#to tell which siffrin was who !!!!!!!!!!

[torchstelechos]

I love that In Stars and Time gives the nonconsensual kiss a proper horrified reaction, by the way. Most media where a character can kiss someone out of no where either make it a funny thing or the "romantic" thing, but here Siffrin kisses without permission out of no where and Isabeau reacts correctly! He pushed them away! Because thats surprising, and fucked up to do to someone with no lead up and no permission! Isabeau had no context, and at the time when the kiss happened, was under the impression that Siffrin didn't like touch which can have a variety of horrible reasons for it. Not only that but... We don't know what face Siffrin was pulling and I don't think it was a nice one. Which, again, means that we don't have all the context either! This is a horrible event that has horrible consequences and I love that it does. Because it's something that is horrible and objectively one of the worst things Siffrin did to one of the others in the loops, so I'm just!!! So excited it had bad consequences!!!

[poorly-drawn-mdzs]

In Stars and Disco

(Disco side of the swap)

[madbard]

Siffrin is of the Lonely.

This is the fear of isolation, of being completely cut off from other people. This is the fear that preys on lone travelers. This is the fear that once trapped an actor in an endless performance, unable to perceive people as anything other than masked audience members and hollow performers. This is the fear that manifested during the apocalypse as a massive empty house that slowly feeds on your memories, making you forget your friends, family and identity until you are left an empty shell, completely alone.

As a rule, the fears are nigh-inescapable. But the Lonely stands apart even from the other entities, because it is actually impossible to escape it on your own. You must remember the people who care about you, even as memory fades and they seem years away. You must cry out for help, or reach out for a lifeline thrown by someone else, even if it feels like dying. Someone who cares about you must come looking for you, and they must not turn back, even if the Lonely tries to drag them in too.

The Lonely is the fear of being abandoned. What could frighten Siffrin more?

[lanternlightss]

okay .. take two !!!

+ bonus doodles

[simcardiac-arrested]

no actually I’d like to hear your thoughts on the isat ending

Like i said it felt really tropey and by that i meant that it’s just Everything Good Happens forever and…..that’s it ? like idk we were building up to this huge catharsis sort of thing and then we got to it and it was so sudden and not a good payoff and just kind of nothingburger of an ending . the fact that everyone just forgives siffrin bothers me, or at least the fact that they don’t confront them about the shit they’ve said and done. call me a mental illness villainizer but i think if you’re a fucking asshole and doing the most insensitive things to the people you care about then hey, i think those ppl have a right to fucking tell you off for it. likeeee idk being at your lowest point …… not an excuse …. not feeling it chief ……. like sure the message is to move past your mistakes or whatever but ? that doesn’t mean just getting away with it ??? and i just really don’t understand Why everyone forgives him. honestly at the end of the day the ending is just one problem, the root of which are the characters. everyone feels like trope cardboard cutouts. oh, this is the smart one. this is the smol bean. this is the himbo. and they all care for each other btw. Did u hear that? they all care for each other. we’re not really going to explain to you why these people are so close or what they went through together but just trust me man they’re sooo found famy. like …. okay. i’ve played 30 hours of this game and not once did i buy that any of the characters really cared about each other. like??? why???? You’re telling me everyone super cares about siffrin even though they barely know them?? you’re telling me siffrin cares about everyone sooo much even though he never even bothered to find out their problems before ? Wat ? and this just breaks the ending more because literally whyyy do these people care about him so bad. and then it’s just whyyy does siffrin Have to tell them anything he doesn’t even seem to know them that well. everyone feels like colleagues and Just Friends at best. and so the ending just seems really forced. like it was written by that type of tumblr user who’s always talking about aww why does the found family have to break up after the end of the journey :( which is like fiiiiine. i guess. but u guys know that u have to build up to it right?? you can’t just tell me they’re Family Members(tm) 102829 times and that they super care about each other source: trust. you can’t just do that and then expect me to believe it ….. It feels unearned. the ending feels unearned and i don’ttttt understand what i’m supposed to take away from it . that it’s ok to fuck people up because you’re traumatized and insecure?? that you have to talk about your deepest problems with people you barely know??? i just dont know. Like i said if im being honest the problems with this game’s writing are more than just the ending, it just stands out so much because there’s a lot of build up and then just …… That

[moonstandardtime]

i want to put link in isat. im sure hed do fine. the heros spirit endures

[soft-serve-soymilk]

BATTLE IN THE CENTRE OF THE MIND CONTINUES TO BE ONE OF THE MOST TROPES EVER

[biblicallyaccuratecrow]

isat thoughts: siffrin vs. act 5 "friend quest" ptsd

this is mainly referring to mirabelle and odile's reactions to siffrin's actions during act 5. don't get me wrong. what siffrin said to them is. horrible. and absolutely warranted them being upset at him. do NOT misconstrue this as me thinking that siffrin was innocent in this case because they Very Much Were Not.

BUT they were also in the middle of a very extreme mental health crisis and-

now listen. listen to me very closely, com'ere.

yall can't tell me that this does not have a lasting impact on how siffrin deals with the party in postcanon. you can't. especially not after the epilogue convo between mirabelle and siffrin, where siffirn outright states that they'd let mirabelle scream at them when she finally decides to be angry at them. and mirabelle is justifiably upset at siffrin for thinking that she'd automatically resort to that, but?????????

just imagine if you will. Mirabelle making a move to touch Siffrin's face like she does in SASASAAP. and siffrin flinches. not like they usually do, where they're startled- this is a genuine moment of fear, like in Memory of Confession.

And Mirabelle just. stares. and Siffrin immediately starts apologizing and making excuses, but he can see it slowly dawning on her the reason why he moved... and she feels awful. Because how could she have known? in that moment, she believed that she was severing her ties with Siffrin, that she was retaliating against a person who had never truly been there for her, and was just toying with her feelings. But that wasn't true. And yes, she apologized, and yes, they're back to being friends, and yes, Siffrin loves them, but that doesn't negate the fact that it happened, and sometimes you can't shake things like that off, even when you know logically that the other person didn't mean it like that.

Ough. Siffrin would feel guilty and probably play it off as justified on Mirabelle's part because yeah! He said something horrible! He deserved that! Meanwhile Mirabelle feels guilty because not only did she hurt her friend during a point at which they needed her most, but she also is still hurting them, even in ways she can't control or make up for?

can anyone hear me

cAN ANYONE HEAR-

[pillowspace]

Could we get more audience of Vaugarde???

ISA: As for Stardust... Uh... // MIRA: Is-- is it just me or is there something super personal about the way Loop says Stardust? // ISA: Yeah, that felt uncomfortable coming out of my own mouth.

ODILE: I don't see any problem in just referring to him as "this Siffrin." // MIRA: I guess, but... isn't that a bit impersonal? // ODILE: Are we... supposed to be personal with a Siffrin we might not ever meet? It's more personal than how Loop refers to this world's versions of us, "Housemaiden." // MIRA: Okay. Well.

BON: Sometimes I call em Starfrin.

ISA: Starfrin... Heh, that's cute. // MIRA: Hehe, feels a bit wrong considering which one's the star out of the two! // ISA: I can't tell if it'd be more embarrassing to have Loop or Siffrin-two overhear me say Starsif. // MIRA: Honestly? I think Loop!

BON: I WISH they'd hear us for once. // ODILE: Mh... yes, that would be nice... // ISA: ... // MIRA: ...

I don't have strict thoughts on how the audience refers to Siffrin, I imagine they switch it up a lot (not "Stardust" though). My only thoughts on it are that if someone does just say "Siffrin," the others will know who they're talking about anyway, so it doesn't matter too much. Sometimes they do just say Siffrin. And if there even are two "Siffrin"s is uncertain throughout the loops because they can't ask Loop if they still want the name or not

( other posts in this AU: Audience of Vauguarde | Mira's ribbon | Loop's name | txt: extra info | classic mistake | Bonnie's wishes | *unshadows your hat* | long hair | isaloop comfort | not entirely canon but | txt: headband | universe: nah | "stardust" | a ghost! )

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[starvingnarcissistmusic]

thinking about mal du pays again. you’d think literally writing a whole ass song about it would be enough to cleanse my brain of this creature but no. not even close. still thinking about em. winner of the worlds worst coping mechanism award.

most readings of a post canon mdp are kind of like a moody siffrin-repression detector, which is cool and pretty fun, but my favorite part of mdp in the game was how deeply dreadful its entire encounter was.

i keep imagining a post canon au where mdp follows the gang to bambouche. with siffrin incapacitated by the events of the game, the party slowly realizes something’s following them, but are unable to do anything as it slowly encroaches upon them.

bonnie wakes up in the middle of the night, with a shadow of siffrin motionless at the foot of their bed. it speaks in their voice and tells them that they hate siffrin for letting them die. they don’t know what it’s talking about, but a deep pit opens in their stomach when it speaks. they don’t sleep at all that night, watching the thing standing motionless at their bed, scared it’ll move when they take their eyes off of it.

mirabelle keeps seeing it out there, spiral eyes staring back at her from the woods. until one night she awakes and finds it’s broken into her tent. it keeps grabbing her wrist, driving her hand into its cheek, crying “i can’t wait to never see you again.” in her voice.

isabeau wakes up one night to find it’s crawled into bed with him. and yet, even as it curls up against him, it keeps telling him (or maybe itself?) that he only loves it because it made it love him. he doesn’t really know what to do except try to hold still, and let it spin its wheels until it leaves in the morning.

odile i think would probably be the least affected by mdp. i think the mystery of it would trigger her researcher brain and override most of the horror. i can imagine she’d even go out at night on purpose just to find it. and hey, it finds her! once she gets over the weird voice mimicking thing, she finds it’s pretty docile… at least for now. although, strangely it keeps trying to get her to grab at its collar. the one time she obliged, it went limp like a cat held by the scruff of its neck.

obviously the party is concerned. despite the thing following them being… harmless, mostly, they still can’t shake the feeling that it could be dangerous. when siffrin finally recovers enough to be lucid, they’re terrified that their homesickness has quite literally followed them back onto the road, and even more so that now it’s interacting with their *family* and freaking everyone out. if he even remotely sees it, he panics and passes out.

and like. the whole party knows it’s a sadness, but they’ve literally never seen sadnesses act the way mdp does. and while siffrin is out and unable to explain, it’s up to the party to try and figure out just what the thing following them even wants, if anything at all.

(also had a fun idea that until odile does some research with it, the party doesn’t know what its name is, and so each member has their own little nickname. bonnie calls it the nightmare, mirabelle calls it the shadow, isa calls it the mirror, and odile calls it the specimen because researcher brain)

i have more Thoughts (tm) about this, but for now that’s all I’ll share for the sake of the people who follow me for music wondering why I’m infodumping about a video game lol. Uhhhh listen to my single about it and that’s about it bye

[torchstelechos]

Do yall think about the fact that we have two kings in ISAT? we have King Sisyphus, whomst dropped the king part but keeps the hubris of thinking "this time, surely I can do it this time." And then King Midas, who dropped his name and kept the King, but still freezes all that he holds dear and regrets how it harmed that which he valued in the end.

[apple-onigiri]

oo what were those thoughts on isabeau's change? sounds spicy

ahhh thank you so much for asking!! i'm excited to talk about this :D (hopefully in A Few Hundred Less Words than the siffrin/loop self-love and self-hatred dichotomy ask hjdsjh)

i feel like i need to preface this by saying i mean more the Change in personality isabeau went through here rather than any physical changes that would amount to transition in our terms! so any changes that were more physical will be discussed as something that was meant to drive home the change in his personality more than anything. okay? okay!

we get a lot of details about how some part of Change is destruction - in the kitchen on the first floor when getting the egg key and both during isa's regular friendquest and its mangled version from act 5.

this is what we learn when we ask about the egg key in the kitchen. while some of mirabelle's seeming uncertainty here might be stemming from her own hang-ups about changing (since she likes who she is and doesn't want to change anything about herself), she acknowledges that an important part of the Change belief is leaving things behind and breaking something to create something new. as fitting of a housemaiden! she explains thought and caution is needed, that you have to consider all the consequences of such an act first.

however, isa seems even more enthusiastic about the idea of leaving things behind and destroying what's left, no matter the cost. there's some pride in his own Change, yes, but it almost veers into the area of overcompensation.

later on, during his friendquest, he talks about his Change, and how he did an almost complete 180 in personality because he was tired of being shy and afraid.

which, on one hand, seems to be something he sorely needed! a boost of confidence, becoming someone he thought would help his younger self come out of their shell. he put a lot of effort into becoming someone else. and he was ready to commit to that capital-C Change. he trained a lot to play the part (put a pin in that turn of phrase) of a strong, buff guy that he wanted to be and everything! but the way he talked about it... seemed a bit disquieting to me from the very beginning.

isa seems to talk about his old self that way not because he wants to cement he's a new person but to seemingly almost express some contempt to them with it. he never truly learned how to appreciate that version of himself and just discarded it whole cloth, to the point of pretending he's not smart at all and way stupider than he actually is, because it's easier to distance yourself from everything that used to make you you. at multiple points of the story, we see the party being taken back by the fact that isa is knowledgeable on something. siffrin only notices after being told this and then looking out for it.

(cut here because, despite my best efforts, this got long)

there's something siffrin thinks in act 4 during isa's quest when isa talks about changing again because who he is now also doesn't seem quite right that's pretty poignant to this whole thing.

despite the drastic Change isabeau went through, he still thinks of himself as someone you'd be ashamed of knowing. he still doesn't like himself! he still feels unhappy with who he is! and that's sad!

the issue here is that isa's Change was motivated externally; he seems to have focused on how people would react to him rather than how he himself would feel in his own skin. him and siffrin aren't dissimilar - both of them pretend to act in ways that keep others content because that specific behavior is expected from them and the persona they take up. there's a heartbreaking fragment of the quest in act 4 that i myself missed in my playthrough because the bad touch event overrides it that tells us how siffrin took up most of his personality as a "funnyjokespun person" only after meeting the party and couldn't really describe it beforehand.

war and hatred on planet earth! this is very much a takes one to know one situation which is why when siffrin attacks isa in act 5, it cuts so deep.

okay. the worst part of that exchange in act 5 is,,, that siffrin hits where it hurts because they don't make anything up. they aim to be hurtful and insulting, yes, and they project the hell onto isa but only with the aspects that have some overlay between them. they're both scared of being rejected if they're not acting a certain way, being a certain type of person, embodying an archetype.

isabeau, instead of doing the honestly genuinely hard and heavy work of learning to appreciate yourself and all your parts, goes all in on a new persona, even if it means suppressing parts of yourself and going against what you might want. he's unable, or just simply afraid, of not thinking in a binary when it comes to changing and growing as a person. he thinks it's much more comfortable staying in your lane as a strong buff guy that reassures people and not have to deal with the fact that being smart would Obviously Clash With That. well, it wouldn't, but he's scared! and doesn't even want to risk it!

this fear of upsetting the status quo can also be a p big motivator in Not Confessing Ever At All. this guy is so scared of being ever so slightly different than expected that he's immediately hit with the flight response the moment he tries.

tl;dr isabeau used Changing his personality as an escapism mechanism and discarding the entirety of who he used to be instead of dealing with the mortifying ordeal of learning to love yourself, and is too afraid of upsetting the status quo to mix and match personality traits, only operating in strict archetypes when shaping his character. boy why are you so identity crisis. i love you

[oriorchids]

hi tumblr. hands you a vega

more thoughts under a read more

they're for a fic i will post eventually (thought they do not show up for like 10 chapters and only meet the party after like 30) and they're my silly little goober of a human loop design. except they're kind of very obviously not human aside from the head. and even then they glow and emit sparkles wherever they go.

their expression is constantly ^w^ until it isn't because they forgot they have a visible mouth. they disappeared from existence and then their survival instinct kicked in and they wished themself back to life. they fell from the sky like a pmd protagonist

they're a walking sadness beacon and have been telling everyone they've met that they're a star that fell from the sky one day for no particular reason. no one where they landed knows who the saviours are because news is slow and they froze like a day into the king's march across vaugarde to dormont. when they first fell back to the earth they were threatened at scissors-point because they were a stranger who fell into someone's garden

they don't become a housemaiden but they do stay in a house for a while since they need to get their bearings. vega didn't have a name for a little while because they didn't want to be loop and couldn't be siffrin, so they just said that stars didn't have names up until they remembered the star vega and decided that's who they were now

gameplay-wise (because i always have gameplay thoughts):

vega is completely typeless and deals typeless damage. using craft they can change their type and do whatever type damage they want, which changes their basic attack until they use another type-changing craft

they probably still have the better healing skill (healy-bealy) they just call it something else. they also have make up the time which they also call something else

they have no qualms about using (just attack.) it's just typeless now. or whatever craft type they are when using it

(speaking of craft types, my dnd brain has been seeing paper as slashing, scissors as piercing, and rock as bludgeoning for a while so. putting that down)

while they start in the 50-somethings level-wise they get to 75 pretty quickly. how? well... sadness magnet

post-game party member that's pretty strong

they share the darkless high-heeled boots with my other human loop (from whumptober). the constellations in their hat are ursa major, lyra, and virgo. vega got the base dress from a friend and edited it while they had time. they also turned their cloak into a cape. the hat is from the universe. it's not even the starry hat, that's in siffrin's hands. it's just a universe-given free wishcraft hat

[asterkatt]

MAJOR ISAT ACT 5 SPOILERS

(DO NOT MENTION ANYTHING PAST DORMONT PLEASE!!)

okay so. wowie. just started act 5 of ISAT and my goodness do I have some thoughts. wowie. wowzers. while I was playing I didn't really get the chance to voice my thoughts because if you've played act 5 you know there is no time to do so. you are getting hit with one emotional train after another. no time to think no time to breathe only time to suffer. but the power of doing a let's play gave me time to think while editing so I jotted down some thoughts that you're now getting. you're welcome. (these will not be coherent at all just. as a heads up. sorry in advance) okay so. first friendquest I did was Mira's (which makes sense considering she's the first one that you run into). one of the things that really stuck out to me is that she - not just now, but even pre-game - has only tolerated the teasing from everyone. She has to remind herself that they're not being mean. she has to remind herself that they're not being mean. I just... she shouldn't have to do that. and that's one of the things I love about this game - the characters are so in depth and so well written that yeah, sometimes they unintentionally hurt each other. we see it over and over and over again with Siffrin. their family will tease them, they'll brush it off, but we'll see that he never really lets go of it. I have a feeling it's the same with Mira. she's okay with Siffrin teasing her, because "it's fine, everyone does." then continuing to say that she probably just has the "kind of personality where it's easy to want to tease me"?? MIRA NO- augh. my heart breaks for her. she struggles with her identity and purpose just like. well. just like everyone else in this game actually. that's. okay. (bookmarking that realization for later). something that's really interesting about Mira's friendquest in particular is how much she seems to be projecting onto Siffrin. I feel like out of everyone, she's looking for someone who can validate her struggles the most. It goes further than looking for someone who can relate - she wants someone who can relate and tell her that everything will be okay.

so, when Siffrin says what he does, she lashes out at them. the thing I found most interesting (and heartbreaking) about how she responds is that she isn't just putting Siffrin down - she's putting herself down at the same time. I'd even argue that she's calling herself out with her line of "always talking as if you're better than me! as if you know me!" because I feel like she struggles with not knowing who she is either. after all, who is she if she can't change in the way that her belief as a housemaiden calls her to??

and of course, this is all solidified in what she says next: "you're just as lost and useless as I am!!!"

because yeah. Mirabelle. Mirabelle. feels lost and useless. she doesn't know who she is if she can't follow the change belief in the way that is required of her. she doesn't know why the head housemaiden burdened her blessed her. she doesn't feel like she's capable. she wasn't able to stop the King before, how is she supposed to do it now?? she overthinks and worries about everything and I'm sure that includes all the choices she makes. I'm sure she's had doubts about all of her family members in one way or another - but she's chosen to trust them. to trust them to help her on this impossible, hopeless, last chance quest. and Siffrin just made it clear that she was wrong to do so.

watch me collapse into a inconsolable heap on the floor because of this game

[in-cis-and-het-collector]

This doesn't even feel like a cishet AU anymore it's just the douchebag timeline

kinda? unsure about this one, so sorry in advance. putting it under spoiler because

ICAH as far as I can tell has always been based around "what if the complex and fleshed out characters of ISAT were replaced with stereotypes?" with everyone getting turned into cishet stereotypes version of themselves except for Bonnie, who was left off to the side because they're Bonnie.

Then the Bonnie versions were released, and shortly after it became "Bonnie ISAT is stuck in ICAH" with Loop having been killed off screen for being too gay. This turned the stereotypes into more of an invasion of the bodysnatchers thing, and painted their reductive goofy existence with the curse of existing as creatures.

Most peoples instinctive reaction to this was "oh dear god I'm going to puke bleargh" which. y'know. fair. But some people started making art n short blurbs in universe, and it became "crabbed-up evil wishcraft has destroyed the world, leaving Bonnie and Loop(?) to try and fix it".

Around this point Siffrins general need for a mask and self loathing started to get mixed into Cisfrins caricature, making it more toxic and bringing a new layer to the general "man would this be fucked up or what?" or it all. So now we have a family who wants to "fix" Bonnie if they find out, wishcraft enforced hetero normative values, and a few different versions out there.

At some point Isabeau became a gymbro, Odile turned into a "loving wife" who would post minion memes, Mirabelle is some flavor of christian priest and probably has been her whole life, and Siffrin is somewhere around frat bro and redneck (i think? unsure) so they all suck in their own special way with Bonnie who needs to try and fix this, Loop who needs to keep Bonnie safe, the ISAT crew watching in despair (with loop remembrance?) and the King is having an aneurysm about being right, which gives him and Bonnie their own special version of the "remember a country that no longer exists that you both want to save but cant" thing that Siffrin usually has.

We're now generally dealing with the question of "what if they are all eggs too afraid of rejection to hatch and they need to all admit their insecurities for ????? to happen" and few other things going on. I really like this bit because you can work in stuff like the ISAT party trying to help, or alternate familyquests, or the Cisabeau x Cisfrin angle, or both Mirabelle and Miracis learning to adapt their view of their religion to accept themselves. very fun, very neat.

They have kinda been douchebags for most of it, so I don't understand that bit and for that I'm sorry, but the fact they suck is part of the fun!

sorry about the ramble, have a good one!