#and now i simply… dont

[rotarywires]

every day i wake up and feel immensely pleased for cutting off the people that i did. highly recommend, very liberating

[obsob]

the accolade ( the...the cat-olade...)

[iridescentmirrorsgenshin]

alhaitham and kaveh as 'friends' - full circle

kaveh lying and using ‘his friend’ as a scapegoat for supposedly taking his plans is so um INTERESTING!! given his past references to Alhaitham, and that he was just talked with Alhaitham the scene before, this reads as a direct reference to Alhaitham, meaning that their relationship has come full circle from where we were initially introduced to kaveh

in the archon quest, paimon asks if Alhaitham and kaveh are friends, to which Alhaitham deflects, denoting a negative

but they are denied a friendship status definitively in alhaitham’s story quest where paimon directly asks kaveh if Alhaitham and he are friends, to which kaveh says although they used to be, they aren’t any longer

the game has repeatedly shown that Alhaitham and kaveh possess a deep understanding of each other, only it is their miscommunication and inability to compromise that causes the rift between them. Their character design is based around mirrors, and this ultimately poses the question of whether the two can align their beliefs, whether they can achieve a harmony

overcoming this rift between them begins in a parade of providence, where kaveh’s cycle of self-detriment in his excessive altruism due to his past guilt is particularly focussed on, with alhaitham’s reaction being saddened, and concerned, for kaveh’s mindset – not because his beliefs or philosophies are ‘correct’ over kaveh’s, but because of his belief that kaveh’s mindset negatively impacts him

Alhaitham posits that the issues between them are no longer about the ‘correctness’ of their respective philosophies after looking into sachin’s influence over kaveh’s father, in order to potentially provide kaveh closer, insinuating a more personal reason for the rift between them

It’s after this that a notable shift is seen in their dynamic, with cyno’s second story quest going out of its way to show a flashback in the intimacy of their home, and additionally showing the two voluntarily working together for the first time since their past, abandoned thesis

Their working together demonstrates this harmonisation of not only their personal, scholarly beliefs, but also their reconciliation as people, which can be seen in the two’s closeness, where they previously were separated due to strife – a closeness that is commented on by other characters

In nahida’s birthday event this intimacy is furthered even more, with kaveh wanting mehrak, an important helper companion, to be able to recognise alhaitham’s voice – as of now, this appears to be the only other person, besides himself, whom kaveh has programmed this feature for. Kaveh’s regard for mehrak, established in this scene, then carries over to Alhaitham, demonstrating how kaveh perceives the importance of their bond (i yapped about this more here!)

Going back to kaveh indirectly referring to Alhaitham as his ‘friend’, where this was previously denied, shows a fulfilment Alhaitham and kaveh’s narrative arc :’’’) I am so!?!?! Happy for them well done guys, you got there in the end <3

[starry-bi-sky]

Blood Blossom Au: Baby's First Commissioner Meeting :)

TL:DR This Post: Danny (orphan) gets poisoned with blood blossom extract by Vlad. He runs away from him and ends up under the care of one Pre-Robin Battinson Batman! Starry is loudly pushing her batdad agenda.

(Also known as "Late At Night, When The Nightingale Sings" on my ao3!)

This was a fun rough idea I've been sitting on for weeks, thinking about how Commissioner Gordon and Nightingale's first meeting might go.

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

Commissioner Gordon likes to think that he's adjusting to the new normal of Gotham very well, -- the new normal being grown men running around dressed like bats, in military-grade strength body armor, committing acts of vigilantism, -- and slowly, little by little, he was no longer being surprised when this new normal pops up out of the shadows like the world's most terrifying daisy. His shaving lifespan thanks him for it.

....

The kid is a surprise though.

Granted, he seemed to be a surprise to the Bat too.

There's been a string of murders lately, -- which, in Gotham, is kind of like saying there's been another storm during monsoon season. And there's just been another; in some dilapidated building down in south Gotham, with the broken, boarded-up windows and mildew-crawling walls to match. The victim is a man in his thirties, multiple gunshot wounds to the chest, left in the center of the room for the blood to pool out around him.

The place is already secured when he arrives, the building swarmed with officers and the forensic detectives. The Bat emerges shortly after he does -- or, he might've been here the whole time, hiding someplace dark and shadowy. For his own sanity, Gordon doesn't think about it too hard.

The kid is a surprise, and he appears like a bolt of lightning.

He shows up in the middle of a conversation Gordon is having with the Bat.

A whistle, sharp and loud, slicing through the air, meant for open air rather than a confined space. Gordon's ears pierce and protest the sound, and the solemn, murmured chatter floating through the room abruptly cuts off like the swing of a gavel. As he turns towards the sound -- as they all do -- he swears, up and down, that he sees Batman's shoulders jump, just slightly.

At the source, perched on the window, is a boy. A boy in a gray-blue scarf and an oversized black hoodie, one that hangs off his frame and has ace bandages wrapped around the wrists in some attempt to cinch the sleeves. The hood is up, big like the rest of it, and threatens to swallow the upper half of the boy's face whole in the fabric. What upper half Gordon can see, is smeared with some kind of opaque, black face paint. He's holding onto the side of the frame with one hand, on his hip is a grappling hook. A familiar grappling hook.

Gordon has multiple questions, and his officers tense up.

Martinez puffs up, brows furrowing as his face shapes into a frown. Shoulders rolling back. "You can't be here, kid--"

The reaction is immediate, like a spark to gunpowder, the boy yanks his fingers from his mouth and his mouth twists into a scowl. Head snapping over to Officer Martinez, his hood manages to stay on but Gordon swears that as he bares his teeth, the glint makes them look sharper than they should be. His voice is rasp and quiet and harsh; snappish in its hissing; "Put a fuckin sock in it, Martinez. I'm not stayin."

Martinez reels back, and the boy immediately veers his attention off him. Like a switch, his demeanor drops. Despite half his face being covered, his mouth twists into a cringing, apologetic smile. Slanted and off-beat, embarrassed. It'd be disarming if this wasn't Gotham, and if he didn't just hiss at Martinez like he was about to bite his head off.

"Sorry." He whispers, voice deceptively polite and softer now. Gordon has to strain his ears to hear him. "I was looking for him."

He points his finger towards-- Gordon? No, Gordon follows the direction, and finds himself looking at -- the Bat.

The Bat, who always looks stiff as a pole, now looks even stiffer. Somehow. Well, the explains the grappling hook attached to the boy's waist.

"What are you doing here?" The Bat says, gruff and unable to completely smother the stumble of surprise in his tone.

The boy still holds a sheepish smile, and slips off the window ledge. His feet hit the creaky boards with a near-silent thud, the Batman finds his feet and rapidly begins crossing the room.

Gordon notes the slight tremble in the boy's legs as he straightens. He adjusts his scarf, which droops close to his knees now that he's standing, and slings a backpack -- how long has had that? -- off his shoulders. When the Bat reaches his side, he does as he always does, and looms over the boy like a spectre. A threatening mass of shadows cloaked in all-consuming black. Standing next to him, the boy looks teeny in comparison.

The Bat is a man who terrifies even the most hardened criminals, Gordon has seen grown men shiver in fear at the mention of his name. And yet when the boy looks up at him, he doesn't even flinch.

Instead, his sheepish smile melts away like ice under the sun, holding only traces of his previous embarrassment. It remains as a shadow on his face, a small upturn at the corners of his mouth. The boy pushes his hood back just enough to reveal glinting, ice-flint eyes surrounded in tar-black face paint. He holds the backpack up with one arm. "You forgot this."

[heynhay]

scene from where the apple falls by @jupiters-junipers :-) wholeheartedly recommend any and all of her work

[xxplastic-cubexx]

me Omw to annoy you about more Francesca content 😼😼

you and my entire inbox my friend strap in everyone this is gonna be The Francesca Mega Collection. part one The Bed Collection ft You HAVE To Click/Tap To Read Anything ESPECIALLY The Asks

thank you for joining me for the Francesca Bed Collection im going to pass out

[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~!"

[deoidesign]

For my birthday... read my webcomic! It's literally free! (Unless you want books. Those are not free)

It's beautiful, it's gentle, it's funny, they're canonically t4t and gay... And it's about time traveling vampires solving supernatural mysteries!

I've spent thousands of hours writing and drawing it, and it's really good! I'm not biased!

It's on hiatus right now and coming back in 2 months, so it's the perfect time to get caught up

[leechlets]

bernard 'conspiracy theorist' dowd branching out of superhero theories and somehow landing at a point where he became adamant that thomas and martha wayne were having an affair with their butler and then well, he meets tim.

and he can't just tell tim this low-level believed rumor from his middle school years, and he can't admit this now slightly shameful secret theory, but he's also close enough to prove it now, right?

its his journalist, well journalist-ish, duty, to the public- and the people of his online group chat.

[elsecrytt]

masochist gojo. gojo who's in love with pain, so much that it feels like pleasure, he can barely distinguish between the two anymore.

gojo who's so starved for touch. who's had an infinite space between himself and the whole world for so long, for so many years, every day in and day out.

gojo who's survived off glancing presses when a barista hands him a coffee, the rare hug from his students (who are mostly orphans) that he can't bring himself to decline.

gojo who craves more but can't bring himself to accept it except in fleeting moments with strangers or students.

his hands that long to be held. he wants it so bad that he teases a cursed spirit, laces his fingers with its own, right before he utterly crushes the being in battle, untouchable all over again.

gojo whose skin is hungry for someone else's. he hasn't felt the warmth of a hand in his own in so long. not since - since his youth.

gojo who sometimes wishes he could get hit. who sees the impact of curse techniques on his infinity and feels a wild, strange desire for them to go straight through and strike him.

he imagines it, vividly, being impaled by a long spear (inverted spear) that goes straight through him. how it would lance his flesh so cleanly.

being struck so hard, across the face, in the stomach, enough to knock the wind out of him.

enough to feel it with his whole body.

gojo who wants to be touched so bad he doesn't even care if it hurts anymore. infinity couldn't protect him from geto's betrayal.

gojo who keeps infinity up not because he doesn't want to get hit, but because he's terrified of what he might do when it happens.

gojo who got hard whenever geto sparred with him. he still doesn't know if it was because of geto, or because he had no infinity back then, no way to block the strikes.

he dreams of his youth. bruises littering his pale, pretty form like kisses, proof that he was human, there, that there was someone who could reach him.

dark purple things that turned pretty colors as they healed. he remembers pressing into them, relishing the hurt, feeling like he was getting hit (touched, reached, connected) all over again.

nothing ever touches him again. not like that. not like anything.

he never feels it. he never feels anything.

satoru gojo who wants, so very very badly, to feel something.

pain is a choice for him, always a choice. he alone has the privilege of deciding whether or not anything can touch him.

he could try to let more strangers touch him. one night stands, discreet arrangements. he had a pretty face and a body to match. there was no shortage of willing partners.

he lets them touch him, lets them hurt him. lets them drool over his body and use it at their leisure. they tell him he's beautiful, and he believes them.

white hair, blue eyes, sprawled out with a lean, unmarred body full of bare flesh for them to bite and scratch and bruise. he finds people who will do it, do it hard, fuck him up until he's lost entirely in the feeling of being touched, having someone against him, with him, above him.

it makes him feel like a piece of meat. it makes him feel good.

or he thinks it does, anyways.

sometimes, when he's gone particularly long without sleep, when his partner has gone particularly hard, he gets a real rush.

heart racing out of his chest. a cold sweat that overwhelms him. breaths coming in labored gasps. he can heal himself, he's physically fine, so this must all be in his head.

he acknowledges that information, distantly, like it's not happening to him. it doesn't help.

it feels like part of his body has been ripped away from him, something vital and important, and it's about to get up and run away.

always, always, it happens when his partner is no longer touching him. when he lays alone in the sheets, by his own volition, because of course these partners are not meant to be attachments.

love is not a privilege, though, not for the strongest sorcerer. it's a curse.

it's the only curse which infinity cannot protect him from.

so gojo stays untouchable. distant.

but the hunger doesn't go away. never.

he likes to imagine that suguru swallowed this one last curse before he died. something sweet and bitter, like losses at the arcade, sunny days at the beach, walking together with shoko, nanami, haibara.

but even suguru couldn't have absorbed this curse. it's in his bones, deep, longing and wanting even after he's dead and gone.

gojo is hungry. he is so, so hungry. and he has nothing to eat that will not leave him just as empty as before.

touch-starved. love-starved. pain-craving.

if someone could hurt him then it wouldn't matter that he was terrified of attachment. they could latch onto him, into his heart, under his skin. bury themselves in his chest like they belonged.

they could kill a hundred and twelve people and it wouldn't matter, because he wouldn't be able to kill them.

gojo is hungry, so hungry.

please feed him.

[solargeist]

I feel so bad for Xel from the last comic but,, I admit I got a laugh out of a random thought because like, imagine that Scar and Grian bonked heads because their kid’s mass is like comically off,, Xel has the mass of the center of the sun (his adult body mass) crammed into his tiny body and he just forgot before he jumped

oomg grian is the strongest man in the universe

[natade-art]

i love to rewatch my earliest anime and be deeply disappointed. anyways /i/ know the most important part of furuba

[stevebabey]

steve harrington but it's that jeff winger moment from community. if u have seen community, u will know... my first stobin-centric piece <3 tw for parental neglect and a prior act of self-harm. this is absolutely on the steve harrington has bad parents train <3

“Steven, this is ridiculous.”

Robin freezes in place. Her hand hovers over the remote she's just placed back down, her limbs locking up one by one at the sound of the voice at the door.

It is not a familiar voice. She knows who it is all the same.

She fights not to move, knowing the couch springs, old and rusted, threaten to reveal her hiding place, even if it is her house. Robin is very much allowed to be here. Expected, even.

But Steve? Steve is not.

It’s why there’s one Christine Harrington on the dingy porch steps.

It’s an unwelcome surprise — even after all the fuss of the 4th of July, a thousand police sirens, endless NDAs, and too much blood on his uniform, Steve’s parents hadn’t shown.

Out of town, Steve had said, his bashed in face making it impossible to read his expression. His eyes were haunted and misty but Robin couldn’t tell if it was from the horror of the night or… a loneliness far older.

So Robin had done the fussing. Had dragged him home with her, shooed away her rightfully nosy parents, and mended him up on her bathroom counter.

Steve had been silent, a little wide-eyed as she worked on each cut, each bruise — but with her gentle touch, he had been helpless to do anything but melt beneath it.

He’d called her Robbie for the first time that night. They’d fallen asleep with their hands intertwined, her arm hanging off the bed to reach out to him on her bedroom floor.

Robin still hasn’t met Steve’s parents, even though it’s been more than a couple months since that night.

She’s been to his house countless times too. She knows where the spare key is, if she ever loses her own copy, that is. Knows which stair squeaks on the way up to the second floor and how the lock on the downstairs bathroom gets jammed too easily.

She’s eaten the best grilled cheese of her life in their kitchen, sitting on the counter.

She’s laughed so hard she’s cried on their couch, getting the throw pillows wet with her happy tears.

She’s still never met Steve’s parents. Til right now.

Christine Harrington has her arms wrapped tight around her frame and Robin has no doubt that on her face is a frown that could make babies cry.

She can’t see her face though. Can only just see a glimpse of her tense body from where she sits. Steve blocks part of her view, his own tense frame in the doorway.

He’d answered the door instead of Robin only because he had the foresight to glance at the front window after the first rap at the door. It was late. Robin’s parents certainly wouldn’t knock at their own home and neither of them were expecting visitors.

The expensive car in the drive, a sore thumb along Robin’s street, had given away the identity of just who was knocking so late in the evening. So, Steve had opened it.

“Mom—”

“I mean utterly ridiculous.” Steve gets cut off without second thought, Christine continuing on as if she hasn’t heard him at all.

“Did you expect us to spend all evening chasing you around? Figuring out where you were tonight from the Carlton’s across the road?”

She’s got this snippy tone that Robin’s heard a thousand times from teachers. Patronising. Too cold for it to seem like a genuinely concerned parent.

“The Carlton’s?” Steve echoes, a bit meek. His shoulders have rolled forward, sinking down a bit and Robin can see his tight grip on the door. Still, she stays frozen, rooted to the couch.

“Yes, Steven.” Christine says his full name again, all bite. “Imagine the shame your father and I felt hearing that. Hearing who you had been associating with.”

“Don’t say that.” Steve grits out immediately, anger bleeding into his tone.

The muscles in his back ripple as he forces his shoulders back, as if he had remembered how to stand up straight at the mention of his friend.

Robin aches; at the reminder of the stark differences of their upbringings and at Steve’s unquestionable loyalty. She finally unfreezes, sitting up a little straighter and leaning forward more— ready to spring up from her seat.

She’s not sure what for exactly. She sorta really wants to go slam the door on Steve’s mom’s face and go back to being bundled up on the couch with him. The urge is strong enough to make her fingers twitch.

“Why are you here, Mom?”

There’s a strain to Steve’s question, even though he doesn’t falter in appearance. Robin can’t see his face either though. She hopes it’s got the bitchiest expression Steve can muster.

“Don’t be smart, Steven.” Christine reprimands coldly. “I know that we may have taken a larger absence than intended but that’s not any excuse to parade yourself around with the strays of this town.”

Strays. Robin feels the word pelt into her and burn into her skin, sinking all the way down. It feels like cold water has tipped down the back of her neck. An unwelcome pit forms in her stomach.

She had known, of course, the reputation of a family like the Harrington's. She hadn’t quite known the extent they would go to protect it. Policing your child's friends over a matter of image is absurd.

Somehow, Robin can see how Steve grows even tenser at his mom’s words— hackles raising like that on a dog. His knuckles turn white. But before he speaks, Christine is barreling on like she hasn’t just slandered every one of Steve’s new friends.

“And to leave the house in such a state?”

Robin hears her sigh heavily, as though this really is the biggest problem in her life — which she can’t fathom in the slightest.

There was nothing wrong with Steve’s house. No mess beyond the usual evidence that someone, you know, lived there.

“Mom, I—” Steve starts again.

“Well, I’m sure you have your reasons. You always do.” She says it so pointedly, like Steve was known for peddling lies to weasel his way out of trouble.

It’s so un-Steve it makes Robin blink hard, wondering if she had heard right.

Steve was honest. He owned his mistakes and he took things on the chin. It was something she had liked most about him in the beginning.

Back when it was all snark and Robin told herself she was never going to be his friend, in this universe or anything other. That even then, reluctant co-worker and nothing more, Steve was honest and decent to her always.

“Now, come on now.” Christine Harrington huffs out her demand. “Your father is waiting in the car and there no use winding him up more than you already have.”

Robin’s stomach turns at her words. It had been a topic of discussion between them, one night weeks ago, lips loosened by the dark. I feel like a dog to them, Steve had admitted quietly, his breath against her pillow and his warmth under her sheets. Like they just leave alone most of the time but expect me to perk up and come running the moment they call. I hate it.

“I’m not coming with you.”

The words stammer on their way out like he had forced them out— and Robin wants to sing she’s so proud of her best friend.

“Excuse me?”

“I’m not coming with you.” Steve repeats himself, the words a little firmer this time. “I’m… I’m spending the night here, with my friend Robin.”

He trails off, the words weaker, losing steam. Robin rises to her feet, the tell-tale squeak of the couch springs letting Steve know she was still here. Still right behind him.

It makes him stand a little straighter.

“I— I’ll come home in the morning.”

Christine Harrington makes a little scoffing noise, a high pitched faux laugh as if Steve’s said something amusing.

“Tell me when did I raise such an ungrateful brat?” She muses meanly and Robin doesn’t miss the way Steve flinches lightly. “We give you free rein of the house, apt time by yourself, and yet when we request you to spend a single evening with us—”

“You’re not asking, you’re demanding.” Steve cuts in, his voice more heated now.

“Oh hush, Steven. You act as if we’re so awful.”

It’s all dismissal. Everything, every word, a dismissal.

“I just can’t win with you, can I?” Christine sighs again, disappointment dripping from the sound. “Either we’re not here enough or we’re here but you can’t find time to have dinner with your family. Which is it, Steven?”

In the doorway, Steve begins to bristle. Robin really, really wants to slam the door now — if only to stop this conversation that seems to keep cutting deeper and deeper into her best friend.

She steps closer to him, moving as silently as she can, and makes sure to stay out of sight as she places a hand gently on the small of his back.

He’s shaking, she realises.

Her heart twists painfully in her chest.

Then, deathly calm, Steve says, “Did you know in 7th grade, I lied and I told everyone in my class that I got appendicitis?”

Robin blinks at the change in subject, the strangeness of Steve’s comment. She does remember that, vaguely. A boy in the year above— it had been a wildfire rumour that had turned out to be true.

Or so she thought. Staring hard at the planes of Steve’s back, the pit in her stomach yawns with an anticipation of devastation. Her hand on his back curls up a bit.

“You and Dad were gone for the whole month to Washington. It was the first time you had ever gone for that long and you didn’t even tell me until the day before you left.”

“Steven—”

“I just wanted someone to worry about me.” He steamrolls on, tone too casual for the story he was telling. “And it worked."

A beat.

"But then Cassie Lange asked about the scar.”

Robin’s hand on Steve's back twists up tighter. She feels like she knows what’s coming— but wishes it to be not true.

She doesn’t want to think of Steve, little twelve year old Steve, doing all that he can for a scrap of attention he was supposed to be getting from his parents.

“And rather than admit I’d lied…” The words come out too tight. “I went and found your sewing scissors and I made one.”

There’s this icy bite to Steve’s voice, his shoulders tensed back up. Christine still hasn’t said anything.

“I hurt like a bitch but it was worth it. I got a card from every single person in my class.”

“You wanna see the scar?” He asks— then he’s moving, his hand rucking up his sweater and shirt and exposing the skin of his stomach. Christine makes a noise like a muffled gasp. Robin feels a bit sick. Steve drops his shirt.

“And I kept all of those cards I got —all 17 of them stashed them under my bed in a box that I still have til this day.” He exhales through his nose. “Because it was proof that, at some point, somebody actually gave a shit about me. Because you didn’t. You didn’t then and you don’t get to now.”

His words hang in the air. There’s a long stretch of silence where Steve stares down the woman on the porch— someone closer to a stranger than a friend.

“So, I will see you at home, tomorrow.”

And then he slams the door to Robin’s house shut with a finality that shakes the air. Robin tenses up at the loud noise. Steve doesn't move, just stays staring at the closed door.

Behind them both, one of the noisy pipes in the house makes a loud noise. It sounds worse than usual as it breaks the silence.

Outside, Robin hears the click of heels on the pavement as they quieten, moving further away.

The pit in her stomach tightens immeasurably, a faint bile taste in her mouth. She finally remembers to smooth out her hand, pressing it flat against Steven’s back— another reminder that she was there.

If he wanted to talk or he didn’t, she was there.

Suddenly Steve sighs, an exhale so large that he shrinks down a couple inches, his shoulders dropping. It sounds exhausted.

He finally turns away from the door, to Robin, and she can only hope her face conveys every ounce of love, of support, she feels within her chest.

“Steve…” She breathes softly.

He wasn’t crying but just the sound of his name, spoken so delicately, seems to inspire tears. Robin catches the tremble of his lip and moves without thought— throwing both her arms around his neck and wrestling him into a hug.

Steve goes easy, his arms snaking around her middle and holding her back so tightly it nearly makes her squeak. She doesn’t though— just lets him bury his face in her neck, taking these big shuddering breaths, these half-formed sobs that break her heart clean in half.

She doesn’t know how long they stand there. Car engines drone as they pass by the street. The streetlights seem to get brighter. Steve presses himself so close to her, as close as he can, and Robin hugs back just as tight. She gives him all the time he needs.

She wonders if there’s an indent of him on her when he finally pulls back — a Steve Harrington shaped outline imprinted on her soul. It feels like there is.

If she could trace it, she thinks, it would be whatever shape love takes.

“Thanks Robbie.” He croaks out. He’s started scrubbing furiously at his face and she can see the wet sheen of tears as he wipes them away.

Robin doesn’t move far, just unwinds her arms a bit and lets them fall back to her sides. There’s an ache between her brows from how long she’s been frowning in concern. Steve looks more disheveled than usual, his usually perfect hair looking flatter — but he looks lighter too, somehow.

“No need to thank me, dingus.” She says, voice soft. She faux punches his chest and then regrets it when his lips don’t even twitch upward. It’s weird to see Steve all undone.

Robin thinks back to that conversation and the callousness of Steve’s mom. Her uncaring tone, the use of his full name like an insult.

She thinks of what Steve had said.

“I’m sorry you felt—” The words get stuck in her throat which grows thicker as she thinks about it. About a self-made scar on Steve’s abdomen, made by a twelve year old boy who just wanted someone to worry.

“—That you felt like you had to do something like that to yourself. I’m sorry no one noticed what you really needed.”

Steve nods slowly, his eyes glazed with a far away look as he stares somewhere over Robin’s shoulder. He gives this little shrug, a little huff through his nose.

“It’s okay.” He says, voice a bit distant. “I mean, it’s not but… even if I hadn’t meant to tell you, I’m glad someone knows now.”

It takes another second before he finally seems to shake himself from his thoughts, turning to properly look at Robin. His eyes are red-rimmed and the tip of his nose is pink. Tell tale signs of tears.

“I’ve never told anyone that before.”

Robin swallows thickly and it takes effort to choke down the urge to cry.

“Well,” She starts. It comes out too high pitched and tight and she clears her throat. “Thank you for telling me.

Some kind of smile plays on Steve’s lips, as if he can tell that she’s fighting off her sniffling and it’s sorta funny to him. It is, a little.

Because instead of being embarrassed or feeling pitied, he feels… delightfully surprised to have her care so much. To be so upset on his behalf.

“Oh, c’mon Robbie,” He gives her that same faux-punch in the shoulder she did earlier and it actually succeeds in making her lips pull up at the edges. “None of that.”

“You’re such a dingus.” Robin says. It comes out a bit wobbly still. Sue her— she doesn’t have Steve’s insane ability to bounce from one emotion to another in a single second.

Steve grins. He wanders back to the couch and flops down onto it. Robin follows and when she sits down, it’s a fraction closer to him this time. He gives one last scrub of his face, wiping the last of his tears away.

She nudges him with her thigh. She has to check just one more time.

“You alright?”

Steve smiles, crooked in that way that lets her know it’s completely sincere. He reaches forward and presses unmute on the remote, the film they’re watching starting up again with a buzz.

Steve presses his thigh back against Robin’s and in the dim lighting of her living room, his eyes glitter with an emotion that threatens to make her want to cry once more.

“Course.” He says. “I got someone checking up on me now,”

Another pointed nudge of his thigh against hers. “I’m better than ever.”

[irraetional]

His geriatric swag vexes me

[llannasvsp]

Kai wanting to be the Green Ninja because he can't stand seeing Lloyd go through all that pain >>> Kai wanting to be the Green Ninja for the power.