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lucabyte · 5 months ago

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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~!"

#oh my god this is like 6k words what happened. well you can't say my claims are unsubstantiated i guess.#lucabytetalks #fuck dude i sure do !!!!#i have to assume a lot of other people picked up on exactly what i did too but i dont read other peoples meta very often so !!#i am simply shaking hands with anyone else who came to this conclusion. hi. sometimes its just fun to construct a small essay i guess #i have like no goal putting this out here other than like. For The Sport of Writing Out Media Analysis. so if it makes anything click #in peoples minds or actually sells them on this reading then that's just a bonus i suppose #in stars and time #isat analysis #isat meta #isat siffrin #isat loop #isat spoilers #2hats spoilers #lucabytewrites #welp. no idea what else to tag this. be free and into the wild my gigantic ass post.#is some of this redundant? probably! but cmon man its a tumblr essay i can't format it perfectly. sometimes points get repeated #anyway this post is lagging out my tumblr drafts now i have to post it oh god oh christ i hope nothing goes wrong #edit: i forgot i made the lucabytewrites tag a while back for purrgatorio this can go in there too

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nereidprinc3ss · 9 months ago

Text

strange perfections

in which spencer reid and fem!reader meet by accident at a coffee shop. and then they keep meeting there. they've really got to stop meeting like this. (no, seriously. hotch is pissed.) / do you believe me now? bonus chapter!

series masterlist

fluff! warnings/tags: meet cute:) some dark humor, romantically inexperienced reader, spencer reid graduated from caltech, mit, and the derek morgan school of rizz a/n: this can absolutely be read as a standalone BUT it was written as a prologue for my series do you believe me now? to explain how spencer and r met! completely optional, if you're only here for the smut no worries! reading this bonus chapter might make the next chapter better though as it contains discussions of how they met:) anyway, I LOVE YOU!! let me know if you like this silly little random thing! kisses

The café door opens again. A blustery wind raises goosebumps on your arms and makes your bones ache again. You look up at the latest intruder—a hobbling elderly man in a newsboy cap and a knit red scarf.

Stupid scarf, you think.

Stupid door.

Stupid wind.

Your mug is empty, and the table you’re sitting at is sort of sticky and rickety, and there are so many papers in front of you that you wonder why the hell you thought it’d be a good idea to print the PDF out and annotate it that way instead of just doing it on your laptop like a normal person in the 21st century. Nothing is going right today. It’s the third café you’ve tried in the past few weeks as you attempt to find some place that feels homey, lucky, but this one just feels… inconvenient.

You look at the stack of papers and sigh.

Stupid Lord Byron.

Stupid cafe.

Usually, cafés are relatively quiet and peaceful—a refuge for the overworked to bask in the luxury of quiet jazz and the smell of dark roast as they continue to overwork themselves. This particular establishment, however, today hosts a group of teenagers—presumably playing hooky—who have commandeered a big booth in the back and keep walking right past your table because apparently they couldn’t have just ordered their drinks at once and they all have to do it separately and loudly.

One of them has an incredibly irritating, gratingly pubescent laugh, and they think everything is hilarious. This whole situation is unbearable.

Just as you’re gearing up to go, of course the fucking door opens again. This time, it’s accompanied by a particularly strong gust.

Strong enough that Lord Byron doesn’t stand a chance.

Your printed copy of his works blows off the table, at first page by painstakingly annotated page and then before you can even process it, all at once.

Yeah. This is definitely not your lucky café.

As you curse and go to stand up, you run into one of those dumb kids. His huge ceramic mug goes flying, careening against the edge of your table and completely splattering you and all your stuff in 16 liquid ounces of scalding espresso and milk.

It’s silent for a second, save for a few drips from the puddle on your table to the floor, before the kid is apologizing profusely and turning red as a tomato. You can’t even respond—you look down at your ruined favorite sweater, and then around at the pages of Byron littered with color-coded sticky notes, overflowing with angry and purposeful red ink that you spent so much time on, scattered all over the floor.

Eventually the boy catches on that you’re not going to forgive him and he skitters away, back to his friends, who whisper and giggle profusely. Only a few of them get up to start gathering the fallen pages with you. Several other patrons end up helping as well, so the sheets of paper are gathered and returned into your sticky hands fairly quickly. You thank each person without looking up as they hand you their respective stack. All you want is to get out of here.

“Here—I’m really sorry about this,” someone says—a tenor-ish male voice, distinctly sympathetic as he holds out a rather larger stack of papers than anyone else had bothered to pick up.

“I’ll live,” you sigh, straightening up. “But thank… you.”

The man standing in front of you is the kind of man who makes you want to untuck your hair from its usual spot behind your ears, and to stand up straighter, and to try and not stare even though you want his attention. He’s gloriously beautiful in a way that repels and attracts you. He’s the type of man who wouldn’t have given you the time of day in high school and probably wouldn’t now. Instantly you feel both insecure and reduced to a former version of you who would simper and fawn over boys who wanted nothing to do with her. You feel like going to the other side of the café and sitting in the best light and staring out the window poetically and hoping he’s looking at you.

“On the one hand, I feel bad for being the person who opened the door and let the wind in. On the other… I feel compelled to say at least they’re not covered in coffee like the rest of your table is?”

You laugh vacantly, a second too late, positively coveting the awkward smile on his angular face. Then you make eye contact, and his eyes are so the opposite of angular—they’re huge and inviting and the warmest golden-brown you’ve ever seen, and they’re looking right back at you—and you have to look down. Fuck. You hate when you do that.

Think of something normal to say!

“Yeah, true. Now I just have to reorder 264 pages. That… that don’t have page numbers.”

You shuffle through the papers. They are hopelessly scrambled. Your heart sinks just a bit.

“Um… I might actually be able to help with that, if you want?”

You frown, glancing up. What kind of sex trafficking ploy is this?

“That’s okay. Might be easier with just one person.”

He laughs—it’s similarly awkward, similarly endearing.

“Do you mind letting me just… try? It’ll only take a minute.”

Only take a minute? Is this beautiful man deranged? Why are the hot ones always crazy?

But, perhaps because you’re a pushover who can’t stand up to people, much less beautiful people, much less beautiful men who are paying you undue attention, you find yourself giving in. You hold the stack out.

“Sure. Give it your best shot. I’ll be impressed if you can even figure out what page one is.”

He’s already flipping through the papers with a drawn brow, walking away with them, and barely looking over his shoulder as he mutters, “I have Byron memorized. It shouldn’t be too difficult.”

You follow him, because hello, he has all your annotations. He’s definitely insane, you think, as he sits down at a table and starts rapidly sorting the sheets into separate piles.

All you can do is stand awkwardly behind him as he stacks papers seemingly at random, barely glancing at them before deciding where they go.

Maybe a minute, maybe a few go by, each of which have you progressively more flabbergasted, before he’s tapping the edges of a stack of paper on the table and standing, handing them to you with his lips pressed into a thin pleasant line. There’s almost a glow about him—like he couldn’t be more in his comfort zone.

“There you go. Should be in order now.” You sport a frown bordering on a grimace as you take the stack and flip through it a bit. Sure enough, it seems that everything is in order. You keep looking between the man in front of you and the papers, incredulous as you wait for something to be in the wrong spot.

“How did you do that?”

His cheeks turn slightly pink.

“I know Byron really well. I know how each passage ends and begins so I put them together like puzzle pieces.”

“How did you read that fast?”

“Uh. I’m a speed-reader?”

You scoff, taking another look through the stack.

“I think that may be underselling it.” A thought occurs to you as you’re grazing over one of your longer annotations—full of expletives and strong opinions. “Oh, god. You didn’t… you didn’t read my notes?”

The man’s eyebrows raise as if he was waiting for you to mention that and he smiles like he doesn’t quite know how to break it to you gently.

“Maybe a few,” he eventually decides, laughing under his breath. “I appreciated the commentary on his relationship with Augusta. It was… colorful.”

Heat rises in your cheeks as you mumble.

“Yeah, I had a hard time appreciating the romantic poems. They’re less cute when there’s like a fifty percent chance he’s writing about his sister.”

“Half sister,” he corrects. You give him a look.

“Does that make it better?”

“… no,” he realizes. “Not even a little bit.”

You laugh, relieved that his face looks as warm as yours feels.

“Well… thank you, for the help,” you say after a silent second.

“Of course. Sorry, again. I, um—I hope your day gets better?”

“Yeah, well. I feel like statistically it has to, right? It’s kind of a low bar.”

He smiles, a perfect, perfect smile, and gives you a little wave as he leaves. Without coffee. Checking the clock on the wall, you realize it’s approaching one in the afternoon. If he’d been here on his lunch break, he sacrificed it to organize your stupid Byron texts. You smile to yourself.

He was totally in love with me.

And he can’t prove me wrong because I’ll probably never see him again.

All things considered—this coffee shop does seem pretty lucky. Maybe you’ll stick with it for a while.

The next time you see the mysterious sexy speed reader is four days later—though you’ve been here every day since. He catches your eye right as he walks in, and his brows jump in pleasant recognition. You smile. He smiles back, before going up to the counter and ordering a coffee with a ludicrous amount of sugar in it.

I should take note for when I make him his coffee in the mornings, you think to yourself, and then you snort at your own delusions, shaking your head at your book. Obviously you’re not that divorced from reality, but you’ll entertain the fantasy forever until one of you stops showing up to this café.

What you’re absolutely not expecting is for him to walk up to your table with his to-go cup.

“Hi,” he says.

“Hi!”

Jesus. Tone it down, girl scout.

He gestures to your stack of papers: now secured in a three ring binder. The cup says Spencer.

Spencer. Spencer.

It feels important.

“I see you’ve upgraded.”

“Yes! Yes, I did,” you laugh self-consciously, still struggling to meet his eyes. “Thank you for the help the other day. I would still be sorting through all of this if it weren’t for that, so… yeah. Thanks.”

“Of course! I’m glad I could be of use.”

“Spence!” Someone calls from the cafe door. You both look up to see a stunning blonde beckoning him away.

Ah. Naturally. The girlfriend who is one trillion times prettier than you.

Spence.

Reality sets in.

“Coming!” He replies, with all the eager compliance of a child, before turning back to you. “Um… well… I’ll see you?”

It’s an awkward way to say goodbye to a stranger, but you suddenly don’t care enough to dwell. Instead you nod once, less enthusiastic now that you know he has a 10 waiting for him on the sidewalk.

“I am a creature of habit.”

Another wave as he walks away.

The two disappear from the doorway, but the perpetual breeze seems to carry a snatched bit of conversation your way.

“Who was that?”

“Uh… I don’t actually know.”

Yeah. Reality definitely sets in.

Over the next few days, you break your café streak. Life is busy. There’s not always time to artfully ponder Romantic poetry and drink a six dollar coffee while waiting around for certain people to show up.

Okay, so… maybe it has more to do with him than you’re letting on. But you’re not going to do that thing you do again, where you become limerently obsessed with a man you don’t know and who is way out of your league just because you can’t form an actual attachment to anyone to save your life. Besides, you remind yourself; we probably wouldn’t be compatible anyway. He’s probably a huge loser. Or secretly a douche. Or chews with his mouth open. Obviously nobody that attractive can also have a good personality.

Not to mention he has a girlfriend. That should put you off, too.

But you hadn’t been lying when you’d proclaimed to be a creature of habit—you return to the café once you feel sufficiently detached from this Spencer character.

He’s there. Of course he’s there. Why had you been expecting for him to not be there? It’s not like he was a figment of your imagination.

This time he’s accompanied by a different blonde woman—a bespectacled blonde with a big floral headband and a patterned dress and a red cardigan and tights and heels that look self-injurious. She’s quite eye-catching; you want to keep looking at her, but you seem to draw her attention, too. Her big eyes widen minutely and briefly you wonder if you’re supposed to know her, but certainly you’d remember meeting a person like that. She doesn’t seem easily forgettable. Both of you look to Spencer at the same time, who’s looking between you with an almost panicked expression.

“Oh! Th—” the woman whispers, cutting herself off when she realizes how loud she’s being in the otherwise silent establishment. “Ah! Okay, right. Never mind.”

Spencer sighs. You want to laugh, but you’re baffled by the whole thing. So you go back to reading.

Ten minutes later, they draw your attention once more.

“Go, go ahead! It’s more problematic for you to be late than me. I’ll be like, thirty seconds tops.”

You don’t look up as Spencer leaves the café—but are you supposed to gather that these two eccentric individuals are coworkers? And what of the first blonde woman, who you’d presumed to be his girlfriend? Where is she?

While you’re wondering all of this, the new blonde teeters her way over to your table.

“Hi!” She says pleasantly, waving a purple-tipped hand and wearing the biggest grin.

“Uh… hi?”

“I’m Penelope. You’ve met my friend Spencer. He just left.”

“Oh—sort of,” you smile weakly, closing your book. “Not formally. I didn’t know his name.”

That’s a lie, but maybe feigning non-chalance will make it real.

“Well, I just wanted to come over and say I love your bag. And your jewelry and your coat. I love your whole look. I bet you’re a really cool person.”

“Um—thank you!” You perk up, smiling genuinely now. The compliment warms you—you didn’t think your look was all that interesting today. “You too. I love your outfit.”

“Great! You’re—you’re great. This is good information. Um… just out of, like, sheer curiosity, could I get your name, age, and occupation? Oh—and your zodiac sign?”

What kind of convoluted sex trafficking ploy—

“Garcia!”

Spencer is at the doorway again, looking adorably miffed.

Adorable? Get a grip.

“Wh—I’m just making a new friend! Is friendship illegal, now?”

“This is the kind of friend-making that gets you a restraining order,” he urges.

You look up at Penelope Garcia, enamored by their whole dynamic. They clearly care for each other, despite the squabbling. What kind of job do they have where they talk to each other like this?

“It’s fine,” you smile, introducing yourself to her.

“That is such a good name!” She says, and you’re getting the sense she’s kind of always this enthusiastic. “So now we know each other’s names—we should probably definitely be friends, right?”

“Yeah! Um, definitely!”

“Yes? Oh my god! I love this! Okay, um—we work at Quantico, so, we’re like, 10 minutes away—but this is better than the coffee shop that’s closest to the building, so we come here all the time. Usually it’s just us and five grouchy old men, which makes this is really exciting.”

“Quantico… that’s the FBI academy, right?”

“Other stuff, too,” she nods, still smiley.

Oh! Cool. So they’re FBI agents.

So that’s cool.

You’re cool with that.

Her phone starts ringing—she locks eyes with Spencer.

“Hotch?”

“Ooh, we are in trouble,” Penelope sing-songs, leaning down to write her number on your notebook without asking. Not that you mind, of course. She adds a little heart and a smiley face next to her name before capping your pen and toddling away. “Bye, new friend!” She calls over her shoulder, waving goodbye with just her fingers.

“Bye,” you manage, though it’s probably too quiet.

Spencer flattens his mouth into an approximation of a smile and waves again.

You accidentally find yourself mirroring his goodbye, facial expression and all. Fuck. You hope he doesn’t notice. You hope he doesn’t read into it.

Nah. Boys are dumb.

You text Penelope later that afternoon—a simple greeting so that she can save your number—and then you forget about it.

It’s not until five days go by without sign of any of them—the two blondes, Spencer, this mysterious and foreboding Hotch figure—that you start to seriously question your sanity. Did they drop off the face of the planet, or what?

But of course, just as you’re sitting at your usual table, Spencer walks in. Alone.

He sees you immediately, but instead of the wave you’d come to expect, he immediately flushes, looks down at his shoes and hurries into the small lunch-rush line.

Weird.

You corner him at the coffee bar, where he’s adding more sugar to his coffee. How are his teeth so nice if he does this to himself every single day?

“Hey,” you say, affecting casual confidence as you bus your empty mug. “… Spencer, right?”

It’s comical how you’re pretending you haven’t turned that name over and looked at it from every angle hundreds of times since the first time you heard it.

He nods, only glancing up at you as he stirs. To your surprise, he knows your name, too. When you give him an odd look, he smiles almost apologetically, finally looking at your face for longer than half a second.

“I heard you introducing yourself to Penelope. Sorry if that’s…”

“No, no! Is she around, today? I texted her last week, but she never responded...”

“Today is operating system update day, so I don’t even really have a way of knowing if she’s alive in her office.” It’s funny to him, but you just smile, baffled. He notices your silence and catches on, scrambling to explain himself. “She’s our tech analyst. There are 243 computers in our building and she has to update them all remotely, which requires getting every agent to agree to not touch their computer at the same time for an hour or so.”

“Oh… does the FBI not have, like… an IT guy, or something?”

He laughs again—the way his eyes crinkle when he does it makes you a little breathless.

“You should say that to her. I think you would become her favorite person.”

It’s hard not to smile when he’s smiling because of you—however indirectly that may be. Quickly you realize you’ve both been standing in front of the coffee bar for too long.

“Alright, well… tell her good luck, for me?”

“I would, but I’ve been kicked out for an hour while she does the updates.”

Your brow furrows and you laugh.

“From the whole building? You just can’t keep your hands off your computer for an hour?”

“Not if I want to do my job, no. And I am kind of obsessive about my job. I’ve been the reason she had to start the whole process over again before and I’d rather not be that person again.”

You say it before you can think too hard.

“Well, if you have an hour to kill… there’s an open seat at my table? No pressure, obviously.”

And that was the first of thousands of hours you would come to spend with Spencer Reid.

After that, it sort of becomes a regular thing. He comes almost every day—except for occasional week or so long stretches, which you have discovered are a part of his absolutely fucking insane job—and sits with you, sometimes with Penelope, once with the other blonde, JJ, who you’ve since deduced is not his girlfriend, most often alone. Usually he can’t spare more than ten minutes, but he begins pushing it, little by little, until thirty minutes go by and you think surely his boss (the great and all-powerful Hotchner) must be beginning to notice.

One day, during your usual lunchtime rendezvous, his phone rings. He talks right on through it, like it’s not happening.

It ceases. And then it starts again.

Your head drops to your shoulder, something like pity or regret softening your features. He catches your eye and melts slightly, mid-sentence—like he knows you’re about to tell him to be responsible.

“Do you think you should…”

His hands drop from where they’d been enthusiastically positioned mid-air.

“They’ll be fine if I’m late from lunch one time. I’m usually more punctual than any of them.”

You roll your lip between your teeth—it’s not that you want to tell him to go; in fact, those delusions you’ve been harboring about your future life together are only getting worse with each inexplicable minute he entertains your company.

But his job is important.

“What if you have a case?”

“Then I would have gotten more calls from more people by now.”

Your head tips back as you laugh lightly at his unwavering insistence.

“I’m flattered that you so enjoy my company that much. But I can’t with good conscience keep taking up your work hours like this.”

As the laughter fades, he just… watches you, lips slightly parted, eyes intense but not entirely present.

“You’re probably right,” he finally breathes. “Maybe… you should start taking up my other hours, instead?”

Spencer Reid, you unexpected charmer.

You balk.

“Like… we would hang out? At a different time of day? Not here?”

“Those are the basic premises, yes,” he chuckles, nodding affably. “I’ve never actually seen you anywhere else. For all I know you could be a ghost eternally tethered to this building.”

“Where would this hanging out take place?”

Fuck, you’re totally being weird. His brow knits.

“I don’t know. Where else do people hang out?”

He’s not genuinely asking you, he’s gently turning you in the right direction. You charge forward blindly.

“Restaurants.”

There’s that pretty smile of his again, the one that makes all the thoughts drain from your head like cold bathwater. Though, there’s a sort of mischievous edge to it now that you haven't seen before.

“That’s certainly an option. If I asked you to hang out with me at a restaurant... would you say yes?”

You look down. God, your face feels warm.

“Would you be asking me out on a date? In this hypothetical scenario that we’ve constructed, I mean.”

Spencer seems to think about it for a moment, which fills you with unexpected panic. When you look back up anxiously, he has the same smile on his face, but his eyes are a little softer now.

“I would.”

More panic sets in—just a bit. But you don’t let what is undoubtedly a tidal wave of anxiety break through the emotional guard-dam. Keep it together. This is a good thing. This is what you wanted.

Unfortunately, you are perhaps more transparent than you’d realized. Spencer begins to look slightly worried, leaning forward in his chair.

“You don’t have to say yes. I know we don’t know each other very well, I just—”

“No!” You find yourself assuring him, though you curse yourself because you kind of want to know what he was going to say. “I would say yes. I’ve just, um—god,” you laugh gustily, self-consciously. “Sorry I’m being so weird. I’m out of my depth. Nobody’s asked me on a date before. I don’t really know the etiquette.”

Spencer chuckles.

“You’re doing great. Don’t worry about it.”

Not, what?

Not, you’ve never been on a date before?

Not, that’s crazy, or that’s weird, or how have you gone your whole life without being asked out?

With the implication being, you’re odd. Different. Maybe not in a good way.

He says none of that.

“But I should probably actually ask you, huh?” His cheeks turn pink as his laughter is redirected inwards.

“Sounds like a good first step.”

Spencer is still smiling as he says your name and it sounds so good from his mouth. It makes you sound so real.

“Will you go on a date with me?”

Butterflies in your stomach doesn't begin to brush what you're experiencing—your entire abdominal cavity is like a Monarch sanctuary.

“I’d love to.”

He seems genuinely relieved as he beams, slumping back in his chair.

“Oh, thank god. I was so nervous you’d say no. I never do that. Thank you for not saying no. Not that you couldn’t have said no—it would have been completely fine and obviously within your rights to—”

His phone rings again. Both of you are relieved that he was interrupted—but admittedly you thought his rambling was super cute.

“I should—”

“You definitely need to go.”

“Yeah,” he agrees with a still-breathless smile. “Um—what’s your number?”

You look around fruitlessly for pen and paper.

“I don’t—”

“Just tell me. I’ll remember.”

He’s so weird.

A breeze hits your skin as he opens the door. You’re already writing your wedding vows in the back of your mind as you watch him go.

part four

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