#there are no spoilers here so no spoiler tag is happening

[alwaysthefool]

Your turn to be a cat (x Zayne, Rafayel, Sylus, Xavier)

Warnings: Suggestive, might have minor spoilers for cat companion memories, kinda cringe ngl

Tags: Fluff (literally), MC/Reader, no gendered pronouns for you

Synopsis: This time, you’re the one who gets a cat tail and a second set of ears.

Zayne

“When you said medical emergency, this isn’t what I had in mind.” Zayne looked at your ears, a first aid kid in his hand. It hadn’t even been ten minutes since you texted him, telling him it was something dire and you couldn’t go to the hospital, and there he was, at your door, stifling a smile.

“Don’t laugh!” You scolded him, turning red, the tail you tried to hide inside your hoodie peeking out. You grabbed it immediately, forcing it back in. You pulled him inside, shutting the door to your apartment.

“Don’t fold your tail, it’ll be bad for your back.” Zayne spoke, taking off his shoes and keeping the first aid kit near the entrance. “And besides, it’s very cute.”

The tail made its way back out, and listening to your doctor’s advice, you let it be. “Help me out my hoodie.” You demanded, and Zayne couldn’t help but laugh at your tone, carefully helping you out your hoodie so as to not bother your sensitive ears, one of his hands holding down your t-shirt from riding up.

“Thanks.” You mumbled, curling up on the couch, your tail swaying against its will. Zayne made his way next to you, unable to stop himself from touching it. “It’s really soft.” He observed, his large hand stroking it lightly.

“Quit playing around!” You whined, not really wanting him to stop, but being the gentleman he was, he did, not taking revenge for how you treated him when he was a cat. “How do I make it go away?”

“Can I have a closer look at your tail?” Zayne asked, and you hissed, earning a laugh out of him. “Alright, I won’t look, but you shouldn’t be shy around your doctor, especially when you’re the one who called me here.”

“You’re not just my doctor…” You looked up at him a little hopefully, tail swaying again.

Zayne smiled. “You’re right, I suppose I’m your vet now.”

You pouted, walking away from him in feline elegance, taking your place on the adjacent arm chair, lying on it with your tail in the air. “How did you feel when you were a cat?”

“Needy.” Zayne admitted, after some thought.

Like a cat, you wanted something, but you were too proud to admit it. “Then…” You sat up on the chair, gazing at him, tail swaying behind you. “How do you, how do you… how do you think I must be feeling right now?” You shied away immediately, cat ears perking up.

Zayne would take care of you, no matter what, so before you knew it, you were on his lap, his large hands stroking your ears. “If you wanted me, you should’ve just said so.”

You purred, nuzzling on his chest, holding on to him tightly, as his hands worked on your ears and tail. “You knew.”

“Maybe.” Zayne spoke into your ear. Your heightened senses could listen to his racing heart, and his gushing blood. “But I really wanted to hear you ask.”

Rafayel

Honestly, he’d be EMPATHETHIC loool

You were supposed to accompany him for an event, but as you put on your dress, you felt cold from behind. Looking in the mirror, you saw a tail pulling your dress up, and a pair of ears on your head. You yelped, turning the lights off, and hiding in a corner. This couldn’t be happening.

“Cutie, what was that?” Rafayel called from outside the door. You had the misfortune of being at his house when it happened too. You quietly opened the window, to make it seem like maybe you ran away. You would, too, but you couldn’t be seen in public like that.

“I’m coming in!” Rafayel called upon hearing the sound of the window opening. You quietly hid under his bed.

Rafayel was already in his suit and tie, giving off a certain scent which made him seem oddly delectable.

“Where did you go…” He mumbled, looking at the open window. You could only see his feet now, so you couldn’t tell what he was doing, until your phone buzzed. You scrambled to turn it silent, when Rafayel crouched down, peeking under the bed.

Before you knew it, you scratched him with a hiss.

“Ow!” He stood back up, and you could smell his blood. You didn’t expect yourself to do that, or for the scratch to draw blood.

You crawled out, standing up to look at his hand. “I’m so sorry!” As you realised what you did, you took your hands away from his wounded hand, trying to hide your tail.

“I, uh…” You couldn’t meet Rafayel’s eyes, scared of what he was thinking.

“Oh, it’s just you.” Rafayel sighed. “I thought a cat sneaked in.”

He saw your tail lifting up your dress, and wrapped his coat around your waist. You still turned away from him, looking guilty. “Cutie, look at me.” He called gently. “It was just a scratch, and you didn’t mean it.”

You looked up at him, and his face was gentle, nothing like you expected. “Why did you hide from me?” He asked, his hands on your cheeks.

“I thought you’d be disgusted of me. I’m a cat, after all.”

“Hey, hey, hey.” He coaxed you, pulling you into a hug. “I could never be disgusted by you. I told you before, right? I’d love you even if you were a worm.”

You let out a laugh, hugging him back, pulling him down on the bed behind you. He kept holding you, surprised by the sudden affection. “And you’re also the only cute cat in the world.”

Sylus

SUGGESTIVE

This was bad. Sylus would never let you live it down, but you also had no choice but to tell him. Your first thought after being turned into half a cat was volunteering at the cat café, so you’d get to spend time around the kitties, but that isn’t what the OTTO had in mind when giving you that outfit. Now you needed someone to help you out there.

“Are you done?” The OTTO asked, its tone irritated.

You remained dead silent, texting Sylus to ‘smash that devilish robot into pieces’.

You heard commotion outside, then some banging, thinking maybe, finally, Sylus had arrived, leaning your ear against the door.

“Loving the new look, sweetie.” Sylus was somehow behind you, hand already on your tail. You immediately turned around to see him gaze fondly at you, who was sat leaning against the door. “Guess you’ve been affected by the cat evol too.”

You looked away from his strong gaze, suddenly very aware of what OTTO made you wear. A short maid dress, with an opening at the back for your tail, and chiffon gloves with a cat paw stitched on them. Before you could change back, the sinister robot stole your clothes.

“I’m pleased you decided to call me in such a situation.”

“Shut up…” You mumbled.

“That’s no way to speak to the person who saved you, kitten.” This time, that word held a whole new meaning.

“I’m… sorry.” You forced, ears drooping down. You looked up at him with a pout, and he pet you behind the ears. You rubbed your head against his head, until you realised what you were doing, forcing yourself to stop. You cleared your throat.

“That’s rare coming from you.” He teased, fingers dancing around your jaw. There was a certain scent to them, so you bit him, though not hard enough to draw blood. Sylus winced, pulling back. “There’s the kitten I know.”

“Did you bring a change of clothes like I asked?”

Sylus hummed in response, not really focusing on anything other than playing with your hair and ears, hands trickling down to where your tail was, pulling at the ribbons of the dress, acting more like a cat than you. You leaned in to him, and he placed a gentle kiss on the back of your neck.

Understanding where this was going, you reluctantly held his arm. “Mm, let’s not, I’m super hairy right now.” You said, referring to all the cat fuzz.

“That’s fine.” Sylus whispered into your ear. “I prefer it like that.”

Xavier

“Ugh…” You groaned, still sleepy. You had work pending, but for some reason, you couldn’t keep your eyes open despite having a lot of sleep and a cup of coffee, Knowing Xavier was often in the same predicament, you went to his floor, hoping he had some insanely potent energy drinks on him.

He opened the door, also groggy, but straightening up when he saw you. “Hey.” You greeted, intending to yawn but letting out a ‘meow’ instead.

“That was strange.” You tried to laugh it off. Xavier let you inside, and you explained that you were uncharacteristically sleepy the whole day.

“How do you manage to stay up?” You were sat on his fuzzy carpet, pulling at it.

Xavier smiled, sitting down next to you. “I think there might be another reason you’re so sleepy today.” He opened his phone’s front camera, facing it towards you.

“W-what’s that?” You cried, hands going towards the ears on your head and tail behind you.

“Cats might need up to 16 hours of sleep a day.” Xavier put his phone down, leaning his elbow on the coffee table, his other hand gently touching your ear. “If you have work, I’ll do it for you.”

“Really?” Your tail moved in excitement.

Xavier nodded, as he went downstairs to get your laptop. You prowled around his house, trying to fall asleep on his bed, then looking in his fridge for something to eat, restless and impatient, irritated that you were unable to fall asleep despite being sleepy. You looked for several spots, but nothing was snug enough.

That was until you saw Xavier typing your mission reports on his laptop. You crawled over to him on all fours, setting your head down on his lap. He gave your head a few scratches, helping you fall asleep.

Despite not being a cat anymore, Xavier couldn’t help feel sleepy seeing you safely under him. Perhaps cats could sense people’s feelings, because you spoke, half asleep “Put that aside Xavi, come cuddle with me.”

Eventually, the work was discarded, and Xavier held you on his couch, legs intertwined, head buried in his chest, his arms around you protectively, pretty dreams and soft feelings warm enough for you to get through whatever your supervisors would have to say.

[heylittleriotact]

🕯️ THE RITUAL HAS BEEN COMPLETED AND I AM SUMMONED BY @emmg 🕯️

WIP ✨WHATEVER✨

I have a lot of Emmrook things in mind that I want to write (I made a list!), but I only have one brain and one dominant hand for writing, so I’m just dawdling away at my leisure.

Currently I’m working on my take on a scene that would take place directly following the end of the game because BioWare hates us and decided we don’t need any closure for our Rooks or their love interest aside from some vague ‘live, laugh, love’ bullshit epilogue slide.

Rook works their fucking ass off the entire game and is basically the emotional sponge for everyone else’s issues, pushing themselves beyond what’s healthy to see their goals through. Emmrich remarks on it on at least two separate occasions, so I think my Rook would probably find herself in a position within hours of everything concluding where her body and her mind just stand on the brakes and say, “Nope! We’re done! We cannot and will not do any more things until you take some time to recuperate!”

And who’s going to make sure that happens in the most romantic, wholesome, and slightly stern but sexy way?

Emmrich, of course 🤍

Also, I’m reverse uno-ing @emmg because I want to know what you’re cooking. LET ME INNNNNN.

I’m also tagging @allofthebarks because she said she has things she wants to write but the writing just isn’t coming, so comfort yourself in my clumsy, unedited WIP and just write A Thing. Dooooo it!!!

Veilguard End Game Spoilers Under The Cut

Cheering and accolades followed them through the ruined streets of Minrathous, and Amina took the time to ensure that no waiting hand was left unshaken, no hug went unreturned, and no condolence went unoffered. It took them nearly two hours to make their way to a damaged but still structurally sound estate secured for them by the Shadow Dragons but as far as she was concerned, it was time well spent.

As the ornate doors of the manor closed behind them and the cacophony of their victory was muffled, Amina took two steps into the manor, bent at the waist, and splattered the floor with the contents of her stomach.

Emmrich was on her in an instant, holding her long black hair aside with one hand and stroking comforting circles on her back with another.

“What’s happening? What’s wrong with her?” Taash demanded, taking a step forward. Her voice was distant - drowned out by the screeching whine in Amina’s ears.

She felt her legs wobble and give way, her armoured knees colliding roughly with the ground as she threw out a hand to steady herself, not caring that it landed right in her sick: everything was too much. Too loud. Too bright. Too… real. It felt like she was being driven out of her own body like a wayward spirit, her essence clinging desperately to whatever it could hold onto to tether her here.

Just as distantly, Amina could hear Emmrich respond to Taash but his words were lost on her as she wiped her mouth with the back of her arm and lurched clumsily to her feet.

“Harding - I need to go to her mother—“ Her voice broke: she hadn’t had time. None of them had had time to tell her mother about Harding’s death before Elgar’nan forced their hand.

She clenched her teeth at the sensation of hot tears cutting through the accumulation of grime and gore and sweat on her face, snarling defiantly through the deluge of agony crashing through her… breaking her from the inside.

There’s still work to be done…

She was pulling away from Emmrich, her course uncharted but steadfast: she needed to go. Somewhere. Anywhere. It didn’t matter, as long as she was doing something… as long as she was helping. But no matter how she pulled and tugged, he wouldn’t let her go: lithe as Emmrich was, he wasn’t weak by any stretch.

With some effort he managed to put himself in front of her, gold rings clinking against silverite where he gripped her shoulders before pulling her tight against him.

“Breathe, darling.” He instructed, enshrouding her diminutive frame in his own. “I need you to breathe… can you do that for me?”

She managed an anguished sob in reply but nothing more: any attempt to draw breath was met with unforgiving resistance as her airways slammed shut in seeming rebellion of life itself.

Arrangements need to be made - things need to be taken care of, and I’m the only one left to take care of them.

No. First I need to breathe.

“I’ve got you: you’re safe with me.”

More tears rolled down her cheeks as her eyes clenched shut and she forced a thin, ragged inhalation into her lungs.

“Well done, darling.” Emmrich encouraged, ever calm, ever heartening. “Now let’s try for another one, shall we? I’ll do it with you. Let out your breath on the count of three: one… two… three…”

She felt Emmrich contract against her as he slowly exhaled with her. None of this was new to her: Nevarran breathing techniques were required learning for Watchers. Claustrophobia could present unpredictably, and if one found themselves turned around or overwhelmed in the Necropolis, being able to stay calm was vital to survival.

“Perfect. Now another breath in…” He waited while Amina drew another shaky breath then loosened his hold on her to gently cup her cheek. Within moments she could feel the familiar soothing tingle of Emmrich’s magic coursing intimately through her, seeping through her nervous system and providing some relief.

“Emmrich,” she rasped, clutching at his chest. “I… I need to—“

“Do absolutely nothing.” He interjected sternly, his voice absent of any playful familiarity or scholarly flair, though it softened almost reflexively as he continued. “You’ve overextended yourself, Amina. You’ve been overextended for some time, but you pushed through to see this to the end - and you have - but my love, you can’t evade the reality of what you’ve been through indefinitely… you need to rest and take time to come to terms with things.” He drew his thumb over her cheek, speaking to her like she was the only person in the room.

“But—“

“All that needs to be attended will be seen to: Lace’s mother will be informed of her sacrifice in an appropriate manner, and the… actions of the Inquisitor will be communicated to the south.” He hung on the word ‘actions’ seemingly unsure of its accuracy but ultimately too focused on Amina to care.

She opened her mouth to argue, but likely having anticipated this from her, Emmrich spoke first.

“You’ve done so much and helped so many without asking for anything in return�� please let me be the one to help you in your moment of need?”

His eyes searched hers, soft and pleading, and she studied the face of the man she loved: each pleasing curve and angle that she had committed to memory etched on her heart. The crinkled lines at the corners of his eyes, and the creases around his familiar mouth spoke of years of smiles offered to comfort and soothe.

He was filthy too, and his hair was limp and disheveled, strands of it hanging into his face… but oh Maker how she loved him…

“I love you…” He whispered for her ears alone, his lips ghosting over hers. “And I so look forward to reminding you of that fact every day for the rest of our lives… so let me begin now: let me take care of you.”

[scribe-of-ariel]

Unfortunately, we seem to have a tag clash with another fandom ‘legend of kora’?? here on tumblr, so the lok and lokblr tags are a muddled mess of both fandoms. I tend to just stick to #legacy of kain

And of course, that’s assuming people tag their posts at all. Many don’t, and that’s okay. You curate your own experience here on tumblr, one of the reason why I like it here.

I use #soul reaver remastered for the new versions of the games, in the vain hope that the tag system isn’t as broken as it probably is.

I’d like to tag spoilers in case of the tiny possibility that the remasters attract new fans. However, they probably won’t be here browsing tumblr before they’ve already fallen down the Legacy of Kain rabbit hole, so I wonder how useful that would be anyway. But err on the side of caution. I’d hate to accidentally spoil the twists in this series for someone new. Since they are probably the best most traumatic twists I’ve ever experienced in gaming.

Although, I admit, jumping up and down and screaming, crying throwing up when that thing happened, might have been just me at the time. Perhaps everyone else saw it coming a mile off and I’m just as innocent as poor little twice resurrected Raziel 😱 lol 😂

Hello dear Legacy of Kain community!! I would like to take a small moment of your time to ask that with Soul Reaver 1 & 2 Remastered approaching and the hype it's gathering, I think it would be a nice move to tag remaster specific posts as such to avoid confusion with the originals 💕 It will make lokblr easier to browse for specific things !! (Or filter out if you dont want any spoilers 👀)

Thats all thank u 🧛‍♀️🗡️ Can't wait to see everyone more active again :]

[justalittlebluetiefling]

As someone that didn't play or watch anyone play TLoU, I'm having so much fun watching the show and the reactions of people that do know the game

I was just talking to my sister in law about this the other day, because she also has not played the game, but she's really enjoying the show. I was telling her that I'm both jealous and not jealous of people who haven't played the game. Like, on the one hand, I have a general idea of what to prepare myself for each week, but I'm sure it's obvious that I'm still shocked every week. On the other hand, it can be really fun to not know what's going to happen next. I would have been very into this show even if I hadn't already played the game(s) and it's been super fun seeing new people get into it.

Obviously I'm still into it now lol this is such a good adaptation.

[salemoleander]

I am BARELY resisting going full red-strings-corkboard on this season. And by barely resisting I mean not resisting at all here is an extremely long list of the events those pins would be marking out.

BigB getting a Task that was a different color than everyone else's. It's not just a randomly assigned Hard Task, bc Scar rerolled for a Hard Task and his was also just a white envelope. It's fundamentally different.

That task taking BigB away from socialization, and seemingly being an incredibly time-consuming and dull request. Of profound disinterest to any watchers.

The phrasing of his Task!!

Dig a big hole. All the way down. At least 3x3. Make it your base if you want.

Everyone else's are direct and formal - the only one with more than one sentence was Skizz's, with the rule clarification of "One attempt only." Bigb's Task is four short abrupt sentences. It is also the only Task to contain extraneous information, 'Make it your base if you want.' The requirements (at least 3x3) feel like an afterthought to mimic the numerical/specific demands of the other tasks.

Evo symbol on the face of the Secret Keeper statue.

The fact that there's a statue at all; the fact that there is a physical representation of what is assigning tasks that everyone must complete, when previously everything was always handled via commands and unseen RNG.

Grian talking to the statue, and (bc of his Actual Role as game organizer) acting as a mediator for the impartial decisions handed down, speaking for it.

Grian making one last bad joke and saying he doesn't know if it counted or not- depends on whether we the audience laughed.

Grian asking for task recommendations from the audience. The watchers are making the tasks. The Watchers are making the tasks.

Again I could be off-base, and I'm not usually even that smitten with bringing in Evo lore. I don't want a Big Bad really...but. It feels like something very unusual and intentional and cool is happening in this series. And I'd guess we'll know if theres something going on once we have more than one data point.

My largely unfounded suspicion is that there is another being (maybe Listeners, maybe something else) trying to reach out to the Players via decoy Tasks, and BigB was the first recipient. Get them alone, make them of disinterest to the watchers, and tell them something we don't get to know.

Because that's the really, really fucking cool part (if my wacky theory is remotely right): We're the bad guys. We're the ones giving out tasks - hell, we're the ones actively brainstorming harder and crueller tasks in Grian's comments!

If they actually made a story where the Players have to keep secrets from us I will be delighted. Bc that is the same genius bullshit that made Evo Watcher lore so fun

[ender1821]

im a child of divorce

[lucabyte]

i'm so curious about your character gender reads now tho 👀👀

(You enter the kitchen and see me, eating shredded cheese out of the fridge by the handful)

(I turn around to face you.)

Hi. Do you want me to sell you on amab NB Siffrin? I'm going to try and sell you on amab NB Siffrin. And maybe even a little bit of tranfem siffrin and/or loop. as a treat. just for you.

So, (I put the cheese back in the fridge.)

This read of mine comes from a number of things, a lot of them to do with the game's themes, and to do with Siffrin being a narrative foil to the other characters. And Vaugarde as a whole.

(READMORE WARNING: THIS IS LIKE 6K WORDS LONG. YOU ALL SHOULD KNOW BY NOW I DON'T MAKE POSTS WITHOUT UNCONSCIOUNABLE AMOUNTS OF EVIDENCE AND EXPLANATION. IF ANYTHING I'M BEING RESTRAINED HERE. THUMBS UP.)

(Pre-readmore note: this is in response to me having given an analysis of how I personally percieve Sifloop in relation to asexuality and shipping. Which you can look at here. (x))

It is however, not what my like, no-holds-barred no-rules just-for-me headcanon for Siffrin would be. (which is intersex 'head empty no thoughts' siffrin, for the record). This is instead my close-reading-of-the-text-and-themes interpretation of Siffrin. This is why I'm gonna be saying Read and not Headcanon, to distinguish the two. (Anything I consider a little bit too much of a stretch vis a vis interpretive hard reads I will call a headcanon. But those are for the last bit of this post.)

Unlike *gestures at mass media* All That… ISAT is already packed to the gills with queer rep, to the point where I feel no need to grasp at straws and make overextended reaches into obviously unintended subtext. Like with, y'know, most media. Since here, the subtext isn't unintended. Like this isn't a Transfem Metal Sonic or Aroace Ash Ketchum situation where I know none of the evidence is on purpose and I'm just having fun making a conspiracy theory pinboard out of it. This is like… There's intentionality there. And I want to engage with it on its level, see what the text itself suggests. It's my personal preferred method of expressing deep respect to a text. (Not that it has to be anyone else's, obviously. This is just my way of showing I love a work.)

So yeah, I am, in general, very interested in hearing hard-fought arguments when it comes to interpreting texts. I'm glad ISAT has a lot to pick at here, and so, I will. (and since not a lot of texts ever have anywhere near this kind of depth in this arena, i don't wanna squander it… i'll try and keep my own biases as in check as i can, and already have done by hashing quite a bit of this interpretation out with two people of very different gender identities to mine. To put it mildly, binary-aligned or transfem I am very squarely Not.)

(Now that the cheese bag has been removed from the equation, I drop this framing device, sit you down at the table and begin to dredge up evidence from below it.)

Okay, so. What are my like… Core reasonings here? I think I can split it into three categories. Broadly, with an amount of overlap, so bear with me…

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Okay so up top I'm going to split my argument for Siffrin's gender identity Present and Future here. This means, for now, I'm arguing for AMAB NB Siffrin alone. The transfem stuff is for later (and more for loop, in my mind, too).

I have a few direct observations of the text here that set things up. Here are the things in-game that make me assume that Siffrin, as of the start of the game, has not yet undergone any radical change to their identity in their life. Not on purpose, at least. These are ordered in a messy but logical flow, so uh, try and keep up. I'll synthesise at the end. I Prommy.

SIFFRIN AS A FOIL AND CONTRAST TO MIRABELLE, ISABEAU AND THE CHANGE RELIGION AS A WHOLE.

CHANGE & THE UNIVERSE: PERCEIVED OPPOSITES

When interacting with most objects in the Changing Room in the house, they express a genuine curiosity toward body craft. It seems they are legitimately unfamiliar with it on a deeper level than having simply heard of it.

Despite this curiosity (explicitly stating they've previously wondered about it), they dismiss it as too much work early on in the game. These points combined seem to suggest to me that they have never previously sought out any kind of real change to their appearance or identity. Either for gender reasons, or other body dysmorphia reasons. (Which, despite the dismissal, they do refer to their body as a 'meat prison', which is not particularly positive) However...

This changes in Act 3. In acts 3 and 4 they flatly state: "You're thinking about crafting your body. You seem to have all the time in the world now." While still never spoken aloud, their declining mental state corrosponds with a worn-down, almost nihilistic reckoning with the feelings they masked with the 'meat prison' joke in act 2.

[Image: Interactions with the change craft textbook in acts 2 and 3/4.]

In talking to Mirabelle, they are very self assured that one can stay the same/be comfortable with their born identity. They also seem a little unsettled by the change religion's flippancy in general, which makes sense, as they have been clinging to the famliar (even when painful) to cope with other traumas. (More on this later, section 2)

The Universe Faith appears to heavily disincentivise Wanting for oneself and other expressions of Free Will due to safeguarding against Wish craft. This seems to have impacted Siffrin's mental state majorly, even if they do not recognise it. The followers of the faith are (if Siffrin is to be believed) incentivised to 'go with the flow' and take paths of least resistance, and those that DO make big decisions will tend to justify things as being The Universe's Will. (See: The King's entire Modus Operandi, and the way Loop (and Siffrin) do the same rote actions, constructing worldviews (the play analogy, the Universe's Will) and justify that as what the Universe Would Want (despite a total lack of evidence to prove as such)) As such, it seems as if a follower of this faith as neurotic as Siffrin would be unlikely to act upon any Wants to Change Themselves without a lot of turmoil and backwards-justification. (Of note, Loop's forcible change coinciding with a dropping of pronoun. But that is again for later, section 3) As of the start of the game, they do not appear to have broached this kind of turmoil directly.

[Image: Act 5 interaction with the star journal, emphasis on it being a cautionary tale against reckless usage of wish craft, instilled so deeply to be a children's bedtime story]

Siffrin, in act 5, grows frustrated with both The Universe and The Change God, feeling abandoned by the former. They struggle with simultaneously anthropomorphising the Universe as a cruel onlooker, while also seemingly acknowledging them as a cold, almost scientific fact of nature. This would heavily imply that the 'blame' put upon the Universe by Siffrin in these moments is known to them, at least a little, to be potentially meaningless. It seems that somewhere in Siffrin's belief system is something, be it the core or merely a creeping worry, that the Universe is not a thinking, feeling, thing. And thus that their invocations of "The Universe's Will" are merely rationalisations of random chance and consequence. This is in DIRECT contrast to the Change God, proven to be an emotive sapient entity, who merely refuses to offer a helping hand. (Similar sentiments are, too, spoken by the Change God itself.)

[Images: Interacting with the window in the observatory in act 5, text from the change god meeting]

So. These are the bulk of my observations when it comes to how Siffrin is positioned in contrast to the Change Belief. It would seem to be that Siffrin, inkeeping with their role as an outsider, is a complete fish out of water in Vaugarde's change-centric world. This makes sense! It makes them a compelling foil to the Vaugardians in our cast, and allows the Vaugardians to challenge Siffrin's worldviews merely by existing. It also, more importantly, makes Siffrin an interesting lens through which to inspect our two most Change-driven characters. Mirabelle and Isabeau.

MIRABELLE.

Mirabelle and Siffrin's differing faiths are put on display the most frequently. Interactions like the circle key and the party's disbelief of Siffrin's facts about the stars make this clear. These interactions other Siffrin from the group further, and are another avenue through which Siffrin can ignore their own needs, not communicating with the party and allowing them to dismiss things he deems important.

Obviously, the friendquest is primarily about Mirabelle's struggle with her aromanticism and asexuality. But there's an implicit undercurrent of gender there too. Mirabelle has never made a big change, not like Isabeau. She has never 'changed completely', by her words. And Siffrin distinctly finds this an odd thing to be worried by. Whatever culture he carries has no pressure to explore these avenues, it seems. Siffrin is able to help her by sharing their honest opinions, that he's never felt the need to change these things, and he's happy (allegedly). Why should she?

[Image: Mirabelle's friendquest text] Siffrin is not thinking particularly hard when he first does the friendquests, they are just being themselves. By positioning Siffrin as this unchanged yet confident object, they are in the perfect position to help Mirabelle by being in her almost exact position, both sexuality and transgender status (albeit, with the caveats of potential alloromanticism, and a they pronoun), that they become her ideal foil. (And in fact, the subtle differences between their positions in canon add to this, showing a display of Perceived Genuine Truth, rather than simple in-group camaraderie)

Whereas…

ISABEAU.

When Mal du pays speaks as Isabeau, it says the following;

"I don't want to know someone who won't even try to change, who luxuriates in things staying the exact same like you do."

I don't want to know someone - Shame of being known, that's Isabeau's insecurity. Reflected back at Siffrin, who has become the worst thing imaginable to each of their friends, in Siffrin's own mind. He absorbs their insecurities like a sponge and incorporates them into himself. Empathy turned ill.

Who luxuriates in things staying the exact same - Now THAT'S interesting. This is not Isabeau's insecurity, it's Siffrin's own. But also, it appears as if, Siffrin, whom to Mirabelle was unflappable in that not changing was alright, has internalised some of her worry. That it is MDP's Isabeau saying this, though, shows this is about Personal Change, perhaps even Specifically Gender and Self Image, rather than Mirabelle's spiritual side.

Isabeau and his distinct change in personality and gender, to become someone who he actually likes… Diametric to Siffrin, who has been stagnant for a long time, presumably as far as they can remember. It would seem to imply they have no recourse against this argument. Siffin becomes, in his mind, the opposite to Isabeau, a man he deeply admires the bravery of when told the story of his Change. These are Siffrin's words against themselves, that they consider themselves to have never even 'tried' whatever it is they think Change to be.

So. These are my main points vis a vis: Siffrin as a foil. This reading would posit that Siffrin's He/They status is, well, almost accidental? Which I would imagine befitting of them. They are, at the start of the game, still the mysterious rogue who never elaborates upon anything. They aren't going to be correcting a they/them from a teammate who is likely far more cautious about assumptions.

Notably, Mirabelle excludes Siffrin from the label "man" in the bathroom monologues… But as does Siffrin when in the prologue poem room. Though one needs remember, Siffrin only expresses these thoughts internally.

[Image: Bathroom conversation featuring Isabeau identified as the party's singular man]

[Image: Prologue!Siffrin expressing that they are not a man in very certain terms.]

While I do wonder what Mirabelle's knowledge (or lack thereof, potentially! Did Siffrin actually divulge this to her, once? Or is she making assumptions again?) is here, this is pretty clear evidence that Siffrin doesn't see themselves As A Man. (that, and Adrienne's word of god "fella" comments). I'm sure you can see where I'm going with this… but.

The thesis here is, that Siffrin may want to explore their gender further; doesn't feel connected to Masculinity, and yet, keeps that He pronoun around? Well, the Universe does not, in Siffrin's mind, really allow for personal wants and desires. If their friends start they/themming them, then cool. They like it, but never requested it, so it's the Universe's will. But, asking? Making decisions and requests and rocking the boat? That seems to scare Siffrin a lot. It seems to scare them so much it causes a lot of, if not all of, the conflict in the game. I feel like it's a fair deduction that this aversion to humour their own desires pervades a lot of their existence.

Plus, I think there's meat there. By only allowing Siffrin to reckon with any potential desires to change only after growing closer with the family, you get to explore things like "How does Mirabelle feel that even the person who said she didn't have to change is changing." and the slightly less potentially harrowing (OR MORE, IF YOU WANT IT TO BE? IDK. I'M NOT YOUR BOSS.) "Isa's continued changing allows Siffrin a space to explore it, maybe even just by proxy, or maybe by joining them."

But mostly, this section is about how Siffrin not having Changed Yet makes them delightfully strong narratively; allowing them to relate to Mirabelle, and get cold feet when comparing themselves to Isabeau. I love this as a narrative strengthener. It's very rare in media that we get to explore a nonbinary character's thoughts and insecurities on whether or not they're "doing enough" to be nonbinary. Even less so Aligned nonbinary people. And reading that alignment and insecurity through the lens of a nonbinary person not fully disconnected from their assigned gender at birth? It's a very compelling exploration of a very common and raw and yet underdiscussed feeling, much like the rest of ISAT. I think this is an extremely potent element should it be read this way, and is only strengthened when taking Siffrin's other themes into account.

Speaking of which.

2. SIFFRIN'S HABITS OF CLINGING TO 'KNOWN QUANTITIES', SCAPEGOATS, AND THEMES OF RACIAL IDENTITY INTERSECTING WITH GENDER IDENTITY.

HOLDING ON TO WHAT YOU KNOW. (OR KNOW THAT YOU DO NOT.)

I explained above many of my thoughts on the Universe Faith, and trying to keep these two sections separate was difficult, but needed to be done for the sake of clarity. But this section and the above are deeply intertwined.

Siffrin… Holds on to the things they know. They do not know much. But man do they fucking hold. And yet, paradoxically, they are also avoidant about it.

It is made clear in the text, to the point where I really don't feel the need to rehash it here, that Siffrin's disconnection from their homeland is incredibly painful, but that they consider that culture utterly and irreplaceably important to them. They cannot face it, it is too painful. They cannot let it go, it is too important.

Knowing what we know of the Island's irl inspirations (though, word of god, the exact location is not supposed to matter, one can infer it from the text (and I did! within reasonable proximity!)), Siffrin is of an indigenous peoples of some description, more than likely. And at the very least, Siffrin carries with them inherent biases and ignorances that show that Vaugarde's conceptions of things don't quite mesh with their own. Bowing to the Vaugardian way of things could very easily be seen as assimilation, in this way.*

And identity? Gender? Presentation? Role? All of that has a cultural element. There's no telling what specifics Siffrin has lost in that arena, and that's the problem. Neither do they. How paralysing, the feeling, to know that should you change yourself you risk unknowingly erasing another piece of home? I wouldn't blame them for locking it off. Keeping their old clothes, keeping what little they can remember of themselves… It doesn't seem to me a conducive or safe mental space to get experimental.

And the Universe makes for a perfect scapegoat. As referenced in the section above, a lot can be justified should you call it "The Universe's Will", because who's there to call you on it? Hardly anyone. Your divine right to Freeze A Place In Time; Your Deserved Punishment for Wanting to be Loved: All of it the Universe-- If you want it to be. And thusly, if the Universe wanted you to be a certain way, wouldn't you already be? Wouldn't it make you so? (Wouldn't it take away your body, that which makes you human? If that is what it thought of you?) So best to put it out of your mind. Wouldn't want to accidentally wish anything.

But as the game itself puts it, personified by The King, you cannot stay mired like this forever. As Loop themselves puts it, they can "get so fixated, sometimes." At some point they need to allow themselves to grow in whatever direction they need, because in the end, they need to live their life. They don't need to abandon their country, their culture, but they can't let it restrain them either.

(* MASSIVE CAVEAT: im white as fuck boyyy. i cant say shit. im like technically Of The Land im like 90% pictish or something ridiculous like that so my particular line has never moved anywhere but. this is notttt something i have input or insight on. this is all gleaned from reading and listening to indiginous perspectives from wherever they may be. i am simply trying to infer from what the game gives us without inserting my own feelings on the matter.)

3. SIFFRIN, LOOP, DE-PERSONING, DEHUMANISING, APATHY AND SURVIVAL.

Alright, here's some less heady and purely-thematic points to round things out. And where we'll also address the fucked up star being in the room; Loop.

My last couple of reading points are the most potentially-transfem to me. Or at least the ones that really hammer home, to me, a seeming lack of want to be masculine-aligned.

ANOTHER NOTE ON THE 'NOT A GUY' THING.

Obviously, there is the aforementioned "Not a man/not that you're a boy" thing. This is rather straightforward, but also still pretty ambiguous. You can be masc-aligned and still Not A Guy. But it does seem to be of note that being a guy very much does not seem to be a goal of Siffrin's. I would posit this in direct contrast to… Isabeau.

But not Isabeau's masculinity. I would instead hold it up against Isa's femininity.

ISAT, as a text, has its characters have genuinely different levels of security in their gender identity, and Isabeau, despite still having insecurities, seems super chill on the gender angle specifically! Their internal strife comes not from their 'not feeling like a man enough' or 'hating being a woman', but instead from their self perception as a friendless nerd! Something that seems to be only tangentially related to Isa's gender, really?

The big dumb bruiser thing is certainly aided by being a dude, but Isa still seems completely comfortable referring to themselves with feminine language, calling himself a "mother hen" (prologue) and having "the heart of a fair maiden" (cookie snack time). (However, they also take being excluded from Mira's girly book club as a surprised compliment, implying they weren't expected to be excluded, and find it affirming.) And even further so, Isa states they want to continue changing further and exploring their identity more, being rather blatant that they might lean back into femininity (and more importantly, let themselves be outwardly smart again), since they're starting to feel hurt by everyone assuming they ARE genuinely stupid.

[Image: Prologue Isa calling himself a mother hen]

And man, this is such a breath of fresh air vis a vis representation. I don't think I really need to explain that. A character who's gender identity is driven by chasing euphoria, even if it started out by trying to drive out misery. Isabeau's character is so damn good. But this essay isn't about him, so get back in the crate, boy.

... So here we have Isa, who is genuinely comfortable reclaiming things about their birth gender, and Mirabelle who loves her traditionally feminine traits to the point where she feels a little guilty that she isn't rejecting them to foster change. And then we have Siffrin… who seems to reject masculine language…? Hrm… (… And then we have The King. A Masculine Title. Someone who Siffrin increasingly sees themselves in and deeply, deeply dislikes this.)

APATHY AND SURVIVAL

It should be clear by now that I see Siffrin's core character as being driven by avoidance and survival. This seems to lead to a lot of apathy, brushing off emotions that are too intense or events and occurences that are too painful. (See: just absolutely everything with Bonnie)

It's all Siffrin really seems to be able to do to Survive. They've travelled, seemingly alone, for what would be around a decade by what the game says about the island's disappearance. They've lived alone on the road as a traveller in a country that so openly welcomes strangers that THE KING and his whole motives can happen. Siffrin is avoidant and refuses to acknowledge problems or strive for help and comfort.

So. That line about the dress. Let's unpack the line(s) about the dress.

THE DRESS LINE, AND THE WAY IT CHANGES BETWEEN PROLOGUE, ACT 2, AND ACT 3.

Good god where to start with this. Full disclosure, the first draft here was way more vague in how I approached this line because I remembered it (and another line, I'll get to it.) way more tame, but going and getting the screenshots..... Siffrin. Buddy. We gotta unpack this.

In act 2, we have "You haven't worn a dress in forever!". This is a neutral, if seemingly a little joyous statement. All we really glean from this is the information that Siffrin at some point, wore 'a' dress. No real inferences there. (Maybe you could say that the singular as opposed to plural makes it more likely that they borrowed/only owned One Dress rather than owned several? But that's a massive stretch...)

Then, act 3/4 shuffles this off into a more general "You wonder if you'll ever wear different clothes again." Which is a more despairing and distant statement. Considering Siffrin seems to travel with only the items they can carry, and owns sleep clothes... It's unclear how many changes of clothing they have. The party seems to consider the cloak a pretty permanent fixture, anyhow. But this line doesn't really say much aside from 'oh god i'm losing myself to the time loop malaise'

NOW THE PROLOGUE. Prologue Sif, buddy, pal, Loop, if I'm allowed to call you that....

Thousands of loops in. We are wistful for specifically dresses. You've forgotten almost everything. You dream about someday seeing the sun again. To be anywhere but here. You want to wear a dress again.

I. Kind of do not know what to do here but point at it. Like I said, my first draft had me half-remembering the progression of this line and as such I was far more vague on what I thought it could imply. Instead this is just straight up yearning.

To, try and segue back to what I had initially written, we'll pick up here...

Siffrin expresses a want to wear other clothes, explore changing their body... But instead, they wear a ratty old form-covering cloak that keeps them warm and safe and is a last reminder of home. They are shapeless, formless, hiding their face under the brim of a wide hat. They do not voice their desire to wear a dress aloud. They once again, keep a desire to themselves, because they do not allow themselves to want publicly. Apathy is safer. Apathy and quiet means you do not risk retribution or hurt.

While I do not think the above is exclusively a transfeminine feeling, it really, really reads like one when taken part and parcel with assuming Siffrin has denied themselves prior exploration.

... And here I have to break my first draft again. I was being, once again, restrained in my reading when writing this. Because I had convinced myself I had maybe straight up imagined one of the lines I was basing my reads on, because I couldn't find it. Because it was a line that read so strikingly desolate to me that my brain had slotted it in during Act Five, meaning when I went looking for it neither me nor my friends could find it.

It's in acts 3 and 4. It's a line I already brought up.

"You're thinking about crafting your body. You seem to have all the time in the world now."

good fucking christ. sorry to break the academic tone but Jimminy Fucking Willikers, Siffrin. What's with that bit. The resignation and despair and guilty comfort we know the timeloop brings them, bleeding into the gender.

This. *taps my finger harshly on my desk* THIS, this feels transfem. this feels so wildly transfem to me. The knowledge that they've never changed before this line lends. The admission that they've been holding back because it's 'too much work'. I spent a lot of time during the game relating Siffrin not to myself but to my friends.

If I'm honest, really, truly, I'm not all too often in Siffrin's shoes. I'm the stable one, of my group. I'm the rock people ground themselves on. And I see so much hesitance, all the time. Denial of joy because what if it's taken away, again? Or futilely out of reach? It hurts more to try, and to fail, than to never try at all.

I wanted to shake Siffrin by the shoulders this whole game. Grit teeth beg them to accept help because for fuck's sake people are clearly offering it get it through your skull--

*coughs* Ah. Ahem. Right. The uh, academic tone.

Right. What I mean to say is, this read as transfem to me because of the way it relates to real-world experiences of denial. And this combo of the Dress line, and the progression of the Meat Prison line, the constant evidence of never having strived for what they want, and that insistance that you're not a man, seem to dislike being percieved as a man, but not being able to shed the outward signifiers?

Individually, yes, these points can be read in different ways. The total opposite ways, even, I'm sure! But as a gestalt it feels really, really transfem. Even if yeah, sure Vaugarde is a magical setting where being transgender is accepted, and this hesitance, specifically, around gender, might not 'make sense' in 'the lore'...

Diegesis isn't everything. Sometimes something that reflects a real-world feeling is important, even if it doesn't 'mesh' with 'the lore' of the world.

TANGENT: DIEGESIS AND READING INTO NON-REAL-WORLD-SETTINGS.

This is a Watsonian vs Doylist spectre that's been haunting this whole argument. In-universe (Watsonian), Vaugarde has seemingly no discrimination between genders, sexualities, and a lackadaisical approach to most things in the arena. Reading our own patriarchal/heterosexual/amanonormative/perisexist society unto it does not make sense, not in this context.

In the real world, however (Doylist), ISAT is a text made in our prejudiced society. A text that is distinctly flavoured by those bigotries which it is kicking back against. Because of this, it is not the whole story to simply read the text while discarding our real-world-informed inferences. Isabeau is a big example of this. While perfectly accepted in Vaugarde, he is very obviously a revolutionary character in our real-world space! He has so much to say, specifically BECAUSE things about him that are not readily accepted here, are accepted there! Same with Mira's struggles, and yes, Siffrin's too.

ISAT was written with the knowledge of how it would play against our real world in mind, we know this, clearly, from many an interview. This is most present in how it engages with asexuality and aromanticism (and immigrant identity), but make no mistake, it influences the Whole Text.

Ergo, just because I view certain writing choices here in the context of Our Real World Perspectives On Gender and not Vaugarde's In-Universe Perspectives, it does not make them an invalid read. They are simply a Doylist read.

There's been an admittedly loosey-goosey lack of delineation here between things I'm reading with either lens, because for the most part all of these points have been a vague synthesis of both that I can't quite decouple. Unprofessional, I know, but I'll admit to not having written my thoughts down like this in a good long while. Usually I just hash this out verbally over discord voice to a small number of weirdo literature and classics student friends who are willing to humour me. I'm an arts student too, but animation hardly required I actually write an essay to a literature degree's standard. Lol.

DE-PERSONING. AND LOOP. OH JESUS . LOOP .

Siffrin de-persons themselves a lot. I say de-person rather than dehumanise because, well, there's a subtle difference there. Siffrin doesn't see themselves as vermin or an animal or an object, but they do seem to see themselves as lesser, not requiring the respect they grant others. They aren't, you know, a 'real person'.

People get to have things like thoughts and wants and identities. Siffrin is, at best, Just Siffrin. They have what they have and they don't ask for more and they don't (CAN'T) feel too strongly on what they do have!

When Loop at first offers their pronouns they offer the Royal 'We'. This is at least a little bit, a joke. A nudge toward their true identity, a potential dig at themselves for becoming so understanding of The King. Mostly though, a joke on the first thing…. and a sign that they do not see themselves as a separate entity to the Siffrin stood before them.

When Siffrin rejects this, they settle for they/them. Loop drops the he/him, presumably partially to cover their tracks, but… They just showed their hand with the 'Royal We', and if you wanted to go even further with this, there's no way for us to know whether Loop is treating this pronoun as singular or not. They presumably are, but it is still a potentially plural pronoun.

Loop… Clearly does not see themselves as a person. It's, I would say, a completely reasonable assumption that the form they have taken reflects implicit feelings toward themselves as less than a person, an actor, a monster, a tool, a means to an end. They are rendered inhuman by The Universe, frivolous distractions removed. No mouth, inventory and clothes confiscated, nothing between the legs. Formed roughly in the shape of a person to allow them to do their only job: Help.

Loop's body does not make logical sense, given their continued ability to sleep, dream and their continued habit of deep breaths to self-soothe. It would seem to me, it was made in the image it was, with only the tools it needed to Help Siffrin. Why obfuscate their identity? Because giving the game away too early would likely make them lose hope. Why so deeply, thoroughly star themed? An instant signal, that even if a stranger, they are an ally. They are home.

[Image: Loop saying that they take naps and dream, and evidence of Loop habitually attempting to breathe in the twohats lose-to-loop ending]

And they… Degender themselves. No longer with any bodily signifiers of masculinity, and cruelly disallowed the ability to hide themselves beneath fabric, they are null. The spoiler Q&A (paratext, as it were) states that:

Q. Is Loop: 1. Actually comfortable with both he and they, but only gave the one pronoun to emphasize the distance? 2. Only using they/them because a large life event led to a shift in identity/ how they’d like to be perceived? or 3. time lops stole he from they they :( A. Mostly that first one. But all three of those reasons have a bit of truth to them.

While the 'mostly the first one' comment does imply that Loop would not baulk at being he/him'd (similar to how Siffrin does not), the other reasons, especially the second, having 'a bit of truth' does lend credence to this reading. That Loop's self-perception has shifted, and what I posit, is that this shift is in tandem with a disconnection with humanity. Due, presumably, to the dehumanising experience of the timeloop.

Loop has no biology to speak of, and yet they remain blind in one eye. I take this as an implication that they considered this so core to themselves, to who they could remember being, that it stayed. Even if they had forgotten their own face, trapped in a part of the house with no mirrors, they knew they couldn't see. They kept this, and yet seemingly they, or The Universe, or both of them in tandem, discarded all else.

This isn't like…. Healthy behaviour. That is for certain. But it is interesting that Siffrin and Loop seem to hold on to their masculinity by a thread, and that Loop, when actually given the excuse to make a choice, chooses the Neutral Option. Siffrin might de-person themselves, but Loop, Loop is absolutely dehumanising themselves. From Loop's own mouth (or lack thereof) do they call themselves a Corpse. That's… pretty damn bad.

TANGENT 2: POTENTIAL IMPLICATIONS OF THE JAPANESE TRANSLATION.

Did somebody say 'distance'? Yeah turns out that has some more potential evidence. In the form of First Person Pronouns. See, English, with its third person only pronouns relies on others to gender you. Japanese, you get to gender yourself. And Siffrin specifically has an interesting discrepancy in the way he refers to himself.

(DISCLAIMER: I . DO NOT KNOW MUCH ABOUT JAPANESE. THIS IS SECOND-HAND KNOWLEDGE. SOURCED FROM THIS TUMBLR POST AND OTHER QUICK SKIMS OF WIKIPEDIA)

Loop and Siffrin use the same, very neutral "mostly male but could go either way" pronoun of 僕 boku. Safe, soft friendly pronoun. Used by people on the younger side of adulthood, not so impolite that you can't use it in a formal setting. Such a neutral all-rounder that female singers in japan tend to use boku in their songs to relate to the audience with quiet confidence.

And in their internal monologue? Siffrin uses a completely different pronoun. In his head, for himself, he uses 自分 jibun. Now, this may be an artefact of the monologue's english second-person "You", since jibun can also be used to mean a very neutral "self". A "myself/herself/himself" type 'self'. But when used as a first person pronoun, it has a connotation of being… distant, introspective. Which is… a fascinating implication, if that was the intent.

But I don't know anything about japanese so ! If I'm off the mark, discard this!

LOOP, PART 2: MAYBE NOT A GREAT STATE TO BE IN.

While Siffrin I can comfortably argue that they can like, keep their current gender presentation, whatever you may perceive it to be, once the game is over, Loop, I cannot.

Siffrin's potential issues with their identity are ones that honestly feel like they would best be explored with gentle refinement and searching. They don't need to violently seperate themselves from what they are now, far from it, in fact. They need to learn to grow comfortable in their own skin, and with the people they love. To become open and trusting, with an open mind to where it may lead.

Loop has already lost this battle. They don't get to refine anymore, just pick up the pieces. While I don't necessarily think radical change is Good for Loop, I think they may Need It. For them, resting will probably become stagnation (see: napping all day under the tree, resigned, really, to the idea they're stuck there forever.), they need a shake-up in order to re-find their feet. Even if they end up right back where they started, they still need to do the actual painful process of soul-searching first.

Problem is, they're still rather avoidant. So it basically becomes a question of getting them into a situation where this exploration is forced upon them. At which point, that's a whole new plotline. This becomes fanfiction. Hence, why while I think Transfem-Egg Loop is a Valid Read when extrapolated from Siffrin… I must concede any actual adventures into them acting upon that as headcanon territory. I just do not know how you would get them there without making a whole new Thing, at which point it stops being Just A Read of the text haha. It doesn't help that Loop and Siffrin (grudgekeepers supreme) both have reason to spite the Change God after who was phone.

As for whether this egg-read reflects directly back on to Siffrin? Maybe! They are the same person. But I think that, especially with Vaugarde's lax views, and their actual differences (Loop's general worse mania // Siffrin's incentive to stay a reminder to themselves and Loop of their country) means they could easily go two different routes, along the road to becoming their own distinct individuals. (And in all honesty, growing into their differences is probably the more healthy option in the long run if you're keeping Loop around? But again, we are going so far into the future here this is no longer a read. And I am not here to dispense baseless headcanons without massive disclaimer, so…)

Tl;Dr:

Siffrin's Survival-Apathy and hesitance to change feels really thematic to their being 'what's left' of their homeland

They seem unsettled by the flippancy of the Change Religion at times, clinging to the familiar to cope with the trauma of displacement.

Mal du pays speaks of them that they have not 'tried' to change, showing an insecurity there, even outside of the literal stagnance of the loops.

They are self assured to Mira that one does not have to change, in a very genuinely personal impulsive statement.

They and others exclude themselves from being "A Man", but Siffrin keeps desires to explore their expression to themselves.

The Universe belief, seemingly in Siffrin's view of it, disincentivises Free Will and Wants very heavily. It is not hard to assume they extend this to all elements of their life.

They have self-admittedly never pursued tangible change, likely due to this aversion to choice. Despite this, they express interest in changing, seeming nonplussed with their body, and house at least some desire for more traditionally feminine expression.

Oh Good God. Loop Sure Does Not Treat Themselves Like A Person. Why Does That Come With A Pronoun Change? What Does That Mean?

But most of all:

It makes them such a fascinating foil and lens to Change and characters who believe in it! It makes them eerily similar to The King! It opens up such fascinating debate between characters like themselves and Mirabelle, Isabeau and Loop, on whether or not they want to change in future, or if it truly is okay to never radically change yourself! What genuinely fertile ground for dialogues. And man if I'm not heavily drawn towards dialogues.

(End of essay! Congratulations for making it the whole way! 🎉 I hope this nightmarish deep dive helps with understanding some of the ways I've been writing Siffrin and Loop too. Since while I've not ever focused on the gender side of it (and probably won't in comic form) this does pervade my view of the two, since it would be impossible for it to Not. As you can see, I do think it is pretty relevant to both their themes.)

(Now for some bonus material)

ADDENDUMS:

PERSONAL BIAS NOTE:

Not included in this analysis since this is more a Pet Theme of my own (usually kept quarantined to the realms of my OCs), but something else I see in Siffrin is a reflection of the Dude Issue(tm) of patriarchal irl society disincentivisng Dudes(tm) from ever fucking introspecting ever.

I'm curious about nonbinary/trans characters who have no idea they’re nonbinary/trans because they’ve been disincentivised from thinking/doubting their identity due to societal power structures or simply tradition. I dig around the themes of “a lot of guys are trapped in a societal prison without ever knowing and it makes them miserable but they can’t escape because they don’t even see the cage” like, a lot, in my personal work. It intrigues me. So bleh, cards on the table there. That mode of interacting with nb/trans characters is one I'm inclined to.

This kinda goes hand in hand with the watsonian vs doylist situation i took an aside to mention. But it is so far along the doylist side that I didn't want to include it, since it is a little too assumptive of the text for my comfort. I don't think the game necessarily has much commentary on this specific Societal Bind. But if it does, then hey, there's my thoughts on it.

STRAY SIDE NOTES AND HEADCANONS ABOUT OTHER CHARACTERS (AS A TREAT FOR GETTING THIS FAR):

MID-GAME OBSERVATION ABOUT BONNIE AND ODILE THAT I NEVER WENT BACK TO VERIFY:

I got the impression that Bonnie heavily favours they/them pronouns for Siffrin, and Odile he/him, as a bit of presumed character voice. I don't know that I am right, literally at all, in that observation, because it very well could've been confirmation bias.

BUT! It did give me the impression that one of the things Bonnie was idolising about Siffrin was a degree of "wow!! older person with my gender!! wow!!", which is just like, cute. I like it even if I don't have any solid evidence.

ODILE, WHAT'S HER DEAL?:

Oh she stays just as mysterious as she intends to be, huh? Even with her comments in the Changing Room alluding to knowing things about underground changing operations, you can't draw much of a conclusion about her. I appreciate verily that she's word-of-god unlabelled and also poly. That shit's great. Woman who has stopped drawing lines or caring what she's up against. Nice characterisation flavour I think.

Anyway, I do think that transfem Odile is a really, really nice take. I have no evidence in either direction for her in either direction, and her being a woman of any description makes her relationship with her absent mother something interesting to chew on, but the idea that she pursued womanhood intentionally lends an interesting texture. I've not much to say, but it's a thread to pull on. Makes you wonder what other female role models she had in her life instead. Anyway she's mysterious as fuck I can't extrapolate Jack nor Squat. Shrug! I'm also made curious by the idea of her potentially moving away from womanhood as she feels the weight of her history lifted. This goes either way, really. Diagnosis: mysterious.

HEADCANON NOTE: INTERSEX SIFFRIN

I don't have any in-text support for this so this entire thing is an unbased headcanon to me. but i DO like it because 1. fun and 2. potential for more thematic exploration

haha gotcha its fuckin themes again. its always themes with me.

But yeah. Not much to say here besides drawing a parallel (that I believe I've seen drawn elsewhere in the fandom already?) between ISAT's comments on how a society that values change would view Aroace identities, and how Mira feels about not wanting to change with the real world experiences of Intersex people having alteration and conformity forced upon them, saying the Change Belief would likely be just as bad for them as it is for aroace people.

So, adding it to Siffrin's situation further drags them into the opposition-to-change foil role. Which like I said, think has a lot to explore.

HEADCANON NOTE: A POTENTIAL METHOD FOR GETTING LOOP OUT OF THEIR GOD DAMNED COMFORT ZONE

I think utilising Loop's contrarianism is an effective and funny way to get them to explore their gender. I personally think running with them trying to hide their identity from the party is a hilarious way to do it. Having them try to position themselves in direct opposition to Siffrin to "throw the party off their trail" (not that i think they really need to?), going full feminine-revealing-clothing because it's NOT what a Siffrin would do and accidentally growing accustomed to it. Funny to me. Especially when the party eventually do find out who they are and go . "????? what was the girl stuff about ??? is that something you wanna do now ???".

[Isabeau] "Ohhhh it was a bit! Haha you really are Sif, still a jokester!" [Loop] "HAHA YEAH . JOKES. LOVE THOSE. LOVE TO MAKE JOKES!" [Isabeau] "Yep! Anyway. Tell me if you need anything!"

Bonus bonus:

[Siffrin] "Okay, so, if you're a girl. Does this reflect on like… me?" [Loop] "No doubles. Get your own gender, parasite~!"

[copia]

"See you on the other side, son."

PAPA EMERITUS IV in RITE HERE RITE NOW

[thecrystarium]

Wuk Lamat: *through a mouthful of meat* I LOVE IT HERE!!! Erenville: *head in his hands* Twelve forfend...

[bacchuschucklefuck]

okay unironically I love so much that porter is like this world SUCKS its BAD here and it HURTS you why do you care abt it!!! and literally every single bad kid is like ngl we just hate ur ass it does not matter what ur philosophy is

[iindigoeyed]

so. Torchy

[peachyutdr]

i finished it, was kicked out of the game, and then spent the next 10 minutes drawing this. i will now go take a shower, most likely cry, and then go through the emotional turmoil of convincing myself to reset so i can do a geno run. i hate it here :D

[screechingfromthevoid]

nothing (besides everyone ignoring Orym's deal) has made me angrier than watching Dorian keep up this facade. Dorian Storm has always been a type of mask he's worn. At first he called himself a liar because of it. The happy go lucky bard was a way of escaping for him. He was escaping Brontë so he created Dorian. He didn't believe he was Dorian. Until the Crown Keepers made Dorian real. And for a while, he really believed he was Dorian. That he has this new family and new life and he could be who he truly wanted to be.

And then his brother came back and made his problems Dorian's problems. Until he had to put Brontë back on. Because even if the Crown Keepers + Cyrus called him Dorian, he was Brontë. He had to be who his brother thought he was.

When Cyrus dies, the thread to Brontë had snapped. He was going to see Orym, back to the Bells Hells, back to Dorian Storm. But the foundation of Dorian had shattered. Dorian was created in order to run from his place in life, family, Cyrus. Now he was gone. The Crown Keepers had fallen apart. His friends fell through his fingers and he couldn't do anything to stop it. He was once ready to side with a betrayer god for these people and now they're in the wind.

So Dorian shows back up to Bells Hella and he's completely broken. The foundation of both of his lives has been thoroughly rocked. No brother. No Crown Keepers. The two things that forged Dorian Storm. He wears that mask so fucking well. Because he still wants to believe in it. He said it live on stage that he should "believe his own backstory". The one he made up. The one where he was a bard.

He wants to be Dorian so bad. He spends all his money on Orym, he spins the bottle so he can kiss his friends, he flirts, he blushes and giggles at compliments. Exactly how Dorian would, should.

But he wears the gold of the heir. He has a festering animosity inside his chest. He doesn't sleep. He's thinner than he was. He doesn't sleep. He sicks abominations after their creators. He talks to God's without an ounce of self preservation, daring them to strike him down. He does not acknowledge them as they taunt him.

The god of beauty and magic calls him beautiful and he does not smile.

[meamiiikiii]

5% of a color headcanon.... two versions since b&w emphasizes the dagger more i think but i still like the warm tones ASFSADA

i am not biased towards rainbow daggers whatsoever i promise (lie)

((also friend is streaming now and im there too!! bit more info linked here, its rated mature tho))

[luck-of-the-drawings]

"I think this is the most inhuman; and human, that I've ever felt.." MUCH CAN HAPPEN IN A YEAR. IN FIVE YEARS. A DECADE. imagine how much can happen in a century. just ONE (1). How will you grow? what phases do you find? even in 5 years, you will find patterns.

[vaultlink]

Anyone else think about the beginning of Act 5 at the end of the Dormont section, why Siffrin shows up at the Clocktower so late, how it happens right after a zoneout?

That entire loop so far he was doing his damnedest to do the Friend Quests and screwing them up horribly. What if after their fight with Loop when they zoned out they went back on Friend Quest autopilot finishing the final part, going out to the field to gaze at the stars with Isabeau, the rest of the Family interrupting them with an impromptu picnic dinner, staying out late before heading back to the Clocktower to sleep for the night before heading to the House