#i do anything but actually write

[tragicclownwrites]

🤡

[maeamian]

If you saw me agreeing with being annoyed about wasted helium in a fictional context and were like "I bet she has some more helium based anger in her life" good news LAPD fucked up a raid on a medical facility they thought was a pot farm and flat out ruined thousands of gallons of the stuff.

[bacchuschucklefuck]

they tried to rebrand as The Criminals but riz is literally the city council's treasurer and also turns out people in their late 20s don't really name their friend groups. so now they're The Intrepid Heroes

[bunnieswithknives]

Thanks.

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[fifthnailinstevesbat]

thinking of a new steddie fic/au hmmm.

It’s just the classic, Steve buys weed from Eddie in season 1 era, he and Tommy meet him at the bench in the woods behind school. Steve and Eddie have some playful banter and clearly get along, but it’s dismissed as just a drug deal and they go on about their lives.

Next time they meet is when a frantic Steve comes and finds Eddie after he’s just fought off the demogorgon for the first time. He’s rattled, and skittish, wearing a nasty black bruise on his eye, and just overall not acting like himself. He snaps at Eddie multiple times to just ‘hurry up’ and ‘get him his stuff’, and sure he’s being an asshole, but more than anything Eddie is just concerned. He has never seen The King Steve Harrington lose his cool like this. So Eddie cautiously gives him the weed, making sure not to give too much, and lets him go about his day, but not before asking if he’s alright. Steve clearly wasn’t expecting this and brushes it off defensively, but that doesn’t mean he’s not thinking about it for the rest of his week. How the hell did Eddie Munson notice something was wrong, when his own parents didn’t? Nor his “friends”?

They cross paths again a year later, the beginning of season two. Steve is still with Nancy and has freshly dumped his old douchebag crew of superficial friends. He is still sitting quite comfortably on the higher ranks of popularity, but there is no denying his status is not what it used to be. He comes to buy weed from Eddie in the first week back at school, and it’s a casual interaction. He’s still as charmingly stuck up as he ever was, but now without Tommy there to judge his every move, he seems a little more at ease when making casual conversation with Eddie. Eddie doesn’t mention the year before and Steve is so glad for it, secretly very embarrassed that he went to Eddie for some refuge after arguably his most traumatic experience to date. He gets his stuff, giving Eddie a smirk when he notices he’s dropped the price significantly for Steve when it’s just him alone. Eddie gives him a challenging smile back, almost daring him to call it out, but he doesn’t. They both just laugh and part ways.

The next run in is tina’s halloween party. They notice eachother when Steve first arrives, making eye contact and giving a polite nod. Maybe Eddie lifts his drink up to Steve in a silly salute. They don’t speak at all or make any effort to hang around eachother. That is, until Steve storms down the stairs in a rage after he’d gone up there with Nancy Wheeler. But then are those- tears? Eddie was standing on the front porch smoking a cigarette, trying to discreetly hide from one Billy Hargrove to avoid having to sell him anything, but staying visible enough that he won’t lose all chances of making any money tonight. Steve storms right past him and hits his shoulder. Eddie whips around and is about to call him a dick before he sees who it is.

Steve tries to quickly wipe his face, he won’t make eye contact with Eddie, and he’s clearly trying to get out as fast as he can. Eddie doesn’t let him, though, since he’s obviously not thinking very clearly and is most likely about to do something emotional and stupid. He asks if Steve’s alright, and his answers are all short and rushed, so he’s definitely not. They’re not really friends, but Eddie’s not an asshole.

— “Did you drive?” Eddie asks

“Yeah”

“Well, you’re drunk, Steve. You can’t get behind a wheel right now. And if I knowingly let you, then that makes me an accomplice. I’ll take you home.”

Steve tries to protest, attempting to push past him, but Eddie interjects. “Yeah, yeah, alright! Don’t thank me yet, Steve’o. This is not for you, see, I’m not trying to get a criminal record, here. I cant go to prison, Steve. Do you know what they’d do to a pretty guy like me in prison? Nope, let’s go hot stuff.” —

Eddie takes Steve home. They don’t talk much. By the time they reach Steve’s drive way and Eddie has put his van in park, Steve is making no attempt to exit the vehicle just yet. Eddie doesn’t know what to do, he didn’t really plan this far, so he’s just tapping away awkwardly at his steering wheel while Harrington stares down the dashboard so clearly lost in thought Eddie fears his head might explode. Steve tells Eddie what happened, says it’s ‘relationship troubles’, and he’s not quite sure what compelled him into being so honest with Eddie Munson, but he’s blaming the alcohol. Eddie wasn’t expecting that. They chat for a bit, Eddie makes Steve laugh and considers the whole night a success after that. Then they start cracking jokes about their shared hatred for Hargrove, and Steve looks and sounds a bit more ok to go inside. He thanks Eddie, quite sincerely actually, and it throws him a bit. He stutters a ‘yeah, for sure. It’s no problem.’ And Steve goes home.

After that, it’s a little different. Steve, doesn’t actually really have anyone, anymore. When they go back to school he’s now greeting Eddie here and there in the hallways, making conversation when they find themselves alone together, in the lunch line or at the bathroom sink. He doesn’t approach Eddie when there’s too many people around, though. As much as he’s grown, Steve Harrington still carry’s some prejudice in him about how certain things may make him look. But it doesn’t bother Eddie too much. It’s not like they are really friends, they’re just like, strange acquaintances. And Steve would never deny that they get along, that really Eddie’s ‘not so bad’. So that’s a win.

Steve finds Eddie again not long after the party to buy some more weed, a plan that sparked purely out of boredom. Eddie says yes, of course, but tells him if he wants it today he will need to wait till after school and meet Eddie at his place, since he was busy. So Steve takes a trip to the Munson trailer to make his deal. Eddie invites him inside and they sit together on the couch as he gets Steve’s bag ready. They end up making quite pleasant conversation, joking around and ultimately finding they are really enjoying each other’s company. They enjoy it so much so, that Steve ends up smoking there, with Eddie. So now they are kind of like, hanging out? And it’s fun, so they do it again. Still they’re not, friends friends, they just get along. Eddie just sells Steve weed sometimes and they keep it civil.

He doesn’t hear from Steve for a while, and the next time he sees him it’s from a distance, in passing. The man has the most roughed up face Eddie has ever seen, bruised and swollen in multiple areas, stitches and bandages all over. It’s really, concerning? completely metal, but alarming. This is the second time Eddie has seen the guy all beaten up like that. He knew that boys fight, but surely not that bad? As worried as he was, Eddie doesn’t approach him to ask questions, because they don’t know eachother like that. So he goes on about his day, and he doesn’t see Steve again after that for quite some time.

Then it’s summer, Eddie isn’t graduating again, and he’s not really sure what to do with himself over the break. The new mall has just opened up, and there’s a cool music store up on the second floor that he likes to visit sometimes with his band friends. And wouldn’t you know, working at the Scoops Ahoy located directly across from his favourite store, is Steve Harrington. The guy hasn’t come to Eddie for any weed since last year, and then there was that sighting where he looked like he’d just fallen face first into a flying fist or two, so it’s been a minute since Eddie’s seen him. And he’d be lying if he said it wasn’t a nice surprise. He only goes into scoops once. He’s curious, okay? Sue him. And, he knows the girl who works with him, Robin. So he plays it off like he had no idea he’d see Steve there. And to his surprise, Steve actually acknowledges him. He doesn’t act like Eddie is a total stranger just because they’re not in school anymore. The interaction is quick, they make very casual conversation, Eddie says hi to Robin, grabs his milkshake and goes home. That’s all. He doesn’t go back, and he doesn’t really plan to. Steve’s nice, and he knows Eddie’s around if he needs to buy from him again, and that’s really as far as their relationship goes. That’s all it ever was. It’s been fun getting to know Steve Harrington a little bit better, even if it was just for a short time. Eddie liked having the chance to see in past the quaffed hair and pressed polo shirts to learn that Steve was really just a person under it all. He never thought he’d say it, but Harrington wasn’t so bad. It was a nice little eye opening experience for Eddie.

Eddie was ready to write off his little blips of interaction with Steve Harrington as a thing of the past, no hard feelings, and move on with his life. That is, until he gets a knock at his front door in the middle of the night afew days after the big mall fire. And it’s Steve on the other side. And he looks awful, his face is the worst Eddie’s ever seen it. And he wasn’t really knocking, more like pounding. He says he needs Eddie’s help.

What the fuck?

[kingdomvel]

Steddie | 2.3k | first part

“Okay, what was that?” Gareth asks the moment they are inside the room they are using as a dressing room for tonight.

“What was what,” Eddie answers.

“You know damn well what I mean.”

Eddie doesn’t answer, putting his best poker face on.

“That weird mating ritual you have been performing with the boy in the front row the whole night, maybe?” Jeff adds.

“I have no idea what you are talking about.” Eddie says, his voice flat as he tries to avoid the other’s gazes. He takes a towel to dab at his forehead.

“Come on, man,” Freak butts in, “you told him to stay after the concert, you have told Chrissy to get them here. We said we were not going to be that kind of band, that we were going to be like My Chemical Romance: no groupies and after concert dnd sessions.”

“Yeah, if you go with that guy what happens to our dnd session.”

“We can play dnd any other day, okay?” Eddie snaps, his hands stretched in front of him. A part of him thinks he looks like that meme of Chris Pratt in front of the dinosaurs, the other part of him detests that he thought of him. “I will make it up to you.”

“Who are you and what have you done to our DM?” Freak asks, his voice serious.

“Yeah, what is this talk about postponing dnd for some boy?” Gareth adds, there is something in his tone Eddie doesn’t like.

“Some boy? Some boy? Am I the only one with eyes in this fucking band? He is the hottest person that has laid eyes on me and I’m not letting you fuckers take that opportunity from me for one session of dnd or I swear to God I am killing every one of your characters.”

The boys don’t answer, they look at him with wide eyes and raised eyebrows.

“Wow” a voice says from behind Eddie.

He doesn’t recognize the voice but the expressions on the rest of the band in front of him make him freeze. They go from slightly annoyed to wary and to bemused. Mainly a mix of all at the same time.

The sounds of steps approaching them break the silence that had fallen in the room, before a voice finishes breaking it.

“How does dnd work with you nerds anyway, are you all bards or what?”

The boys drop their mouths open. Eddie still doesn’t recognize the voice, but there is only one person it can belong to. He sounds just as good as he had imagined. Eddie is honestly afraid of turning around after what the boy- Steve- has surely heard.

“Don’t pay attention to him,” a woman’s voice says. There’s the sound of a hit and a quiet ‘ow’ from Steve under it. “He is just trying to sound all confident after whining-“

“Robin.”

“Telling me to not get my hopes up because he probably wasn’t anyone important and you just did this every concert-“

“Robin.”

“But of course he is the luckiest bitch in this planet and has his instant crush reciprocated and-“

“Enough!”

There are some muffled noises that Eddie can only guess are the girl trying to continue speaking. He wishes she wouldn’t stop. His knight in shining armour may be embarrassed, but the rant has put a smile on Eddie’s face, has given him confidence again. He crosses his legs and turns around slowly, his hands coming up beside him.

“By all means, let her continue.”

The adonis, the hottest man that has laid eyes on him, his knight in shining armour, Steve takes his hand away from the girl’s mouth and rubs it on his jeans. Eddie can only guess the girl has licked it. God he wants to be her so bad right now.

“Hey,” Steve says, his hand coming up for a small wave. “Sorry about Robin.”

“No need for that. I’m Eddie.”

“I know,” Steve answers with a cocky smile as he crosses his arms.

“Oh and now you are acting all full of yourself as if you didn’t ask for the name of the band like 20 times 2 hours ago.” Robin says.

“Will you please just shut the fuck up?” Steve asks with the confidence only a best friend can have.  

“Not a fan then?” Eddie asks amused.

“Not really my scene,” Steve answers. There is a scoff behind Eddie, and if he wasn’t so lost in Steve’s brown eyes, he may have moved to swat whoever it was. “But I sure am a fan now.”

There is now a groan behind Eddie, but he can only focus on the way his heart jumps at the words, the way Steve’s mouth lifts in one side in a smirk, how his eyes spark.  

“I can get you front row tickets to all the gigs, baby.”

There’s a gagging noise being Eddie, and this time he does turn around to swat at Gareth. The little shit just laughs at him.

When he turns back towards Steve he is looking between them with a smile on his lips and he looks- damn- he’s been looking beautiful since he saw him at the beginning of the concert that night, but now his hair is a mess from the almost two hours of sweating and moving around and Eddie’s on stage confidence is slowly being replaced by his fast beating heart.

“Look man I-“ Steve starts, “I don’t want to be a problem,” he adds, glancing behind Eddie as he bites his lip. The girl next to him- Robin- turns to him with an incredulous look on her eyes that Eddie is sure mirrors his own. “But you are hot, I want to take you on a date, and the others wanted to meet you.”

Robin rolls her eyes and looks at Eddie with an eyebrow up.

“The others?” Eddie manages to say, just before he remembers the teenagers around Steve all night.

“Yeah, they are with Chrissy, I asked them to give us five minutes before coming.”

Eddie is about to say something, maybe ask about the date Steve mentioned, but in a second the door is filled with said teenagers, the one with the curly hair in the middle of it.

“YOU GUYS ARE LEGENDS!” he exclaims. It makes Eddie less annoyed about being interrupted. No one has really called them legends before, they have just surpassed 150k listeners in Spotify.

It feels good hearing it.

The dressing room fills with chatter fast, the boys and the teenagers getting along without problem. They take photos, talk about music, about their instruments, about their dnd tradition. The bad part of it all is that Eddie gets separated from Steve. He catches his eye at some point and Steve sends a little wave his way that he answers. He is talking with Robin and Chrissy and, by what Eddie can hear, Chrissy is getting every video Robin has managed to get of Eddie’s and Steve’s interactions through the concert, even a closer video of the kiss than the one Chrissy managed to get. From what he can hear, she wants to post everything on their social media before ‘someone else does and steals the chance at going viral from them’.

Eddie doesn’t know how he feels about posting Steve like that, Eddie should have probably thought, about that before making out with the guy in front of all their audience. But he seems completely comfortable with all of it. Eddie guesses that comes with being as hot as Steve is and knowing it.

It’s some time later, enough that Eddie knows they won’t be able to stay much longer in the venue, that he finally has a chance to slip away. It’s perfect, he has just seen Steve leave the dressing room, probably in search of the toilet, and Gareth and the curly hair boy he has learned is called Dustin are so deep in conversation they don’t notice him stepping away from them and leaving too.

He catches Steve just as he is leaving the toilet. Eddie doesn’t stop to answer Steve’s surprised ‘oh, hey’ that turns into a more surprised ‘woah’ as Eddie pushes him back into the toilet and closes the door behind him.

“Hey” Eddie finally greets. Steve only looks at the closed door behind Eddie and then at him again with what Eddie hopes is amusement. God, he really hopes it’s amusement, he is just not realising how creepy this looks. “So, about that date.”

“Couldn’t wait until I came back?”

“No. I mean, yes.” Why is it so difficult to talk with a pretty boy? Eddie takes a deep breath, composes himself. Theatrics, he is good with those, they make him confident. “I was suffering, being deprived from your company by your companions, and didn’t have another option.”

Steve squints his eyes, “so you decided to have the date in the toilet?”

“What? No.”

Steve takes a step closer to Eddie so now their chests are almost touching. It hadn’t downed on Eddie before how they are almost the same height. It feels very important now when he has Steve’s face right in front of him, when he can look directly at his eyes, at how they drift down to Eddie’s lips. When his inevitably drift to Steve’s lips, the boy is biting his lower lip. “Eager.”

Eddie’s breath hitches in his throat, he may have miscalculated this. There’s something he wanted to say. “No, I-“

Steve chuckles, takes a step back. “Relax dude. I know you haven’t really agreed to the date yet, we got interrupted and all that.” Eddie is about to speak, to agree a thousand times to the date, but Steve keeps talking. “You just offered to buy me a couple of drinks and called me hot,” he smiles when he says that.

“I want the date.” Eddie says before Steve can keep talking, “as soon as possible.”

Steve steps back closer. “Eager.”

“We are leaving on tour, won’t be back for three months.” Eddie explains before all his brain functions completely shut down.

“I can wait three months.”

“I can’t.”

The next second Steve’s lips are on his, his hands are on his hair, and it only takes a second for Eddie’s to do the same. Steve is even a better kisser than he was in front of the audience. Steve pushes him against the door, brings a hand to his hip, pushes one of his legs between Eddie’s. Eddie just groans and lets himself be pushed and moved. Kissed. “Fuck,” he whispers when Steve pulls away for breath. Steve smiles, takes one of Eddie’s hands in his, and kisses him again. It’s so sweet and filthy at the same time Eddie might cry, but he just moves his hips forward, and Steve answers in kind, grinding against him and getting a groan out of both of them. Maybe the rockstars that hook up with people after concerts are onto something. Though Eddie doubts he would want to do this with someone that is not Steve.

A knock on the door startles them both, Robin’s voice coming from the other side.

“Steve?” Steve and Eddie stop kissing to look at each other in silence, their eyes wide. “Chrissy said we need to leave already and you’ve been in there so long I started to worry you were kidnapped. Wait, you are in there, right? Also, have you seen Eddie? He disappeared.” Steve moves, an innocent thing that has his groin brushing against Eddie’s. And he is only a man. He moans. “WAIT! Are you both in there? GROSS.”

Steve snorts, making Eddie smile. They can hear a couple of steps moving away from the door before they come back and there is a bang on the door.

“Steve! Come out you dingus, have you forgotten about your pack of kids?”

Steve lets out a whispered ‘fuck’ before he looks at Eddie with an apology in his eyes. Eddie lets himself be moved away from the door so Steve can open it to talk to his friend outside.

“Hey.”

Eddie opens the door more so he can also fit in the gap, Steve sends him a look, smiles at his appearance, and then looks at Robin again.

“Hey” Eddie greets too. Robin is looking at them and there is no hiding what they have been doing. She can surely see their bruised lips, their wild hair. Eddie just prays she doesn’t look down and sees the bulge in his pants.

“You two are gross, was making me see that once tonight not enough?”

“You have not really seen it this time,” Steve points.

“Still.”

“You are the one that came to interrupt.”

“And for a good reason! Your kids.”

“What about the kids,” Eddie asks.

“He promised to take them home.” Robin says.

“I promised to take them home.” Steve says at the same time, a resigned tone in his voice. He turns to Eddie, his brown eyes sad, and pinches his nose.

“Can’t she take them home?” Eddie points to Robin, and they both turn towards her again.

Robin takes a breath, stops, looks at them, looks at them, sees the tent in Eddie’s pants. Grimaces.

“FINE,” she agrees, and Eddie grins. “But you owe me. Big time.” She adds pointing at Steve.

“I’ll give you ice cream for life.” Steve says. It must be an inside joke because it makes Robin roll her eyes.

“Give me your car keys at least. Rockstar here can drive you home, can’t he?”

“I’ll have him home before eleven.” Eddie swears with a hand on his chest. The other two stare at him in silence. “A.m.” he adds.

“You heard him.” Steve says while handing Robin his keys.

“Okay,” Robin answers. She takes a step back. “Have fun.” She takes a couple of steps away before she turns around. “Use protection, he is a rockstar, we don’t know where his thing has been.”

“Hey,” Eddie protests, but Robin is already running away.

“She is kinda right.” Steve says with a shrug. Eddie purses his lips. “But I have an idea on where it can be in the near future.”

“Lead the way.”

Steve slips his hand into Eddie’s.

[inkskinned]

you're grabbing lunch with a nice man and he gives you that strange grimace-smile that's popular right now; an almost sardonic "twist" of his mouth while he looks literally down on you. it looks like he practiced the move as he leans back, arms folded. he just finished reciting the details of NFTs to you and explaining Oppenheimer even though he only watched a youtube about it and hasn't actually seen it. you are at the bottom of your wine glass.

you ask the man across from you if he has siblings, desperately looking for a topic. literally anything else.

he says i don't like small talk. and then he smiles again, watching you.

a few years ago, you probably would have said you're above celebrity gossip, but honestly, you've been kind of enjoying the dumb shit of it these days. with the rest of the earth burning, there's something familiar and banal about dragging ariana grande through the mud. you think about jeanette mccurdy, who has often times gently warned the world she's not as nice as she appears. you liked i'm glad my mom died but it made you cry a lot.

he doesn't like small talk, figure out something to say.

you want to talk about responsibility, and how ariana grande is only like 6 days older than you are - which means she just turned 30 and still dresses and acts like a 13 year old, but like sexy. there's something in there about the whole thing - about insecurity, and never growing up, and being sexualized from a young age.

people have been saying that gay people are groomers. like, that's something that's come back into the public. you have even said yourself that it's just ... easier to date men sometimes. you would identify as whatever the opposite of "heteroflexible" is, but here you are again, across from a man. you like every woman, and 3 people on tv. and not this guy. but you're trying. your mother is worried about you. she thinks it's not okay you're single. and honestly this guy was better before you met, back when you were just texting.

wait, shit. are you doing the same thing as ariana grande? are you looking for male validation in order to appease some internalized promise of heteronormativity? do you conform to the idea that your happiness must result in heterosexuality? do you believe that you can resolve your internal loneliness by being accepted into the patriarchy? is there a reason dating men is easier? why are you so scared of fucking it up with women? why don't you reach out to more of them? you have a good sense of humor and a big ol' brain, you could have done a better job at online dating.

also. jesus christ. why can't you just get a drink with somebody without your internal feminism meter pinging. although - in your favor (and judgement aside) in the case of your ariana grande deposition: you have been in enough therapy you probably wouldn't date anyone who had just broken up with their wife of many years (and who has a young child). you'd be like - maybe take some personal time before you begin this journey. like, grande has been on broadway, you'd think she would have heard of the plot of hamlet.

he leans forward and taps two fingers to the table. "i'm not, like an andrew tate guy," he's saying, "but i do think partnership is about two people knowing their place. i like order."

you knew it was going to be hard. being non-straight in any particular way is like, always hard. these days you kind of like answering the question what's your sexuality? with a shrug and a smile - it's fine - is your most common response. like they asked you how your life is going and not to reveal your identity. you like not being straight. you like kissing girls. some days you know you're into men, and sometimes you're sitting across from a man, and you're thinking about the power of compulsory heterosexuality. are you into men, or are you just into the safety that comes from being seen with them? after all, everyone knows you're failing in life unless you have a husband. it almost feels like a gradebook - people see "straight married" as being "all A's", and anything else even vaguely noncompliant as being ... like you dropped out of the school system. you cannot just ignore years of that kind of conditioning, of course you like attention from men.

"so let's talk boundaries." he orders more wine for you, gesturing with one hand like he's rousing an orchestra. sir, this is a fucking chain restaurant. "I am not gonna date someone who still has male friends. also, i don't care about your little friends, i care about me. whatever stupid girls night things - those are lower priority. if i want you there, you're there."

he wasn't like this over text, right? you wouldn't have been even in the building if he was like this. you squint at him. in another version of yourself, you'd be running. you'd just get up and go. that's what happens on the internet - people get annoyed, and they just leave. you are locked in place, almost frozen. you need to go to the bathroom and text someone to call you so you have an excuse, like it's rude to just-leave. like he already kind of owns you. rudeness implies a power paradigm, though. see, even your social anxiety allows the patriarchy to get to you.

you take a sip of the new glass of wine. maybe this will be a funny story. maybe you can write about it on your blog. maybe you can meet ariana grande and ask her if she just maybe needs to take some time to sit and think about her happiness and how she measures her own success.

is this settling down? is this all that's left in your dating pool? just accepting that someone will eventually love you, and you have to stop being picky about who "makes" you a wife?

you look down to your hand, clutching the knife.

[crimeronan]

i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!

(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)

listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.

but the things discussed in the post Can and Should improve your execution!

you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it

BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.

so i have outlined some basic important concepts about polyamory.

MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun

future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.

i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)

sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.

here we go:

compersion!

compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.

compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.

by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.

i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.

it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.

(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)

if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.

metamours!

a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.

the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.

there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.

the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."

(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)

of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)

open versus closed polyamorous relationships!

i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown

google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).

this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.

an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.

some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!

with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.

i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.

feelings for multiple people!

i was gonna tack this on to the previous section but decided it warranted its own lil bit.

a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.

this is perfectly fine!

the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.

for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"

some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!

some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)

or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)

i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.

like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?

that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it

alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?

it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.

i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad

first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:

how does each pair act when alone?

how do they act differently alone compared to when they're with their third partner?

are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?

if so, what are they?

are there any boundaries or hard limits within this dyad that aren't shared with the third partner?

if so, what are they?

partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?

(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)

what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?

what problem do These Two Specifically need to solve in the story before their relationship will work?

how is that problem DIFFERENT from the problems being solved within the other two dyads?

doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.

those questions should be enough to get you started, i hope

then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?

but the main goal is to figure out how to Differentiate each relationship!

a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.

(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")

AND FINALLY.

if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)

you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.

polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.

seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.

in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.

[swordsandholly]

Thinking about hypersexual Simon Riley and aromantic reader. He doesn’t have time to date with his job, or the patience to find new hookups all the time. Dating apps are the bane of his existence. If he’s honest with himself, despite his wants, he doesn’t enjoy unfamiliarity. He doesn’t like having to explain himself over and over to people who often don’t understand (or care).

Instead he finds you, a pretty little thing that moves into the flat next door. You don’t demand commitment, or that he opens up more than he likes. You’re easy, kind, soft under his hands. You offer companionship when he needs, make conversation without expecting more than he’s able to give right now.

You’re in much the same position. Despite how men often say they want to hookup without any strings beyond maybe a casual friendship (if that), as soon as you’re the one to set that boundary they start whining. Can’t handle the idea that you don’t want them in every way possible. Can’t stand losing out on that control over the women they’re with. In your experience, at least.

You dread the day he inevitably finds someone. He’ll leave you behind, of course, and it’s not that you’d hold it against him. Simon deserves love like no one you’ve ever met. That impending day has become a little more real since he’s been talking about this “Johnny” from his work, though.

Obviously partially inspired by Service Dog Johnny by @void-my-warranty and a little bit by Harmless Fun from @rememberwren (if you haven’t read their stuff please please please do, they’re both incredible)

Update: I started it (LINK)

[rochenn]

Eye Level, pt. I

Getting into the comic groove by making Dooku (loneliest most pathetic man in the galaxy) develop a Thing for his tailor. Part two in progress!

[lauraneedstochill]

Can’t help falling in love

summary: 5 times Aemond was in love with you + 1 time he finally confessed his feelings

warnings: friends to lovers (at the age of 9, 10, 15, 17, 19), a pinch of angst (Aemond healing after losing his eye), but overall so fluffy and sweet you may want to skip dessert

words: ~ 5500 (I got reeeally carried away with that love confession)

1.

Aemond is weeks away from his tenth birthday and he feels as miserable as ever. That feeling is an iron weight upon his heart, his mood irritated and face features grim more often than not. He is still without a dragon — and it’s the only thing he can think of, day and night, steadfast and stubborn in his obsession that most of his family finds to be blown out of proportion. It might have stang him less if only it wasn’t for the constant teasing and pitiful jokes that added to his distress and the never-ending heartache. He learns to keep a straight face and act as if he doesn’t really care, but deep down he does, way more than he’ll ever admit.

His training sessions are a way to channel his anger, and he lashes out at a straw man, again and again, clinging to the thought that, at least in these moments, he is not entirely powerless. He keeps his focus on the target, attentive to Ser Criston’s advice — “Soften your knees”, “Keep your feet light, your hands heavy”, and for a couple of hours he forgets about his misery.

It’s when the training comes to an end, the dreaded realization sinks in again, and Aemond is lost in his thoughts, mindlessly twirling the wooden sword in one hand, his gaze wandering around the yard.

And then his eyes fall on a bright green spot — and all of a sudden, he sees you. A girl of his age, the hem of your green dress a bit dusty, boots covered in dirt, a few strands of hair fallen loose, a coy smile on your face. You meet his gaze and wave at him excitedly.

Aemond looks dumbfounded. A girl in the training yard. Waving at him. He blinks once, twice — and in the next moment, you’re standing merely a few steps away, glancing curiously at his sword.

“It looks so hefty! Is it heavy? What is it made of?” a string of questions, your voice sweet and joyful.

There’s a brief pause and maybe you mistake his stiffness for arrogance as you are quick to add:

“Oh, my manners!” gasping but showing no actual regret. “Forgive me,” you curtsy, your smile growing even wider. A timid smile appears on his face in return and he finally comes to his senses.

“It’s made out of red oak. It’s not very heavy, you get used to it,” Aemond raises the sword, letting you take a closer look. Within another blink of an eye he finds himself talking to you, your questions endless and maybe a bit naive but he genuinely enjoys it.

That’s until you both hear a loud cry.

“Lady Y/N!” your nanny comes running in, out of breath and scowling. “I told you not to wander around...,” she chokes on her words at the sight of the young prince. She curtsies, too, but it isn’t nearly as cute as when you do it.

She sprints decisively in your direction. “It wasn’t very polite of you to interrupt the prince’s training, you little menace!”

And then Aemond, to his own surprise, moves to stand in her way.

“She didn’t interrupt a thing,” he disagrees, lips thinned into a tight line.

The nanny stops and looks at Aemond dubiously, switching her gaze from him to you.

Ser Criston is the one to resolve the conflict — he comes from behind, with a polite smile plastered on his face.

“Young lady can watch from the balcony. The guests are very much welcomed,” he calls for the maid to escort you and your nanny up there. While you’re away, he looks at Aemond with a grin:

“Already wooing the ladies, my prince? Let’s hope you are as good with your sword as she thinks you are.”

He does make Aemond work for it but the prince fights back, winning one bout after the other. He keeps glancing at you and you wave at him every single time.

Aemond is too young to know what love is, too shy and guarded to even entertain the thought of it. But when you look at him, with your childish grin and your eyes bright with mirth, he doesn’t feel lonely anymore. 2.

It’s been two weeks since Aemond lost his eye and he hasn’t left the bed. The pain is still blinding, burning and constantly making his only eye water. But what hurts even more is the humiliating disability. The triumph of claiming Vhagar died down, and now the prince was faced with the harsh reality he needed to adjust to and the process wasn’t an easy one. The fever has only recently gone down, leaving his body weak and freezing from the lack of movement, but he couldn’t bear the thought of stepping out of the room.

His mother wouldn’t leave his side and even Aegon often came to visit, clearly blaming himself for not being there for his little brother. Yet their presence barely brought Aemond any comfort and most of the time he would pretend to be asleep to avoid any conversations. He knew they only meant well and he was being cruel but he couldn’t help it as his pride was shattered and he gave in to sadness.

That is until one night he wakes up to a weird sound. He’s only half-awake when he hears a vigorous tapping that clearly comes from the outside. Except it's not from the other side of the door — but rather outside his window.

He’s startled by this guess and suspiciously walks closer. It takes him a few seconds to focus his gaze and discern a human’s silhouette — and then another few to realize that it’s you standing on the window sill. He feels like his heart will jump out of his chest as he rushes to open the window.

You climb through and clumsily drop to the floor. But before he can get worried, you are on your feet again, eyeing him with concern.

“Oh, Aemond,” your gaze and voice are both so soft, it makes his lower lip quiver. You carefully approach him and put your hand on his shoulder, gently sliding it on his back in a soothing motion and then cuddling him. He welcomes your company with a sigh of relief. You smell of oranges and you give the best hugs.

“They told me no one was allowed into your chambers,“ your hushed whisper burns his ear. “The silliest thing I’ve ever heard!” you pull away from him, still lightly panting, cheeks flushed and hair messy. “I knew I had to find a way to come see you.”

You examine his face, frowning at the scar that’s still healing.

“Does it hurt?”

He only nods, afraid that if he opens his mouth, he won’t be able to hold back a sob. You move closer, resuming the gentle motion of rubbing his back.

Ever since that day in the training yard, you kept in touch, regularly sending each other letters, chatting about everything and nothing, sharing your little secrets and observations. You recently mentioned that your parents allowed you to come see him again, but with the tragic change of events, Aemond completely forgot about the preplanned visit. 

“I will take his eye,” you say out of the blue, caressing the unharmed side of his face, your voice laced with anger. Aemond thinks he might’ve heard it wrong.

“...Whose eye?”

“Luke’s! I shall take his eye, as payment for yours,” you tell him with zero hesitation. For a girl of your age, you’re way too eager to plan such a thing, yet he somehow has no doubts that you can actually do it.

Aemond shakes his head.

“You shouldn’t,” his voice quiet but firm. “The King was very adamant about that, no payment is needed.”

“Well, maybe he is too old to think straight,” you retort. “You are his son and you lost an eye! Justice must prevail,” you tilt your head at him, clearly thinking that you’re in the right.

And he knows that you are but he also knows no justice will be served. It’s the last straw for Aemond — he looks away in shame as tears, hot and angry, start falling down his cheek. You waste no time hugging him again, letting him cry on your shoulder, and the two of you stay like that for what feels like an hour.

And then, in the comfortable silence of your embrace, he hears you asking, very seriously:

“Are you sure I can’t take his eye?”

At that moment, he can’t stop himself from letting out a laugh — a weak one and barely audible, but still, he laughs, for the first time in two weeks, and you are the sole reason for it. 

Your cheek is pressed to his, your fingers running through his hair, and Aemond realizes he can’t lose you.

He begrudgingly persuades you that taking Luke’s eye isn’t worth the trouble.

3.

By the age of fifteen Aemond becomes quite accustomed to the eyepatch and it gives him a boost of confidence. Losing an eye only made him train harder and his persistence pays off when he’s the one to win, time after time, no matter who his opponent is. His hair grows longer, now silky smooth and with no sign of his boyish curled ends, his face features sharpen. He learns to walk with his head high and hands clasped behind his back, mastering the intimidating look that makes most people want to stay away from the one-eyed prince. 

His tricks could’ve never worked on you, though.

You come to visit him a few times a year, and he eagerly awaits your arrival. All the days in between, you keep talking through letters, them getting longer as you get closer. He keeps those letters locked in a hidden compartment of his table. And sometimes, for no specific reason — or maybe for the reason he can’t yet formulate — he is drawn to reach for them, which always ends with him rereading the letters for hours. Some of them he knows by heart and yet it never stops him from having the pleasure of seeing your handwritten stories and little jokes that were only meant for him.

Today is no exception and Aemond is so enthralled by reading, he almost misses the knock on the door. The sound brings him to reality but he is in no hurry to react. The knocking comes again, and the prince groans, annoyed at the maid’s persistence. He carefully puts the letters back and goes to the door, armed with his cold gaze.

And then he opens it — and it’s you standing in front of him. 

Aemond barely has time to register what’s going on when you launch yourself at him, your arms immediately enveloping him in a tight hug, your laugh ringing in the air. He hugs you back and, while you can’t see it, he’s grinning from ear to ear.

“I swear you’re getting taller every time we meet!” you look up at him, beaming, and he lets you in. “I soon will need a ladder just to hug you properly.”

“I’ll be sure to let my body know of your disapproval,” he sneers and you stick out your tongue.

“While you are at it, shall you also work on your friendly face? I overheard the maids being frightened to go into your chambers,” you try giving him a scolding look but end up giggling at his reddened cheeks.

“I am friendly enough!”

“Yes, nobody glowers quite like you,” you snicker and flop right on the floor, the move always making him smile. Aemond tried persuading you to sit on any other surface that’s actually meant for sitting but you insisted that his fluffy rug works just as well, so he eventually gave up, deciding to join you. He never complained since.

Before he knows it, he’s immersed in the conversation while you enthusiastically share the recent news and everything that’s happened to you on the road. Only about half an hour in, he notes a small bag you’re clasping in your hands.

“You come bearing gifts?”

“Oh, I almost forgot I had it,” you laugh, abashed. “I decided I should bring you something to replace this crumpled-looking thing”.

It takes Aemond a minute to realize that you’re talking about his eyepatch. But he has no time to protest as you silence him with a gesture of your hand.

“I took it upon myself to count for how long you’ve been wearing this one already,” your tone gets serious. “I must say, that number is disturbing.”

There’s a moment of silence and then he clears his throat, his voice unsure. “Very kind of you to think of that, I shall replace it later on.”

He reaches his hand to take the bag but you quickly cover it with yours, fingers brushing over his, and he freezes.

“Are you still not convinced that I can take a look at it?” you try to make eye contact but he averts your gaze.

“Aemond, I was with you and I think I’ve seen enough back then — none of it scared me.”

“It is not a sight for the faint of heart,” the prince mumbles, his bravado faltering.

“Well, I don’t remember fainting the first time. You should have more faith in me,” you try to reason, holding his hand.

Aemond ponders for another minute — or maybe ten, he isn’t sure, and you patiently wait, not wanting to press him any further. Then he finally makes a decision and, after taking a long, sad sigh, he removes the eyepatch and looks at you, the sight of him is the very definition of insecurity.

You stay silent for about five seconds before concluding:

“Oh, it healed so nicely!” with no hint of uncertainty in your voice. Your smile reassures him a little as you peer at the sapphire, looking very pleased.

“The gem compliments your eye very well,” you give him your verdict, taking the new eyepatch out.

“We might have a different understanding of what a compliment is.”

“This is me trying to say that I really like the way it looks,” you chide him lightly. “And I consider myself to be quite understanding, thank you very much. Will you stop pouting and let me put it on?”

At this point he surrenders, giving you permission, and you move closer, giggling with excitement. You gently fix his hair, making sure it’s all combed back, and then lean to put the eyepatch on. You have a habit of biting your lower lip when you’re too concentrated on something, and Aemond can’t help but gaze at that part of your face while your teeth graze over the pillowy surface. 

He’s never let anyone this close — and not just in the sense of physical proximity. The moment is very intimate, and the softness of your movements tugs at his heart. He is suddenly very aware of the very short distance separating you two, and he holds his breath. You are oblivious to his stare and soon lean back, satisfied with the result and glancing at him with something akin to fondness.

He wishes he could paint a picture of you right at this moment, so tender and caring and sitting by his side.

He also wishes he could kiss you — and that thought scares him to death. And yet, once it appears, it never goes away.

4.

Aemond is seventeen and his life has been pure torture since you stopped visiting him. He hasn’t seen you in over half a year (seven months and eleven days, not that anyone is counting). It’s not your fault as your father has unexpectedly fallen ill and you couldn’t leave his side. The prince exhausted the maester with questions, asking for advice to write back to you, worried sick that your separation would be stretched for way longer than he could handle.

Luckily, the Gods took pity on him, and he was glad to learn that your father got better, and you will come to King’s Landing soon. Your visit coincided with Aegon’s birthday, but Aemond didn’t care about the feast, his mind only occupied with the thought of seeing you. He was both nervous and excited to the point of not even hiding it, which led to Aegon teasing him relentlessly. Helaena, on the other hand, wholeheartedly supported Aemond’s feelings for you.

“She will be delighted to see you, too, I am sure of it,” his sister tells him the day before the event.

“But the reason for it might be of a different nature,” Aemond remarks, and Helaena gives him a compassionate look.

“You will never know her true feelings unless you ask,” she encourages. “The two of you are so close, I consider her part of the family.”

Aemond knows that he’s of age and his mother hinted that, despite him showing no interest in courting, some ladies still found him attractive. He dismisses the idea but then finds himself thinking of it from time to time. When the realization forms in his head, it’s nerve-wracking but oh so compelling — he thinks he would’ve really wanted to marry you. He just doesn’t know how to tell you about it.

The day of your arrival comes, and Aemond wakes up at dawn in anticipation, determined to confess his feelings. He tries to come up with a speech, but it feels wrong and sounds weird, and he decides it will be better to improvise. He all but runs to the courtyard to be the first one to greet you. However, when you step out of the carriage, smoothing your dress, and your eyes meet, Aemond stops dead in his tracks and the world around him stands still.

His confidence might’ve blossomed — but not nearly as much as your beauty did. Somehow in those recent months, you’ve matured into a woman that takes his breath away.

It’s not a drastic change, it’s all in the details: the contours of your face are more defined, the cheekbones prominent, your hair knotted up high in a perfect style and even your pace is much slower and gracious. You walk towards one another, both suddenly cautious. But when you are a couple of meters apart, a well-known smile appears on your face and you hold your arms out to him and he finally hugs you again, after all this time. Aemond relaxes, inhaling the familiar scent of fruits that you undoubtedly munched on your way here.

“You look exactly as I remembered you,” you say as you slip from his embrace.

“And you are a sight to behold,” he breathes out, taking you in, and your cheeks heat up at the compliment. You’ve never been shy with him before, so this is also new. He wonders what might’ve caused this change.

As the two of you walk around the castle, it feels a bit awkward at first, and you keep glancing at him with emotion he can’t read. But Aemond is too happy to see you to give it much thought, and within an hour you ease into the conversation, too. By the time the evening comes, the tension disappears, and you are laughing at his sarcastic remarks again, and he savors every second of it.

The feast in honor of Aegon is lush and crowded, but you stay by Aemond’s side, enjoying each other’s company, and he only has eye for you. When the music gets too loud, you sneak out and soon find yourselves in his chambers, just like in the good old days.

Aemond is in the middle of telling you about Aegon’s recent foray to the Flea Bottom, when you say. “It’s just the two of us,” your fingers sink into the fluffy rug. “You don’t have to wear it with me. You know it, right?”

He wears the eyepatch with everyone, only taking it off before going to sleep. Moreover, he actually cherishes it because it’s a gift from you.

Aemond hesitates. “I thought you quite liked it.”

“I only gave it to you because yours started to look like it was pulled off a dead man’s body!” you laugh.

Before he can think of an answer, you lean closer — your shoulder brushing his, your hand touching his face, the same gentle warmth he remembers so well, — and remove the eyepatch yourself. The sight doesn’t bother you in the slightest as you confess:

“I accept you the way you are, Aemond,” and then, a moment away from him opening his mouth and saying the thing that’s been on the tip of his tongue for the duration of the day, you add, “That’s what friends are for — and you are my best friend.”

And just like that, with this word alone, his plan goes out the window.

A friend. Aemond can’t even be upset at the reveal, because, honestly, being your friend feels like a blessing in itself and he wouldn’t trade it for the world. How could he be so selfish and foolish to even think about risking it all, risk losing you?

So he keeps his feelings to himself, locking them away deep in his heart, and doesn't argue with you.

Maybe he should have.

5.

By the age of nineteen Aemond reaches the conclusion that he wants to take the risk. Otherwise, he thinks he might actually die as his heart can not hold all his feelings anymore. In two years' time, there isn’t a single thing about you that he hasn’t come to love, and keeping it a secret becomes harder with each day.

Aemond is ridden with doubts to the point where he can’t hide it any longer and he decides to seek advice — and the prince can’t think of a better person to talk to than his mother. Unbeknownst to him, Alicent was the first one to notice. Years ago, when you were kids, she quickly sensed the effect you had on her son, and it brought her joy as she watched the two of you get closer with time.

So when Aemond bursts into her room, anxiety radiating off of him as he starts jabbering away, his pacing erratic and voice trembling, it takes her about a minute to realize what's going on.

“My dear, I think you must talk to her,” she approaches him, an understanding look on her face.

Aemond cuts his speech short, eyeing her with wonder:

“You don’t seem surprised.”

“Your affection for her is as bright as a fire blazing,” Alicent chuckles. “I believe she is the only one who doesn’t see it.”

“Should I tell her...?” he doesn’t dare say it out loud, not yet.

Alicent briefly takes his hands in hers, squeezing them. “You should tell her the truth.”

Her encouragement gives him a dash of hope, lifting a weight off his chest. Aemond knows in an instant that the letter won’t cut it, and you must have the conversation face-to-face. Fortunately, your next visit is in a month, so his suffering won’t last for much longer.

Aemond almost reaches the door but then sharply turns to his mother again, his cheeks flushed:

“Will you give me your approval?” and this time, he looks straight at her as he wants to see her genuine reaction.

Alicent smiles, quick to reassure him. “Yes, Aemond. Your betrothal would only make me happy.” The prince feels elated, almost euphoric, as he finally goes to meet you and runs the remaining distance from his chambers to the yard. But when he sees you, the smile disappears from his face because he notices that something is wrong.

You look visibly upset, your eyes watering and fingers fumbling with the dress, even though you try to force a smile in return. The hug you give him is weak and you keep looking at your feet.

“What is the matter?” he’s never seen you this sad, but you brush him off.

“It’s just a headache, no need to worry.”

Yet that’s exactly what he does, offering to call for the maester, or to prepare you a warm bath, or bring you some tea...

“A cup of water would be nice, thank you,” he leaves you in the hallway to go and get it himself, the task only takes a couple of minutes. When he returns, you stand with your back to him, your shoulders are shaking — and he hears quiet, muffled sobs. If it wasn’t for the nearby table, he would’ve thrown the cup away, his focus on you alone. As he rushes to envelop you in a hug, you don’t fight it, instead nestling your face against his chest, not hiding your tears anymore.

Aemond gives you some time before asking again.

“This doesn’t look like just a headache. What is the cause of your anguish?” now he’s the one running his fingers up and down your back.

You let out a sound that’s a mix between a groan and a whine.

“My father says I am to be betrothed soon. He says I am of age already and... and he wants me to meet some of my cousins,” you sniffle. “I told him I have no wish to get married but he refuses to listen,” you bite your lip, not wanting to cry again.

Surely, that’s not how Aemond wanted to ask you. But he decides to take his chance.

“Mayhaps there is another way out that could make you feel better.”

“Please don’t tell me Vhagar will burn them down,” you jest but the smile doesn’t reach your eyes. Aemond thinks your idea isn’t that bad — but he has to try his first.

“If he insists you should marry but doesn’t have a particular candidate, maybe you can pick one yourself?”

“I’ve met all my cousins — and half of them are imbeciles, the others are too old to survive a wedding,” you scoff.

“Then pick someone you are not related to,” Aemond suggests.

“Do you have a particular candidate in mind?” when you ask with a tinge of annoyance, you don’t think he will answer. And then you look at him — and see him grinning before he says:

“Me”.

You glare at Aemond with eyes wide and mouth agape, the expression frozen on your face for a good minute. 

“Are you laughing at me?” you manage to say.

“I wouldn’t dare,” his nerves are as tight as a wound-up string.

In the blink of a moment, your face lights up. You are looking at him indecisively, searching for words, agitated. But Aemond mistakes your confusion for rejection.

“At the very least you will marry someone you know,” he tries to reason — but it backfires, wiping the joyfulness off your face.

Taken aback, you inquire. “You pity me?” He doesn’t grasp the poor choice of his words yet.

“You pity me and that’s why you want to marry me?” you give him a look of disbelief, your eyes glossy, and he can’t get his head around what just happened.

“Oh, it was so silly of me to think that...,” you choke back a sob, putting your hand over your mouth.

Never in his life he thought he would be the reason for you looking so heartbroken. Aemond covers your hand with his palm — and you let him, as he tries to gather his courage.

“I only meant to say that I —”

And then you recoil, snapping your hand back.

“Aemond, don’t,” you take a step back from him, then another one. “You have said enough. Please, let me be,” you turn away and leave the hall in a hurry before he can utter another word.

... 1.

He finds you at your usual spot, under the blossoming cherry tree. You’ve always said you liked the color of it, little white flowers reminding you of early spring, your favorite time of the year. You don’t know that Aemond insisted on planting that tree specifically for you. Just so he can sit nearby and, as you were basking in the sunlight with your eyes closed, he would get a chance to look at you with all his unconditional love and have those moments engraved in his memory.

Come to think of it, he had so many memories of you — and every single one of them was bliss, and he can recall them so easily like it was yesterday.

And so he does.

“When we first met, you wore a green dress,” his voice startles you, but you don’t turn to face him, sniffling with your arms folded. “It was the color of forest trees. Black lace around the hem of it, the matching hair ribbon that you kept losing,” he keeps his distance, his hands shaking.

“Yes, I remember it pretty well,” you sigh, avoiding his gaze, baffled by his sudden outburst.

“The second time was when you climbed through my window, almost gave me a heart attack,” there’s a hint of a smile in his voice that you catch even without looking. “Blue dress, you tore a huge piece of it and couldn’t care less. You were the first person to make me laugh in two weeks even though it seemed impossible. But not with you.”

He sees your eyebrows furrowing, hands sliding down to rest on your knees.

“Helaena’s name day came next, your dress was bright pink. Luke tried to make fun of it and you threw a cup full of water in his face. To this day, it’s one of my fondest memories.”

You dare to look up at him, perplexed, your eyes wet from crying. 

“Three months after was the light-blue dress, then the peach one and the brown one. Then the white one which didn’t survive the horse riding lesson, and Helaena gave you one of hers. Light green, too long for your liking, even though you pretended otherwise to please her,” the corners of your lips tremble, your face softening.

“Then for a year you only wore violet, much to your nanny’s dismay as she thought it made you look ill. And I thought you were the prettiest girl I’ve ever seen, no matter what dress you were in,” he can’t take his eye off you.

Your face expression melts into a stunned one.

“I didn’t realize it back then. Or maybe I didn’t know how to call it. I just knew that your visits only brought me happiness,” he takes a step toward you, uncertain, but you don’t move from your spot.

“When you were fourteen, you picked the autumn colors — orange, dark yellow, deep red. Your started braiding your hair, tried to braid mine,” you can’t hold back a smile. He was fussy when you first voiced the idea but he ended up loving the process so much, he would allow it just to feel your fingers flowing through his hair.

“I think you actually enjoyed it,” you mumble, and Aemond smiles, too.

“I did. I enjoyed every minute that I got to spend with you.”

You stand up then, feeling your pulse quickening.

“The day you brought me the eyepatch, you wore emerald green. I was terrified to show you the scar,” he pauses, catching his breath. “You assuaged my fears with your kindness. But then I was terrified to learn that I wanted to kiss you.”

You think you are dreaming. Is it possible that you fell asleep under the tree? You don’t want to get your hopes too high, but when he looks at you like this, your own fears start melting away.

“Then was the black dress, the grey one, another white one. The golden one you wore to meet Vhagar,” when he saw you that day, he almost forgot how to breathe. You showed no sigh of apprehension as you fearlessly approached the dragon. He was absolutely besotted.

“And then came the agony of not seeing you for over seven months,” he closes his eye for a second, overwhelmed. He almost misses it when you speak:

“Seven months and twenty-five days. Not that I was counting,” his eye snaps open, instantly on you again.

You gravitate toward each other without even noticing. Aemond’s heart skips a beat when you’re at arm’s length, your eyes shining and lips slightly parted. Even in the state you’re in, you look so beautiful, it’s mesmerizing, and the words are stuck in his throat. You are the one to break the silence.

“Aemond, please don't give me false hope,” your heartbeat is too loud, you don’t hear your own voice. He does.

“I do not wish to marry you out of pity,” Aemond takes the last step. “I want you to be my wife because I am in love with you,” he wipes away the remaining tears off your face, his fingers linger, making you shiver. “I’ve been in love with you for quite some time. For a few years, actually,” his voice gets low. “For what feels like an eternity,” Aemond murmurs.

“Why haven’t you told me?” you pout, nervously toying with the collar of his shirt.

“I was afraid you didn’t feel the same. I still am but maybe... Maybe I am wrong?” his gaze is fixed on you, one of his hands following the contour of your waist, your body warming at the touch.

“Tell me that I am wrong,” he whispers, begging.

You look at his lips, the soft curve of them that you’ve dreamt of for so long.

Aemond always thought yours were the most kissable he’s ever seen.

You don’t know who closes the distance first — but his mouth is suddenly on yours and the sensation leaves you disarmed. Kissing him is like being swept with a wave of tenderness, and you’re floating in it, his lips so fervid and supple — truly perfect — your head is spinning. The kiss is not awkward nor modest as you hastily cling to each other, his hands gripping your waist, your chest pressed into his.

Aemond feels like he’s drowning, and he wants more of you — all of you, and then your fingers tug at his locks, eliciting a groan from him, and it is simply a miracle that his heart doesn’t explode. You move in impeccable sync, in the passionate harmony that erupts from years worth of mutual pining. His lungs burn but he resists the urge to break the kiss and stretches it out the best he can until you are breathless, too.

“Never knew that you were so fascinated by my wardrobe choices,” you tease, and his hum turns into a chuckle.

“You know what my favorite memory is?” you ask, your forehead resting against his.

“When we were ten-and-three, and you were teaching me how to hold a sword. I tackled you to the ground and scraped my knee,” you both smile at your then enthusiasm. “And you set everything aside to spend the rest of the day with me even though it was hardly a wound. And I remember thinking,” you hook your finger under his chin, “that there’s nowhere else I would rather be than with you, with this favorite boy of mine.”

The air around you is tense, and you are enchanted by each other.

“Did that help to prove you wrong?”

“I may need some convincing,” his breath fans over your lips.

“You can take your time,” you laugh — and then the sound of it is muffled by his athirst mouth. His favorite memory will be this.

And every other moment with you that’s to come.

author’s note: I’m sorry if this came out messy and rushed. I tried my best to write a shorter fic (this is short for me lmao) and idk how I feel about it. I much rather prefer them longer because I’m a sucker for stories about two people getting to know each other and falling in love BUT I get it that others don’t want to read long ass fics (which kinda breaks my heart but I'm being so very brave about it) anyways, thank you for reading! ���� the longer version of this fic might have looked like this (yes, this is a shameless plug! because I adore this one to pieces!! bite me) 🎵 the title is a quote from Elvis Presley’s song (duh). there are quite a few covers of it but one of my favorites is by Twenty One Pilots. there’s also a female version — by Ingrid Michaelson — and I think both of them fit the story really well. 💞 my masterlist P.S. I’m also on AO3 (lol, who isn’t), in case you prefer to read fics there.

English is not my first language, so feel free to message me if you spot any major mistakes!

[morgaseus]

I’ve encountered a few on AO3 but I too am desperate for more Gojo fics anywhere 😭 if you have any recommendations too please I beg give some to meee 😭😭

Ohhh yesss ive got quite a few! Also, please look out for the content warnings!

Series

Sincerely not by saintobios (arranged marriage, modern au) (read this yrs ago so i cant remember much but i do remember crying at 10 pm in the kitchen while reading this)

Sundered by tojikai (baby daddy gojo, modern au)( made me sob )

Kintsugi by NoahLaval (arranged marriage, enemies to lovers, gojo x oc) (I love this! made me cry a lot, like really..)

No Cure by Tawus (enemies to lovers, reader is a curse user)

Exposure therapy by seoafin (angst, reader is in the same year as sashisu, au where toji became a teacher, also a geto/reader, but shoko is the endgame)(you should check out their other works too!)

Monster Hospital by mushmoon12 (enemies/rivals to lovers, lots of smut)

intrinsic warmth by thatdesklamp (angst, childhood friends to lovers)(yeah...)

Cursed Love by maespaces (angst, reader is a not a jujutsu sorcerer )(i forgot to add this!😭😭😭 but srsly tho rllylove this one, vry well written! im still reading it but u can tell ure in for a bumpy ride🥹)

Oneshots

Grey Cashmere by vagabond-umlaut (angst with a happy end, set during hidden inventory, reader is in the same year as sashisu)(one of my all time faves!!! its also part of a series but can be read as a standalone!)

an unwanted letter by piichuu (angst, post ch 236?ig?)(i read this during class... i just hope my classmates didnt see me cry)

Others. (I have not read this yet but ive been keeping an eye on it! Thought i might share as well)

Infidelity by tawus (angst, gojo and reader are married)

one day, three autumns by vagabond-umlaut (arranged marriage)

Minazuki by quirklessidiot (enemies to lovers, arranged marriage)

Devoted by aerinth (angst, friends to lovers)(also a geto/reader)

the color yellow by rhydonium (angst, hanahaki disease)(also a geto/reader)

Bonus!

Abalone on the shore by unolvrs (I dont rlly read much toji fics but this one made me sob on a morning! You'll need tissues for this one ig...😞)

[ganondoodle]

(OC Lore and design time!)

(it got longer again ... sorry ... idk how to make things short, i just need to talk, but i guess if you can read the written stuff in the pic thats the barest bare bones of what i wrote here)

i was asked what new lore story stuff i had thought about that made me sad which i mentioned a bit ago, and while that is too hard to explain given all the missing context i thought i could at least talk about lore having to do with it :D

so, (Lord) Eadrya is one of my fav OCs (big blue lad, here a rough sketch in humanoid form) they are both one of if not THE most powerful demon alive and the most battle trained;

at the mid point of the story the demon world gets invaded by the celestials (the angel inspired things i talked about in the previous lore post with Xaror) and Shargon, as the king, should be their first and only frontline, but at this point his life is only being sustained by maschinery after being mortally wounded, he cannot fight (he realizes what is going on, rips himself off the maschinery to get at least his youngest child to safety, barely managing it before dying- the guardian, the demons god, takes over his body to attempt to fight against the celestials but cant keep itself alive long enough since its host is already dead) Eadrya takes the role of the frontline fighter (despite being very full of themselves and aggressive they care about their 'job' of protecting their own, also giving them the chance to show off just how strong they are); the fight was going well for them all things considered, but when the guardian activates it drains the power of all elemental lords (which Eadrya is one of, and since they have the most strength it also takes the most from them), so much so that they lose the fight and suffer deadly wounds (the worst being a spear through the chest made of a material that grows hard, root-like formations when in contact with demonic blood like a fungus but worse, also stopping any self healing processes) after the guardian falls apart it creates a huge shockwave of energy that stuns every living thing within a certain distance and possibly more-

Eadrya (in true demon form, so like a blue whale in size at least) was likely taken through an active gateway to the human world in a large tidal wave also created by the guardians fall; they wash up in the harbor of a small secluded village, the head of which is 'lady 13'; although never having seen a demon before and everyone being afraid (largely thinking its a strange hurt animal, only she suspected otherwise), they still gather all villagers to pull out the celestial spear, which is diffcult and brutal given that its already taken root, but the village lacked both knowledge and means to help any other way- doing so damaged their heart which is how they were able to collect samples of all three demonic blood types ('normal' -red like humans-, energy -essentially purely magic- and heartblood -highly concentrated energy only found within the heart of a demon and the only one to contain genetic material) (this is the start of Eadryas character arc, having to deal with the fact that their world is likely destroyed, them failing what they didnt think they could fail, having lost a battle so badly (even if not really their fault) for the first time and not knowing if literally anyone else has survived .. also being now stuck in the human world, which they dont like)

Lady 13 (placeholder name? stands for experiment 13) is a human that was tricked by demon hunters to enroll into a series of experiments trying to create hybrids of demons and humans, which they hoped would be powerful and easily controllable tools for their endeavours, though the two are inherently not compatible, they tried grafting body parts of demons on humans to make them compatible- all experiments failed except for her, more or less, though she never got to see the hybrid she carried and was then told it had died too, they threw her out believing she wouldnt survive much longer either and all such experiments were cancelled due to the high cost of human life, research material (demons are still rare) and upkeep with no successful results Lady 13 survived though (perhaps even via the pirates picking her up?) and she ended up living in said small village far away, hiding her half demonic body, though most know there soemthing 'wrong' with her (her being this tall when it doesnt fit the rest for one), only few know the full extent; she enjoys the life she has now, perhaps on the more poor side but safer and more loved than ever before; she largely lead the efforts to try and help Eadrya when they ended up in the harbor, though there wasnt that much anyone could do it was still enough- they leave immediately after waking up, but return after really having nowhere to go and struggling to deal with everything that has happened; over time (probably years) they start to open up towards the people there (though not .. very much) enough to get rather close with Lady 13 too- she actually falls madly in love but after Eadrya (extremely aro/ace) rejects all her attempts quite clearly she respects their boundaries

However, after hearing news of potential demon sightings Eadrya decides to leave in hopes of not being the last demon left after all; Lady 13 then decides to reveal her secret to them (though hearing and seeing what lengths hunters would go to for their experiments makes them absolutely seething with rage- she insists on not being out for revenge) and asks if they would be willing to donate a small amount of heartblood; shes always wanted to be a mother but is now incompatible with humans too- through things she picked up back at the experiments facillity, hers and her doctors research she is sure that is all that is needed, she dares to ask since she does not know when, if ever, she will meet another demon, much less one she could actually trust enough for this though Eadrya hesitates (why would she want to go through the same thing again that didnt work and threatened her life, if it does work, do they want to be involved with any of this? what if hunters find out it worked after all?) but after her ensuring that they would have no part in it other than giving up a little blood and would not be considered a parent in any way, nor made responsible for anything that might happen to her, but considering it all in the end they agree to it

only for her to reveal shes had a small bottle of it already, along with multiple samples of the other types, which she collected when Eadrya was bleeding out into the harbor not knowing if they will survive, though not wanting to make use of it without their consent either way (they are actuallly rather touched by this)

alot later the main group returns here and it turns out to have worked (though she is unable to walk/bedridden for a long while bc it did alot of damage to her body, which can heal since its demons parts, but only really slowly bc she does not have a full functioning system and no demonic blood of her own -she uses the other samples for the healing process-) though its a little awkward to explain, especially considering that 13.1 took alot after Eadrya xD (their theory as to why it worked so "well" that time is that even though the sample was already taken, them giving their consent for it still made it less likely to be rejected; demons dont need partners to have offspring, and all can do it, they just have to decide to- so them agreeing to it, even though its long been outside their body, still had an effect on the blood sample)

[nordidia]

having a very rough night so raph doodles needed to be made

when in need, mash two interests together

[louisferrignojr]

teacher buck x mechanic tommy au // [read on ao3]

[more moodboards edits here]

[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~!"