#did anyone guess what it is?

[a-s-levynn]

"A sacred guardian" A Series of Small Offerings - IV/1 - day33

[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~!"

[mediumgayitalian]

“You ready, Lou?”

“Duh.”

“Cecil? You’ve got full faith in your cabin?”

“Yep.”

“What about you, Will? Were your threats successful?”

“My bribes went wonderfully, thank you.”

“Then I think we’re a go.”

“Gods, this is going to be great.”

———

Knockknockknock.

Nico locks in on his game. He is so, so close to finally making it through this stupid quest, he can feel it, and if he doesn’t beat The Imprisoned before Percy he’s going to set the camp on fire.

Knockknockknock.

“Just — hold on a second!” He spams B, cursing loudly to himself, ignoring the twinge in his lower back from holding this position for so long. “Fuck, fuck, come on.” He clenches his teeth, knuckles white against the Wii remote, until finally — the boss falls. He cheers.

Fuck yes. Take that, Percy.

Tossing the remote on his bed, he jogs over to the door, sliding open the three bolts and unlocking the chains. On his porch is a blur of movement, hair frizzy and pulled-on, shirt rumbled.

“Oh, hey, Annabeth.”

She barely acknowledges him, focusing intently on pacing back and forth on the stone porch at the speed of light. He settles against the door frame, stretching out his spine, watching her mutter to herself.

“Chiron is leaving,” she says.

Nico raises an amused eyebrow. “I am aware.”

“With Mr. D. To some conference.”

“I heard.”

“He’s gone until early tomorrow evening.”

“Uh-huh.”

“He left me in charge.”

“Probably wise.”

“I need an allegiance, Nico.”

“Slow down and tell me what you mean, first.”

She sighs, coming to a stop in front of him. Her fingers still drum across her biceps, and her eyes dart around, evaluating. Her teeth dig into her bottom lip.

“Camp’s a lot of work,” she says finally. “I’ve never been in charge of so many people at once before, and like hell am I gonna let Chiron think I can’t handle it. I have a Plan, and you’re a part of it.”

Nico resists the urge to groan. Chiron leaving is supposed to mean he gets the next day or so off — no classes, no socializing, nothing. Just him in his cabin and the genuinely disgusting amount of junk food he has amassed.

(…And Will. Maybe.)

“It’s nothing crazy,” she promises. “I just need you to lurk.”

“…Lurk?”

“Yeah, you know. Chill in the shadows and scare people into complacency. You don’t even need to do much, just that thing where you stare at people like you know the exact day they’re going to die.”

“I do love lurking,” Nico admits. And to basically have a free pass to scare the shit out of whoever he wants… “I’ll do it.”

She smiles brightly. “Thanks, Nico! I knew I could count on you. I’ll meet up with you right after Chiron heads out, okay? To give you a list of people to keep your eye on.”

“Sure. Bye, Annabeth.”

“See ya!”

He closes the door and pads back to his setup, shaking the remote to get it going again. He can’t quite shake the smirk off his face.

The next twenty four hours are going to rock.

———

“Swiper No Swiping, initiate phase one.”

“Roger that, Sunny Dick.”

“…I’m revoking your code name priveledges.”

“No no no, I’m sorry, I’ll change it.”

———

Before Chiron leaves, he gathers them all in the amphitheatre.

“Children,” he calls, adjusting the bow slung across his back. “I am leaving now for my conference. I will be back before the sun sets tomorrow.” He gestures towards Annabeth, standing stiffly beside him. “Annabeth is in charge. Consider all my authority transferred to her before I return, am I understood?”

“Yes, Chiron,” courses the camp, some with significantly more attitude than others. Across the gathered crowd, Will catches his eye and winks. (Well, tries to. He has yet to catch on to the fact that he cannot, actually, wink, and instead just blinks really intentionally. Kayla and Austin have sworn him to secrecy.) Nico rolls his eyes, ears burning, and looks away.

“Good. Regular rules; no maiming, killing, or injuries above level seven. Any arson will result in a revoking of dessert privileges. Yes, Julia, even if you help in putting out the arson. It is the fire that is the issue, you understand. Excellent.” He claps his hands together. “I am looking forward to one day of peace. Try to avoid ruining it for me too quickly. Goodbye, children.”

With a wave and a fond squeeze of Annabeth’s shoulder, he trots over to Half-Blood Hill, ignoring Mr. D’s loud complaining about how long he took. With a snap of Mr. D’s fingers, they disappear. For a brief, uncanny moment, everything is still.

“Alright,” Annabeth shouts, clapping her hands together. Nico jumps. “Dinner is in an hour. Whoever is the first to fuck something up will be doing dishes. I will be watching. Dismissed.”

Wading through the swathes of ambling teenagers, she walks by where Nico is leaning against a pillar, half-hidden in the shadows.

“Lurk,” she orders, passing him.

Nico shoots her a mocking salute, fading into the shadow behind him. He barely catches her grin before he dissolves into the darkness.

———

“Phase two in effect. Ready to go, Sabrina Spellman?”

“Prepped to go, Teletubbies Sun Baby.”

“I hate both of you.”

———

“Halt!”

Across the common, three suspicious figures freeze, glance behind them, and then resume walking as casually as they can.

“I said halt! Do not move! Cease all function!”

Milling nervously towards each other, Dumb, Dumber, and Dumbest pause, shifting the three massive cardboard boxes they hold each.

“Hi, Annabeth,” Will says, smiling innocently. Cecil and Lou Ellen match him, eyes wide, expressions angelic.

Annabeth stomps over to them, fists clenched at her sides, entirely unmoved by the cherubic display in front of her. Nico stays right where he is, hidden by the shade of Cabin Eight.

“Explain yourselves,” Annabeth orders.

The three stooges exchange a look.

“Whatever do you mean,” Lou Ellen asks, shifting the boxes to free up her hand only to place it delicately over her chest. “Why, we are only helping our dear friend William —”

“Our dear, dear friend,” Cecil adds.

“— carry these many boxes of medical supplies, so as to lower his great burden —”

“Massive burden,” Will says sagely.

“— and free up his evening in order for him to spend his limited time with us, his most cherished friends.”

“Especially cherished,” Will and Cecil chorus together.

Unable to bite back a smile, Nico rolls his eyes so hard his skull hurts. They’re not even trying to not get caught, at this point. Idiots.

Clearly agreeing, Annabeth scoffs. “Yeah, right. Boxes down, all three of you. You’re being detained for suspected illicit substances.”

“Annabeth!” Will cries, hand to his chest, “after all I do for this camp, you would accuse me of being — illicit?! Me?! The outrage! The insult! The impugn, the —”

“Can it, Solace. Open the boxes.”

Huffing in perfect unison, the three of them carefully lower their boxes to the ground.

“Tape off.”

Intentionally slowly, they run a nail along the edge of the packing tape.

“Flaps open, guys, c’mon.”

With flourish, the trio fling open the thin cardboard panels. Inside each box is rows of bandages, packaged syringes, sterile bands, tongue compresses, and more that Nico can’t name. Annabeth glares at the boxes with perhaps more disdain than the situation calls for.

Then again.

It is camp.

“See?” says Cecil, gesturing grandly. “The shipment just came in from my dad.”

Like a hound dog locking in on a bleeding squirrel, Annabeth’s eyes narrow. Her lips spread into wide, frankly maniacal smirk.

“Your dad is in a conference with the rest of the Olympians right now, Markowitz.”

Caught.

“Well,” Cecil says, and then nothing else.

“He meant it in the royal sense,” Lou Ellen pipes up in his silence. Cecil nods frantically. “You know, ‘just’ as in, like, recently, as in this morning —”

“Do you three think I’m stupid.”

“It’s just medical supplies! You can look through them if you want —”

Even if they weren’t acting like criminals, Nico knows his friends. He knows his boyfriend, especially, and recognises that damn look on his face. He can also physically see Annabeth’s stress ulcer coming back.

Closing his eyes, Nico fades into Cabin Six’s shadow. It’s a quick jump, so the stretch is easy, and the darkness bows easily to his hold. He reappears silently behind the group, taking advantage of the setting sun, and darts out to grip Lou Ellen’s arm.

“Boo,” he whispers.

She shrieks at the top of her lungs, jumping three clean feet in the air. Coincidently, the boxes of medical supplies flicker, turning into a truly baffling amount of instant mashed potato boxes.

“I knew it!” Annabeth shouts.

On cue, all three doofuses turn to Nico, jeering and complaining about ‘ruining the fun’. Nico’s glare is ineffective on Doofus #1, but the other two can be cowed. He focuses on channelling the flames of hell to reflect in his eyes like his father showed him until they look away, muttering at the ground.

“We still don’t have any illicit substances,” Will insists, glaring right back. Nico sticks out his tongue. He crosses his eyes like a four year old. How immature, honestly. “So we’re just gonna take our stuff and —”

“Absolutely not, Golden Boy. Put that hand away.”

Wisely, Will draws slowly back from the boxes, tucking his hands in his pocket.

Annabeth stares, hard, at the three of them, flicking her dark eyes from the potatoes and back. The tips of her worn-out converse tap slowly on the packed grass, tip-tap-tip-tap, as they all squirm.

Understanding dawns on her quickly.

“It’s supposed to rain tomorrow, for the strawberry plants.”

They squirm harder.

“Oh, you godsdamn bitches.”

“It would’ve been really funny,” Cecil mumbles, staring at the ground. “Rain making the ground turn into a sea of mashed potatoes. Like Cloudy With A Chance Of Meatballs.”

“The only meatballs around here are the ones clogging up your skull!” Annabeth shouts, which doesn’t quite make sense but sounds clever coming from her anyway. “Who was gonna clean that up, huh? Magic?”

“I mean, probably,” Lou Ellen says, promptly shutting up at Annabeth’s glare.

“And you, Will! I cannot believe! Where is that responsibility you’re known for, huh?”

Will pouts. “I can be responsible and do fun things.”

“Fun, he says. I’m going to fucking kill you, how’s that for fun. The one day I’m left in charge, I cannot believe —”

“If it helps, it’s less about you and more about April Fools being tomorrow,” Cecil interjects tentatively. “Like, we were going to do this whether or not Chiron left.”

Annabeth glares darkly. “Of fucking course you were. It’s always you three, I swear to the gods. I should have known.”

“It’s honestly kind of embarrassing for you guys,” Nico adds. He smiles smugly at them, relishing in their rolled eyes and mocking hands. “Like, everyone expected this. You did this to yourselves, honestly.”

“Boo, you jag,” Lou Ellen protests. The other two knuckleheads joint in the booing, Will taking it an extra stop forward and blowing a raspberry, both thumbs pointing down. Nico responds with a wide grin and two middle fingers.

“Enough,” Annabeth says, rubbing her temples. “Extra chores, all three of you. Go help the cleaning harpies until sundown. And not another peep of complaint or I’ll have you on chores tomorrow, too.”

Without another glance at them, she turns around and walks away, muttering at least you caught it early at least you caught it early at least you caught it early over and over to herself.

“Pretty sure you guys have physical labour to do,” Nico says brightly when she disappears into the Big House. “I’d get started on that, if I were you.”

“Butthead,” Cecil mutters.

“Kiss-ass,” Lou Ellen agrees, making a face.

“Traitor,” Will whispers, pressing a kiss to his cheek as he walks past.

Nico watches them go, standing guard over the boxes in case they try to come back for them.

He can’t help but think that they all look a little too jovial for having their plans ruined before they even started.

———

“Is he still looking?”

“No.”

“Okay, Phase Three, let’s go let’s go let’s go —”

———

Every time Nico wakes with the sun, he sets aside twenty minutes of his morning routine to curse Apollo, his father, Apollo again, Phanes, and Prometheus. In that order.

He does like the bonus of getting breakfast. Usually he sleeps through it and has to hope Will saved him coffee cake, which he does, every time, because he wants to bribe his way into Nico’s affections. But there is something to be said about camp coffee cake when it is still warm, crumbly on the top and soft on the inside. It is a rare and occasionally worth-it treat, and on his bleary walk to the dining pavilion, Nico tries to keep this in the forefront of his mind. Fresh coffee cake. Fresh coffee. Fresh fruit. And Will, probably, not that seeing him is worth getting up early or anything. (So what that he gets all excited and energetic when he sees Nico up in the morning. If anything it’s embarrassing for him.)

For once, he’s actually early enough that there are very few people already at breakfast. He sees most of the Athena kids, still half-asleep over their mugs, and pretty much every camper under the age of eleven. A few head counsellors, too, watching out for the little ones or catching up on a rare moment of quiet. Nico makes a beeline for the breakfast spread, cutting a slice of coffee cake to leave on the platter and putting the rest of it on his plate. He puts a single strawberry in the middle of it so no one can accuse him of being unhealthy, then ambles over to the Apollo table.

“Neeks? Where’re you going?”

Nico pauses. He shifts his plate to one hand, rubbing at his bleary eyes. He looks at the Apollo table. He counts one, two, three heads — Kayla, Austin, and…Cecil?

“Nico? You good, babes?”

He turns, slowly, to face the voice. Picking at a plate full of pineapple, next to Reika Onason, Lou Ellen's sister, is Will.

“I know mornings are hard for you, but you’re meant to eat at your table,” he teases. “Come sit, doofus. Unless you’re taking advantage of Chiron’s absence to make friends elsewhere, I guess, but it seems unlike you.”

“You’re — what’re you — what?“ Nico says dumbly, struggling to reconcile the imagine in front of him.

For some reason, Will is eating his breakfast at the Hecate table.

And that is not all.

For some reason, his camp shirt does not say head medic. For some reason, he is wearing black jeans. For some reason, dozens of Celestial bronze rings adorn his fingers, carved with sigils. For some reason, his hair is clipped back, and there is black eyeliner around his bright blue eyes, and his nails are painted darker than Nico’s, and he is sitting at the Hecate table.

“What are you doing?”

“Having…breakfast,” Will says slowly. His lips turn down in concern. “Nico, are you okay?”

“I’m fine! It’s — you’re the one acting weird!”

Will and Reika exchange a look.

“Maybe you should go see Cecil,” Will suggests carefully. “Did you sleep okay last night? Maybe you hit your head —”

Nico looks desperately back at the Apollo table. They watch him strangely now, too, and after a second Cecil gets up from his — Will’s — seat, and walks over.

“Everything okay?” he asks, impish expression almost serious. “You look pale, Nico.”

“I’m worried,” Will says. “He’s acting — confused, Cece, maybe there’s a —”

“I’m not confused,” Nico scowls. “You two are — doing something.” He gestures vaguely between them. “As revenge for yesterday.”

Will snorts. “What, the potatoes? Don’t let Lou hear you discredit her like that. If you think she’d plan some revenge prank on you this early, you don’t know her at all.”

Nico’s head starts to hurt. He sets down his plate, rubbing his temples. Why would Lou Ellen be so bothered by that? Why isn’t she here, with her sister? What the hell is going on?

“Both of you — cut it out. Whatever dumbass prank you’re pulling is just stupid.”

“Did I hear something about a prank?” Bounding over from the camp store, arms laden with contraband junk food, is Lou Ellen, smiling brightly. “Whatever it is, I want in!”

“Oh, thank the gods, you’re back.” Will makes grabby hands at the pile. She tosses him a pack of twizzlers off the top, rolling her eyes as he tears into like he didn’t just polish off two and a half entire pineapples and three bowls of oatmeal. “I was going through withdrawal.”

“I’m not helping you when your stomach cramps up,” Cecil promises, snorting. His eyes follow the candy ropes in their harried journey towards Will's gaping maw. “You can sit in your misery.”

“Bleh bleh bleh.”

Nico narrows his eyes at them. Clearly, they’re all in on this — bit, or whatever it is. It’s a little too coordinated to be a quickly-planned revenge prank. They must have had a backup to the potatoes, although a pretty weak one. Unless they somehow managed to bribe the entire camp into agreeing to act along with their dumbassery, and Nico knows none of them can come even close to affording that, then all it takes is one person on Nico’s side before their little ruse is broken.

“It’s too early for this,” Nico says, interrupting their bickering. He picks up his breakfast and trudges off to his actual table, ignoring Will’s pouting. He has to brush the dust off the bench, but it’s worth it to avoid whatever headache the three of them will inevitably give him.

Coffee cake, save him.

———

“It’s not looking good, Katara —”

“I actually like that one.”

“— he’s totally onto us.”

“Just stick to the plan. Power onto Phase Four.”

———

To Nico's great satisfaction, many other people do double takes as they walk into breakfast.

As the Athena table, minus Annabeth, who is likely putting out a literal or metaphorical fire somewhere, wakes up, they start to notice the strange seating situation. It starts with Malcolm, who stares at Cecil in a lab coat with the same expression Nico has seen him wear when attempting to solve the Hodge conjecture. He leans over to murmur something in his brother’s ear, and then all seven of them are looking between the Hecate, Apollo, and mostly-empty Hermes tables with suspicious frowns and furrowed brows.

Nico catches Will’s eye, smirking.

Game’s up, he mouths. Will only shrugs innocently at him.

It’s Annabeth who finally puts a stop to the nonsense, striding in at the tail end of the rest of the slowly-waking crowd. She has grass in her hair and murder in her eyes.

Excellent.

“I swear to the gods, I just dealt with you three,” she snaps, raising her voice so they all can hear her. Coincidentally, it attracts the attention of every other nosy person at camp, which is everybody. “Just ‘cause Chiron’s not here doesn’t mean the rules go out the window. Back to your tables, let’s move.”

“We’re at our tables,” Cecil protests. “Why do people keep saying that?”

Annabeth takes a very deep, very long breath. She has a whole day of this, too. How unfortunate for her.

“Maybe because you are full of shit, Markowitz. Go sit with the rest of you troublemakers.”

Kayla clears her throat. “Annabeth, I’m not sure what you’re talking about.” Her thin eyebrows are drawn tightly together, lips turned down into a frown. “Cecil is exactly where he’s supposed to be.”

That gives her pause.

That gives a lot of people pause. Nico sets down his coffee cake.

“Cecil’s at the Apollo table,” Annabeth says slowly.

Kayla meets her gaze, face creased in concern. “...Yeah, I know.”

“Cecil is a Hermes kid, Kayla.”

She snorts. “Yeah, sometimes I think so, too. But as much as I would absolutely love to trade my brother —”

“Hey!”

“He’s a healer, Annabeth. He got claimed and everything.”

“I don’t have time for this,” Annabeth says, dragging her hand down her face. “Kayla, I don’t know what they paid you —”

“Oh, for goodness’ sake.” With a clatter of plates, Will clambers on the table, clapping his hands. “Your attention please, everyone!”

Without so much as a pause, Will claps his hands together. Immediately, a ball of green light expands from them, flashing almost too bright to look at. Nico watches, slack jawed, as he tosses it into the air, making it explode into a thousand little sparkles, descending gently over everyone’s heads. The little kids laugh in delight, reaching for them like they’re bubbles.

“Does that settle things?” he demands.

Silence rings for one, two, three seconds.

The camp erupts.

Dozens of voices overlap, all shouting over each other at once. Hands gesture wildly at Will, at Cecil, at Lou — trying to piece things together. Will is their head medic — isn’t he? Then why is Cecil wearing scrubs? And why is Lou chilling at the Hermes’ table, chatting with Julia over a bowl of cereal? Something isn’t right.

“Just — everybody quiet!”

It takes a minute, but everyone settles down, sitting back in their seats and fidgeting, looking around with half-confused, half-amused smiles. Like they’re laughing at a joke they’re half convinced is real.

“Who thinks this —” Annabeth makes some vaguely indicative movement at Will, Lou, and Cecil — “is weird? Raise your hand.”

Almost all hands go up. Only a handful stay down — Will, Lou Ellen, and Cecil, of course, but the entirety of the Hermes cabin stays oddly silent, as do Kayla, Austin, Reika, and, shockingly, Clovis.

“Stoll,” Nico demands before Annabeth gets the chance, “you’re buying this?”

“Buying what?” Connor says after a moment. He shrugs, eyes twinkling in amusement. “I’m just chillin’ with my sister, Nico. Cecil is great, but he hasn’t been in our cabin since he got claimed.”

The rest of the Hermes kids nod in agreement. Whispers filter through the tables — first Kayla, now all the Hermes kids?

“If I may,” interjects Clovis, yawning. “There’s an…energy, around.”

“Gods, yeah, I was feeling it too,” Will agrees frantically. “Almost a…blanket, of some kind. Something heavy and stifling.”

Malcolm looks over with interest. “You think we got cursed, or something? The whole camp?”

Will shrugs. “Maybe? Can’t think of any other reason you guys are remembering things weird.”

“It could be a god’s interference,” Nyssa suggests, raising her voice to be heard from the Hephaestus table. “I mean, that’s what happened to Jason and Leo and Piper, right? Their memories got fudged.”

“Yeah, but camp-wide…”

“Could still be possible.”

“There’s no way! They’re fucking with us, come on —”

It doesn’t take long for the arguing to start up again. This time, though, more people looked spooked — more people look to the dumbass trio themselves, eyes wide like they’re looking at ghosts.

Like they’re believing this shit.

Nico scowls, shoving away from his table and stomping over to his boyfriend.

“You are so full of shit I can smell you from across the room,” he says, raising his voice to be heard over the noise.

“I don’t know what you want me to say.” He wiggles his fingers in Nico’s direction. They spark with the same green light. “Want me to switch your eyes and ears again?”

That sounds horrifying. “Try it and die.”

“Alright, grouchy.” He holds his hands up, stepping back from Nico’s glare. “I’ll keep my hands to myself.”

Alarm bells go off in Nico’s head. This is more than just strange, it’s wrong. And not just ‘cause he looks different — so what if he looks different. Will could shave his head bald and tattoo himself purple, Nico wouldn’t care.

But his aura.

The essence of Will, that Nico has grown so used to be stopped noticing. The quiet, warmth strength, the feeling of a soft breeze in the summer, of walking past a window in the late afternoon, of smokey August campfires and scratchy guitar, is gone. Is different, rather; almost blocked. It feels like a cloud blowing over the sun, making everything warped and off and shadowy.

Something is afoot. Something is wrong, and not just some vague, made-up spell like the Trickster Trio would have the camp believe. Something like smoke and mirrors, something shadier.

He watches Will fall into step next to Cecil, ducking away from his ruffling hand. He frowns.

If there’s one thing Nico can do, it’s wade through the shadows.

———

next

[seiwas]

for writing game, iwaizumi + assistance <3

hope this sparks some inspo and thank you in advancee

hi there!! thanks for sending in a prompt 🫶

contains: friends to lovers (ish), halloween parties, reader is dressed as catwoman, expletives, iwaizumi is thiiiiis 🤏 close to murdering seijoh4 (jk)

iwaizumi + assistance

this is a set-up.

iwaizumi knows he shouldn't have fucking believed anything the boys "promised" him back when they assigned him this costume.

the suit is fucking tight, spandex digging into his groins and all other crevices that definitely should be aired out after after a few hours. he's had to constantly readjust his stance almost every few minutes, the black fabric compressing his thighs and torso, significantly constricting the range of motion his shoulders and arms are typically used to. if anything else, it could double up as a back brace from how rigidly straight it's kept his posture all night.

he'll give it to makki though; he did outdo himself sourcing this year's costumes―this batman set looks pretty damn legit.

except for one tiny problem.

there's no fucking pee hole. it's a zip-up, zip-down one-piece situation. and that normally wouldn't be a problem, except that oikawa "accidentally" knocked over a cocktail straight into his pants, the sickeningly sweet liquid now seeping straight into the fabric and past his boxers―cold and sticky as it touches his skin.

and so, the problem: his pants are wet, it makes him want to fucking pee, and coincidentally, the only vacant bathroom is across the hall, at your apartment.

this is why he believes this is a set up. that, and the fact that you're dressed in an outfit strikingly similar―just with cat ears.

he's been asked five times in this party if you're in matching couple outfits.

it catches him off guard, flusters him because of how badly he wants to say yes. but, you're just friends, and he doesn't even think you like him that way (despite mattsun and oikawa practically begging him to confess. makki tells him he thinks you're going to do it first).

so he politely smiles and says no, but you look good, your costume clinging to you in all the right places. thank fucking god he has a cape because he's pretty sure he spent the first 30 minutes in the party hiding his boner.

"hajime, it's fine, i swear," you stand beside him in front of the conveniently locked bathroom in oikawa's apartment. from the other side of the door, he's pretty sure he hears mattsun and his girlfriend mumbling. maybe fucking? who knows. "you can just use the bathroom in my apartment."

he glances at you before closing his eyes, contemplating, before finally agreeing to you.

"okay."

if he's being honest with himself, friends is definitely an incomplete label to what you are. as oikawa's neighbor, you are conveniently around all the time; and oikawa being oikawa, the ever-social butterfly, he's somehow managed to carve a space for you in the friend group.

(never mind the fact that oikawa's sniffed him out from the moment he first introduced you.)

you were a crush, then a friend, and now you're someone he picks up from work and drives back home three times a week, because he "has to train oikawa." you don't question it, even when you both know he stays over for dinner way past the gym's open hours.

"you know where it is," you open your apartment and urge him in.

"sorry again," he turns to face you.

"yeah, yeah, just pee!" you laugh, shoving him towards the bathroom door.

getting out of the suit is manageable, and he's able to wipe off a bit of the cocktail that's leaked to the suit and his boxers just to make sure it isn't gross and sticky when he gets home later. peeing is a big relief once he gets it over with, but it's when he has to suit up again that things become difficult.

stretching out the spandex one body part at a time is a workout in itself―the hardest task being when he has to pull it over his shoulders, adjusting it to fit properly over his arms and chest.

but then the zipper breaks.

and he truly thinks makki has fucked him over.

iwaizumi contemplates what to do next for a good, good while. he tries calling oikawa, only to no success every time; no way in hell is he calling mattsun in the middle of having sex. and calling makki isn't even an option; he'd never hear the end of it.

then you knock on the door, your voice soft and concerned as you ask, "hajime? you good in there?" you hit it spot on, too, "do you need help with your suit?"

iwaizumi presses his palms to his eyes. he's a rational man, straightforward and logical in thinking. there is literally no other option for him right now but to ask help from you. again.

fuck.

.

it's 30 minutes later when oikawa barges in your door, and the sight that greets him is iwaizumi in nothing but a hoodie (the hoodie you borrowed some time ago) and his boxers, with his hands on your waist as you hover your hairdryer over the crotch of his batman costume―cat headpiece off and all.

"you finally got together?!"

[stellaluna33]

The interesting thing is that Jess keeps insisting that "it's not about him" ("him" being Logan) during his big "Why did you drop out of Yale?" speech, and I do believe him! Logan may have pissed him off, but what he's really upset about is that Rory isn't acting like herself and she knows it and he wants to know why. However... nevertheless, he does include "you going out with this jerk? With the Porsche?" in his list of behaviors that are "not You." And the writers make it seem like Jess was functioning as the "voice of Truth" in the narrative during this scene, considering that this is what makes Rory see the light and ultimately AGREE that this "isn't her" and prompts her to return to school and her mother's arms. So my question is... Does Jess including dating Logan as a symptom of Rory's out-of-character behavior mean that the WRITERS also intended us to see dating Logan as a symptom of Rory's out-of-character behavior? What am I supposed to do with this? Along with "I thought everything was fixed." "Everything but him." I just... What were you trying to say here, huh? How are we supposed to take this?!

[teehee-vibes]

Agonized over the fact that when Chip reunites with Arlin, no matter how it happens, whether Arlin is dead or alive, corrupted or stable, preserved as he was or aged by time and magic… whether it’s a moment of joy and relief at a long-awaited reunion or a heart-shattering episode of grief because Chip is too late, Chip can’t even cry about it.

[lunarharp]

What led to this (orufrey comic, cw an uncomfortable/creepy scene)

[hydrachea]

I wish I'd witnessed the meeting that came up with the beta cutscene for the Kalos war.

[applecherry108]

I have a theory. .

[sprimps]

they're thinking about very different things

[yours-the-author]

I tried to find the original source of the audio I used for dialogue, but I couldn't find it (I'm assuming it's from TikTok; if anyone wants to point out the creator of these lines, let me know so I can credit them!)

THIS TOOK LIKE TWO WEEKS! Almost everything except the sticks and the speech bubbles are colored in, there's a ton of dialogue, and a lot of the poses are complicated. I wanted to color it completely because I felt it wouldn't seem as "serious" (and therefore not as funny) if I stuck with my usual stark white backgrounds, so this is all my own fault, really. But it's finished! Hooray!

I saw this audio in a YouTube short and immediately thought of these two. Toxic yaoi at it's finest, if I do say so myself. They will tear each other to shreds, and they will secretly like it.

Erm, anyway, gonna go... not draw for a week. Probably. That's fifteen whole pictures I colored in completely! That's the biggest art I've ever art'ed! I gotta go be eeby deeby and get some sleeby.

[wonder-worker]

Thinking about Elizabeth Woodville as a gothic heroine is making me go insane. She entered the story by overturning existing social structures, provoking both ire and fascination. She married into a dynasty doomed to eat itself alive. She was repeatedly associated with the supernatural, both in terms of love and death. Her life was shaped entirely by uncanny repetitions - two marriages, two widowhoods, two depositions, two flights to sanctuary, two ultimate reclamations, all paralleling and ricocheting off each other. Her plight after 1483 exposed the true rot at the heart of the monarchy - the trappings of royalty pulled away to reveal nothing, a never-ending cycle of betrayal and war, the price of power being the (literal) blood of children. She lived past the end of her family name, she lived past the end of her myth. She ended her life in a deeply anomalous position, half-in and half-out of royal society. She was both a haunting tragedy and the ultimate survivor who was finally free.

[aurorangen]

Vincent invited Isaac to hang out at a private bar after work. After some darts and pool, the guys went to grab a drink. "You have some interesting tattoos Isaac, what do they mean?" Vincent questioned. "Justice and freedom," he replied, taken aback by his personal question. The atmosphere was more relaxed and it was clear they had bonded. With drinks in their hands maybe it was the right time to get to know Vincent better and then everything would be easier...

"Bro it's like I've known you all my life!" Isaac chuckled, amazed by their banter. "So you're calling me bro now, not boss," Vincent laughed. Isaac went all serious. Should he tell him now? Both were in high spirits. The longer it took, the more he dreaded a bad reaction. He had to tell him soon, "Vincent. I am your brother. Your half-brother."

[hiirenvirna]

the other pcs holding pib is my favorite thing

[st5rcrest]

baby goalie and his new hardware

[unproduciblesmackdown]

imagine...

...that some things have changed (including some marigold ventures?) and Atlas May is like uh oh both lackadaisy & i are doomed, but if i set up my own death maybe only i'll be doomed and lackadaisy might have to shutter but perhaps more so on involved people's terms, such as mitzi being fine financially, but also if she thinks it's her fault that'll be good for maintaining my posthumous Image to her, perhaps she did some defrauding again? and i'll have mordecai, my trusted & effective gunman, be the one to fatally shoot me, & of course he doesn't want to, but it's Mere Work Ethic time, what's he gonna do besides argue at all maybe, ultimately refuse? (no) and he may hate it but he's not going to want to fully turn on mitzi or anything after because then what would have been the point