#fucking wild read

[cubedmango]

「安達が魔法使いにならなかった世界線の話」 + 「もしもの話」 — english translation

[clarionglass]

here we go :) part one of three, updates to be released weekly!

---

sam says 4 (game master cinematic universe, part 3)

Ruby was at her mum's for a family dinner she couldn't miss on pain of death, apparently, and the Doctor was many things, but a family dinner kind of guy wasn't one of them—particularly when Carla had already slapped him once in the short time he'd known her. He thought he'd broken his streak of bad luck with mums, but… well, seemingly not. So he was companionless for a few hours, and while he could wait for her to get back, maybe catch up on his reading—what was the point of waiting when you had a time machine? 

He ran his hands over the TARDIS console, marvelling at her clean lines and metallic flourishes, the way that even now she felt brand new but familiar, and paused. He’d just pop off for a quick adventure, nothing too dangerous, but—where to go?

He could scan for a distress call nearby, and pitch in to help. He could drop in on Donna and Shaun and Rose, beautiful Rose, and see how they were all doing. Or he could just hit the randomiser button, and jump in feet first wherever he ended up.

He remembered a conversation from a long time ago, when he wore a different face, and his gorgeous TARDIS wore a face too, for the first and only time.

“You didn't always take me where I wanted to go.”

“No, but I always took you where you needed to go.”

He grinned. Who could resist an offer like that? He pressed the button and whooped as the time rotor spun into action, ready to see where the universe would take him.

---

Apparently, he was needed pretty close to where he already was. Earth, 2024. Huh. Same planet, same time—within a few months of where he’d left Ruby, even. The main thing that had changed was the location: he was now in the good old US of A. California, to be more specific, and Los Angeles to be more specific still. And to really narrow it down, the Doctor discovered as he poked his head out of the TARDIS doors, he was in… a broom closet. Not bad, as a parking spot—a bit squeezy, but out of the way. And as he poked his head out of that door, he could finally see he was in the backstage corridors of a studio of some kind. Film or TV, if he was to hazard a guess, it was a different vibe from Abbey Road.

With a shrug, he decided to go exploring.

It couldn’t have been more than a minute before a young woman wearing the full-black outfit, headset, and permanently stressed expression of a production assistant came running up to him.

“Are you the fill-in Sam organised?” she asked breathlessly, and honestly, seeing the look on her face, the Doctor didn’t have the heart(s) to tell her no. And really, what was the Doctor, if not a professional fill-in? This, this was why he had a randomiser button on the control panel, because whatever he was about to get himself into was going to be fun.

“Sure!”

“Oh, thank god,” sighed the production assistant, relief dawning across her face. “When Ally tested positive this morning, I thought we were sunk for the record, because we called around and we couldn’t get a hold of anyone. But then Sam said he could get someone in, and, you know, here you are, and just in time, so—ah, yeah, if you could follow me this way?”

Smiling all the way, the Doctor followed his guide through to hair and makeup, looking around as they went. The studio seemed to belong to a company called Dropout, according to the branding scattered around, and things seemed, at least on the surface, to be… well. Fine. He couldn't tell why he'd been brought here yet, which meant that when he found the reason, it was going to be particularly tangled. He couldn't wait! 

And then he looked back at his guide, still engulfed in a miasma of anxiety, and realised he'd been too busy looking for clues to notice the person right in front of him. 

“Hey, it's cool, you've found me,” he started with a gentle smile. “You can relax. Hi, I'm the Doctor. What's your name?”

“Oh!” she said, startled. “The Doctor, yeah, of course. Um, hi, I'm Kaylin. Look, sorry, it's just that I've been so busy this morning, I'm so distracted… Shit, and I would've completely forgotten to get your details too. There's paperwork to fill in, but you can do that later. Um, just for now, though, can I get your pronouns?”

The Doctor thought for a moment. “He/him, for now.”

Kaylin nodded, making a note on her phone. “Okay, cool! And do you have any socials?”

“Not me, babes,” he replied. “I'm hardly sitting down long enough to be able to update, you know?”

“On a day like this, I know exactly what you mean,” she said. “That's okay, Lou didn't have socials either for the longest time. Right, so if you go through there, the team will get you sorted, and once you're done, someone will take you up to the greenroom. All good?”

“All great,” the Doctor replied. Kaylin flashed him a quick, relieved smile, then hurried off.

Hair and makeup was a fairly quick process, the sound mixer fitted him with a microphone, and before too long, Kaylin was back to take him upstairs. 

“This is the greenroom,” she said, pushing the door open. “The rest of the cast for the episode are already here—they’re great guys, and they’ve both been on the show a lot, so they’ll be able to help if you’ve got questions. And if you need anything else, just come find me or any of the other PAs, okay?”

The Doctor nodded, beamed at Kaylin, and walked in.

---

The greenroom was small but comfortable, and its occupants, two men around the same age as the Doctor appeared, looked up as he entered.

“Oh, you’re new,” the taller of the pair said, clearly giving him the once-over.

The other sighed with a mixture of fondness and exasperation, just as clearly used to his friend’s antics.

“Hey, I’m Brennan,” he said, levering himself up to standing from his perch on a chair arm, and holding out a hand. “That’s Grant.”

The Doctor took it warmly. “The Doctor. Just passing through, and happy to help.”

Grant’s eyebrows quirked. “Doctor… something?” he prompted.

“Or is it just ‘the Doctor’?” Brennan asked.

“Just ‘the Doctor’,” the Time Lord confirmed cheerfully. “You’ll get used to it, everyone does.”

Grant didn’t look convinced, but—

“Copy that,” Brennan shrugged, and settled back on the arm of the chair, returning his gaze to the door.

Grant, in turn, looked at the Doctor and rolled his eyes in a clear expression of ‘no, I don’t know why he’s like this, either’.

“Okay,” the Doctor said after a moment of watching the watching. “I wasn’t going to ask, but now I think I have to. What’s up with the door?”

Brennan huffed a laugh. “Well, the last time there was one of those up—” he pointed to the Out of Order sign stuck to the bathroom door, “—we got locked in here for the game.”

“He’s paranoid,” Grant interjected.

“Well, yeah, maybe,” Brennan retorted. “Or just cautious. Because Sam’s been acting weird lately, and we’re coming up to the last few records of the season, so he’s probably planning something way out of the box for the finale. And the original cast was you, me and Beardsley, so…”

He shrugged one shoulder meaningfully, and Grant nodded, conceding both the point and the potential for chaos.

“So if Sam comes in to give us the briefing, rather than waiting til we’re on set,” Brennan continued, “or there’s anything else weird going on, I’m gonna know about it right from the beginning.”

He turned to the Doctor. “The only reason I'm not quizzing you is because I know for a fact Beardsley was genuinely scheduled for this, so you can't be a plant by the production team. No offence.”

“None taken,” the Doctor smiled. “That sort of thing happen often, does it?”

Grant and Brennan exchanged a look. 

“More than you'd think,” Grant answered with a grimace. 

“Alright,” the Doctor said slowly, then brightened. “So what is it we're actually doing?”

Grant gave him a disbelieving glance. “You don't know—?”

“Very last minute fill-in,” the Doctor said breezily. “But don't worry, I'm a quick study.”

“Well, you're not that much worse off than the rest of us,” Brennan said encouragingly. “You know about Game Changer, obviously, if you know Sam, and we only find out the rules of the game once we get on set. Hopefully,” he added, with a dark look back at the Out of Order sign. 

The Doctor nodded. No, he didn't know Sam, and he didn't know Game Changer, but he could work out the situation from context clues. This was a game show. And with the Toymaker banished, and Satellite Five not coming into existence for another 198000 years, give or take, he found himself smiling. Maybe third time would be the charm. 

“Mmm, hopefully they aren't going to throw you in the deep end,” Grant said. “Because Brennan might seem lovely now, but as soon as we get out there, he's a whore for points. He'll stab you in the back and won't even blink.”

Brennan barked with laughter. ��Yeah, and you wouldn't?”

“Excuse you, I'm always a goddamn delight,” Grant replied, the very picture of injured dignity. 

“Oh, absolutely!” agreed a new voice. The Doctor turned to the now-open door to see a bearded man in a pinstriped suit smiling broadly. “That's why we keep inviting you back!”

Grant bowed sarcastically. “Why, thank you, Sam. Good to know I'm appreciated by someone here.”

“Always,” Sam replied, gently but firmly ending that particular path of the conversation. He scanned the room, and his eyes lit up when they landed on the Doctor. 

“Ah, you must be the Doctor!” he said with obvious delight, walking over with his hand outstretched. “I'm Sam—thanks for filling in for us, you've made sure we're going to have a good show. Seriously, it's a pleasure to have you here.”

“Aw, cheers!” the Doctor smiled, shaking the offered hand. “Glad I could help out, I'm really looking forward to this!”

“Well, great!” Sam exclaimed, then took a step back, regarding all three players in turn. “Now, folks, I'm just letting you know that we're just about ready to start the record, so if you can start heading down, that'd be great.”

Grant and Brennan nodded—Brennan, the Doctor noticed, with relief. 

“See you down there,” Sam said, smiling. “Have a great show, and—”

His eyes caught on the Doctor's for a second, twinkling. 

“Good luck.”

---

Backstage, the Doctor, Brennan and Grant were marshalled into podium order and given a final briefing from the crew. And then, with a thumbs-up from Kaylin, that was it.

Showtime.

“Get ready for a Game Changer!” came Sam's voice from onstage. “Tonight’s guests: he can shoot off a monologue with laser accuracy; it’s Brennan Lee Mulligan!”

Brennan, his back to the camera as the curtains opened, spun on his heel and, with a stone-cold expression, pointed finger guns straight down the barrel, before letting the facade crack open. “Hi!” he exclaimed, and walked over to the leftmost podium.

“It’s his first appearance, but he’s already on fire; it’s the Doctor!”

The Doctor leant against the archway to the stage and flashed a broad smile towards the camera, then in a few skipping steps, had bounded over to the next free podium. What the hell, why not make an entrance?

“And even in the toughest of mazes, you’ll always be able to find him; it’s Grant O’Brien!”

Grant dipped his lanky frame into an approximation of a curtsey, spreading his arms wide, then sauntered over to the closest podium with a grin.

“And your host, me!” Sam announced, a ring of manic white showing around his irises as he beamed down the barrel of the camera. “I’ve been here the whole time!”

“This,” he continued, pushing his microphone shut and stowing it in his jacket pocket, “is Game Changer, the only game show where the game changes every show. I am your host, Sam Reich!” 

As he said his name, he looked at his hands, front and back, as if he was pleasantly surprised to be himself, then gestured towards the three podiums.

“I am joined today by these three lovely contestants! Now, you understand how the game works.”

“Of course not,” Grant started. “You know we don't.”

“We can't, Sam, that's the whole point of the theatre you've set up here,” Brennan said over him. 

“Not yet,” was all the Doctor said, anticipation starting to drum a tattoo of excitement against the inside of his ribcage. 

“That’s right!” Sam said brightly, shooting finger guns at the camera. “Our players have no idea what game it is they’re about to play. The only way to learn is by playing. The only way to win is by learning, and the only way to begin is by beginning! So without further ado, let’s begin by giving each of our players fifty points.”

The Doctor, biding his time, watched the reactions of his fellow contestants. Grant looked at the front of his podium, checking the point total, and nodding approvingly when he saw that yes, it was sitting at a round fifty. Brennan, on the other hand, was starting to frown.

“Players, Sam says: touch your nose,” Sam began, and Brennan sighed the sigh of someone who wasn’t happy to be proved right.

“Oh, no,” he groaned. “Oh, you son of a bitch. Wasn’t one this season enough?”

He touched his nose anyway, as did the others, and Sam smiled encouragingly. “Sam says: touch your ear.”

When they all did, Sam nodded. “Touch your other ear.”

Everybody held still, fingers on the ears they had originally touched.

Sam beamed. “Easy, players, right?”

“You say that now,” Brennan said darkly. “Which makes it worse, because all you're doing is setting us up for failure.”

Sam gasped, pretending offence. “Would I do that?”

“Yes,” Brennan and Grant replied in unison, which drew a grin from the Doctor and set Sam off chuckling.

“And I'm not having it,” Brennan continued, leaning his elbows against his podium and pointing at Sam with the hand not touching his ear. “You better watch yourself, because I know how this game works, and you're not going to get one over on me.”

“Strong words, Brennan!” Sam said, clearly delighted by this response. “Okay, then, let's start making things a bit more interesting!”

The game continued as per Sam Says usual, some rounds done as a group and some individual. Points were won, sure, but lost slightly more frequently, and even the Doctor found he was having to concentrate to avoid getting caught in the host's traps. 

It was fun. Genuinely, it was like playing a game with friends, and the Doctor felt himself leaning into it. There wasn't any sign of danger—maybe there wasn't a mystery to solve at all, and the TARDIS just decided he needed a total break. 

Well, probably not. But the way things were going, he was able to let himself hope. 

“Alright, players,” Sam said a good few rounds in, just as pleasantly as he would start any other question, and the screen behind him dinged as a new prompt popped up. “Survive the death beam.”

For a second, everything was frozen perfectly still. 

And then came the crash, the explosive noise of heavy machinery moving relentlessly through a drywall set.

The Doctor was already moving. “Everyone down!”

“Duck!” Brennan yelled at the same time.

The two of them hit the ground within milliseconds of each other, but Grant was still paralysed in the face of the giant, science-fiction type laser cannon that had just ploughed through the wall. 

It whined ominously, screaming its way to fever pitch. And then a sharp pain in Grant’s ankle made him stagger, pitching forwards onto the carpet behind the podiums as the Doctor rolled away to avoid getting pinned.

“Sorry, babes,” the Doctor whispered. “But it was either kick you to get you down, or—”

A hideous metallic screech ripped through the air, and all three of them could feel the crackle of ozone as a beam of energy swept across what had, moments ago, been neck height.

“…Or that,” the Doctor finished with a grimace.

“Jesus fucking Christ,” Grant breathed, suddenly very conscious of every inch of his 6’9 frame. “Thanks.”

“Well done, players!” Sam exclaimed delightedly from above them. “But… sorry, I didn’t say ‘Sam says’, so that’s a point off for everyone.”

“What the fuck!” Brennan snapped.

“Are you actually insane?” Grant demanded at the same time, his voice overlapping with Brennan’s.

In response, Sam just wheezed with laughter. “You can come back to your podiums,” he said, cheerfully ignoring them.

Nobody moved.

“Very good!” he acknowledged, and even without seeing his face, the grin was obvious in his voice. “Okay, Sam says: come back to your podiums.”

Although the words were innocuous, and his tone was just as light and breezy as usual, there was nevertheless an edge hiding just underneath the surface. And while the death beam loomed large in the minds of all three players, it was impossible to consider disobedience as an option.

Slowly, they stood, returning to their places. Now they had the time to look at it properly, the death beam was even more sinister, and Brennan and Grant both kept flicking nervous glances its way, ready to move if it looked like it was charging up again.

The Doctor, however, was focused purely on the man standing in front of them. Unbothered, Sam met his gaze like a challenge, a mischievous smile playing about his lips.

“Oh, you’ll love this one,” he said, and the screen changed. “Sam says, starting with Grant: say my name.”

Grant frowned in confusion, but answered quickly nonetheless. “Sam Reich?”

The man himself shrugged tolerantly, moving on. “Brennan?”

Brennan just stared at him coolly. “Do you take me for a fool?”

“Well caught, Brennan!” Sam said happily. “Sam says: say my name.”

“Sam,” Brennan replied, suspicion clear in his voice. “Samuel Dalton Reich.”

He nodded, still with a hint of indifference. “And lastly, Doctor.” His smile broadened. “Sam says: say my name.”

It was easy. Too easy. And as the Doctor looked into the eyes of the man calling himself Sam Reich, he felt his hearts stutter in recognition, because something had changed. He wasn’t hiding himself anymore, and while the face was different yet again, the Doctor would know the shape of that soul anywhere. It was impossible. It was inevitable.

“You can’t be,” he breathed. 

Sam smirked, leaning in across his podium. “Oh, but Doctor… I’ve been here the whole time,” he stage-whispered with a wink.

“He said you lost,” the Doctor said, shaking his head, looking wrong-footed for the first time that Brennan and Grant could recall. “You lost, and he trapped you.”

The other two watched, uncomprehending, but Sam just smiled, drumming his fingers against the podium with an audible beat, fast but distinct. Four taps, four taps, four taps. “I’m waiting.”

The Doctor took a slow, deep breath. Set his jaw. 

“Master.”

---

missed an installment of the game master cinematic universe?

original idea by @ace-whovian-neuroscientist: x

art by @northernfireart concept: x scissor sisters sketch: x sam and his doppelganger: x

writing by me (!) part one (escape the greenroom): x part two (deja vu): x part three (sam says 4): you are here!

[batfambrainrotbeloved]

I just bought the original boy wonder comic aka Dicks debute and Oh my fucking god i'm cackling

The entire fucking plot is

Dick: "My parents were just murdered but I know whose responsible, Im going to do the good thing and tell the police"!! Batman: "Lets... not do that"? Batman" Im going to hide you in my home for a while" Dick"???" Batman: "Oh dont worry my parents were also murdered, and I want to ERRADICATE the ones responsible" Dick: "Oh in that case count me in"!!!

[TRAINING MONTAGE]

Dick: "What now that i'm trained"? Batman: "Do you have any experience as a... paper boy"? Dick: "Nope! Why"? Batman "I want you to become a gang target." [FIGHTING GANGS EXTORTING MONEY FOR ZUCCO MONTAGE} Zucco + his gang "Lets show Batman whose da boss eh"? Dick with a sling shot: ":DD" Gang member: "Oh-oh shoot"

Batman pulls a man up from certian death: "You wanna confess"? Blade, the goon: "Yes yes please, it was all Zucco" Zucco not about to let that slide,: "Oh you dirty squealer" Zucco throws him off the fucking crane Batman: "ROBIN TAKE THE PICURE"!!! Dick: "I GOT IT :DD"!! Zucco: "THE FUCK"??? Batman: "Haha- with this sent to the govenor, your boss will be the electric chair"!!

Exposition-

Bruce: "So now your parents death is avenged you ready to go back to the circus"?? Dick: "No, Mother and Dad would like if I continued the crime fighting life, and as for me well- I love adventure :DD"

[owlarchimedes]

Nothing will ever replicate reading aftg for the first time and neil was taken by his father's men with checks notes ONE HUNDRED AND SEVENTY ODD PAGES LEFT?????

I loved it, don't get me wrong but it's not common for a resolution to stretch like that and actually take time to focus on characters healing; its refreshing

[fiona-fififi]

"Eddie has to do so much work on himself before he'll be ready for a relationship, but Buck has grown so much and is ready for a serious relationship now, so they wouldn't make sense together."

Are you serious right now?

Buck dated a man for six months, they somehow barely knew one another in the end, he full body cringed at the idea of being in love with said man, then he basically called him a gay savior and asked him to move in.

If being perfectly mentally well is our measure, Buck is not ready for shit. Please.

That man wants to be in love so bad he is willing to sacrifice every part of himself to keep a partner he barely even knows and who clearly doesn't know him. He is terrified of dying alone and being left behind and that manifests as desperate clinging to any vague prospect that appears before him.

That is not healthy behavior.

They both need to work out their shit. But there is no reason they can't do that together.

Because even people who are not perfectly mentally healthy deserve love, actually.

[scrimblyscrorblo]

This is how he found out btw

[oleafia-art]

some golden guards + caleb

i wanted to take a break and do some character design of a few golden guards based off of some of the ones seen briefly in canon. i also drew hunter and caleb as references for faces and stuff. i tried to make them as similar as possible, but also looking very individual to one another. since belos claimed that hunter looks the most like caleb, i tried to stay true to that while keeping the other three looking similar but not quite as identical. anyways i love them <3 they’re like the most mentally ill family ever to me

these weren’t supposed to be real ocs or anything but then i ended up giving them names and backstories and so i wrote a little about them aaaand now im obsessed. i will try to make a full body ref for them, especially alistair and/or constance, if i have time

i apologize for my godawful handwriting 💔

[keferon]

Hey, saw that you're having a bit of rough day. :(

I'm almost finished the next part.

But, would you like Prowl to bully "the wet bread moron" Josh? (as a treat. there's a part I could slide it in) Like a little petty revenge like get back at people being jerks to orcas?

-GLC

Oh I would absolutely love that yes🥺👉👈

[ayyyyysexual]

shoutout to fucked up yuri. we love fucked up yuri. thank you life series gempearl

i just made so many of these i have a whole other post in my drafts

[nyaa]

Statue of William S Clark, Sapporo. 北へ。/ Kita e. Photo Memories (1999)

William Smith Clark (July 31, 1826 – March 9, 1886) was an American professor of chemistry, botany, and zoology; a colonel during the American Civil War; and a leader in agricultural education. Raised and schooled in Easthampton, Massachusetts, Clark spent most of his adult life in Amherst, Massachusetts. He graduated from Amherst College in 1848 and obtained a doctorate in chemistry from Georgia Augusta University in Göttingen in 1852. He then served as professor of chemistry at Amherst College from 1852 to 1867.

Clark had a significant impact on the scientific and economic development of the island of Hokkaido, and made a lasting imprint on Japanese culture. Clark's visage overlooks Sapporo from several statues and his parting words to his Japanese students, "Boys, be ambitious!" (「少年よ大志を抱け Shōnen yo, taishi o idake」) have become a nationally known motto in Japan.

Read More

[doccywhomst]

i choose to respect susan. i CHOOSE to believe that the acronymic nickname she gave her time capsule was so catchy that it single-handedly influenced all of time lord society and everyone in the universe forever

[evilkaeya]

THIS IS HOW I FIND OUT KAITO AND SHINICHI ARE COUSINS??

[calebsrottingcorpse]

hits him with the pony ray (closeups below the cut)

[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~!"

[2isted-chocol8-art]

I read "the freedom" by @ultimatefeldsparring and surely it didn't awaken anything in me -> More Outer Wilds Art!

[vlasdygoth]

all yours