#gods my writing is fucked up

[finch-the-foolish]

Okay boys, time for yet another round of angst, plushy Jim edition. Whoo. This is because of @pesky-bird7, blame them for my crimes against the little guy. Also if anyone cares I might compile a list on how well I think people can sew in canon just cause.

threads and seams (and how not to tear them)

by lqmie

TW/CW for self harm, suicidal thoughts and actions, body horror

Jimmy had never liked his seams. They were a reminder of what little he was, what little he had become. Nothing more than a little plush, cursed to live on even in this twisted form.

Besides, they had an irritating tendancy to tear, and he often found himself limping into some half-trusted home—usually whoever's was nearby in which he could assume safety—and awkwardly requesting help patching himself up. Sometimes it was by monsters or accidents or his own twisted hand; his answers were usually the former two, and it didn't take long for him to hear murmurings of his latest screw-up across the empires. He was a point of ridicule, after all.

He was exhausted of it. Exhausted of the cruel jokes and the terrible insults and the constant suffering. He was tired of feeling like a sad little creature of plush, skin forever marred by those damned strings.

Every glance at them brought about a strange sort of anger, furthered still by that awful string at his back, which forced a chorus of humiliating phrases from his lungs with each tug. He hated that, too. He hated it all.

One day, if only to avoid more embarrassing visits to some unkind neighbour's house, he made the decision to get himself a sewing kit—he should learn, he reasoned, being a functional toy after all. As terrible and irritating a fact as it was, it was true. And sure, borrowing it from Scott may prove a mistake in the future, but that hardly mattered to him. He was the sheriff, he made the rules. Who cares what the others say?

After fleeing Chromia with his prize, Jimmy headed home, taking inventory of his new kit in one of the many empty rooms of Tumble Town. That was another resentment—this place had long been lonesome, empty, with few travellers and fewer residents still. On the bright side, nobody was likely to walk in on him and his.. newly procured goods.

Jim smiled, carefully pulling apart the contents of the little bag; a handful of seemingly random buttons, countless needles of assorted sizes, what seemed to be a multitude of thread spools, all varying in remaining length, a rather broken looking tape measure, some rusty scissors (two pairs of them, he later found; both of wildly different sizes), and a seam ripper, among other things he couldn't quite remember the names of.

Reaching out across the floorboards, he picked up the seam ripper. There was a strange temptation in holding the tool, a sudden inexplicable urge to tear out those damned seams and- and- do something, certainly. Recreate himself, but better, even if it took tearing himself apart bit by bit to fix it all.

The idea was oddly tempting; he'd always loathed the strange edges across his skin, always despised how prominent the markings were. And there were other things he could fix, too—small alterations he could easily make. He could become something… else. Something better than the frail little creature he was now.

He gripped the thing tightly, quietly considering the idea. After a moment, he shook his head, setting it back, the reality of doing such a thing dawning upon him.

Jimmy didn't approach that messy bag of supplies until several days later. Today had been particularly harsh—a day of rough comments and insults barely veiled as teasing, yet another attempt at violence—dear god, why did they never really kill him? why wouldn't they let the poor man go if they cared that little?—a tiring, awful day which merely drove home the fact that he wasn't good enough, he would never be good enough like this.

Holding back a storm of emotion, he ascended the stairs, finding the bag sat just where he'd left it, hidden in a long-empty barrel where no one would be snooping.

Jim drew in a sharp breath, a shaky hand dragging it from its hiding place. He rummaged through it, and then, unsuccessful in his searching, dumped the contents onto the floor. He didn't care enough to gather it neat; he just wanted to fix himself, however that may be.

He grabbed at the seam ripper, tentatively weighing it in his hand. He wasn't entirely certain how it worked—he never had been with most sewing tools, frankly—but it didn't deter him. Careful, he held out one arm, staring down at the clear line of stitching; as he did, some awful jab at how easy it would be to merely tear him apart floated through his head, sending a shudder through his form. Jim wouldn't let that happen. He was going to make sure nobody could hurt him again.

The sheriff took in another breath, steeling his nerves, and jabbed the blade into the threads. A sharp pain shot through his arm, and he nearly shrieked, allowing only a pained gasp out. He had to be strong. He had to.

Shaking slightly, he dragged the blade forward beneath the thin ribbons of thread, wincing as they were cut. The slicing was awkward, fraying the threads as the blade passed, and some part of him questioned if he was doing it right.

Still, he shook his head, continuing on. A dull sense of wrongness overtook his mind, and he watched the ripper drag further up, tearing sharp into his thread and cloth. Gods, it hurt. His arm burned, aching with a pain which he shouldn't have even felt—there was naught but a strange, fluff-like material beneath his skin, though looking at it made him ill—and every slight movement sent a jolt of further suffering through him.

Jimmy stared at the frayed line, a sudden, sickening feeling swirling deep in his gut. He… he shouldn't have done this. He…

The thought trailed off, lost by an abrupt swirl of memory; all the taunts, all the menacing, hurtful words floated through his ears in an array of harm, and his illness turned to a stark rage. His mind seemed to watch, distant, as he gripped the seam ripper tighter, tearing it across the remainder of his arm's seam, dragging it across his hand's cruel bindings. He hated it. He hated it all. He wanted it gone now.

On the topic of those taunts…

With a crazed, manic look, he turned, tightly grasping the string which was so annoyingly attached to his back. He wanted that gone, too. He reached back with his other hand, slicing at the thing. A sharp pain shot through his back, and he cried out, something in it drawing him to his senses.

He found himself standing there, a seam ripper with the remnants of his many seams and stitches still clinging to its blade clutched in his hand, shuddering terribly. He stared at it a moment, before throwing it to the floor, gaze quickly returning to the horror which was his arm.

It was mangled, terrible, many of the seams poorly ripped and shredded, cloth holding awkward, barely together. He could clearly see the fluffy something beneath, peeking out in those terrible holes which he'd wrought upon himself.

A sharp sob drew up in his throat, and he let it fall, crumpling to the ground. The movement elicited another pained noise, and he curled in on himself, eyes squeezed shut if only to avoid looking at the horror of his limb.

What in the world had come over him? He felt terribly sick, and yet hollow but for the still-singing edges of pain which graced his arm and back with their awful presence.

How long he sat there, Jim didn't know. It seemed an eternity had passed when a voice rang out through the stairwell.

"Hello? Is anyone there? Is-"

The voice, heavily accented, cut off, a head appearing in the stairwell. Jim just stared, eyes blurred from tears and fright at his own actions.

"J- Jim? What in the world-" The figure—Scott, he now realised—looked over the scene, gaze soon fixing on his largely-limp arm. "Oh. Oh shit."

He started over, crouching down next to the smaller man, who simply looked away, tears still freely falling from his face.

"Jim- what happened?" Scott stared at his arm, eyes wide with horror at the torn cloth, the twisted remnants of thread which had been so poorly removed.

"I- I couldn't take it.. I wanted it gone… I- I hate it- I hate everything-" The words were stuttery, broken by choked sobs, barely coherent.

Scott paused a moment, before carefully venturing, "You… did this? You cut your… seams?"

The sheriff glanced at him, giving a hesitant nod. His uninjured hand gestured weakly to the seam ripper, still cast aside on the wooden planks.

Scott stared at the thing, the pieces quickly falling into place in his mind. Then, he turned back, gently grasping Jim's unharmed shoulder.

"Why, exactly, did you cut them? Are you-" Scott stopped, suddenly, spotting a thin cord left on the floor just behind the pair. One hand, shaky, rose to his mouth as he realised what it was.

"J- Jimmy-" He pulled the small man into a light hug, careful not to disturb his wounds. "I…"

Scott sat back, a soft sigh escaping him. He could ask questions later. All that mattered right then was making sure Jim didn't fall apart completely.

"C'mon. I'll help fix up your arm, if you're willing to let me."

Jim paused a moment, before nodding, letting Scott take his arm, wincing at each small motion.

It took what felt like hours of careful work, hours of twinging pain, but Jim's arm was finally restored. As for that stupid drawstring, he'd managed to convince Scott to leave it, his disdain of the thing coming in drawing, sharp breaths as memories of all the times others had taken advantage of it returned.

Scott bandaged up the wounds, too, setting Jim's arm into a little makeshift sling to keep it from tearing anew. Alongside these physical repairs, though, were more mental assurances, promises that he was not hated, not despised and unwanted, that there were people who cared, who loved him as he was.

It was hard to believe, after all that time of hurt, but Scott still stayed with Jim for several days longer, watching to ensure he recovered. He took the sewing kit as well—he'd been wondering where it had gone ages ago—and Jimmy was glad to see it gone. Perhaps he could afford to stop in Chromia next time he had such an accident.. perhaps he wouldn't hear of his misfortunes for ages to come there.

Perhaps he really was loved. Perhaps he really was enough, even as a being of thread and cloth. Perhaps he could be alright.

[lucabyte]

monologue

[proselles]

clinging to the sex warning for arcane like an angst with a happy ending tag on ao3

[magpie-trinkets]

continuing that "maya tries to contact claire" post, i present you the post-Spirit of Justice follow-up

[bread-that-draws]

Flowey’s so funny and has me so fucked up like he’s a talking flower. He tries to kill you upon your first interaction. He is ten years old. He is damaged beyond repair. He’s a flower named Flowey. He’s become friends with every single character. He’s killed all of them countless times. He knows everything about everyone. He doesn’t care anymore. He takes care of his mom when she can’t take care of herself. He’s killed her before. He doesn’t care if you kill her. He thinks she’s trying to replace him. He just wants to be himself again. He wants to destroy everything. He hates you. You’re the only one who understands him. He wants his best friend back. He’s terrified of them. He believes in kill or be killed because he died by giving mercy to the wrong person. He believes himself to be the wrong person. He doesn’t understand when you show him that kindness he showed others, even when you know he could kill you for it. He’s tried every route. He asks you if you have anything better to do when you try to do the same. He’s a direct reflection of the player. He’s a fucking talking flower named flowey and his only voice line is by Ronald McDonald and his officially licensed plush does a little dance for you

[idyllcy]

Concept: Jaime having a lot of left over adrenaline from a fight so he fucks the reader up against the nearest wall

post-fight. - jaime reyes x reader (nsfw warning!)

it happens more often than Jaime admits, but less often than you complain to him about it for.

Jaime has you pressed against the back of the wall in some run-down alleyway, only half of his suit deactivated as he's rutting into you desperately, the sweat and blood still on the back of his armor, his sweat running down his sides as you cling onto his biceps for life, exhausted panting and whimpers slipping past your lips as you stare at him disappear into you with a lewd squelch each time.

"I'm sorry." He whimpers into your ear. "You just— looked so good, mi vida, I just—"

You moan as he presses his lips to yours, desperate to muffle the moans coming out of your mouth, yet wanting to keep listening to them. Maybe swallowing them would work.

It doesn't, but Jaime does get the reward of you biting his bottom lip as he feels you spasm around him, your orgasm ripping through your body as you gush around him, and Jaime only speeds up to chase after his own high, pulling from your lips to tell you how pretty you were, whimpering and moaning quietly over you, eyes raking your body to see how dazzling you were when covered in a layer of sheen from the sweat.

and when he feels his own orgasm rip through him, chest pressed to yours as he gasps into your ear, he makes sure to clean you up, tongue pressed to your you, drunk on the taste of you and him mixed together, hums from his chest shooting up your spine and causing your fingers to fly to his hair, whimpering.

and when he finishes, his suit finally comes off completely as he holds you in his arms, mumbling into your ear about how good you were for him, how he was sorry for taking the adrenaline out on you again, pressing you to his chest as he lets you fall limp in his hold and get some well-deserved rest, he presses a kiss to your forehead and takes care of the rest. After all, it's the least he can do for you.

reblogs are appreciated ( •́ω<;)✧

[alexturner]

thinking about tranquility base hotel + casino today and about how fucking cool it was. like what do you mean you were done writing love songs so you watched a million movies, locked yourself away in your home recording studio (that you named the lunar surface), and wrote a semi-concept album about a hotel on the moon that you invented in your head? where you're both the receptionist and the lounge singer performing two shows a day four nights a week? completely with a taqueria that gets four stars out of five? as mentioned in the lead single that's literally a faux advertisement for the hotel and all its accommodations? in the video for which you play evil twin versions of yourself? and you made a 3d model of the hotel that you singlehandedly, painstakingly put together using cardboard and an x-acto knife? with a sign that literally spins around if you put in on your tape recorder and turn it on? and you made a picture of that model the cover art for the album?

[supermanddntdieforthis]

My coworker: your drawings are really good.

Me: Oh, thank you! 👀

The drawing in question:

[tls123]

thirty-one days of jiujiu(ly) — 2024 edition // day twenty-nine + with bonus lan wangji ! + find the 2022 edition here

[kiaxet]

HOW ABOUT THAT @somerandomdudelmao DISASTER TWIN REUNION, HUH

Went a little feral to the tune of 2.2K words of self-indulgence. What else is new?

~~~~~~~

Donnie can't sleep. More accurately, he won't sleep. Not until he's done. He'd never been one to leave a project unfinished; death and resurrection hadn't changed that.

He taps incessantly, repetitively, on a keyboard and screen, the motions long since past inputting data and now only serving to keep him awake. The repetition is soothing, easy, and - counterintuitively - he finds his head drooping forward into sleep-

And he snaps back upright. No. Not until he can confirm Leo is okay.

Leo is behind him, he knows. Breathing. In bed. Asleep. Very much alive. And-

He jumps and whips around as a thud sounds behind him. "What the-"

Leo is on the floor.

Well, that answers the question as to whether his twin is awake.

For a fraction of a second, part of him wavers uncertainly. He loves his idiot twin. The question he hasn't been able to answer is whether his reaction to Leo waking up will fall on love or idiot twin-

"Leo!"

He can hear the exasperation in his voice, and yep, it's the latter. He takes a knee next to Leo and hauls him into his arms, lecturing him all the while, and if he can hear the annoyance in his voice then Leo sure as hell can. Sleep deprivation for the purposes of keeping his brother's soul alight had done nothing for his temper. "I swear to God, all you had to do was make a sound! Why are you such a difficult patient?"

He deposits Leo carefully on the bed - "Sit still!" - and checks him over, running every scan he can think of and making sure his brother's new body really is in good working order, spouting increasingly irritated commentary all the while. Of course the fall didn't hurt him - Leo is tougher than that, and Donnie does better work than that - but he still can't help the rising anxiety in his throat.

This almost didn't happen.

"-stupid, stupid selfless idiot!"

Donnie almost couldn't save him.

"Grrhh-"

Leo nearly died for real. Permanently beyond Donnie's reach. Well and truly gone-

"Do you have any idea how close you were to having nothing left to save?"

And now here Leo is, in perfect health, sitting on Donnie's bed with a big dopey grin on his face as Donnie chokes on his anxiety and damn near shakes himself apart-

Oh for fuck's sake.

"Hey. Are you even listening?"

Leo speaks up for the first time since he's woken up, voice shaky from disuse. "D-Donnie?"

And that is not a goddamn answer to anything Donnie has been saying, because of course it isn't. It's Leo. He's always had his own priorities. "Yeah. No. You're not fucking listening." Donnie heaves a long-suffering sigh, sinking back into the routine comfort that irritation at his twin provides. "At least you're talking." Small favors. "Although I'm surprised you're not throwing your stupid jokes at me." Even smaller favors.

He stops short as Leo's hand closes around his wrist, drawing Donnie's arm to Leo's plastron. "You're real," his brother breathes, looking from Donnie's hand to Donnie himself with tears streaming down his face. "You're real!"

And then, in the space of a thought, Leo's joy breaks, his smile turning desperate. "Are you?"

For a moment, Donnie stares at his twin, wondering at the sudden change in expression. He takes a breath-

And the part of him that had lain dormant for so long after he'd woken up - the part of him that had been screaming for his twin's safety ever since they'd recovered the few scattered embers of Leo's soul - gasps to life, blooming like a time-lapse video of a flower and reaching to the edges of Donnie's soul. Leo had called it their twin sense, and Donnie hadn't had it in him to argue after a while. Whatever it is, it's back, connected to Leo's renewed presence, and-

Donnie's heart floods with emotions. Relief and joy sprout quickly and are nearly swept away in a tide of exhaustionanxietyfearfearfearfearFEAR-

But down beneath it all, steady against the rising wall of terror, is the little blue spark of hope that his brother always carried. His core. The thing that let him continue on in the face of insurmountable odds, and lent that same strength to everyone around him. A ninja's greatest weapon.

It's Leo. It's Leo-

And Donnie can't leave him alone in his fear. Not when there's no need for it. Not when they're safe.

He lets that breath out, and sits next to Leo on the bed. "Mhm. I'm alive. And you're alive. We're safe. The Krang are gone." That's all the news that's fit to print, or at least the most important parts. What else does he have to say?

Oh.

"I'm sorry I..uh…"

He's sorry he what? Died? Left a mess for Leo to deal with? Didn't do enough while he was alive to keep everyone else alive in turn after he was gone? Kept his brother's soul in a fucking mug, because that was the only way he could ensure he wouldn't break it while Leo was still fragile? All of the above?

…yeah, it's all of the above.

He owes Leo one hell of an apology, and he's never been good at any of this, so instead he shrugs haplessly and leans forward, pulling Leo into his arms and hanging on tight.

It's a matter of moments before Leo has him flat on his shell on the bed and is sobbing into his arms. Normally he'd hate seeing his twin cry, but it's proof of life - proof that Leo made it, that his soul is intact enough for him to still be Leo, that he's alive and awake and here - and Donnie will take it.

And if he's squeezing Leo back pretty hard himself, well, that's fine too. Nobody else needs to know.

~~~~~~~

Donnie is yelling at him.

Donnie is strong enough to have picked Leo up off the ground, well enough to be on his feet without support, running tests and reading Leo the riot act over his latest boneheaded maneuver - in this case, forgetting he was missing an arm and falling out of bed.

Donnie is yelling at him, because Donnie is here to yell at him.

And Leo is smiling, because he couldn't be happier. He lets the words wash over him, draping over his shoulders like a favorite cozy blanket that he'd lost so many years ago, and he basks in the warmth that is his brother's voice and smiles.

It's enough to interrupt the yelling for a question, though he doesn't really hear it - just keeps smiling, and says Donnie's name, and it's so nice to be able to say it with a smile now, because Donnie is here-

-he is, right? This isn't just a dying hallucination on Leo's part, right?

(It couldn't be- he remembers his death, remembers breathing his last, remembers being trapped- but this-)

He reaches out, taking Donnie's wrist in hand, and pulls his brother closer to him. "You're…real…" It certainly feels real - skin and scales, softer than his own, and his fingers barely fit all the way around the wrist instead of encircling them with room to spare - and he stares down at it, tears rolling down his face as he finally looks back up at his twin. "You're real!"

The Krang show you what you want to see.

The thought strikes him unbidden, turning his joy and relief to ice. It's a well-known fact: a Krang infection can show its host what they want to see, visions of comfort and family and home, and extract intel from the host's reactions. He knows that- he knows that, and-

And he'd died surrounded by Krang- and even if he couldn't see or hear or feel, he knows he'd been held captive-

But it's Donnie- he wants this to be real- he needs this to be real- he wants his twin back so badly he can't think, and the idea that this could be a Krang hallucination is almost too much to bear-

"Are you?" He can hear how choked the words are as they leave his lips, but he needs to know-

And Donnie stops, and sits down next to him, and tells him everything he wants to hear - everything he could've ever wished for. They're alive. They're safe. The Krang are gone. It all sounds too good to be true.

And then Donnie offers him an apology and a sad half-smile, pulling him into a strong hug-

And the ice in Leo's mind shatters in a flood of warmth as his twin sense opens for the first time since Donnie's death. He feels his twin's irritation, and deep-seated exhaustion, and a choking wave of guiltguiltguiltguiltguilt-

And beneath it all, steady and strong as ever, the thrum of unending determination, powered by an unfathomably deep well of love. It's the backbeat to the melody of Leo's life, the point-counterpoint to his own heartbeat- it's something he'd never had to live without until he did, but it's back, rushing in to fill the silence he'd known with the strength to go on and the knowledge that he is loved loved loved, strong and overwhelming and all-encompassing in the way only Donnie can love-

It's something the Krang could never imitate.

This is real. This is all real-

He throws himself against his twin, toppling them both over on the bed as he clings to Donnie, unable to stand even a fraction of an inch of space between them, as though he could push their hearts together through their plastrons, and he cries, sobbing out worry and terror and grief and the slow, crushing exhaustion of a losing battle finally lost. He cries as though the world was ending - and it had, once when the Krang had invaded and again every time he'd lost a member of his family, over and over until he'd sent his last hope through a portal that had cost his littlest brother his life and succumbed to death himself.

And now he's alive. Here, wherever here is, with Donnie. Clinging to his twin, and being held in turn as Donnie gently sits them both up, never letting go as Leo cries himself out.

It takes a while - long enough for Leo's gaze to settle into a stare and his thoughts to settle into a comfortable static. He's alive, Donnie is alive, and he has no fucking idea what else is going on, but he's just going to be okay with that for now.

His thoughts rouse enough to inform him of something wrong - the line of tension Donnie is carrying down his neck and over his shoulders. That won't do. Leo could try to massage it out with one hand, maybe try to get Donnie to talk about it, but Donnie never likes to talk about it, and Leo isn't one for slowly soothing away tension when he can just take an axe to the release valve instead. Plus, it gives him something definite to focus on, instead of…this whole situation. Whatever 'this whole situation' actually is.

Donnie had mentioned his stupid jokes, right?

"H-hey Dee?" His voice wavers from disuse, thick with tears, but he pushes through. "Why did- why did the tree buy a camera?"

"What?" Oh, Donnie is not going to see this coming. Excellent.

"To do a photosynthesis." It's nowhere near the level of pizazz he normally uses for a punchline delivery - he's still too tired and frazzled and clinging to Donnie entirely too hard for that - but that beautiful pause of a terrible joke sinking in tells him it had hit home nonetheless. Donnie moves - he can hear the telltale slap of face meeting palm - and then breaks down into helpless laughter, smacking the back of Leo's shell as the tension Leo had felt in his twin's shoulders abruptly relaxes. Good. It worked.

"This is so fucking stupid," is all Donnie manages as his laughter fades, and he slumps fully against Leo with a murmur. That's...abrupt. Sure, Leo had felt Donnie's exhaustion, but he hadn't realized it'd been that bad. He takes hold of Donnie, gently laying him down on the bed to rest-

Remember what happened last time Donnie fell asleep next to you.

He gasps sharply at the thought - not again NEVER again - and keeps his hand steady as he moves, laying both fingers gently against Donnie's neck and feeling for his pulse. It's easy to find, strong and steady and even, like it had been before the infection had taken Donnie's vitality and then his life.

But he's alive, and healthy, and sleeping. He's okay. And Leo-

Leo moves his hand to the side of his own neck. His pulse is also easy to find, quickened with the adrenaline of an unknown situation and multiple consecutive shocks to his system.

Okay. Take stock. Assess. Figure out a plan from there.

He's alive. Donnie's alive. The Krang are gone. And everything else…is a big fat question mark, with no easy answers and no indication as to where to begin looking for them.

Well.

Uh.

"What the fuck," Leo whispers to the room at large, as though the walls could answer.

~~~~~~~

(A world away and still very close, a younger pair of twins cling to one another the way a drowning man clings to driftwood: desperately, clutching tight, as though letting go will spell their doom. Neither of them know where the emotions came from, or why; all they know is that each of them are damn glad the other is alive, and they'll do everything they can to make sure that continues to be the case.)

(What the fuck, indeed.)

[toytulini]

listen im ace and im pro kink at pride and whatever, but the way some of yall are wording your posts in response to the backlash against it is uh. really taking me back to the ace shitcourse era.

yall know theres nothing wrong with being a "virgin", right? that its not inherently shameful to have not had sex, to never have sex, even if youre not ace, even if you do want to have sex someday, like, its fine that you haven't had sex?

maybe if your problem is that theyre trying to police your behavior and shame you for expressing your sexuality, you can say that? instead of resorting to "haha stupid virgin gets no bitches" like my god. do you not hear how fucking regressive that attitude is? i know, i know, youre "joking".

get a better joke

[bisclavret]

this is so funny i knew eoin said he thought gwaine got up and went on his merry way with a concussion and zero recollection of the entire series but i didn't know he got super excited about making a short film about it. it's kind of a huge-brained idea actually since gwaine's character arc starts out with a concussion. mr macken please this could be your magnum opus there is still time

[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~!"

[chatdae]

I'm watching ep3 of Yuri on Ice again and wow, Viktor having Yuuri skate Eros really is so fucking wild to me. On the one hand: reasonable choice. Viktor wants Yuuri to surprise the audience. He knows Yuuri can perform like this (cough banquet cough) and he knows that Yuuri capitalizing on this potential could win him the season.

On the other hand: oh my God. Does Viktor want to torture himself.

Listen: Yurio says Viktor was contemplating choreographies for himself during the past season. So, Viktor's been thinking about Love as a theme for himself. Man is 27. Everyone's asking him if / when he'll retire. He's considering his future. He's been thinking about love. He's considering his future he's been thinking about love He takes a season off, flies to Japan -- for Yuuri--,, he has Yuuri (who ran away from Viktor's flirting in ep2!) skate Erotic love. (aka the emotion he didn't return to Viktor during Viktor's first days in Japan ((aka an emotion that Viktor's been thinking about for a while (((aka an emotion Viktor believes Yuuri can pull off (because he's SEEN Yuuri pull it off (((at the FUCKING BANQUET where he flirted on Viktor THEN DISAPPEARED))))).

TL;DR this Russian knows how to pine.

[astrobei]

in my heart of hearts mike wheeler is absolutely an athena kid but i also have to offer up a concept that i think has extreme comedic and dramatic potential aka: repressed gay teenager mike showing up at camp half blood unsure of who his godly parent is and feeling insecure about not having powers and one day when he’s making not-so-secret heart eyes at his best friend and son of apollo will byers is when a bunch of glowing floating hearts show up above his head. and that’s how mike gets claimed by none other than aphrodite, the goddess of love and sexuality, and is in full denial about it for three days because he thinks it’s some kind of sick and twisted JOKE

(on aphrodite’s end, she’s upset mike is throwing away the gift of true love and keeps trying to trick him out of repression by making more and more improbable and hilarious gifts appear when he and will are hanging out. mike hands will a book and it turns into a box of chocolates and he has to fling it away like a frisbee before will sees it. they’re having lunch and romantic music starts playing. she gives mike the same blessing she used to claim piper and will can’t even look in his direction for a full day because he starts blushing so hard. fifty bouquets of flowers show up at the apollo cabin’s doorstep with a note that says love, mike and by the end of it, mike isn’t even repressed and unsure about his sexuality anymore — he’s just trying to not throw himself into the bonfire out of sheer embarrassment)

[persephryne]

Making Aegon a rapist was straight up bad and lazy writing.

Let me elaborate.

In the show, the first thing we learn about Aegon as an adult is that he is a rapist. We haven’t seen him yet but still we already know that he is an horrible despicable rapist, especially since Dyana is so young, which pretty much makes him a pedophile too. How could anyone root for a man like that ? And that’s where the problem begins.

Rhaenyra had already been established many times as the rightful heir to the throne in season 1. It has been made obvious that she would make a decent Queen too. In the meantime, it had already been shown that Aegon is not even a good person. He’s selfish, inconsiderate, a bully, and does not act like a prince at all. To put it plainly, he sucks big time and we as viewers already know it. Add what we saw in season 2, how reckless he gets, how he’s an alcoholic immature asshole, how he obviously knows nothing about strategics nor how to rule efficiently, or even how bad he is at high valyrian, and you can’t have anyone tell you in good faith that he would’ve been a better ruler than Rhaenyra.

However, had Aegon not been made a rapist, you would still feel for him even though he is not cut out to rule. Because he knows it too and tried to escape it and he was forced to attend his own coronation . Because this crown that he did not want does not fit him, even though he really tries to show that he is not as worthless as everyone seems to think and he just keeps failing. You would feel for him because the war ,that he has started when he was made an usurper by the people around him, has cost him his son’s life. Because the brother, who is partially responsible for his son’s death has now betrayed him and tried to kill him with dragonfire. Because the injuries he suffered make him look more and more like his father who never cared for him, never loved him and that he definitely hates. Which also probably why he tries so hard to make his mother proud of him and love him but he can’t and his main attempt has left him half-dead, half-burn. Not only that but his dragon, with whom he has the strongest bond known in Targaryen’s, history probably died during this futile attempt to prove himself. The only thing about his Targaryen’s heritage that he seems to care about has been destroyed all because he wanted to prove himself. Because he truly resents his Targaryen’s, his father’s heritage, it’s obvious, just as it is obvious that he didn’t want to marry his own sister but was forced to. It’s completely legitimate of him to want to distance himself as much as possible from everything that is Targaryen related. He is indeed more of an Hightower than a Targaryen, but can you really blame him for that ? Would you not try to fit somewhere else too, if you were in his place ? It’s all absolutely and undeniably tragic.

I wholeheartdely believe that, even if you would’ve root for Rheanyra to be Queen, you woud’ve probably still thought that Aegon, as bad as he is, did not deserves this much pain.

But because he is a rapist, well, he honestly does.

By not trusting the audience to see that Aegon is not a good person, nor a good a king, without having him comitting a literal crime, by making Aegon a rapist, the writers have annihilated any possibilities for an internal conflict regarding Aegon and Rhaenyra. The whole concept of « teams » just goes down the drain because of this lazy, manichaean, writing. And that, my friends, is bad writing at its peak.