#man I hope this goes well

[vinefilledarchways]

I don’t post often, but I felt like this was an important thing to post. I found an old cartridge in a garage sale that seemed to be a knock off of undertale?? I havnt played it yet but me and @banesberry-anomoly are gonna be posting about it, so keep an eye out :))

[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~!"

[abrahamvanhelsings]

listen i don't think edward little was actually a bad first lieutenant. when we see him in the first episode he's calm and confident. he does not say much but he's amiable enough. crozier likes him, and i don't think crozier would like anyone he doesn't think capable in some way. generally he's dependable and knows what he's doing. however unfortunately for edward he has these qualities because he has a major case of eldest daughter syndrome, which means he both wants to please his mum (crozier) and has an overdeveloped sense of responsibility for his younger siblings (crew), so when they get stuck in the ice and crozier starts going (more) alcoholic, he enables his mum bc he doesn't want to disappoint her even if he doesn't agree with her, and he has to pick up the tasks and care for his siblings she's not doing, but he can't let his siblings know about their mum's situation because they'll get worried and restless. and like a true eldest daughter he has to bear the brunt of mummy's anger for being a disappointment but he also doesn't want to seek refuge with the man she divorced (fitzjames) because that feels like a betrayal. also while this is going on there is a giant bear who hunts his siblings for sport so they're dying left and right and also a changeling master manipulator who's making his siblings mad at their mum and who wants to fuck said mum before eating her like some sort of praying mantis. anyway i think i would start being miserable and anxious too.

[wittyworm]

Going to be making stickers and posters and spreading this around my town hopefully soon. the green square is going to have a QR code that will have a bunch of resources and ways to help. Iv gathered some of my own but if anyone has resources they think would be helpful or have suggestions on ways to best do this (its just me and my sister) id really appreciate the help.

[wrensog]

dont ya love when scientists get themselves lost in the fog and return a mad man? (i do)

[sluckythewizard]

'I wont cry for you, I wont crucify the things you do. I wont cry for you, see, when you're gone, I'll still be BLOODY MARY'

[swordmaid]

i am wide awake thinking about that post canon jb au again when I should be sleeping …!!! such is the nature of the jbrainrot…

[skitskatdacat63]

"The problem in Formula 1 is that when you get new step forward, you are just waiting for the next one! It's never enough."

[crybaby-bkg]

wanna bug Toji soooo bad while he’s on the phone. his ass doesn’t have a job so it’s not like he’s discussing important business, but he likes to make it look that way. phone tucked between his shoulder and ear as he uses one hand to rub circles on your exposed thigh, the other flipping through the tv channels. he’s speaking in a low tone, his eyebrows mused together in agitation as he calls the guy on the other line a barrage of insulting names.

and you’re just a simple person—the man looks hot as fuck like that and you just have to bother him. so you do, despite the side eye he gives you when you swing your leg over, foot in the air, right in his face. he swats you away gently before going back to his phone call, bites at your toes when you still try to wiggle them in his face.

"If you think you can lowball me like that, then you're stupider than I thought." Toji grunts to the other man on the phone, distracted once more. a little peeved that his attention isn't on you much anymore, you do what any little conniving imp would do.

you sit on his lap. backwards, facing the TV, looking over your shoulder at him with such an evil little grin that it makes his eyes squint to you in warning. but you've never listened much, especially when you know you'll be rewarded so plentifully in the end.

so you rock your hips, just slightly the first few times. your legs sat on either side of him, hands resting in the space between his legs on the bed, leaning your weight back on his hips that you sit against. instantly, you can feel the swell of him beneath his sweats, feel the thickness that you love to fill you up start to twitch when you circle your hips, grinding them oh so slowly against his covered cock.

when you look over your shoulder again, Toji only stares, the slightest lilt of his lip turning up at the corners. he tries to act unbothered, one arm bent back to rest his head against, the other holding the phone to his ear. but you can see through him, and feel just how bothered he really is.

so you up the ante; start to lift and drop your hips slow, slow, slow at first before the pace begins to build. you lean forward on your elbows, pull your underwear up until the curve of your ass is exposed, gasping from the friction, from the feeling of his cock rubbing so sweetly at your slit through the thin cotton.

you look over your shoulder once more, grinning, biting at your lip as you grind against him, close to completion. he can see it all in your eyes.

"Gonna call you back later. Got some important shit to take care of right now." Toji hangs up without preamble, gaze distant as he focuses on the ever growing spot of your arousal that starts to leak onto his own sweats.

but you're a little minx, with the way you scramble from his grasp before he can catch you, laughing when he snags your ankle to drag you back down. he's suddenly kneeling over you, grin sharp and ferocious, the straining of his cock through his sweats hanging so intimidatingly low, that if you lift your hips just a little, his tip would kiss your clit in the sweetest kiss.

"And where do you think you're going, you little brat?" Toji growls, dropping down to nip at the base of your neck, licking over your pulse point.

"Not letting me off the hook that easy, huh?" you tease, hands splayed beside your head in surrender, just wanting a little bit of the chase before the devouring. and by the look in his eyes, you know you'll only be bones by morning.

"Not in a million years." he promises right before the inevitable pounce.

[peppersfromhell]

do you

[totallynotlx]

Take me with you

A/N: I dunno why I wrote this. I dunno if this is supposed to make me feel better or worse but hey, I just wanted to let this out lmao. Also I'm still working on that other fic and that's where I'll be coping hard so enjoy this one (or not asdfkjasd) for now

Tags: Death, Greiving, Coping, JJK spoilers, not proofread so there's that

Word Count: 753

All you see is an empty corridor devoid of any pop of color. All you hear is the soft tap of your shoes against polished wood. The numbness is there, yet you seem to feel everything simultaneously. Your heart felt like it was breaking with each step as if you were trampling over it. You suppress the urge to claw at your chest like it will ease your anxiety. The usual hallway you would pass by every day without any thought felt like it stretched on forever today. You take a right instead of going straight to the classrooms today. This is also different from your daily routine. You continue on your lonely journey through the quiet hallways and reach the end of the hall, where a staircase leads you to the basement where Shoko's lab is located.

With each descent you make, you can feel your resolve crumbling away. Death wasn't a new concept to you, not when you were in the Jujutsu world. Death is a concept that visits every once in a while. It's not a welcome one, but a common picture nonetheless.

You round the corner and see the usual silhouette in the lab coat. Shoko's head was downcast, looking at a lifeless figure on the table. You catch a glimpse of a familiar large hand and take a sharp inhale of breath before steeling your emotions. 

"Shoko." Your voice came out like a mere whisper. The woman's shoulder tenses up before turning to you. 

"Y/N." She says in acknowledgment of your presence. 

"Am I... Is he..." Your words were stuck at the back of your throat. They won't come out. "I'm sorry, I can't—"

"It's alright." She says but shakes her head almost immediately. Yeah, nothing is alright. "I'll be upstairs if you need me." She says as she taps your shoulder lightly. Without her blocking the view, you turn away from the lifeless figure before you. You nod silently, and she makes her way up, leaving you in the cold and silent room. 

Inhale. Exhale. 

You prepare to face him, slowly turning your head and seeing his hand in your peripheral vision again, only to turn away. You lean an arm against the table where the inanimate body lies silently. 

"I can't do this." You plead to nobody in particular, turning your head to the ceiling, focusing your eyes on the light, and fighting against the tears threatening to fall from your eyes. Your breathing hitches, and you slowly reach out a hand towards the hand that lay dormant on the table. It was cold. The usual warm hand that traced circles on the back of your hand was cold. Your other hand reaches to your chest and scrunches the shirt you wore like the movement can stop your heart from hurting. A silent cry escapes your lips as you hold his hand in yours. He usually returns the favor by pulling your hand towards his lips and kissing the back of your hand with a smile, but it is absent now. Your eyes trail over his hand, up to his arms, before finally settling down on his face. 

Eyes closed. Body eerily still. His disheveled, blood-soaked hair drooped over his eyelids. He was still the same Satoru you remembered. The strongest, the best, but now he lay here lifeless. You take note of the wounds that covered his body, and even though a white blanket was draped over his body, you could see the gap near his waist. 

He's gone. 

The fact hit you like a train. The thought alone made you lose control over your emotions. You wailed, letting out a deep-seated cry from within your soul as you threw yourself over to his chest, stone-cold and unmoving. 

"Satoru," you whispered his name like a prayer, "Satoru, I can't do this." You tell him as you cup his face with both hands. "At least take me with you, damn it." You chuckle, but there is no life in it. He'd probably chide you if he heard you say that, but you were only met with silence.

"You said you'd come back to me," you scream, "you said you'd win!" You continued to cry as you clung to him for dear life. "Satoru, please..."

Your voice trailed off, and as the room was filled with your cries, you were only met with more silence. You knew Satoru would like you to continue living for his sake, too, but is a life without him worth living?

[wafflesrisa]

I literally am looking between Mercedes’ heartfelt message bidding Lewis goodbye vs Ferrari’s one-line measly no-effort post on Carlos and am filled with irrepressible rage

[no27-autonation-honda]

congratulations to Mme. Pascale Leclerc, who has surely just experienced both the funniest and most unhinged weekend a mother could ever have. Dear fucking christ, I hope your middlest son brought you a bottle of champagne for yourself, ma'am.

[vasito-de-leche]

okay I read your analysis on Forget Me Not and I'm in tears now thank you. (No but really thank you, it's such a touching piece.) Can you PLEASE for salvation of our fans souls write anything to like,,, give him hope? Forget Me Not x reader but it doesn't have to be actually all-out with hugs and kisses. We may,,,,,,,, just show him a new hobby? Any hobby of your choosing or idk play an instrument together. Just to give him something else to focus on, to channel at least part of his energy from self-destructive activities to something less hurtful. I'd personally like to bandage his (not actually wounded but still) hands as if they were bleeding. Something of the kind. Sorry for mistakes writing is incredibly inconvenient cuz tears aaa.

;R1999 FORGET ME NOT - "hands, fingers, scales"

Forget Me Not x Reader. 2.3k words. self-harm implied You've befriended Forget Me Not the same one befriends a rabid, beaten, old dog. And while he's much too busy fighting his inner demons, you're more worried about stopping these "pernicious habits" of his. A casual afternoon trying to make sure he's taking care of himself turns into something deeper.

thank you so much for the ask, nonnie!!

I got a little carried away with this request because thinking about how fucking insufferable and confusing FMN has to be just to indulge in HAND HOLDING and GETTING A FUCKING HOBBY made me so deranged and feral as if hes not fucking TOUCHSTARVED lmfao. this guy's love language is straight up worshipping, mf is not subtle about it

either way, hope you like it! here's the lil preview!

Sometimes, Forget Me Not understands the reason men and women kneel at the pew to worship and pray.

Devotion is something arcanists and humans share, whether honest or not. He's witnessed the rich and the poor, the pure and the depraved, and every binary that rules this world - all of them begging, pleading and praying at the end of their lives, casting away the pride they've held on for so long for the chance of salvation. Once stripped down to their core, there is nothing to do but hope God has enough love in His heart to look their way. 

And sometimes, Forget Me Not prays that you’ll find someone else - anyone but him - to fill the role of devotee.

The gentleness in your eyes whenever you look at him is enough to bring him to his knees, and Forget Me Not doesn't know what to do with himself but to worship and pray. Praying that you'll continue to look at him for a little longer, silently begging for your attention until you finally tire of him. Do you think yourself holy enough to replace the vitriol in his veins?

He does.

On good days, he even hopes that you can save him.

You never asked him to become your one and only believer, of course. You're not even aware of the space you take in his mind, nor the conflicting images he keeps conjuring of you at night, he's certain of this. Otherwise, you wouldn't be here, holding his hands and inspecting them for any injuries. This role is one of the many self-imposed tragedies in his life.

Your thumbs knead and massage his palm, as if you could soothe the pain away, and yet you refrain from pressing down hard. He's at your mercy, why hesitate? What do you see that he cannot?

Something is bothering you. It's obvious in the way you touch him, like you're afraid of hurting him, as if you were the one with a body count between the two. Every so often, your movements come to a halt and you both sit in silence, until you return to your ministrations, filling the nothingness with your sighing and humming.

All he needs is to look up, right at your face, to know everything he wants to know - but he's too much of a coward for that. Instead, light grey eyes follow your index finger as it slides under the cuffs of his shirt. You trace over the bone of his wrist and continue upwards.

He can't tear his eyes away.

Normally, Forget Me Not wouldn't mind. There is an addictive thrill to witnessing the shock of anyone who dares get so close and personal, but he feels himself shrink when you brush against his scales and recoil away on instinct. That's when he raises his head and finds your eyes in the dimly lit staff room.

That expression on your face - surely, you were regretting every choice that led you to him. By now, you might've surely realized that there is nothing for you to salvage in this shipwreck he calls a life. All attempts to check on him were surely a façade for whatever ulterior motives you continued to withhold from him. He's stubborn, believing that he can read you like an open book, but now he's just as lost as you are. When he opens his mouth to speak, you beat him to it and he grows a little restless at your words.

"Sorry, sorry! Did I, uh, hurt you? Dumb question, you would've definitely told me if that were the case. Anyway, it looks like you're okay! I don't know why I was so worried, actually."

His silence prompts you to continue, and all Forget Me Not can focus on is the absence of your warmth.

You raise a hand to gesture dismissively at your behaviour, brush it off to ease your embarrassment, that much he understands - though it's painful to watch you fumble like that, to deny what he hides under his clothes. Forget Me Not thinks of filling the space between your fingers with his own, just to drag you back to that quiet, albeit suffocating, moment of peace. Instead of doing that, he retreats and places both hands neatly on his lap.

"Thanks for indulging me and, yeah uh, again - sorry about that? It just caught me off guard. I should've been more careful."

But you were never careful with his space or his rules, plunging in and out of his life and leaving him to figure out where he stood in his game of push and pull. Why were you being careful now?

"It's nothing, I understand," he lies. Everything you do means the world to him and he doesn't even understand why. "It cannot hurt to know what sort of things the person pouring your drinks might be hiding under their sleeves."

The word "hypocrite" lingers at the tip of his tongue, threatening to spill out with as much venom as he can muster, but it stays lodged behind his teeth because he knows he's even worse: Forget Me Not prays that you'll stay with him, while also opening the door right out his life for you. As much as he wants to, he has no right of calling you out.

He's not used to receiving apologies and so he chooses not to think too hard on yours - though he's dreamed countless of times for the perfect situation in which he finally rips out one apology after another from the throats of those who wronged him, this one feels different. Undeserved, even.

His heart, that wretched lump in his chest, finally settles down and he prepares to end this interaction to save you the awkwardness of addressing his "deformities". But then you go and surprise him once more.

"Come on, I already told you..." You sigh and he inhales in tandem, but you're much too busy rolling your eyes to notice. "That whole thing you do, when you start scratching or, like, picking at your hand? You've been doing it more lately. It had me worried you might've been doing, I don't know - something."

Forget Me Not's eyes widen in surprise. The audacity to notice such things about him? And to put them on display without a warning? What else did you find out?

Part of him wants him to embrace his nature and scare you away, but that's the side of him that's been slowly losing this battle of attrition in his heart - you're a bad influence for him, after all. The other part... Well, it's still trying to sort itself out.

He settles for slowly undoing the buttons on his sleeve. It only takes a moment to roll up the fine fabric to his elbow, knowing you're staring right at him, through him maybe. The expression on his face is one of indifference, one he fights to maintain - this is the most vulnerable he's felt in decades.

That unsightly pattern begins exactly where his sleeves usually end, coiling around his forearm not unlike a snake and traveling upwards. The scales are dark, an iridescent black that reminds him of an oil spill in the middle of the ocean, and the ones at the edges fade away into lighter hues until they mix with the pale, sickly tone of his skin. He knows the sort of beauty he holds, one that can only be admired at a distance, turning into a grotesque imitation of a man when up close.

Forget Me Not presents himself to you and, with his free hand, gets ready to pluck one of the scales off.

"Wait, don't do that-!"

Seizing his arm and holding it close to your chest, you deprive him of the catharsis that comes with this level of self-mutilation. He knows you're connecting the dots, feeling the scattered, empty spaces from all the times you saw him pick himself apart and more. Your fingers brush against his bare skin looking for said spaces, counting them in your head, mourning their loss.

Some scales are in the process of regrowing like unwanted parasites, and he wishes he could feel anything at all just to be closer to you.

"God, what is wrong with you?! What was the point of that?"

Something compels him to laugh (perhaps it's your heartbeat reaching out to him loud and clear through your clothes, he feels it faintly) it comes across as sinister and condescending, the only way he knows how to express joy. Like he's making fun of your concern.

"Apologies," Forget Me Not begins to say, readjusting his glasses. The way you try to keep his own arm out of his reach doesn't go unnoticed. It's such a petty, childish gesture that makes his grin widen and your frown deepen. "I was under the impression you found this little oddity distasteful. There's no need to worry - they will return in a few days, they always do."

"Still, don't do that. It's not funny. It must...hurt a lot."

"Ah, but it doesn't. If else, I'd compare it to being pricked by a very small needle."

"You're just going to find something to nitpick and contradict everything I say, aren't you?" It's the least he can do to repay all the headaches you've given him, and for forgiving his transgressions too easily.

An intrusive thought makes itself known from the depths of his mind - would you forgive him just as readily if he were to kill someone in front of you? If he showed you just how destructive his arcane skills could be when given free reign? Where would you draw the line? And how much could he continue to push his luck before he lost you?

Before Forget Me Not realizes it, you've loosened your grip on his arm and returned to that previous moment of suffocating peace - the only difference is that you've gone from being deep in thought to troubled and miserable, one hair away from darting out the room and refusing to speak to him. At this, his pinky finger wraps around yours and neither of you mention it.

"Can't you... I don't know, do something else?"

"I could be doing my job, but alas, you're keeping me prisoner here." He says, like he's not delighted to be given your undivided attention. There are no complaints when you step on his foot with a huff, he deserved that one.

"I'm talking about the scales thing! You could wear gloves. If it happens when you get distracted then, I could hang around to make sure you stop in time." A pause, and then the sound of your voice becomes unsure and so very small. "Maybe if we covered them with bandages...? But that could be annoying. Band aids? No, no - too unprofessional. It would ruin the whole aesthetic you're going for."

You continue to trail off, coming up with many different ideas and solutions to a problem he caused. He doesn't understand why you'd even bother in the first place. For you to reciprocate the attention he gives you, to care about him? That's the hardest pill Forget Me Not has ever swallowed - it's something he twirls around with his tongue, as if deciding whether to poison himself with bliss or spit it out and continue latching on to his doubts and insecurities.

Outside, in front of everyone at The Walden, he's the one leading the crowd and talking for hours on end, commanding their attention and manipulating the flow of every conversation.

Behind closed doors, all he does is listen to every nonsensical thought, unnecessary opinion and strange anecdote you throw at him.

"...No, that won't work either." Absentmindedly, you fix and button his sleeve back into place.

You've grown used to his silence the same way you've adapted and grown used to his flaws.

"I mean, it worked on me - getting a little slap on the wrist whenever I started biting my nails, but..." Without even thinking, you rub circles with your thumb across his knuckles.

You might as well be the stupidest angel in heaven.

"Why don't you just get a hobby? That's good enough, right? It's been so long since I've heard you play piano, the one by the stage." And just like that, you're on your feet attempting to drag him outside for a demonstration. "You could teach me! That way, we get to do something fun and I get to keep an eye on you."

Forget Me Not knows he has nothing to offer to this world, but when his saint looks at him with such hope, he cannot refuse. The path to recovery seems almost doable when you bump your shoulder into his, challenging him to play the hardest song he knows.

The stars in your eyes whenever you recognize all the songs he plays becomes intoxicating, more so than the sweet, sweet revenge he's yearned for since he spiraled into decadence.

Some days, his patrons join with their own singing or humming, and he forgets that he hates each and every one of them for as long as his fingers dance across the keys - a momentary reprieve from the constant stream of negativity. It doesn't take long for his body to remember his training and soon, he's improvising.

A melody for gloomy, rainy days. A whimsical tune here and there for celebrations.

A song for you and himself - the first one he teaches you and the only one he plays in private, when he's all alone with nothing but his thoughts. Solitude has gone from a noose wrapped around his neck to the perfect time to compose and hone this long forgotten passion. For the first time in forever, he doesn't dread the silence of an empty room, the endless wait between his shifts at The Walden - not when he can simply fill them with more and more music.

And so, Forget Me Not plays, hoping that you'll continue to cheer him on. Hoping that this tiny spark you've ignited in him can truly become his salvation.

[dont-offend-the-bees]

Fuck I hate being an adult. I need a more adult adult to help with the volatile emotional situation.

[kiirumimi]

Her hands were rough against your thighs, her hold strong as she keeps your legs open. Her tongue working you into a mess, your back arching off the bed as she works you closer to a climax. She pulls her mouth away, a whine slipping from your lips as she does so. She lets out a gently chuckle at your whine, it's music to her ears. She always has to tease you before letting you come undone. She presses a gentle kiss to your clit, before sitting up. "I know I'm being so mean to you, but you think you can last a bit longer? I'm not done toying with you quite yet."

ACHERON, Black Swan, KAFKA, Serval, Jingliu, ARLECCHINO, Lisa, YAE MIKO, Beidou, Makima, QUANXI