to this day, reminding him of the weakness he's desperately trying to chase away. The said desperation that peaks his desire for power and pushes him to believe abandoning his humanity is a benefit.

Of course, these thoughts still haunts him even as V (and especially Urizen, but I've mentioned that before) to the point where he reflects over it a few times. I often talk about these moment in VoV, but its just...man. One of the best things we got for DMC. A good addition for Vergil's character and essentially the icing ontop of the cake for 5 alongside the Before the Nightmare novel. There's several things it calls back to for Vergil's journey subtle or not. I hope we get more content like it in the future (maybe even have VoV localized officially), alongside games of course.