#oh my god i made some words
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It’s the way Steve places a pin in that damn map of Hawkins. Two fingers, muddy knuckles. Fuck if Eddie knows the actual destination because all he can navigate is the curve of Steve’s index finger as he smooths out the edges of the map.
And it’s stupid, right? Because the world is folding in on itself and he’s looking at a guy in the kind of way Victorian novelists would only describe as ‘longingly.’ It’s objectively stupid. Probably some adrenaline bullshit that a doctor could explain with a brain scan.
The rest of the group has scattered, plotting amongst themselves. Pulling plans out of their asses. Finding layers of courage behind clues and cassette tapes.
Eddie should do that too. Plan. Make decisions. Do anything other than stare at the dirt underneath Steve’s goddamn fingernails.
“Please blink, Munson.” Steve says while clearing his throat. He’s been doing that a lot. Which is, like, understandable after coughing up lake water all night long.
He clears his throat again. “Show sign of life before I ransack the supply bag for that shit you call music.”
“That… shit?” Eddie spits out the words. Briefly forgets his swirly Steve feelings because of the fucking audacity on this guy. “Rightrightright, because Bob Seger is so fucking dignified, huh?”
“Uh-oh.” Dustin murmurs behind him.
“Because Old Time Rock and Roll is the highest ranking of ear candy?” Eddie searches through their duffel bag until he finds Steve’s Vecna Saftey Tape. Waves it around wildly as he speaks. “Forgive me. I didn’t know entry-level chord progressions were considered Carnegie Hall worthy these days. But by all means, call my music shit.”
He throws the tape at Steve’s lap before dropping back down to his seat on the couch.
“Well,” Steve smirks. “At least we know if the music won’t wake you up, mocking it sure as hell will.”
“Guys. Focus.” Nancy steps into the center of the room. Everyone nods, even Eddie. They listen intently to her directions. Henderson doesn’t interrupt her, not even once.
Nancy’s entire demeanor is charged with currents of determination. It’s honestly impressive. Truly. She could convince congress to change the fucking constitution if she wanted. Have the supreme court eating out of her palm with how persuasive she can be.
And the only thing that distracts her, is the same thing distracting Eddie.
Two fingers. Muddy knuckles.
Eddie follows her gaze back over to Steve. Her expression softening when she sees him.
It’s cruel and expected. Cruel that Eddie has to witness such softness, knowing exactly how it feels. Expected because wedding bells can practically be heard every time those two interact with each other. No one can deny that.
But knowing all this doesn’t stop the cruelty from squeezing Eddie’s stomach till his insides feel raw.
He swallows down his flimsy fantasies. Keeps repeating those words from back in the woods:
It’s jealousy, it’s jealousy, it’s jealousy, it’s-
“Hey, man.” Steve says.
Man? Not ‘Nancy, my betrothed?’ Not “Nancy, my muse?”
… Man?
Eddie blinks. Glances up to see Steve looking at him. “Your taste in music isn’t complete shit.”
Which isn’t exactly an apology. But the teasing scratches an itch in Eddie’s brain that he hasn’t be able to reach for a very long time.
“Yeah.” Eddie says. “I guess Bob Seger’s stuff is… intermediate. Assistant managerial-level chord progressions.”
He pauses. Then leans in and adds a quick, “At best.”
They both laugh a little. It’s cut short by Steve clearing his throat again. One of the many reminders that they’re not well.
That nothing they’re going through is fair. Not even in the same universe as Fair. Eddie’s eyes fall to the red markings around Steve’s neck. Wonders if that makes his cough hurt worse.
“Look.” Steve nudges Eddie’s arm. Pulls his attention back into this moment. “We’ve got this, okay?”
Eddie can’t exactly tell if there’s softness in Steve’s eyes - the same kind Nancy gives to him so freely. Or if it’s just regularly scheduled Concern. But it doesn’t even matter because Steve said that.
We.
‘We’ve got this.’
Him and Steve.
And, okay, was Steve referring to a collective ‘we?’ Sure, yeah. Obviously. But Eddie is allowing himself to wallow in delusion while the world’s expiration date remains questionable.
So he aims a lovesick smile at Steve and sighs. “Whatever you say, Harrington.”
#hi fam I’ve missed yall#please have some words if you need them#in my brain - this takes place while prepping for the vecna fight#idk I think about the conversations being had at that time a lot#serious and lighthearted bc how else do you cope?#aaaaanyways please thank Chappell roan#her music made me miss making things 😌#okay I hope you are thriving and hydrating out there 💙#steddie#steddie ficlet#oh my god I forgot what other tags I use fcegegeheghj
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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~!"
#oh my god this is like 6k words what happened. well you can't say my claims are unsubstantiated i guess.#lucabytetalks#fuck dude i sure do !!!!#i have to assume a lot of other people picked up on exactly what i did too but i dont read other peoples meta very often so !!#i am simply shaking hands with anyone else who came to this conclusion. hi. sometimes its just fun to construct a small essay i guess#i have like no goal putting this out here other than like. For The Sport of Writing Out Media Analysis. so if it makes anything click#in peoples minds or actually sells them on this reading then that's just a bonus i suppose#in stars and time#isat analysis#isat meta#isat siffrin#isat loop#isat spoilers#2hats spoilers#lucabytewrites#welp. no idea what else to tag this. be free and into the wild my gigantic ass post.#is some of this redundant? probably! but cmon man its a tumblr essay i can't format it perfectly. sometimes points get repeated#anyway this post is lagging out my tumblr drafts now i have to post it oh god oh christ i hope nothing goes wrong#edit: i forgot i made the lucabytewrites tag a while back for purrgatorio this can go in there too
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SEDGEWICK SABLE & MITZI MAY : an overall study, part two . part one .
discussing their individual characters, their relationship, their respective scenes, and a plethora of details found in-between.
now that we’re here at the second part of this analysis, we’ve finally reached wick once again in the narrative! in grindstone there are a few things to note, like wick’s haggard state, tired from the events of last night and curing his hangover with more giggle water -- working away on finances he needs to present to the investors before the start of the week. lacy is also there at his house, slaving away on a variety of things we hear more about in sneakthief. it’s noted today is potentially one of her days off, but the workload is potentially a little behind and big enough that she’s decided to lend an extra pair of hands even when she shouldn’t have to. they are busy at work in grindstone, hence the title! there is hardly any time for extra activities that don’t involve wick chained to his desk and slaving away, with him already in poor working condition ; he claims he can’t see a thing he’s writing despite having his reading glasses on, and not only disrupts his time but lacy’s in an attempt to ‘find’ them. he’s very much out of it and whatever work he’s doing will probably need some revisions at best, yet wick’s job is put on hold again when lacy asks if he’s expecting company, a comment which spurs him into hurriedly changing and telling her to stall mitzi at the door. again, we have wick confirming that him and mitzi indeed made ‘last minute plans’ to meet up today, even though he and lacy acknowledge that he has no real time for this. despite that, wick greets her warmly after he’s dressed, also adorned with a fond smile while hovering a hand over the small of her back when ushering her into the foyer so he may fetch the car for their outing. nothing seems too amiss here, though things begin changing come balderdash, where wick noticeably begins crumbling as a character for the first time.
to start off, i think people are rather generous with wick’s character overall. his flaws are limited to readers, to where the most common ‘bad’ traits talked about when referring to his character is : alcoholic ( not a trait ), hypocrite ( accurate! ), and he’s too kind or oblivious. while the latter two can still be something the character can have too much of or lead to genuinely bad traits, this is still an extremely small inspection overall, one that almost shies away from a harsher read. this can be attributed to how little we see of wick, but there are things we can infer via his scenes with mitzi as well as church’s words all the way back in caveat … words which come into play here. during the comic page balderdash, rocky is desperately trying to ward off wick from his beloved miss m, getting rather physical in the meantime -- he’s still seething after the events of last night and in his attempts to thwart wick from helping mitzi further, he decides to lean into the public shared narrative that this widow is dangerous and got her husband killed. we see how strong wick’s faith in mitzi is during this page ever so briefly, looking almost amused at rocky’s words while maintaining an aura of confidence when dismissing these rumors. he says, “i’ve known her a while, rocky. whether out of class or kindness, she wouldn’t harm a fly.” what wick clearly hasn’t considered, however, is what rocky implies next, which is the idea that wick’s paramour could’ve hired someone else to do the dirty work for her … an idea that very quickly disturbs him and shakes his view on mitzi and, perhaps, the lackadaisy, even when he tries verbally dismissing all this as a joke.
despite his dismissal, it’s rather obvious that rocky’s words stay with wick. throughout the date, wick is stuck in a state of doubting things that he’s never entertained before, with no way of discerning what’s appropriate to fret about and what’s not, and this is in no small part because of the verbiage rocky was using. wick thinks he’s doubting mitzi, that he potentially doesn’t know her as well as he thought or that he has a reason to be afraid of her, due to rocky’s claim that she’s dangerous and his insistence on throwing the carnage and consequences of rumrunning onto mitzi as a person. however, his true feelings are rather far from that. while it’s true that wick is riddled with doubt after rocky’s attempt at driving him and mitzi apart, i find it prudent to clarify here that his love for mitzi outweighs those doubts in large measure. wick’s sudden and unfounded fear doesn’t drive him to isolate himself from mitzi, and thus some part of him does still believe that she isn’t a cruel person and that she wouldn’t try to harm him. there’s no reason why he would think otherwise apart from rocky’s unsettling and instigating threats. wick’s fears are both similar and dissimilar to the ones zib voices in blood-money. while zib is worried about the corrupting influence of the life mitzi is leading, wick is more so afraid of the life itself. wick still views mitzi as every bit the charming, funny, and impeccably elegant woman he fell for, but he is now forced to wonder if he would ever be harmed because of her presence in his life. in essence, rather than questioning mitzi as a person, he is worried about the danger inherent in the life she leads and how that danger might directly impact him. unfortunately, though wick seems to at least subconsciously trust mitzi, his doubts stick around like intrusive thoughts, presenting a constant what-if that wick can’t shake, and it’s these very thoughts that continue to make the business-meeting-turned-date as awkward as it is.
now, it’s rather interesting how much the notion of mitzi hiring rocky to kill her husband shakes wick up due to how normal this sort of method is within gangster lifestyles ; with us even seeing atlas absent or abstaining from mordecai and viktor’s violent work ethic, his hands physically clean despite how its his order causing all this destruction and death. asa does the same! they have workers for a reason, ‘faithful operatives’ as rocky so lovingly calls them, and these men are utilized with complete efficiency. it’s not insane to think that mitzi hired another to kill atlas, and besides rocky’s bumbling incompetence, it’s not strange to consider him a likely man for such a job due to his utmost loyalty to miss m over anyone else, including atlas. yet wick acts as though this hasn’t ever crossed his mind, wholeheartedly believing that mitzi would have to kill atlas herself in order to get the job done, something he’s sure she doesn’t have the heart nor the guts to do. he is visibly shaken the rest of the date, one more distraction piled on his plate high, so suddenly paranoid through the haze of perpetual tiredness that he even snaps at mitzi over something as simple as the word bunny. for the first time, i believe wick is thoroughly beginning to question his part in all of this and is starting to reexamine these once harmless aspects now that the inherent danger has been shoved in his face so earnestly. while a part of this is naivety ( he’s far away from the criminal underbelly after all, as rich and comfortable as he is, a lackadaisy patron and nothing more ) i’d also point out that another aspect of it is a sense of subconscious invincibility. perhaps he is too content in his status and wealth and how well he’s been doing to even consider he’s hardly exempt from consequences, much less the side effects of hanging around criminals or dangerous establishments.
it seems rather strange and far-fetched of a claim, but think of church’s warning to him back at the start of the comic ; “you’ve done well lately … but don’t imagine it means you and your reputation are invincible.” it’s easy to dismiss church’s words due to how mean he often is, how overly critical, but he arguably knows wick better than the readers do, so i think it’s pertinent to take his words and to consider them. he’s also not wrong. everything church says in caveat is the god’s honest truth and wick, to some degree, knows this! it’s why he’ll practically regurgitate church’s advice in mephistopheles when rejecting mitzi and explaining why he must reject her proposal. so then why wouldn’t church’s read on wick be somewhat accurate as well? i think wick’s biggest flaw is that he’s too easily caught up in emotional throes while also struggling to think of every tiny detail, an issue that may or may not have to do with how excessive exposure to alcohol has affected his short term memory. he doesn’t bat an eye at the ruffians or violent gangsters who hang around the lackadaisy because they aren’t currently threatening wick himself, and he won’t dwell on it too hard that these men have to procure their hooch somehow, and that it’s said to be a bad business. if it’s not affecting wick and his enjoyment of the establishment ( or the woman he’s eyeing ) then it is not something he concerns himself with or feels the active threat of. has a simple mindset that sort of functions like : well, mitzi wouldn’t be able to kill someone with her bare hands! she’d loathe to get blood on her lavish garments, doesn’t have the coldness inside to see the life leave a man’s eyes! much less her husband’s! it’s ludicrous. imagine knowing the lady and thinking her capable of that, when she looks and acts as she does! …
again, it’s a rather closed-minded view of the whole thing. how could you not consider she has guns for hire? that the men she surrounds herself with are indeed dangerous individuals who are more than willing to watch the life leave another’s eyes for her? he sees viktor at the bar and in the pilot even appears intimidated by his stature and scarred face, yet doesn’t think twice about what a man like that is doing there on mitzi’s paycheck? even thinks it normal to take viktor to the hospital after hearing that viktor’s been shot at the lackadaisy, not at all considering that police and doctors would pry. wick is extremely privileged and short sighted here, a little full of himself and what he can get away with -- this is the very same man who actively showed interest in a man’s wife, for crying out loud, and didn’t at all consider that someone like atlas would’ve killed him had he known wick’s intentions. this is more than just being blind or oblivious. while i love wick for his kindness and loyalty, i can also admit that he’s still a capitalist at the end of the day, and a successful one at that. him getting too big for his britches and throwing himself into scenarios without considering how this will affect him is extremely likely for his character, and is exactly what he did when agreeing to meet with mitzi the first night in lackadaisy. i believe wick was too caught up in the passion and euphoria of finally getting what he wanted, and started making promises and plans he couldn’t necessarily deliver on, not thinking at all about the logistics or the next day and instead focused on some whimsical future. he loves the lackadaisy and he adores mitzi, so why not invest in it? sure, they can discuss the details tomorrow, he has time just for her … and then reality hit him like a train twice over, leaving wick scrambling around aimlessly. he knows what he has to do but doesn’t want to actually do it, which instead makes him seem completely disinterested and wishy-washy instead.
( i also want it on record that the potential of harm or danger really scares wick when he’s made aware of its presence, at least in certain scenarios. while he can brush off the pig farmers raiding the lackadaisy and viktor’s injuries, he can’t ignore rocky’s threat or its implications because this is shoved directly into wick’s face rather unsubtly. what wick gets from the lackadaisy is mitzi, it’s some strange sense of belonging, and a break from his stressful normal life -- it’s not the awful booze he’s interested in, it’s not the thrill of being in the center of danger, it’s the mindless company and vague sense of ‘i have a seat here, right here, around all these people who don’t seem forever irritated by my presence.’ it’s also the rocks but that’s less poetic. point is, wick’s horrific loneliness and ridicule from his peers is what has him drinking at the lackadaisy instead of in the wine cellar he has at home, which means him being perfectly blind to the danger the workers there face is all the more heartbreaking. he won’t ever truly be one of them until he’s actually breached their criminal lifestyle in its entirety. he may pose with them in pictures, but he’s still an outsider in title. he can’t choose them over his business because he needs and wants his business and, clearly, the lackadaisy needs that too. he can’t sacrifice his safety but he doesn’t want to sit idly by and allow mitzi and her employees to suffer because he is still a very kind man. it all exists in extremes and is what makes wick’s arc fascinating in my eyes … his character also becomes more interesting with this in mind, more human, and that’s exactly why i adore him and mitzi ( and their relationship ) as much as i do )
though here we are, finally done with the detours and event recapping to discuss the original question : what is wick’s and mitzi’s mindset during their date? we have all the tools available and any further information i may give later should be extra elaboration at this point rather than anything new. after all, in order to understand why the date went the way it did we had to understand wick and mitzi’s individual characters and what they feel towards each other, what they think they feel, as well as how their relationship has functioned so far. and with a multitude of misconceptions cleared up too, this section hopefully seems a bit more straightforward, though i suppose we’ll wait and see. now, we’ll be discussing the pages doublet, drollery, veracity, photomajig, briar-patch, and mephistopheles … plus some of the date’s aftermath much, much later!
at the start of doublet ( and carrying into drollery ) mitzi and wick are seated in a rowboat, with wick doing the rowing while she’s situated comfortably on a pillow and enjoying the view ; typical of their gender roles during that time. wick looks almost quizzical in the first panel we see of him, though some of that tenseness appears to leave his face by the time mitzi turns to look at him … only for such a look to return when she says, ‘let’s talk business, wick.’
throughout this page and the others it becomes obvious wick very much doesn’t want to discuss business with mitzi, despite that being the purpose of their little meetup at all. he’s extremely quiet when she begins rambling on about how wrong her approach had been last night, how she should’ve just sought wick out to begin with ( an interesting thing for her to say given how reluctant she was to use him initially ). there is a wave of compliments and flattery here from mitzi, an almost buttering up, and it’s worth saying that what works a genuine smile out of wick here is mitzi saying something as simple and as romantic as liking his face. it’s undoubtedly an earnest expression, still tired but softened considerably, and wick will continue to show that what he’s most receptive to are mitzi’s advances, her small flirty remarks and gestures. but once again, when she decides to come out and say what she’s trying to discuss with wick, ‘i’d like you to be my business partner’, he quickly shuts down. his expression falls and he becomes even more quiet than before, enough so to prompt mitzi ( who’s now rowing with him ) to ask if he’s lost interest overnight. all wick can muster in response is some hesitantly worded excuses, like how he’s a little tired and that this proposal is a lot to think about. i say these are excuses because i think wick knew from the start that he was going to reject mitzi’s deal, whatever it was, because now that reality has set in he’s come to understand church’s warning as pure facts. there was never a moment during the outing where wick was even thinking about mitzi’s offer, and he does everything he can to avoid discussing it because he knows his answer.
mitzi, similarly, only wishes to discuss business with wick here -- it’s what she came over for, after all, and she’s at the end of her rope after last night’s and today’s events. she needs this deal and wick’s money, to the point where she remains almost purposefully stereotypical throughout their entire outing. gone is the more genuine bond between them that we saw in rendezvous, because now every time mitzi does a romantic action ( or a sexual one ) it’s wooden and rather fake ; it’s her feeling as though there’s no other choice and being desperate enough to stoop so low if it means wick won’t reject her business. their wants and desires are complete opposites at this point, with wick wanting this to be a date and to be with mitzi while the woman in question is avoidant of any lovesick antics until she feels like she’s losing wick. there’s definitely some manipulation happening on mitzi’s end just as much as there’s some purposeful misleading on wick’s, with both of their behaviors rubbing the other party the wrong way ; wick is still on edge due to rocky’s comment and is prone to getting upset whenever mitzi so much as jokes about it, and then we have mitzi, who’s already dealt with a similar situation today with asa, someone who dragged her to an outing she didn’t ask for and then avoided the conversation she wanted to have with him. for perhaps the first time, neither wick nor mitzi are really seeing each other anymore, they’re instead doubting one another where there had once been ironclad resolve and are too blinded by their desires to have an honest conversation about any of this. add this on top of how exhausted and stressed they both are, it’s no wonder their ‘date’ was doomed from the start.
i also want it on record that mitzi is being extremely open and upfront here about what she wants from wick from the first page. she didn’t waste any time before making her intentions with him clear! this isn’t me dismissing her more manipulative behavior during the date, but she certainly doesn’t use wick to the extent some people act like she does. rather than asking him to be an investor, she tells wick she wants him to be her business partner who would get 40% of the revenue and a 40% say in her decisions regarding the lackadaisy. it doesn’t seem like much, but given how little wick actually needs this money back, it’s a rather generous offer all around, with it almost being half and half. while she’s still undoubtedly using him, there is still a level of respect here, i think, some kind of : well, if i have to use wick, let me at least make the terms as good as they can be. some fans act as though mitzi deceived wick from the start when i’ve more than proved she’s mostly been completely transparent with him outside of a few select situations, which happen to be moments where her desperation turns her impulsive and wholly selfish, as seen briefly in rendezvous and whenever she flirts with wick during their outing. an impulsive instinct that will only worsen come sneakthief, when mitzi is utterly humiliated, angry, and at the very end of her already thinned rope. to me, it’s important to understand that her reasons for her actions during this arc are understandable and, perhaps, a bit sympathetic -- but that and the fact that what she does is wrong can coexist. wick is in a similar boat, where i mostly want to present him through a neutral lens so we can understand that he’s also done some wrong himself and is hardly a perfect victim, but that these wrongdoings still don’t dismiss the fact he shouldn’t have been stolen from or had his affections used. but i’ve gotten a little ahead of myself, so let’s dive back into doublet and drollery.
doublet ends with mitzi cooing at wick in an almost teasing but fond tone, calling him a ‘poor bunny,’ a comment so unremarkable that she’s not at all anticipating wick to react rather aggressively. he’s sort of accusatory and defensive, as though bristling from the mere title alone. we quickly find out in the next page ( and from his mumbling before his outburst ) that he’s still unable to shake rocky’s threats from balderdash, to the point of internalizing the confusing metaphor he was given, which wick hardly understands but is still reactive towards. he’s tired and stressed and on top of that he’s suddenly nervous for his life, it’s little wonder why he’s so jumpy. mitzi, in turn, expresses utter confusion at his question and, when wick explains that rocky insinuated he killed atlas because she wanted him to, she begins making light of the situation … much to wick’s dismay. to her, it’s just not something to take seriously! and she repeatedly pokes fun at the mere idea, going back and forth between ‘i’m kidding!’s and ‘or am i?’s until relenting entirely, going on to tease wick for believing she’d do something so awful and for taking rocky’s words as something to be worried about. drollery is a deceptively important page, as it’s a great demonstration of how little wick and mitzi are understanding each other. it makes complete sense for mitzi to make light of the situation and to be unable to understand why wick is so afraid, considering that rocky idolizes her and therefore has never threatened her or even done so much as to appear annoyed around her. in stark contrast, wick’s emotional state here is frazzled and fraught, and he’s in desperate need of some sort of comfort. he seems to get that comfort when mitzi teases him about believing rocky, only for fear to take over once again when mitzi casually mentions, ‘rocky’s name is definitely not on my murderers-for-hire roster,’ implying that she still has one even if rocky himself isn’t on it. wick is noticeably so shocked or frightened that he stops rowing, and then there’s a brief timeskip before we see the pair again in veracity.
what i find most prudent to talk about during this page is the discussion of atlas may between the pair, with wick asking two rather wise questions ; if the talk about mitzi’s part in her husband’s death is false and, if so, why not speak up on it? her answer is rather similar both times, saying she didn’t kill atlas because she loved him, and that she doesn’t like discussing the circumstances surrounding his death due to how fresh it all still is. she begins fiddling with her necklace, a telltale sign that her late husband is on her mind, before offering something rather interesting.
as we know it, mitzi is a rather reserved and private person, and that goes tenfold for anything involving atlas post mortem, an aspect of her character that’s even referenced in this very page! so for this to even be offered, albeit hesitantly, is fascinating on many levels and can be read through two lenses. either this is a genuine offer from mitzi or a fake one in an attempt to garner wick into her corner, with the promise of a solved mystery in his pocket. both are completely valid interpretations of this scene given where mitzi’s currently at, and i won’t dismiss either one. however, i personally view her words here as an honest invitation, one she’s extremely reluctant to give but is willing to let it be out there regardless. she’s not promising that wick will get this information, it’s merely a possibility ; if such a question truly weighs on him so heavily, then perhaps she can find it in herself to someday tell him about atlas. i think mitzi is more than willing to give wick that sort of honesty in return if he decides to help her out -- which, in a way, is a blend of the two options i brought up earlier. i just don’t see why she’d bring this rather sensitive and personal wound up to wick at all unless she was serious about it, given how avoidant she usually is with this subject.
one aspect of lackadaisy that i rarely see brought up is the tangible theme of grief. mitzi is often interpreted without her grief being a factor, or her grief being a small obstacle that she simply needs to ‘get over’. this is hardly how grief works, especially not when a loss is sudden and violent, as atlas’ death unquestionably was. this is to say nothing of the horrific circumstances that followed mitzi afterwards -- while previously, she was a wealthy socialite, sheltered from harm and the particularly gruesome details of her husband’s work, she is now forced to wear shoes that are far too big and bloody for her to fill. i find it prudent to digress and harp on this a bit, as it’s hardly ever mentioned in the lackadaisy fandom that it can be incredibly difficult for a grieving person to hear the name of their lost loved one, especially when you’re someone as reluctant to share your feelings as mitzi is. hell, mordecai just hearing atlas’ name once was enough for him to flee the luncheon and squirrel himself away in mitzi’s car. and not only has atlas been brought up twice today already, he’s been used as a tool to threaten mitzi’s life. while wick could hardly know that his discussion of the rumors surrounding atlas’ death might have a serious impact on mitzi considering the context of what happened that day, he certainly belatedly realizes that his words have the very real capacity for hurting mitzi -- he just doesn’t realize how much. with this in mind, there is undoubtedly something to be said about how mitzi offers to talk to wick about atlas at all, with us being able to read into this as a testament to their previous closeness or miss may’s rising and almost animalistic desperation. wick’s response to this is rather telling too, with him immediately rejecting her offer due to mitzi not ‘owing’ him such an explanation and apologizing for bringing atlas’s death up at all, as well as expressing that he’s duly ashamed of himself for it. while this puts a damper on their outing ( and gives wick another excuse to try and avoid mitzi’s desired topic by ending things early ) there’s no denying that even when they’re on relatively strained terms, a glimmer of respect and care for each other keeps shining through. it’s either that or wick just has impeccable manners and an innate understanding that bringing up a widow’s murdered husband during what’s supposed to be a date isn’t a wise move. or, like always, it’s probably a mix of the two. this fondness and affection towards one another, as subconscious as it may be, is highlighted once again in photomajig! a page which i won’t talk about too much, but one that’s integral nonetheless.
realizing things aren’t going the way she wants them to go, mitzi spies an opportunity to prolong and ‘fix’ things when seeing a photo booth, one which she drags a curious wick to with a renewed smile upon her face. for the first three-ish photos, wick seems rather apprehensive about this situation, likely still feeling their earlier talk in its awful entirety ; only for mitzi to physically tug and pull at him in an attempt to help him loosen up, going as far as to pinch his cheeks into a poor facsimile of a smile for the camera. after this, wick gives more of an attempt during the next two pictures, mimicking mitzi’s pose both times and seeming to find himself having fun despite circumstances. there’s a noticeable shift in the photos where the two not only appear to be enjoying themselves, but are actively enjoying one another’s company. for a couple shots it’s almost like the current despairing state surrounding them disappears entirely as they silently fawn over each other and indulge in some harmless fun, with these three specific pictures being prime examples of this.
there’s no denying that wick is visibly smitten with mitzi here once he loosens up, burdened with an overwhelming attraction his face can barely hide once the date begins feeling like an actual date. mitzi’s more subtle, though there’s a lightness to her expressions that feel less forced and sad, actively engaging in ridiculous poses and naturally falling into more loving gestures without much orchestrated affections on her end. you can see what they could perhaps be like as a genuine couple if they could allow themselves such a future ; happy and silly and capturing memories to always keep … and this brief insight makes what happens at the end much more devastating, where we see mitzi ( who has, maybe, remembered herself and her goal ) throw this away to force herself onto wick again with a bruising force, attempting to take advantage of his good mood so they can talk about her business proposal again. just like that the moments are gone, as are their more honest feelings, and although wick still dodges the topic yet again ( which, as previously stated, he shouldn’t be doing given the true purpose of this outing ) he retains a more playful attitude than before. joking that he was planning on running away from mitzi until he begins looking rather smug and adoring while teasing her ‘ruthless’ strategy, and how it doesn’t leave him in an advantageous negotiating position. the page ends with them realizing they’ve cultivated an audience with their antics as wick laments he’d hate to disrupt them with business talk -- a sarcastic remark undoubtedly, but further drives my previous points home nonetheless.
now we approach the last stretch of this analysis, centering around wick’s rejection of mitzi and then briefly touching upon her stealing his money. briar-patch is an intricate dance between two exhausted parties, but this exhaustion is exactly what makes it so easy for them to fall into their normal styles of talking. the next time we see the pair, they’ve left the park and have since returned to wick’s home ; holed up in his wine cellar and enjoying some quality wine. it’s very interesting that wick has an entire underground room full of illicit beverages when he so often frequents the lackadaisy, though i digress. still sporting his improved mood, wick behaves rather coyly during most of briar-patch, rambling about the bottle of wine mitzi asks him about and implying he’s too socially awkward to properly entertain a lady … this is an obvious lie, and it’s one mitzi doesn’t hesitate to call out, but this doesn’t dampen his spirits any. once again looking smitten at the woman sitting in his lap, his tail seeming to curl slightly around her outstretched leg. it all paints a rather fond and romantic picture, in spite of its context.
just like mitzi with his earlier fabrication, wick sees through her attempts at getting him drunk until he acquiesces to her proposal, though doesn’t visually appear mad at mitzi for this. naturally, she denies the claim -- a little tipsy and not at all a good liar, instead resorting to a minor guilt trip -- ‘i’m starting to worry you’re leading me on,’ -- as another way to nudge wick into her desired direction. i’m sure wick knows what mitzi is getting at when she claims he’s leading her on, but he chooses to ignore her true meaning by saying that he couldn’t be leading her on because he’s been eyeing mitzi since she was married to atlas. and mitzi admits to knowing about his interest … making a slight remark that she’s surprised atlas didn’t have him killed for it. we see more evidence of wick’s avoidance towards the topic of murderers for hire in his very clear statement of ‘…that’s comforting. anyway’. wick goes on to immediately dismiss the very real danger he was in and confess that he ‘couldn’t help’ being attracted to mitzi. this highlights one of wick’s other flaws ; his belief that he is unable to resist his impulses and that this somehow absolves him of the consequences of his actions. he could very easily have gotten over his initial attraction to mitzi instead of constantly mooning over her and feeding his interest. he could also have thought through mitzi’s invitation and decided against sacrificing his investors and their reputations for his own gain. this flaw can be tied into his alcoholism as well, where we see that wick has poor impulse control yet again when, after just being scolded by his secretary for drinking, he then pours hooch into his coffee when her back is turned, not even waiting for her to leave the room. all of this is to say that wick has a penchant for ignoring the consequences of his impulsive decisions and struggles heavily with the awkwardness involved in taking accountability for them.
we then move onto the next page where lacy interrupts the two, asking if wick could drive her home since bix, wick’s driver, isn’t outside anymore. wick, who admits to essentially forgetting about her presence, promises he’ll be up in a second to take her home -- and it’s that scene which marks the end of the date. wick was more than content to drag this on as long as possible, having been all but relaxed and cozy earlier, in a manner of undress with mitzi ( who had taken her heels off ) and filling the air with meaningless conversation. these aren’t the actions of a man who is eager to push the lady out the door, but rather someone who enjoys this reality too much to do the right thing and end it ; to save them both the now wasted time because they both have businesses to run, and can’t afford pleasantries like dates that last hours … or, in mitzi’s case, this was never what she wanted at all with this meeting, and wick knew that deep down and purposefully withheld from addressing the topic until the end was near, and then there wasn’t much else he could do except finally come clean. his face falls and scrunches, initially turned away from his company before he begins to let her down, fidgeting by scrubbing his neck and avoiding her gaze again by looking into his wine glass. i think paying attention to wick’s body language is always important, because his tone and how he speaks is rather glib in nature.
wick is a character who doesn’t really speak emotionally with his voice ; perpetually stuck in a stuffy but charming sort of tone as seen in the pilot ( even when he’s noticeably angry at rocky’s implications of dynamite and machinery ) as well as here, where his words are so casual sounding that it’s hard not to view them as apathetic. starting his rejection with a polite but seemingly uncaring, “uh, i was saying … i’d love for this to work out … but, uh …” he sounds like he’s talking to a stranger, almost, someone who came up to him on the street with a business proposition rather than with a girl who he cares for and selfishly kept the entire evening once he could manage it. even his verbal hesitation can be viewed as indifference. he carries this normal air afterwards too, able to seem unfazed during sneakthief and chauffeur ; propped with a casualness to him and his words that make it hard to comprehend that the situation is as bad as it is. as mentioned above, wick is rather short-sighted and tends not to think through the finer points of things. he has a notable talent for dismissing schools of thought that aren’t immediately pertinent, and i’d argue that he has a penchant for self-soothing, burying his problems in fine wines and expensive toys. it’s not outside the realm of possibility that wick would immediately fall back into his glib, carefree tone, trying to soothe himself with the normalcy of bantering with lacy. it’s probably fairly easy to write wick off as never being too interested in mitzi because of this, but given the rest of his character ( along with the brief faltering we see in his expression here and there ) that’s likely not at all true. honestly, i believe he’s even less likely to consider the true consequences of what’s transpired, considering that he a.) completely dismisses lacy’s assertion that mitzi had been rifling through her things and threatening her with dismemberment, b.) is so tired he is hallucinating a duck and therefore can’t drive straight, and c.) is definitely drunk, having seemingly polished off two bottles with mitzi over the course of the date.
sedgewick sable, for all intents and purposes, is a businessman and a capitalist after all. and while he’s leagues better than his peers in terms of kindness, passion, and humbleness, there’s still no denying that he’s still a man made of money who has to spend hours of his day rubbing elbows with blue blood types. he may be an outlier, but he’s secured investors for a reason and isn’t new to the social games that are a part of that environment. can’t be, when he can act so confident and ‘better than’ when such displays are needed from him. i understand the narrative of wick being ‘socially inept’ or ‘socially awkward’, because he is to a degree, though i think some people have the habit of erasing him of any competency entirely. during quarryman, caveat, and quacksalver, wick does well when holding his own and is able to keep an almost smug look about him even when faced with ridicule or critique from his wealthy peers ; never letting their insults or boredom stick, and behaving as if he’s amused by their comments at best.
i don’t think wick truly feels unbothered by these events nor do i believe his constant pleasant tone is always genuine. there’s a case to be made here about masking : the practice of concealing or suppressing aspects of one's ( potentially ) neurodivergent traits or conditions, in order to fit in with the norms of the workplace or society. it may be a ruse, but it’s a damn good one, to the point where it’s potentially taken over how he speaks entirely. and it’d make sense given the themes surrounding wick’s character already, but i’ll just leave that there for now. what matters in the context of him rejecting mitzi and his behavior thereafter is that wick has a really bad habit of coming across as uncaring on occasion, something not only the reader could be fooled by, but mitzi as well ; in her already sensitive state, still angry and hurting from asa’s imposed lunch as well as last night’s many humiliating events. despite this, the actual wording of wick’s confession, as distant as it may seem, is rather purposeful in my eyes, because he says : “i’d love for this to work out, but, uh … not if it’s contingent on a business partnership.” here, wick makes it clear that he’s not rejecting a romantic relationship with mitzi, merely the business proposal itself. if she wanted to date him without the business part, than wick would be more than willing to indulge her -- and even during the rejection itself, he never comes across as mad or angry at her in particular, expressions-wise. just rather saddened about things, a little shameful, but he seems to hold little issue with mitzi even though he’s still uncertain of her motives.
it’s also worth noting that despite wick’s feelings for mitzi being ‘obvious’, it’s very likely mitzi has no clue what those feelings really are in nature. to her, it could be a physical interest and nothing more, and given how she acts around wick ( as in, being extremely touchy physically ) i think her views of his attraction veer towards more shallow waters than sickly sweet romance. something that adds further insult to injury here, and makes her rather aggressive reaction, where she essentially says this :
all the more understandable, and honestly a rather human reaction all around. people love to dismiss everything mitzi says as ‘manipulative’ or ‘fake’, but tracy herself has essentially called wick a hypocrite before too … so there’s more truth to her words here than fans are comfortable to admit. while cruel, there’s honesty to what she’s saying. wick is indeed, by definition, a hypocrite. he also has, undoubtedly, led her on throughout this entire date and did so on purpose. she has every reason to lash out at him here and to continue doing so afterwards, torn between being angry at him as well as desperately needing him in turn ; still throwing herself at wick in a last ditch attempt to save things, even though we know she regrets and loathes such actions. her shallow view of wick’s affections isn’t exactly helped when, in response to her still biting words, he calls her mephistopheles and draws attention to her curves. if you don’t know, mephistopheles is a demon who corrupts the souls of men, and in some interpretations is said to take on desirable and pleasing forms. while a rather mean remark ( something mitzi even points out ) wick’s lips are in a tiny smile, eyebrows raised as he stares at mitzi with lidded eyes … it reads more like a tease, an action that the two engage in often when talking to each other ( as can be seen here, and other such instances ), rather than being a scathing review of character like mitzi’s words previously.
still, despite mitzi’s tempting offer of the more sexual implication, wick holds his ground and stays true to his rejection. a rejection that was practically just church’s words to him word-for-word, might i add. the date ends here and they separate. but i’d be remiss to not even briefly discuss sneakthief and other events afterwards, since they’re rather major in nature. though i will only talk about these events briefly, since they’re an entirely other can of worms and this analysis is long enough as it is.
as we’ve thoroughly covered thus far, mitzi stealing a blank check from wick’s checkbook wasn’t her plan all along, nor was it even a malicious action on her end. it was pure desperation that drove her to steal, just like it was pure desperation that drove her to play the condescending, evil crime boss gig to lacy … a gig she’s scarily good at, and one she’ll probably utilize more in the future. and no, this doesn’t dismiss how awful these actions are, it merely explains them. mitzi is not some evil manipulative mastermind, she literally heard about the checkbook in lacy’s bag and instantly ( foolishly! ) stole it immediately thereafter, basically getting caught as well. mitzi doesn’t even seem to think about what she’s doing before she moves to do it, a side effect of her all consuming obsession and, again, her desperation. these are hardly the actions of a woman who’s thinking reasonably or with any level of coldness, even if her actions here are extremely selfish. still, there’s no excusing it, though mitzi tries to find some justifications for her actions in an obvious attempt to soothe her own mind and, perhaps, to make her actions more palpable to even herself. you see this in backalley, where she briefly touches upon her actions in a way she won’t ever do again.
she’s rationalizing it to herself, thinking wholeheartedly that she’ll pay it all back eventually, and that she isn’t intending to take this money without giving any of it back. this is rather shortsighted of her, since a.) she doesn’t know if she’ll be able to make this money back, enough so to be able to give it to wick, and b.) that’s hardly the issue here, when the real betrayal lies within the fact she’s done this to wick at all. like most things, mitzi’s clouded view isn’t allowing her to realize the extent of what she’s done … i don’t even think she’s understanding that by doing this, she has potentially lost wick as a friend forever. or if she has realized this, it hasn’t begun weighing on her yet -- which is understandable, given her fight with zib and his disappearance right after the fact, as well as her beloved necklace being broken. there are just other things on her mind besides wick sable! and that’s the tragedy, isn’t it? there’s no room for her to really evaluate her feelings about him or him at all when she’s so obsessed with the abstraction of her late husband and all he represents ; down to the pearls she wears of him and the bad reputation he kept. it’s still easy to justify things in this state, to talk in circles about how wick is too nice to be mad at her or send her to jail and how she’ll eventually pay him back, when there’s no clarity for her. mitzi knows what she’s doing is reprehensible but she doesn’t know how bad it all is yet, something tracy has, again, said about her before. the last we see of mitzi in the comic currently is her saying this, which isn’t the expression nor the words of someone who is feeling anything but awful, though has found company and comfort in it despite the pain :
and we’ve now reached the end of this analysis! i want to give an immense thank you to anyone who’s sat through and read all of this from beginning to end given its length! and i also want to say that i understand some of the things covered here are a bit vague when compared to other parts, so if anyone has further questions or wishes to discuss this further, please feel free to do so! i view this project as an overall analysis rather than one that’s extremely specific to certain topics, so because of that ( and for your sanity and mine ) there were things i was curt with on purpose. trust me when i say that there’s not one aspect of these characters or their relationship that i haven’t given immense thought to, or analyzed. similarly, to reiterate my earlier disclaimers, everything i’ve said here is said with neutral evaluation at best and with some bias at worst, a bias that pertains to both wick and mitzi. i adore them both equally and i don’t want my words here to be twisted as me saying one of them deserves ‘better’ than the other, because frankly i care very little for that argument. at the end of the day, they’re two extremely human characters : flawed and intense and existing in multiple extremes, good and bad, and that’s exactly why their relationship fascinates me. i’m not here to play the moral police on fictional characters who are actively in a morally ambiguous work, i’m here to merely observe them and hopefully give them justice in my readings of their dynamic and respective complex characters … especially since i don’t think the fandom has done a good job of that for either of them!
though this is still just my opinion and analysis of the text that’s been given to us, so to each their own. i feel like i have so much more to say or elaborate upon, but this is a nice little place to leave it for now, so again, thank you all … and thank you tracy butler for squeezing my brain for thousands of words worth of braincells that has went into studying her comic like the bible <3 and then actually writing those thoughts down like some insane person!
#my posts.#lackadaisy analysis.#lackadaisy#mitzi may#sedgewick sable#character analysis#tracy j butler#major credit goes to user @churchwick btw! they helped edit these monsters so be sure to check them out as well!#also wow this beast is done. oh my god. i’ve spent an entire month on this !! like. STRAIGHT#if i reblog this ten times over the course of this month no one said anything this is my new baby and you will see it eventually!!!#but in all seriousness again i cannot thank anyone reading this enough! you’re some real ones if you’ve made it this far!!#uh. i don’t know what else to say??? so im gonna leave it at that but. yeah!! wow. i hope everyone enjoys this feast#love you wick and mitzi respectively!! here’s 15k words of love for YOU!
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Your stunt double was murdered right in the middle of your kitchen.
Not just any stunt double, either. The one that spent 40 years, an entire lifetime, taking hits and rolling under cars and throwing herself into open fire as you. The one that's not you, but at the same time is maybe a better version of you, the you you would be if you had been just a pinch braver, just a pinch more likable; the one that's not you, but at the same time was the same character as you, and maybe she actually is you, in some ways (after all, you two are so similar that she was killed in your place, wasn't she?).
She was your stunt double, yes. But she was also the one who took your falls, who propped you up, who made sure you didn't spend your lunch break alone. You shared a role, you shared an apartment, you shared a girlfriend.
She took care of you in every way you can take care of a person.
And now she's gone.
It was possible to believe otherwise when she was just an absence on the other side of a phone (even though you knew, right from the start, that something was so, so wrong). It might even have been possible to believe it was all a colossal joke as you were cradling the iron trophies she was so proud to host in her bones. But luminol is unforgiving: you turn off the light and there it all is, her blood, her life slipping away from her right there on the tiles of your kitchen, and the message she left for you, the one thing she knew you'd understand right away, and there's no denying it anymore.
You are Charles-Haden Savage, and your stunt double was murdered in your place right in the middle of your kitchen.
Your hands still tingle with her ashes.
#guess who finally watched episode 2.#who is responsible for this. i'm sobbing. this is literally destroying me.#when i read that 'tap in'... oh my god...#the bond between charles and sazz is so complex there's so many angles to them and they're making FULL USE of this fact#oh god i have so many thoughts and there's so little i can put into words im going feral about this#the shots of charles desperately trying to wash her off into the bowl so he can keep all of her in the jar... just KILL me next time!!!!!!#and there's so much on top of all of this??? the jan reveal made me SCREAM on god i did not expect her AT ALL#and da'vine joy randolph is back!! now with an OSCAR baby!!! couldn't wait to see her again!!!#also richard kind!!! what a nice surprise!!! all the westies were fascinating#i'll try and make some rational deductions soon but the emotional punch was just too intense#omitb#omitb s4#omitb spoilers
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so has anyone figured out WHY there is the Need To Share our Artworks™ or is it just the vibes and our Soul apparently
#ive been running on “two cakes. u aren't BOTHERING people by putting art on their feed they can scroll past it/if they dont they get ”cake“”#and we love “cake”#“cake” is picture on the internet in this case#like okay the contracts and transaction format is a me problem!! i need to get rid of the “utilitarian brain worms” bc they're boring#this is supposed to be a hobby and the “get a good grade in hobby” wolf in the brain is just crying bc that's how they understand the world#the “get a good grade in x” wolf has valid pain but needs to stop controlling my life because they don't need to earn “enough value to live”#ect ect ect#and the life of minmaxxed utility is a life of trying to appeal to a “correct” that doesn't exist yaddi yadda = boring#i love you wolf. also shut up. affectionate. concerned. you get it#ok so we remove tangible purpose from act of experience art because THAT'S not “the point”#because “the point” is the joy killer eccetera ecc#but then what? “here check out this labor of love. i drew this fucker 15 times. no there's no story* there it's just a guy”#*story in this case being an emotional engagement/a situation/a context in which to ponder/other#so it's just a Draw. no further analysis. what do others Get from that?#i know i deeply enjoy art because im a fan of the process of People Making Stuff. i love when there was nothing but now there's something!!!#THAT'S what's it all about!!!!!!!!!!!!!! to me!!!! right now!!!!!!!!!!!!!!!#so it stands to reason that creation is purpose enough?? to be experienced???? to be known????????#idk!!#this is a nothing burger of a thought people have always liked picture on the internet stfu maiora there doesn't need to be a reason#this is just the brainworms talking!!! because god forbid “something not have a purpose”??? blegh!!!!!!!!#sounds like unhealthy rationalizing instead of letting things be out of The Fear™!!sounds like depraving urself from joy bc of BRAINWORMS!!!#so like!!!!! picture on the internet doesn't NEED inherent value. creation is enough!! (plus there's the Attachment to Character. also.)#but then why are YOU *points at you* here? gen q!!#i made an image you like and now you are reading my word babble in some tags!!! what's THAT all about???????????#it's INTERESTING!! do you see what im trying to get at??#is it empathy??? person made something other saw something other made- other2other connection???? intrigue????????#.......all this is probably explained in some book or yt essay somewhere. oh well.#in the meantime thank you for your time! we can pretend we were stuck in an elevator together and then i started rambling#i hope you have a great rest of your day thanks for stopping by!! <3#maiora garrulates
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RIP Krakoa 🌹 I can’t lie I’ve been kinda behind since midway through Fall of X I’m gonna catch up before my first SDCC this summer but I hear Vulcan didn’t see much action anyway. Anyway my hand slipped and I found myself looking into the eyes of my canonically psychotic son the best Summers brother who’s never done anything wrong in his entire life, (he’s done lotsa wrong things but I love him more for it)
#canonically psychotic = he canonically has psychosis. (not in the ableist way in that hes evil. which he is. lemme enjoy problematic rep)#Gabriel Summers#art by seaweed#words by seaweed#X-Men Red#the Gabriel hate during the Krakoa era pffffft. was 100% from ppl who didnt read the Rise and Fall of the Shi'ar Empire#“he attacked Storm” hes also a genocidal dictator who tortures ppl for catharsis. drunkenly coming at Ororo is the least bad thing he did#“he's a douche” mother of all understatements. now get this man back w his boyfriend who he forced to be his best man under pain of death#Gabriel fans LOVE that Ororo beat his ass. he deserved it. it was a fake discourse made up by a certain segment of goddess!Ororo fans#I say as an Ororo fan! Shes my fav A-list x-man🥰 yes Gabe was at a mental low but Ororo didnt know that. that was Scott's responsibility.#psychotic Emperor Vulcan is what we call a problematic mentally ill villain trope. I love him SO much. (okay lets talk)#we don’t know much about his childhood but we do know he spent 2 years in a fugue state after escaping slavers when he was like ten ):#as an “adult”-ish he's uh “mentally” 15 or sumn according to the calculations claimed to him by his hallucination of his actual child self#and apart from THOSE hallucinations. he’s very paranoid to the point of killing his advisors because he becomes convinced-#that they’re plotting to kill him. they aren't. he relies on Calseye to ground him thru his paranoia. and then of course in the Krakoa era#he believes his energy constructs of Petra and Sway who drink with him till he blacks out every single day are real. he isnt consciously#creating them; but he sees them- and bc he’s a godlike mutant his subconscious makes his hallucinations visible. making everyone uncomfy#Charles tries to use telepathy to FORCIBLY reality check him. which of course triggers his trauma. and GABE is punished for it?#(oh plus our finding out Gabe got brain surgery done on him by some gods outside the universe offpanel. he never does well with tampering)#and now the writers who pushed Hickman out (also RIP Sabretooth & the Exiles. RIP Hellions) want us to be SAD Krakoa is gone?#yes Gabriel is the mentally ill villain trope. but Krakoa never cared for mutants who couldn’t fit in. who were traumatized. disabled. etc#Alex OF ALL PEOPLE should understand that. ALEX should’ve been there for Gabriel. (why wasn't he. did he hold a grudge for past torture.)#Alex also w Murder-Enjoying Disorder but it was actually treated as an illness and those in authority presented as wrong for excluding him#instead of helping him. which v flawed but Hellions was one of the best mental illness comics? like Zeb Wells was conscious of the genre#but Gabriel was just… cast out. for panicking when his prime traumatizer Charles invaded his mind. he deserved help too#and all because his family were annoyed at him for drinking all night and throwing up and passing out on the floor? for being delusional?#And like- all of the summers brothers are nd (Scott's brain damage; Alex's dissociative episodes; Gabriel's psychosis)#I have nothing to say about Adam X ((I highly doubt he's neurotypical and/or mentally healthy)) ((nothing to say abt him tho))#and Gabes paranoia is 100% rooted in his issues of being made to feel like an outsider. like YES the obvious MUTANT identity but also#he thinks his father abandoned him to be a slave. he's not Summers enough for Scott. hes not Shi'ar enough for the Shi'ar
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He’s my little meow meow, my darling, my bbygirl (Patreon)
#Doodles#Commander Peepers#I'm soooooo normal about him you guys <3 So normal! <3 <3#*Looking back over the other Little Guys I've collected* Hmmmmmmm Evil Xisuma and Spamton and Sableye and Rick Diggins#I think there might be a theme here#Just casually making Venn Diagrams in my head - Evil X has the red/black - Spamton is trans - Sableye has Gremlin energy - Rick is too tired#And those are just the ones I can think of lol - if you look I did the same stretchy pose with EX when I was still drawing him lol#The Stretch Pose is how you can tell if I like a character lol - they stretchin'? I am infatuated <3#I mean I'm normal I'm totally normal lol#Also had to give him a bbygrl pose - I for the life of me cannot find it again but the reference is very strong in my mind's eye!#Not that I couldn't go for another one at some point lol ♪#Ugh the middle one lol - so that Word of God I mentioned in passing about female Watchdogs#I read it in passing as just a basic research of ''Oh here's what The Original Creator has to say alright neat''#Except that it Immediately made me itchy and I was like ''What. What brain this is not that big of a deal what are you doing''#And I was like ''No I'm being silly about this - just because I don't agree doesn't mean it's a big deal lol''#Except then I had stress dreams and woke up Weird the next day and the last time that happened I left a fandom#And the time before that I wrote 4 consecutive pages of 20-something panels in like 18 hours of consciousness - I have normal reactions lol#But I opted instead to vent to smol about it and she agreed with me so basically I'm just saying I'm correct lol /s#Personally Peepers doesn't strike me as misogynistic - he's very much an Equal Opportunity villain in my eyes!#And yeah I considered a lot of different angles around it but like - based on the text of WOY I just don't buy it#If it's not in the show it doesn't count! For all we know there might not even be any female Watchdogs! Lol#Would also lead to the equally-to-Spamton interesting question of How Does Trans Work in that kind of situation#I've definitely not already put a lot of thought into it don't look at me lol#Don't ask me to write an essay about both of those things I'll do it and where will that leave us lol#ANYway lol ♪ He's still the absolute funnest to draw in distress and discomfort <3 And kneeling! He makes me want to practice :D#I always feel like I can try again and do better! >:3c
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I watched an mdzs animatic with a song from wicked, and something in my mind finally clicked and now I want to scream about how similar my current and my past hyperfixations are.
"Good news, the witch is dead!" like
"No good deeds" is such a "character pushed to their limits" song. Imagine it before the nightless city. The first scream, as Wen Ning and Wen Qing walk away. The chanting as he lies there, unable to move, praying for them to be well. Memories of people he loves: Jiang Cheng and Jiang Yanli, Lan Zhan, the Wen siblings.
"Was I really seeking good, or just seeking attention?" -- as he looks at the burial mounds and leaves.
"If I cannot succeed, Fiero, saving you, I promise no good deed will I attempt to do again." -- as he learns about Wen Qing and Wen Ning's death.
Ending with him arriving at Nightless city and pulling out the flute.
I want to see it animated so much!
My skills are so annoyingly not up to the task. Maybe if my hyperfixation survives long enough that I learn drawing and animating things well? It'll be the third mdzs animatic I really wish to do one day. Maybe one day.
#mdzs#wicked#my tastes do never change. all my favourite stories seem to have “dark evil” characters that are actually good#I am obsessed with this okay#mdzs did what I love about such stories the best tho. it's perfection. i love it so much oh my god#wicked has the advantage of being a musical. tho I have 60+ mdzs animatics saved so by now I arguably consume it as a musical.#maybe one day I'll write a comprehensive list of all animatics I've ever came across#wicked also has a slight advantage of the word “witch” being used. it is a fun word that makes me feel thing#it was what I was called in school#because I was weird and autistic#and wasn't afraid of blood and drew weird runes and made weird rituals I called “magic” that were rumored to actually work#because one day a boy annoyed me. I made weird hand gestures. and he immediately got hit by snow falling from the roof#i swear like five people from my class confessed they were scared of me#and later my uni teacher. she confessed there were rumors going around among teachers about how scary and terrible a student I was#I still can't get over this it's so funny. imagine being this annoying and weird. it's hilarious.#so yep. my love to stories about characters the are deemed “evil” by the world runs very deep#I love them so so so much ahah#now I just need to learn drawing and do my love some justice
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I had a timeloop dream that feels like it should be fucking me up a lot right now mentally.
#It was. A Lot.#There were some funny bits though I remember showing Carrie an ai generated video in it that made us laugh#There was love all the way through#Anyways I experienced becoming a black hole and becoming a god or something#And I remember a part where the computer I was on (where it all started)#And I think it was a new loop#The computer asked me to take a picture and use one word to make a wish#And I just kept trying to submit the word wife because I missed Maxie...#And it wouldn't take no matter how many times I tried... It'd mirror the image so it couldn't read the word and stuff like that#The whole thing probably counts as a nightmare.#All I wanted was someone with me the entire dream. Every loop it intensified how alone I felt#Less friends could be reach. There was a point where it just kept jumping a loop every time I messaged Maxine.#And she'd get further and further away. First loop would 'oh how strange. you know so much about me'.#Then it'd be a new loop and it kept going until she was saying stuff like 'I thought I blocked you' 'Go Away' 'How do you keep finding me'#And it broke my fucking heart.
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loveee when a character is crushed under the weight of someone elses expectations for them love when a character dedicates their entire life to something they never even wanted for themself love when the only reason a character keeps going is because theyre Supposed to and bc theyre supposed to make another person happy/proud. YES !!! CLAPPING !!! YES !!!!!!!!
#this isnt rly related to any character in particular i just thought abt this and it made me scream.#flirting at a bar Damn girl you look like youre trapped in a life you built to please someone else. and then i kneel down and pull out a 💍#sry i ran out of space for the full word ring. also why when i type 💍 Ohh theyre hiding it. bc now the emoji is 💍 Oh they changed it again#pox on their home..originally it was 🔐 sughested emoji#but then the second time it was 😭.... very anti marriage. well ig maybe the sob could be like OMG... YES!!!!! I WILL MARRY YOU!!!!!!#ngl getting proposed to is such a big fear of mine like. i dont think id ever be able to propose to someone so id have to be proposed to i#suppose but it makes me quite nervous not bc im like ohh nooo dont propose i just rly worry ill react the wrong way and theyll change their#mind. like its a very high emotion moment so ik i would be supposed to be emotional And i would be but idk if id do it in the right way . y#idk. what if my autism looms and i end up just being like 😐 on accident. fuckkk. what if i say somethinf dumb. like i try to be like YES !#but instead im like YEP! god. can you imagine. id have to just bury myself at that point. so embarassing. or like what if i get excited and#flap my hands but it was supposed to be more of a like. joyful crying type of thing... or what if im supposed to just be shocked and like .#Oh my god ....#and am I supposed to run at them and sweep them into a hug or do they do thst to me. UGH. ITS SO STRESSFUL. i suppose ill just remain alone#forever so I never have to confront any difficult situations ever again . Joke .#idk it just makes me nervous. but i suppose hopefully the person proposing to me will love me . that would be nice so hopefully they wont#mind if i dont respond the right way . and they wont be upset with me bc they love me eversomuch. a girl can dream i suppose... my head lik#is pounding sry. i need to sleep probably.. stayed up too late again -_- 8am -_- and im sposed to do laundry today But i dont want to . and#since im gonna fall asleep i fear it shant happen. UGHHH#wtvr. idk what my ideal proposal would be likeee. i don't want to be blindsided ig#i like surprises but Obviously im too worried abt like. my immediate reaction#+ i think its important to talk abt marriage Before proposing just so everybodys like#on the same page and such. Obvs... but ya. i dont think id want a super public proposal like. id like it to be somewhere nice with maybs#significance to our relationship and such. and its fine if theres like Some passersby but id hate for it 2 be like. somewhere crowded. or i#a restaurant or something#Altho if it was in a restaurant maybe we could get free food..#but maybe that can be just fake proposals later on. and our real proposal can be somewhere else. YIPPEEE. me and my imaginary future spouse#who is To be honest rather bare minimum#normal girl will be like Wistful sigh maybe my future spouse will even love me and wont scream at me and will like to listen to me speak 😍#but anywyas. my beddybye time. SURPRISE GN POST#woahhthis got off topic i forgot what the original post was this always happens. i do love characters like that
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Mush in the tags
#just feeling incredibly fucking LUCKY to be in f1 fandom#I KNOW there’s bullshit everywhere#but oh god I have made some truly amazing friends here#I have written so so many words over the last 15 months and it’s because I have friends who yes and each other endlessly#fandom creation has been such a reprieve from my stifling corporate bullshit job and I LOVE YOU ALL SO MUCH#Logan gets personal
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Short Striped Hoodie
These are all you get for screenshots as I'm working on rebuilding my mods and saves folders, including screenshots, and I made this hoodie for this specific look for Jack, so. Zombie look. The blood isn't included, it's just a hoodie tshirt thing. It's from this music video.
Making the most out of what I have. Base was from Seasons so you need that pack. You probably should anyway. I don't make things without a specific purpose for me.
SimFileShare
#sims 4#sims 4 cc#the sims 4#ts4 cc#the sims cc#ts4#sims 4 cas#ts4 cas#cas#top#jack barakat#anyway I spent the last two days on files I am so tired I just wanna play again and redo things#everything I lost involved playing as Jack and my god does he run into a lot of turmoil#this not included as he was fine#I also made Alex something too in that last one but I need to remake it#i still have the textures and gimp files so whatever#trivial#I also need to share those pony toys some day but I have like 400+#you guys want 400+ pony toys for your manchild Sims?#just text 69696 with the word 'pony' and you get a ringtone#oh and i upload 400+ files i guess#geekcon is fun but the romance festival is where it's really at#love going to it and just letting random sims get all up on him#most of his neighbors have some romance with him now#and many other sims too#is that a box of condoms#it probably is
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why are men literally the fucking worst
#theres a guy in one of my uni friend groups who has a crush on my friend also from the friend group#and she feels so so uncomfortable plus she hasnt done ANYTHING thatd give a hint that she likes him back. bc she doesnt#and now she doesnt feel ok around because hes so attached to her and so so needy and its like. well. way to fuck it up dude. fuck you#he has been acting so strange lately and not in a good way. strange awkward and needy and like. possesive.#her and i also have another friendgroup where frankly i feel much better with and she does too. and its like. well the guy is always like#butting in but now really being part of anything? like its not like he comes over to the grouo to be with all of us hes just sort of . there#talking only to her or sometimes me but its like not nice its weird and annoying#ALSO HES SO PATRONIZING TOWARDS HER ITS AWFUL#AND hes like. a bit older.... where its not like. the weirdest age gap i dont think so. but it IS a bit weird considering some of the things#he has said. like the other day he made a comment about how my friend 'well shes so young like people her age sometimes dont get [x]' like?#if you think she is SOOO young and SOOO out of touch with people your age well why the fuck are you asking others if you have a chance w her#get away from her really#sidenote: today she was telling me and a different friend about this problem and my other friend said it was really uncomfortable and bad +#that he used to think the guy had a thing for ME BEFORE??? and i dont know if he also thought -i- had a thing for him but please god no.#even the hypothetical made me feel super uncomfortable. also i used to feel like that a bit like he might like me and it was bad and gross#so i dropped a comment that let him believe i was a lesbian i think? also got much colder towards him . like. thats what you get fucker#about the lesbian thing i meant that he told me about a friend of his that had it hard coming out as a lesbian and i said like oh yeah being#like that was hard for me also. finding out i was not straight was tough etc .#dont remember if i said the word lesbian i dont think so but i did say i like girls and i didnt mention boys at all so i hoped itd be enough#also people dont really -get- what being asexuas means + didnt want to tell him im ace + techically i Can like boys bc romantic attraction#is undefined to me but i was definetely not going to tell him that bc 1. im much more prone to like a girl and 2. not trying to get his hope#up.#so anyway it was gross to realize other people saw it too so i mightve actually not been insane to think he had a crush on me but it was bad#and also. i really need for my friend to be comfortable in class so i might have to kill him who knows. well see#spikeposting#personal
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shaking some of you by the shoulders and forcing you to confront if your self proclaimed pretentiousness is just an excuse to be casually classist or ableist
#i had a big thing in the tags that no one would care about but they boil down to this:#1) sorry for dropping off for a few days its because i didnt wanna spontaneously deactivate because i do love you guys#but sometimes some of you make me want to straight up deactivate because i feel like im being laughed at or judged#and the ‘oh no ransom i didnt mean YOU when i was mocking something that applies to you’ is (surprisingly!) not fucking comforting!!#and 2) havent wrote a word since it because it just made me feel like shit even tho it was unintentional#and made ny little excitement to start back into my wips just turn to that nauseating fear and insecurity again lol#and 3) again. love you. but for the love of god sit with yourself and ask why do you feel a certain way/think thats okay to say.#what was your intention in mocking something that you KNOW applies to other people. not something fictional like a ship or comic or game.#but something that actually applies to their real life and their ability to do or create something.#like be pretentious! whatever!! but if its motivated by you wanting to feel more superior than other ppl then thats just mean and gross!!!
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Oh my god one last thing my ex took me to outside lands and when we tried to watch lana del rey he laid down on the grass and had a “panic attack” (this was after months of him talking about how he didn’t like her) so we went to see foo fighters after a bit and he was FINE
#LANA i know his sister works for you BUT TRUST MY WORD AND GIVE ME A FREE TICKET PLEASE…#MY FIRST TIME SEEING YOU WAS RUINED GIRL… she was so good too like i was saving her songs to spotify that night#im reliving all this because i found out a lot of his exes and ex friends hang out together and two of them invited me so it was me an ex an#d an ex friend just swapping stories and first of all. he said he got cheated on by this girl and she NEVER DID IT (HE would have emotional/#angry outbursts at HER though) (allegedly he’s acknowledged to her that the cheating never happened too) and 2. this is obviously making me#mentally rehash everything again. i feel so bad for his current girlfriend and also for the person i ‘’stole’’ him from though i really hesi#tate to blame myself after hearing about his patterns. first of all he wouldve done this with anyone who was vulnerable around him and secon#d i was the only reason he was at all honest with them. he was fully planning to gaslight this ex and me and his dad had to convince him not#to. they look like theyre happy now and im very happy for them over that. oh my god that man was evil he told me for WEEKS about every time#his then partner had talked shit about me while i made clear that i didnt care and wasnt very interested but he kept going. god i cant belie#ve this was my life a year ago.#the one thing i can say is that i out freaked him because throughout our short relationship i made him so insecure that a week after i told#to never speak to me again he called me asking if he really was ugly.#I CANNOT BELIEVE I HAD TO TEND TO A GROWN MAN WHILE LANA DEL REY WAS RIGHT THERE BECAUSE HE WAS SO OPPOSED TO BEING AROUND HER. LANAAAA#times like these i get so mad i dont know what to do but ultimately remembering that he has not achieved any of his goals because he refuses#to face himself really helps me. god man IVE achieved some of his goals and i wasnt even trying to#a really awful part of all of this was all of the friends who knew him taking his side. because they didnt know him well enough to know what#he was actually like.#i was talking to my ex friend of four years and she was like not to blame you but he was probably really vulnerable from his time with [ex p#rior to me]’’ because he’s been going around alleging that that ex was abusive. and she was implying i took advantage of him. so i had to go#into detail about what an awful awful person he was and the sort of state i was in when this relationship took place. hannah lee you are#not seeing your little jehovah’s witness heaven.#anyways redirecting this energy im very happy with the way my life is and the way i am now. and im grateful for it i would not have ever bee#n able to imagine having the sort of peace and motivation i feel now. life feels like it can and will change for the better and it keeps pro#ving that right all the time#it just hurts sometimes having that as my first experience and not even being able to vocalize what was wrong bc i just didnt know hurts#oh i forgot one of his besties can see my account bc we’re sort of mutuals. i doubt he’s looking he did the whole unfollowing the ex bc she’#s allegedly amoral thing after the breakup but if he is hi isaac#he did on rare occasion show me selfless kindness but ultimately your best friend is a creep. i don’t want to be involved with anyone from#our school but I hope you know this and I hope you’re proud
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oc wants meme
I'm just gonna do this for Sora and Sam, my main guys. Listen, it's a bad pain day and talking about my OCs cheers me up
Sora Yumura
His faceclaim is Miura Haruma, when he had longer hair. The first pic is The Sora pic. My Photoshop skills aren't that good but that's as good as they're going to get, and I think it gets the idea of what he looks like across. But the second one is an extremely Sora facial expression.
Description: Tall, a little too skinny, but well-dressed and strikingly attractive, with wavy green hair and observant grey eyes in a clever face. A lot of poise, a lot of charisma, witty but respectful. All of that is a mask and he is really hoping you're taken in by his facade of functionality, but it is convincing as hell. Even dazzling, at times, if he needs to really turn on the bright lights. So almost everyone falls for it, in the end. His (rich) parents died when he was young and he was raised by his (incredibly rich) aunt and uncle, who were emotionally abusive, although he would say that that's an exaggeration. His little cousin is like a brother to him, and he protected him from his aunt and uncle as best he could, but that didn't stop him from getting the fuck out of Japan entirely as soon as he could leave for university. (There were other reasons and other traumas behind that too, but this isn't Sora's entire life story lol.)
What do they say they want? (i.e., what are the desires they put out into the world and have no trouble admitting)
Sora wants the top job. He won't be crass enough to actually say that to you, but his ambition is clear enough if you're in a position to look at his education and employment choices. He wants what's best for his loved ones, of course, which will always include his little cousin Ibushi, and depending on time period may also include Sam and his children, if he has any in the AU in question. He is likely to downplay how serious he is about that, however, and he won't mention his small circle of close friends, whose safety and well-being he is just as intense about. (But if their well-being is actually at issue, you may find yourself surprised by his complete 180 from charming and diplomatic to grim and uncompromising and ruthless.)
In all honesty, Sora isn't very open with most people about how he feels or what he wants. Aside from really surface-level stuff ("I'd kill for a coffee"), this is about all you're going to get.
What do they think they want? (i.e., what are the desires they keep hidden and only admit to their closest loved ones)
He wants to keep his loved ones safe and happy, and to them he'll admit that he'll do a whole lot to make that happen. He wants to believe his parents would be proud of him. He wants to be able to use his power to make a positive difference, but also to advance his personal interests, and he doesn't feel particularly bad about the second one. He wants to crush all his competition and see the looks on their pathetic faces when they realize he's beaten them, but he wants no one else to even notice anything has happened, because it's more satisfying that way. He wants to raise his children differently from how he was raised.
What do they actually want? (i.e., what is something they subconsciously need, but either do not realize or cannot admit)
Sora wants to feel safe. He hasn't felt safe since his parents died and he went to live with his aunt and uncle, which means in most AUs he doesn't remember ever feeling that way, and in the others it's a faint, hazy memory and he kind of suspects he made it up. He doesn't think in those terms, though, which is a shame because it's behind a lot of his decision-making. As time passes, he will start to experience transient moments of safety with Sam, and as he gets older, the omnipresent sense of danger will decrease some. That's about the best he's gonna get, but he'll still be grateful for it, without being able to name what it is.
Sam Quinn
He doesn't have a picture. :C I'm sorry, Sam. He is also @vashtijoy's OC as much as he is mine but I am writing about him nonetheless.
Description: Very tall giant man, with fluffy golden hair and hazel eyes that are quick to brighten with amusement. Otherwise, they're calm and thoughtful. Sensual lips, either a skinny nerd frame or an intimidatingly muscled frame depending on which AU he comes from. He's the middle child of a normal and loving middle-class family in London (unless the AU dictates that he is a medieval peasant instead, but he remains the middle child of a loving family). His curiosity and cleverness have often gotten him into Oxford, but also often gotten him into trouble. I wish you could be less interested in explosions, Sam.
What do they say they want? (i.e., what are the desires they put out into the world and have no trouble admitting)
Sam wants to learn things! He wants to study, read books, go to interesting places, and build his professional life around learning and discovery. He often ends up as an academic, and sometimes a teacher. He is often grabbed by a new interest and gets sucked into it for a bit, and he will definitely tell you everything he hopes to find out about it. He wants to be able to help his siblings take care of his parents when they get old. He wants to do good and help the less fortunate, especially once he marries into Soras $100mil+ family (which is only a family once he marries into it; it was just Sora until that point, alone with his parents' inheritance).
What do they think they want? (i.e., what are the desires they keep hidden and only admit to their closest loved ones)
He wants a family. He's always the reason they have kids. Sora loves their children and is a devoted father once they have them, but he only agrees to adopt (or find a surrogate, or use whatever magical gay-parent baby method is available) because having children means so much to Sam.
He also wants to be open about their relationship, when being closeted is often important to Sora's career, and so Sora has to make a decision about what to prioritize. (The answer is Sam. He chooses Sam. But it's genuinely difficult for him.) Sam doesn't ever ask him to make that choice, but when Sora pushes, he will admit that being closeted makes him sad.
You might be getting the impression that Sam is less of a complicated tangle of needs and wants and impulses than Sora. You're right! Sora is *gestures* like he is, and Sam is not like that.
What do they actually want? (i.e., what is something they subconsciously need, but either do not realize or cannot admit)
He wants a community. A family with Sora and children is probably the best way to make this happen, but in other AUs it's been Sora and a few friends they often see and trade with. He just needs a little group of people around him. Like Sora, he isn't really aware of this innermost need. He just thinks he wants kids because he wants to be a dad, which is also true.
Sam just doesnt thrive when he's alone, even if he's in the middle of a city. That's not a community; he needs something tight-knit, where he's respected for who he is as a person and what he can contribute. (In some AUs, that's another answer to this question. He wants someone to see him and think he's not broken just because he's curious and asks questions.) ...Gotta say, though, all of this causes a lot fewer problems than Sora's constant the-alarm-is-broken sense of being in danger does.
Sora does poorly when he's alone as well, although he doesn't need a community in the same way. He needs people who are his, and who he belongs to in turn. The best way to make him feel safe is to make him feel protected. So although their wants are different, they harmonize, inasmuch as Sora's desperate, clawing, wailing sense of danger can harmonize with anything.
#oh my god my head hurts so god damn fucking much its been like this for so long#im losing my fucking mind#this was a nice distraction and thinking abt their secret innermost wants was instructive actually#but now the distraction is DONE. fuck#sorry ik this has nothing to do with the post im just not very good at the equanimity some ppl have abt their chronic pain#might be time to think abt trying to sleep again...#anyway! i love sora and sam so so much. have u ever like. made something. and then been like yes thats it thats the Thing#the thing i was meant to make. everything else i ever made was just practice for this thing#idk how to put it into words rly but sora is the Thing#(lmao)#my post#sora yumura#sam quinn#sosam
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