#i was very fun shaking my ass in it

[gxdcomplex]

"rawr imma getcha!!" -- Jaws from the hit movie Jaws

[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~!"

[moonkhao]

hi.

[gayofthefae]

Okay but Mike knowing that Will liked him past tense is the juiciest option I feel like. Like knowing that he liked him at the time of the painting. And the heartbreaking story of if he knew exactly what Will was doing (but also knew that there was no way of telling Will that he knew and that he didn't mean it etc. and no reason to anyways because he wouldn't be able to go back on it).

And reworking the playlists, it supports this.

These two songs in particular stood out to me

And it ends repeated to himself like a mantra.

He wanted Will to make a move. And he watched as he decided he wouldn't.

And then that comes back around to the idea of "if he had feelings for me but pushed me away that's still a rejection, he still didn't want me" and all the different options are just oh so juicy.

Whether he knows about the painting itself or not, I think now that he got from the delivery what he needed to know. Even if they were verbatim El's words, Will was invested in them and that tells Mike something.

He knew. And when the next thing happened, he understood it

He just begged it not to be true.

Sometimes the most heartbreaking Mike is the one who knows exactly what he lost. The one who knew exactly what he was doing.

[allmightyscroll-swag]

I know I'm in deep with the disco elysium hyperfixation because I'm contemplating drawing the cast with wings. No changes to the plot whatsoever, (or character design really), they just have wings plastered on their backs poorly. It's my love language. I need to make my favorite guys into stereotypical they-wouldnt-get-off-the-ground 1/4 bird people.

(In my mind Harry would have really broad ones. And yeah logically he'd have, well, harrier wings but I think it'd be funnier if they were a cockatoos or a seagulls (or even pigeons for maximum dumpster man) and Kim's would be small and compact. He couldn't fly well with his eyesight anyway.) Don't have a set bird in mind for him though.)

[teddybeartoji]

OMG MICKEY YOU USED TO DANCE??????? that’s so cool i Need you (in me) i fear

LMAOOOOOOOO YEAHHH I DIDDD!!!!!!!!!!!!! i did dance for like... eight years i think??? nine maybe idk. at first i didn't even want to do it my parents made me go there buuuuuuut then i found a cool studio and an even cooler teacher and that's when i actually got into it hehehhee

[akuma-tenshi]

i'm so sorry i don't normally post wip's but i NEED people to see this rn because holy fuck i'm so proud of the timing on this. transitions were being a bit of a bitch but i was able to figure them out and i'm so fucking happy with this already?? like this is only like. a tenth of the finished product and i've got a ways to go until it's finished but LOOK AT HER LOOK AT MY WIFE LOOK AT HER AAAAAAA

[pitske]

long fucking rant about the joy of reading a good book. (not at all accurate title)

I just finished reading Felidae! incredible book I really love the story and- okay bear with me. I got the book a few years back because my mom mentioned reading it when she was younger. I told her I'd want to read it as well and she went through the painstaking process of finding it (which was not easy because the Author is a right fucking prick so his books aren't really sold anymore.)

so we found it on ebay eventually.( god knows I am not givin that author my money) I left it alone for a few years, had other shit to read and actually did not read much at all during that time...

right fast forward I decide I should read it because one of my terrible habits is starting thousands of things at once and never really finishing any of em. SO AND THIS IS WHERE IT GETS INTERESTING! I read the first 3 pages or so n talked to my mom and brother about it shortly, saying I liked the way it was written, the characters, the exposition, etc etc- AND at the mention of the plot my brother goes "oh! I've heard of that! it's the book that some german studio made into that horrifying animated movie adaptation!" AND IT ALL CAME CRASHING DOWN

because I remember what he meant because you KNOW tiny me with unrestricted internet access had seen some clips of the gory , disturbing cat-movie before! and you know what? I was unfortunate (or maybe fortunate , seeing how I'm a massive horror fan now) enough to watch "Watership down" as a kid so when I saw Felidae being ranked even HIGHER than that movie in those "ooh horrofying disturbing kids movieees ooh" lists, I swore I'd never watch it..

and here we are, I read that boook so fast and it is actually incredibly entertaining (i also just have never read a "krimi" before so I definitely have a high appreciation for the genre now)

I am incredibly excited to watch the movie. JUST AAAAAAAAAAAAAAAAAAAAH a 2D animated thriller-detective cat movie with horrorfying scenes and absurd amounts of gore??? COUNT ME IN TL:DR : I realize that reading is fun if you actually have a good book to read and obsess over the story of a cat solving a series of cat murders

[kiwibirdlafayette]

im itching to infodump about the songs in the syndisparklez playlist again bc cats post got me thinkin about the delicious little bit of “behind the scenes” story between capsize, tom and jordan i wrote in my head to talk too much by COIN and violet by bad suns that is exactly the whole bit about capsize being jordan’s scapegoat (loving her bc he was in denial about tom) and tom’s side of it being absolutely fucking pissed and seeing right through it all

[belle--ofthebrawl]

@anotherghoul666 You could say I'm on my blót shit, ha!

[samuraisharkie]

Now that wasn't very serotonin-huffing of you, was it? Block the OP of the post, take a breather, stop telling people they should die for a joke post, pet an animal, meet people, realize that people enjoy stuff that you don't, just. Genuinely, calm down. You don't get a happier life waging a war like this. And if anger and hatred is your choice-- well. Enjoy your burnout, and enjoy desperately trying to find joy when all you've done is surrounded yourself with barbs of scorn.

LMAOOOOO WHAT 💀💀💀💀 hang on I’m using “barbs of scorn” as my new discord handle that shit had me wailing HQKEJEKR if this is about the “proshipper” post 1) ur loser ass really scrubbed through looking for people who didn’t like that op was talking abt how it was ok to fetishize incest and rape and send ppl anons telling them to “let happiness into their heart and let ppl enjoy things” 2) brother I’m plenty happy that shit meant nothing to me!! I’m not burned out for shit!! Being a hater sometimes is good for the skin 💕

[jockpoetry]

also while i am here since i'm back writing my vampboy i am once again lost in the sauce over how neat vampire biology is and how much i enjoy the lore for vampires within the world i am writing

[theres-whump-in-that-nebula]

When a customer jumps to wild conclusions about your motives when you forget to do something you always have trouble remembering to do; because your checkout routine was disrupted and/or ran very, very long; and still makes a fuss over it when you are willing to, and actually do, fix the issue, scolding you for it throughout…

Over (at the absolute highest) five dollars off on a two-hundred dollar purchase. Wow.

I mean, yeah, I fucked up; but it was an honest mistake, I felt gutted bad about it, and ultimately I corrected the error, so I’m good right?

I wish she hadn’t walked out before I could apologize formally though. I don’t like hurting people.

[gravitytrips]

COVID. IM GIVING YOU ALL COVID. HAVE FUN

Shirtless mercenaries

[fushitoru]

i can't stop looking at his d—d—d—d—FACE!

pairings ⸺ (SEPERATE) boy next door!gojo x reader, wrestler!toji x reader, gym trainer!sukuna x reader, pizza delivery boy!choso x reader, husband's boss!nanami x reader, perv on train!geto x reader

summary ⸺ jjk men as overused p0rn/h3ntai plots! inspired by this awesome post by the talented, brilliant, incredible, amazing, show stopping, spectacular @/osamucide! pls check it out and the rest of his work :3

warnings ⸺ SMUT (mdni), consent is pre-established in all scenarios (but dub con just in case), everyone is of age (or older), exhibitionism, infidelity in nanami’s, pussy drunk men lol, not edited (as always), cowgirl, missionary, creampies, VERY public sex in toji’s, art by 3-aem, lmk if I’ve missed anything!

a/n lolll i'm ngl this was so fun to write. some of these scenarios are so funnny hELP. this one is also for some of the anons who are so obsessed w choso and sukuna in bridgerton au. wrote them for you 🫡 choso’s is my fav hehe

NEW: part 2 here

general masterlist

SUKUNA RYOMEN ⸺ HOTTIE'S PERSONAL TRAINER HAS A VERY HANDS ON APPROACH!

“Brat!” Sukuna’s voice cuts through the air like a whip. “Watch your back. You’re supposed to be hinging your hips back, not whatever lazy shit you were doing.”

He steps around to your side, the heavy thud of his boots on the gym floor adding to the oppressive weight of his presence. Squatting down, he sets his hips back in one smooth motion, demonstrating with sharp precision. “Like this. Not whatever the fuck that was.”

You glance at him, your legs trembling under you. Sweat clings to your skin, a thin sheen that feels heavy after the grueling thirty minutes with your personal trainer. Sukuna definitely takes the "tiger mom" approach, every tattoo on his body echoing the sharp, uncompromising authority in his eyes. Right now, those eyes bore into you, narrowed with impatience, his hands on his hips. His scowl is practically carved into his face—stone-hard and unmoving.

Breathing hard, you slump forward, hands gripping your knees as you gasp for air. Your heartbeat drums loudly in your ears. “Sukuna, g-give me a sec. I just—fuck—” You can barely string a sentence together between gulps of air. “I just maxed out. My legs are literally shaking.”

Sukuna clicks his tongue, shaking his head in disappointment, but his voice softens—just a little. “Fine. Catch your breath. But as you do that, let’s practice proper form.”

You nod exhaustedly, not being able to think very clearly. Wiping the sweat to prevent it from getting into your eyes, you put your legs hip width apart as Sukuna gets behind you to observe your form. You bend down, trying to sit back onto your hips as best as possible, but as soon as your ass grazes Sukuna’s crotch, you lose the form in your back in surprise. “Sorry—”

“That was wrong.” Sukuna’s voice is in your ear as he puts his hands on your hips, and you are dizzy with the contact. “Here.” Both of you squat down, Sukuna’s hard body moving right behind you, and at the lowest position, Sukuna’s thumb roves over the fat of your ass, and they leave your hips to trace up your back. “Your back should be neutral, otherwise you’re going to hurt yourself.”

“O—okay,” you breathily reply, dizzy with the way he was touching you. If you listened closely, it almost sounded as if you were whimpering. Unfortunately for you, it seemed like Sukuna was more observant than you had hoped because he was looking at you in suspicion, eyes raking up and down your figure to observe your appearance. Disheveled, chest rising rapidly, sweat dripping right in the middle of your breasts—

Sukuna, out of nowhere, grabs your hand and begins walking away. “Come with me. You’re not doing them right.”

Soon, you’re led into one of the gym’s stretching rooms—the private ones, the ones meant for Sukuna to help you after the workout. 

“Sukuna, what are we—” you breathlessly ask, but you’re quickly shushed by Sukuna as he hoists himself on the massage table.

“Come here,” he motions to his lap, and you wordlessly follow his directions, sitting directly on top of his lap, gasping as you realize there’s a bulge making contact with your pussy. “We’re going to try an alternative way of doing squats, one that involves a bit more cardio.” He pulls down his sweatpants, blushing, furious cock springing out as he pulls down your yoga pants.

Soon, you’re moaning as you slowly take in his cock, sliding down as his precum and your copious amount of slick mix and drip onto his pelvis. Your feet are on either side of his legs, making you squat every time you lower yourself down on his length.

“Fuck! You’re so tight.” He slaps your ass as you bounce yourself rapidly on his cock. “Pretended to not know how to squat just for me to put this fat cock in you, isn’t that right?”

You didn’t have the capacity to answer, just moan as his cock hits your spot. Unsatisfied with your pace, Sukuna flips you both over until your back is on the table. 

“Oh fuck yea,” Sukuna pants, hips pistoning into you rapidly, effectively fucking you into the table, and his quads are bulging in sheer strength as they clench and unclench in reflection of his pleasure. “Didn’t know my client had such a sweet pussy.”

KAMO CHOSO ⸺ SHE ORDERS BIG SAUSAGE PIZZA AND GETS HER DEEP DICK CRAVINGS FILLED! (the title is so ridiculous im crying)

“Your total’s $14.93. You’re five bucks short.” The delivery boy—an emo looking guy with hair in space buns—responds to the wad of cash and coins you had just given him. He couldn’t look any less bored than he was as he stared down impassively at you, hot, steaming pizza in one hand.

"Wait, but I ordered a small?" You ask him in confusion. "I couldn't possibly finish a large one by myself!"

He pulls out your receipt from where it was tucked into the pizza box. "Your order said a large." Upon glancing on it, you look that he was indeed correct—right next to your pizza, the size LARGE glared at you through the sheen of the reciept's paper.

"Oh," You said, dumbly, blinking in confusion. "Well, I can pay the rest in card if that's okay."

You get an impassive "I don't have a card reader."

"Oh, okay," you laugh nervously, hand going up to scratch the back of your head and fiddle with the rest of your fingers. "Okay, well," you squinted at his nametag, "Choso, let me just check the remaining cash I have. You can come inside if you'd like." 

He comes inside, dropping off the pizza you ordered on your kitchen counter as he makes his way to sit on your couch. You go to your bedroom, checking your desk drawer for any loose cash you may have stored but to no avail. Heart racing and nervous, you frantically search the upper shelf of your room, on your tiptoes as you look for your money jar, praying that there was a 5 dollar piece of cash lying around. Instead, your fingers crash against some book propped on it, tumbling down onto the floor with a large thud!

You hear footsteps coming up to your bedroom door. Choso, standing near the door. "You good?"

"Yea," you strain, still reaching up high to grasp at the jar. "I'm just trying to find somethi—”

The heat of Choso's body surrounds you as he presses closer to you, reaching up effortlessly to grab at the money jar. His groin presses against your backside, acutely aware of his breaths as he passes you the jar. 

Which is empty.

"Fuck!" you curse. You turn, looking at Choso in anxiousness, as you notice he hasn't backed away at all. "I'm sorry, but is there any alternative way to pay for the pizza? Again, I'm really really sorry for the hassle."

"You have to pay for the food in some sort of way," he says with a stony face. Your mind is racing, thinking of ways you could pay but coming up short.

As a result, you end up with your face stuffed against your pillow, the hot delivery boy plowing and drilling his cock into you. 

"Fuck, so irresponsible. Couldn't even pay for the pizza she ordered without a stranger's cock inside of her." At his dirty talk, you whimper and squeeze your pussy, Choso groaning as a result.

"What was that?" He grabs your hair and pulls your face up as his tongue traces the frame of your ear. "What were you trying to say, you cockslut?"

"'M sorry!" You squealed and babbled, eliciting little ah! ah! ah!'s as he continues bumping his cockhead against the gooey spot inside your pussy.

"Yea, you better be. Wasting my fucking time. I'm going to come inside, got it?" Choso growls as he continues pistoning his hips inside.

GETO SUGURU ⸺ ANIME GIRL GETS HER PUSSY FINGERED ON PUBLIC TRAIN!

He pulls you in for a deep kiss while rutting inside you. "Aren't you my good girl? Taking this cock for me like a good girl?" You squeal, blabbering nonsense as he fucks you into next Tuesday…

You read the smut from your favorite author on Tumblr, devouring each word while remaining stony faced as the train rocked underneath your feet. In the corner facing the doors, you made sure that you were angled in such a way that no one would be able to see the filthy things you were reading on your screen. 

However, the metro was slowing down and you looked up quickly—which was painful, considering you were so invested in the story—to make sure it wasn't your stop. As the rush of foot traffic simultaneously populated and vacated the metro, you paid no attention to the people behind you. After all, other people would be too busy on their phones to see what you were reading, right?

"You're going to take this cum, right? I'm going to breed you, my sweet, sweet girl." He laughs.  You take a moment to take in his pretty features. Long hair, beautiful face, all filled with lust for you...

You scan the words, blush evident on your face as your favorite writer has done it yet again. Adjusting, you squeezed your thighs for relief and toyed with the hem of your skirt, failing to notice the soft breaths trailing down the back of your neck just because of how enthralled and taken you were with the plot.

And then, a hand trailed up your thigh, catching you by alarm. You almost drop your phone in your rush to turn and look at the creep that was touching you, ready to beat the shit out of him. 

But when you do turn, you stop and widen your eyes. The man in front of you seems even prettier than the fictional man you were reading about, and you take him in as he rubs circles on your thigh. His sultry eyes rake down your figure, his lips pulled back in a knowing smirk. "That's some filthy shit you're reading."

Looking at him, your heart starts beating faster solely because of the promise of what his hands would do as they were currently softly stroking your thighs, getting closer and closer to going under your shirt. "I—I—uh sorry—I—"

"It's okay, pretty girl." He gives you a kiss on the side of your neck. "Continue reading it. Can you do that, baby?"

You nod, not trusting your voice. Coincidentally, you're at the part where the man helps the girl masturbate, rubbing and teasing her pussy up and down. The man behind you does the same, teasing your lips while refusing to delve inside your panties, no matter how badly you want him to do.

"That feel good?"

You whimper. "Yes—ah—it feels good. Please touch me on my pussy directly. Please."

The man behind you chuckles, and your knees buckle at how rich his voice is. You would join a cult for this man. "Since you asked so nicely, I will. Call me Suguru."

His fingers pull your panties aside and enters, soon knuckle deep inside your cunt, and as quietly as you can, you moan his name as he continues fingering you in front of all the strangers on the train. His hips press closer to your ass, and you throb even more at the huge bulge he’s sporting. He’s sloppily licking on the outside of your ear, right where you’re sensitive, and you shiver and lose yourself in the pressure even more.

The pleasure was building in you steadily and Suguru groans. “That’s right, take it all.”

You almost jump when the PA sounds. "The next stop is Shinjuku."

“That’s my stop. You have to cum before then, or you won’t be able to cum,” Suguru whispers in your ear, speeding up and hitting your g-spot with precision. There are tears forming in your eyes as you make an effort to stay quiet, especially with Suguru giving seductive kisses to your sensitive neck. 

“Fuck, you got so tight,” he groans. “Gonna cum?” He uses his thumb to rub fast circles on your clit, and you see stars. 

“I will—I will,” you cry, as the throbbing and pulsing sensation grows faster and faster until finally, you cum with a muffled cry, because Suguru has his fingers in your mouth to ensure you don’t scream out on this very, very public train.  “Squeezing my fingers so much, relax,” Suguru laughs, popping his slick-coated fingers in his mouth. “You gonna do that to my dick next?”

NANAMI KENTO ⸺ BEAUTIFUL WIFE HAS TO FUCK HER HUSBAND'S BOSS! (NTR)

“Mr. Nanami,” you scrape a hand through your hair and clear your throat. “You wanted to see me?” 

For a moment, your husband’s handsome boss eyes you down, catching on the top button of your blouse currently unbuttoned. You mainly did it because of nervousness, the heat of the room escalating with Nanami Kento’s presence. After a long bout of intimidating silence, he finally speaks. “I assume you can guess why you are here?”

You bounce your knee as you sit across from the man, and you suddenly start sweating. Of course you can guess. Your bum of a husband—the one currently under your charge—neglects to do his deliverables, choosing to take comfort in the fact that you were his higher-up to trust that he would not be getting terminated for his lack of responsibility. 

But what he doesn’t know is that you’ve been begging Nanami not to fire him, despite the propelling and clear reasons to do so. And you fear the day he finally chooses to stop listening to you. 

“Team leader, I’m going to need much more convincing. Your team has been decreasing in productivity ever since your husband joined, and it’s hindering the company,” he reminds you stoically. “I’ve seen you working overtime far too frequently to cover up for your spouse’s negligence.”

You wish time would speed up just to get this difficult conversation with. “I—I’m going to be honest, Mr. Nanami. I don’t have much warrant to continue having him on the team, but it would put my family in much…emotional conflict if this were to happen.” The said emotional conflict would really only be from your husband. You’re sure he’s going to take this as an excuse to drink himself silly, blaming you for not being able to keep him employed. Your throat dries as you finally meet eyes with your boss, silently pleading him to come up with a solution.

“I see.” Nanami crosses his arms. “I suppose there is a…favor you could do for me.”

At that, you perk up and nod your head frantically. “Of course. Anything.”

Which is why you find yourself bent over Nanami’s desk, his cock drilling inside you. He’s ripped your stockings, pulled up your miniskirt, and put your panties to the side as he moans about how sweet your pussy feels. “I’ve been waiting for this forever. Tell me, is my cock better than his?”

“It is!” you squeal. “You’re so—so big!”

Nanami moans as he ruts inside you, your walls squeezing him tight. “Darling, I c—can tell he doesn’t treat you right. You are so tight around me, pussy’s been waiting for a while for a real man.” 

You moan and curse, blabbering affirmations while his dick impales you. Even though Nanami is the one who’s owed the favor here, his hands wind their way around your body to rub at your clit, simulating you even more, making you sob. “Please don’t stop!”

“I won’t ever, sweetheart,” he pants. “I’m going to finish inside her, okay? Make sure to keep it in when you go home and greet your husband.”

FUSHIGURO TOJI ⸺ BABE GETS IMMEDIATELY DESTROYED IN NAKED WRESTLING (WITH AN AUDIENCE) (find extended ver here!)

Cheers surround you as you step into the arena. You know who your opponent is—-Fushiguro Toji. Even when you looked at his pictures earlier, you knew you were doomed. No matter what angle the photographer took the photos in, his muscles seemed to be bulging, effectively spelling out the sore defeat you were about to face today.

And there he is. Him in the flesh. He’s leaning against the boxing ring’s outer borders, head tilted back lazily while his manager, Shiu, was informing him quickly (and intensely) about the rules of today.

Nothing crazy. Only fuck when all clothes are off of her.

The way his neck is tilted back, compression shirt showing off his upper physique made you weak in the knees already. Additionally, judging based off of the bulge he seemed to be sporting in his grey sweatpants, you knew you were doubly fucked.

Shiu seems to be done talking, so he steps back and takes a seat. Toji leans his head back, rolling his neck to stretch it out, and in the middle of doing so, catches your eye.

You almost drench your panties.

His eyes darken, giving you a sultry look as he cheekily winks. While his cocky demeanor was warranted (he was much stronger and bigger than you), your cheeks heated up in both arousal and irritation.

The sound of a whistle is heard as music starts to play. The stadium’s screens flashes the cocky image of Toji, who saunters in the middle of the ring, flexing his muscles to his screaming fans.

When your signature theme plays, you do the same, to no shortage of fans yourself. You can feel everyone in the stadium, especially your male fans, rove over your figure. You’re wearing a very low cut top that displays the swell of your boobs and even tighter shorts that squeeze your ass and show off the shape of your pussy. As you walk towards Toji, you can feel his heavy gaze on you as you nervously shake his hand.

“Try to last long, okay?” Toji smirks, patting your shoulder. “I’ll try to drag this out as much as I can, but it’s gonna be fuckin hard if that ass is grinding against me.”

You glare at him, but there’s not much intensity there. “Yea, yea,” you huff. “For all I know, you’ll be my personal dildo today.”

And the fucker’s smile widens. “Let the games begin.”

Soon enough, the sound of the whistle draws you towards each other, keeping each other in a lock to tackle the other down in an objective to take off layers of their clothing. Your fans cheer when you have Toji underneath you for a split second, only for female ones to become more riotous as he easily overtakes you, pins your hands down, and wrenches your shorts off of you.

“Toji is currently in the lead!” The announcer’s voice in the stadium echoes of your defeat as you flail around, now bottoms only covered by your panties. Deciding to pull out your signature move, you maneuver so your thighs surround Toji’s waist and hump your hips against his bulge. This momentarily distracts and weakens Toji, and you take full advantage of it by overtaking him and now straddling him. You quickly take off his shirt, salivating at the muscles you see. The whole stadium, in fact, can his abs and pecs glistening with sweat.

Your attention is back to Toji as he chuckles darkly. “You’re going to regret that. I was going to drag this out, princess, but I gotta fuck the brat out of you.” With that, he puts his whole body weight on you and strips you down one by one.

The arena cheers as your lace bra is uncovered, your sweat shining on the screen as your breasts are displayed. Toji then unhooks your bra, and the roars get even louder as your tits pop out. He takes a moment to grope them, your whines ignored as he pinches your nipples. “What a sensitive girl,” he coos. “Too bad she was too weak. Now she’s going through to have to take my cock.

With that, he finally unveils your glistening pussy for all eyes to see and the crowd goes wild, chanting for Toji to finish inside you. Toji flips you over so you’re on your hands and knees and pulls down his pants.

You don’t look back at the monster that’s about to enter you for the sake of your mental health, but your legs are shaking in anticipation of his cock, slick dripping down your thighs.

“Fuck.” And Toji’s slowly entering you, the humiliating plap! plap! plap! of his hips against the flesh of your ass echoing multiple strangers watch your pussy get wrecked. “The fuck this pussy’s so tight for? Thought you were a slut?”

You’re tearing up, but not fucked out enough to prevent you from snarkily replying, “You’re not turning me on, small dick.”

He did not like that very much.

Toji drills his hips into yours faster and slaps your ass multiple times consecutively. “Yea, so why is she clenching so fucking much? Why is she dripping? Just for that, I’m going to come inside of your slutty pussy.”

The crowd chants cum, cum, cum! and Toji just does that. Ropes of his cum fill you, and you drop down in exhaustion to hear Toji declared as winner.

GOJO SATORU ⸺ GIRL GETS FUCKED BY PEEPING TOM NEXT DOOR!

You sigh, extending your back and un clipping your bra, letting your tits bounce free after a long, long week of college. It was finally Friday night, and with no one in the house due to a party the rest of your family was attending, you could finally enjoy your time home on the holidays, starting with a solo session.

You clench your thighs in anticipation as you scrolled your phone, seeking an audio you could masturbate to. And you were close to finding one, until you felt eyes on you.

These eyes were nothing new. The boy next door, Gojo Satoru, has also been your crush since middle school. Even though neither of you have ever made a move, you’ve made bold moves since starting college, stripping with the blinds open to give him a show. You had kind of had a sixth sense as to when the fucker would start watching you, and it flared as you slowly dragged your hands down. Bending over and shaking your ass, you slipped your skimpy shorts down your legs, giving him a clear view of your wet pussy.

But masturbating wasn’t enough for today. None of the college frat bros could make you cum, no matter how much they boasted about their fuckin roster, and you were tired of Satoru just watching. Just seeing him work out shirtless in his lawn, sun shining his sweat to give him a golden halo, was enough to make you sick, hungry for his dick. The way he was so shy and the mannerisms he had (as a loser) let you know he had a big fucking dick.

Needless, to say, you were tired of just fantasizing and speculating about his dick. Turning around, the moonlight allowed you to see the silhouette of his wrist moving up and down his length, even if he had tried to make his best effort to darken his rooms. Putting on your best show of an angry face, you grab your phone aggressively and dial his number.

The line rings, and he picks up. “Hey,” and you can tell he’s a little breathless. “long time no see. What’s up?”

“Cut the fucking act out,” you spit. “I know you’ve been fucking watching me, perv.”

Satoru’s panic is comically obvious over the phone as he rushes his words. “Wait, wait—listen, I—I can explain.”

“On how you’re being a peeping tom?” You glare at his window. “Come over, Gojo. Then I’ll listen to your fucking explanation.”

One thing leads to another, and now you’re spread out on your childhood bed, Gojo whimpering and whining as he plows his dick into your pussy. “You feel so—so good. M’ sorry—sorry for doing that. Your pussy is too good for me to look at.”

You laugh meanly and grab his chin. “You feel sorry yet, you pervert?” And Satoru can only cry out as you yank his head. “Remember, this is the only fucking thing you’re good at. Being my glorified dildo. Got it? Now, you’re going to fill me up only after you make me cum at least two times.”

a/n yea this was depraved….lmk what yall think tho 😭

comment and reblog I’d love to hear your thoughts! (also, requests are open heheh)

NEW: part 2 here!

[shidoukanae]

Paris Valerian but i redesign his dragon form for funsies based on how i see him=. Not sure if I like this design bc im not a fan of bulkier looking dragons but for Paris I think this works??

Some headcanons about this design:

has a bit of a bull-like look bc I associate bulls with persistence and madness and idk that fits Paris well so if Fian has a “fox” motif Paris gets a “bull” one for his dragon form 

His design is based a lot on how a stereotypically evil dragon would look???? Because imo OG!Paris reads as a massive antagonist and I think giving him a look that fits that vibe in his dragon form works!! Especially because he still is an antagonist in a way (though god does he not read that way lmao)

he’s stronger in his dragon form than Fian is and he uses this to his advantage to bully Fian around whenever they playfight as dragons. That said, it seems Paris is surprisingly gentle towards Fian in this form and never hurts him.

he uses this form to intimidate people into getting what he wants. He’s not used to getting retaliated against while in this form and quickly respects anyone who does so (read: Fian, Lyla and Helene)

the silver scales on his body can glow in the same way his eyes do. Typically, he keeps them dull-colored (see above) but if he feels a strong emotion of any sorts they’ll glow brightly without him meaning to (noticeably: they glow constantly whenever Helene is around for obvious reasons~).