#writing a essay format

[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~!"

[tanix-dragon]

Is That a New Guy or Am I Losing My Mind; or, A Beginner's Guide to Finding Headmates

Written by Roger de Camden of the Draconic Wizard Workshop

Hello, everybody! This is an essay for both plurals who might struggle finding, identifying, or confirming headmates, as well as people who are questioning whether or not they’re plural. Certain pieces of advice may apply better to questioners than established systems, and vice versa, but rest assured, it is intended for both!

This essay will be broken into several sections for various “phases” of discovery and working things out, but a disclaimer before we get to that: this is heavily based on our own experiences. This is not a one-size-fits-all kind of guide. I’m going to try to make it such, but, well, I can’t make any promises, because there are infinite ways of being a system out there, and everyone’s a little different. This is just what I’ve found works for us, and, to a large extent, many of our system friends! That being said, if you try to start syscourse or invalidate other systems for any reason in response to this essay, I’m going to block you and that’s that.

Also, sorry if I go between spellings for words. I’m English, but the body is American and that means that I don’t know how to spell certain words anymore.

So! Onwards, towards discovery!

Step One: Getting an Inkling

The first step to figuring out whether or not you’ve got a headmate (new or otherwise undiscovered; I’ll mostly be calling them “new” as in “new to you”) is having an inkling that one might exist. This is mostly a passive process, and you’re probably familiar with it if you’re reading this guide. Maybe you felt something scuttle through headspace (if you have one) or through the back of your mind. Maybe you felt a presence looming behind you, mentally, that bolted when you “looked.” Maybe you had a very strong emotional reaction to something that makes no sense for you to react to, but would make sense for a character you’ve been really attached to in a show. Or maybe you slipped into an unfamiliar accent, had a loss of memories and woke up with nail polish on in a colour you hate, or just felt an opinion about something that doesn’t match your usual one. Sometimes, you may even “hear” comments about things going on in your mind.

There are a lot of little things that can tip you off. Most of them are going to be things that are misaligned with your own perception of yourself, your opinions, and your behavior. This is usually a sign that someone is co-conscious or co-fronting with you without you being aware of it. Some headmates are very sneaky this way, and some may not realise that they exist at all while doing this! Don’t hold being hard to notice or get a hold of against your headmates—many of them don’t realise that they exist, don’t know how to not be this way, or are doing it for what they perceive to be a good reason (this last one is especially common in disordered systems). Maybe they’re scared, or just not ready to be confronted yet. Don’t worry—remember, you have your whole lives to figure out everyone who’s in there, and the time will pass anyways! Take it easy.

One specific thing that tends to tip us off to a new fictive is that we realise that… no one is aware of running a character that we’re playing in a tabletop roleplaying game. Maybe someone started off running them, but they sure seem to be doing their own thing now! That character may be hard to “turn off” or “put on the shelf” when you stop playing them—and they may continue to make comments and have opinions about things in your life. This is a dead giveaway! Sometimes when we think about a character, we feel a “movement” or interest somewhere in our mind that doesn’t match anyone else’s pattern of thinking or interests, which also can be a giveaway that they’re scuttling around somewhere. Also beneficial, for us, is our synesthesia—every headmate has a colour associated with them, and when we get a thought pattern that seems to match someone but the colour is off, it can make us realise that maybe there’s someone else in here. For example, if someone were to be really interested in jellyfish, we might think that it’s Caspian, but if the colour comes back as red and not blue, then we know for certain that it’s not him.

This first inkling of a new headmate may be obvious or it may be subtle. You may question yourself repeatedly, but remember: if you feel like you are “accidentally faking,” that’s not how faking works. Faking must be done intentionally and on purpose. You could be wrong, yes, but being wrong isn’t inherently bad. It’s just that you were mistaken about something. Nothing wrong with that! We’re all mistaken about all kinds of things every day! Be kind to yourself while trying to figure things out.

Step Two: Are You There, Headmate? It’s Me, Your Other Headmate

Steps two and three are interchangeable in order, but I thought I’d put this one first because it tends to be the one that’s hardest and most distressing, rather than step three, which is about identifying who the hell your headmate is. We’ll get to that, never fear!

So, let’s say you think there might be someone in there. How can you tell for sure? How can you open communication? How can you get them integrated okay?

The bad news is that this depends heavily on the system. The good news is that there’s no need to panic, rush, or be afraid, because once again, you’ll figure it out eventually, and it will be okay!

My first suggestion is to take note of everything that’s made you think there might be someone else in there. Write it down, if that helps! Write down everything that seems to get the entity’s attention, if anything. Write down anything that might help you identify who it might be! In some instances, you might have a character that seems a little independent but you can’t tell whether they’re really a headmate or not. In my experience, this is often how many non-disordered systems (but it’s not exclusive to them!) realise that they’re plural. Knowing who it is will make this step easier, but it isn’t necessary! After all, if you know who it is, you can also write down things that might bait them into responding. Interests and friends of theirs are good examples.

Your goal in this step is to try to draw them out into doing things, speaking, or acting in ways that will give away that they are for certain there. For systems with heavy amnesia or dissociative barriers, this might be significantly harder, but my best suggestion there is to jump straight to trying to communicate, however you can—and this isn’t a bad approach for other systems, either. You can try internal communication, although you might get no response, or an abnormal one, if the headmate is new. For example, with us, new headmates usually respond to direct queries with anxiety—which, while not good for communication and not ideal for the headmate in question, does help us key in on the fact that they definitely exist. You can also try external communication, if internal communication isn’t working or is difficult for you. Write a note in a journal or a sticky note, or even in a notes app or a private Discord server. Sometimes, headmates can find replying over text to be easier. If you’re a high-dissociation and high-amnesia system who is trying to figure out if it’s someone old or new who is fronting and doing things while you’re unaware, leaving sticky notes places asking people to write down who’s fronting when they see it (if they even know who they are) might be helpful. Keep experimenting, and do what works best for you!

As a last resort for uncertain, new, or inexperienced systems, you can try something called “puppeting” on a suspected headmate, especially if you know who they are and just aren’t sure whether or not they’re here. A warning: this is rude and not advised under most circumstances, but sometimes it’s the only way to make absolutely sure that someone is in there with you, especially when you’re not used to it. Have an apology ready and mean it. Puppeting is when you try to force a headmate to do something, especially something unusual or out of character for them. For example, if I thought I might have my character Gorka as a headmate, but I wasn’t sure, I might try to call up a scenario involving Gorka and then try to imagine her doing something wildly out of character, that she would never, ever do. If I couldn’t get a response out of that, or if I had no idea who this new headmate might be, I might just try to make them physically do something—strongly imagining them doing a stupid dance or similar! No response doesn’t necessarily mean you do or do not have a headmate, but a strong response—usually of anger, offense, or “slapping” your “hands” away—indicates someone separate from yourself! Apologize immediately and then attempt to engage in communication once they’ve calmed down a little, or try to transition into it through an explanation. 

There are a lot of reasons that a headmate might not respond to puppeting, though. They might be non-confrontational, or hiding their presence from you intentionally for any number of reasons. (Maybe they’re nervous, not ready to exist yet, afraid of how you might respond, afraid of accepting that they’re in a system—it could be anything.) In cases like this, you might just get discomfort instead of a strong response, which is easy to confuse for being your own rather than theirs. Try to sort out whether you just feel strange doing it, or if it’s someone else’s discomfort bleeding through. I know it’s hard, but that’s a difficult thing to give advice for, I’m afraid! Other reasons may be that they just dip from the front when you try (removing themself from your sphere of influence completely), or if they’re a character you frequently play, they might be so used to being pulled around into doing things that it doesn’t bother them, or bothers them so little that you don’t notice.

Usually, if you’re at the point of trying puppeting, there’s enough signs that this person really is a headmate to dissuade you from trying it once you’re a little more used to it. It’s a temporary and unideal tool that should leave your toolbox as soon as you become confident enough to identify new headmates without getting grabby with them. Undoubtedly, trying to establish communication is a better approach, if you can get it to work.

Usually, once we’ve properly spotted a headmate and made it clear to them that we know they’re there, one of two things happens: either they come sit in the front for a few days or weeks to settle in, let us identify them, and get used to being a full active member of the system, or they realise that they exist and have a panic attack. This “new headmate panic” can last anywhere from a few minutes to multiple days, and may fluctuate in strength. Sometimes, a new headmate might seem fine early on, but have this panic after a few days, weeks, or even longer. Be gentle during this time, especially if you yourself have a strong reaction—be gentle with both, or all, of you! Realizing that you’re in a system can be very distressing, as can realizing you have a new headmate, so try to be gentle, let yourself feel what you’re going to feel, and work through it in the best way you have. Try not to direct any anger or negative feelings towards anyone else in your system during this time, and just let the storm pass before really trying to get to know each other.

Step Three: Who Is This Guy, Anyway?

Once again, you can do this step before or after step two, but I put it here because I decided to include some tips for getting to know your headmate, not just identifying them (if there is anything to identify). If your system is introject-heavy, or if you’re asking yourself if you’re just really interested in a character or if they’re a new headmate, this is an important step! Who is this? Are they an introject of some kind? Are they something or someone else? Is there anything to identify, per se, or is it just a situation of getting to know a whole new person? This is a very, very different step depending on your system, and is going to skew very much towards my own experiences. I’m sorry about that, but I will do my best!

If you’ve already established communication with this headmate, even if it’s shaky, you can try to get information from them that way. They might be willing to give you a name, a code name, a colour, an aesthetic, likes or dislikes, something you can use to familiarise yourself with them or identify them from a list of “suspects” if you have such a thing. (We always do, because we’re almost all fictives, and we know our own patterns at this point.) For us, new headmates almost never actually identify, and just sullenly sit while trying to figure themselves out and will only confirm who they are once we figure it out. It’s sort of like playing a mystery game, assembling clues based on a myriad of factors. If you have some suspicions, just like the previous step, you can try to bait out responses by doing things that might interest who you suspect this headmate might be.

Again, I suggest writing things down! Write down likes and dislikes, things that get their attention, interests, even things that make them anxious or afraid. Whether it’s a case of identification or just getting to know them, this is invaluable information for interacting with someone sharing a head with you, and it may even be helpful for them as they get their feet under them.

Another invaluable tool is talking to people outside of your system. They can help you identify when you’re acting unusually, when you might have someone unfamiliar riding co-conscious, and even who that person might be. You may be too tangled up in your own feelings, your dissociation, or the desperation to understand who is in your head with you. It’s easy to get lost in the weeds and lose sight of the big picture, but another friend, especially another system that knows you well, can be extremely helpful! One of our system friends has clocked many a headmate of ours before we were even certain they were there—just “hmm, you’ve been very much like X lately” and they were absolutely right. 

Regardless, taking notes on your new headmate, asking them about themselves, and sharing things about yourself are all important steps to getting to know them! They may be uncomfortable, they may distrust you, they may be afraid—or they could be friendly and excited to be here! It really depends on who it is and their comfort level. Don’t push—if they’re not comfortable talking yet, don’t make them! Let them adjust at their own pace and get to know them as they’re willing to let you. I know it can be distressing to have a totally unknown entity co-fronting with you, but sometimes it’s one of those things that you have to take a deep breath and carry on through until they’re willing to talk. I know you can do it! Talk through it with someone outside of your own head if it’s difficult to give yourself some fortitude if you need to. I know it helps me.

Step Four: Now What?

Let’s say that you’ve confirmed that you do have a headmate, and either have or are on the road to identifying them, if applicable. Now what?

As I’ve said before: be gentle with yourselves! Especially for a new or inexperienced system, and especially for someone who is just realising that they’re a system, this can be overwhelming, distressing, or any other number of emotions. Remember that having or gaining headmates isn’t inherently a bad thing, and while this all might take some getting used to, it’s going to be okay. You’ll figure out an equilibrium eventually, and it is absolutely possible to live a long, happy life with your headmates. Remember that you’re all in this together, and you’re a team.

People may not want you to notice them, may not want to be in the system, or may avoid attention as best they can for a lot of reasons, and trying to make them feel at home, or at least more comfortable, is essential. It can be scary being in a system all of a sudden, especially if they’re an introject or otherwise had a life outside or before this one. Maybe they don’t like the body, or are afraid of another headmate, or are terrified of a negative response from you or someone else. Don’t force these people into situations they’re not ready for! If you’re looking for someone, trying to identify them, or trying to help them, and you’re just causing a lot of distress, back off for a while. Let them calm down and come to you in their own time. Sometimes, you have to do the system equivalent of leaving cookies out on a plate and turning your back to them so that your new headmate can take them without being watched. Take things at the pace that you’re all the most comfortable with, and as always, be kind.

I really do suggest talking to someone about this process, if you can. Journal if you’d like, especially if you can’t trust anyone with this, or don’t feel comfortable doing so yet. Getting your words out of your head helps you sort them out a lot, especially in the case of systems, where a lot of people’s thoughts can get jumbled together. Writing them all down, even if you don’t know whose they are, can be helpful. We find that talking to other system friends is of the most benefit, and our new members are far more likely to speak to them first rather than us, because there’s a degree of separation and that’s more comfortable for them. Whatever works for you, do it! The idea is to get comfortable with each other, and with being here together.

Find things that your new headmate likes doing. Goratrix has a whole panel about this aimed at fictives, but essentially, if your new headmate doesn’t have reason to front and isn’t interested in anything, you probably won’t see much of them, and they may end up miserable. Make sure you engage with them and their interests. Let them make friends if they’d like. Get them snacks. Again: whatever works! This is going to depend very heavily on your system, so follow your gut instinct on this one, I think.

Absolutely essential, though, is to not repress anybody. I know sometimes getting a new headmate can be scary, especially if they’re unfamiliar, frightening, seemingly monstrous, or a persecutor, but remember: they’re probably just as freaked out as you are, if not more so, and they need patience and understanding. Statistically, if they’re doing something troublesome, they’re trying to help and just don’t know how, or are misguided on what “help” looks like. Be kind, and try to find a solution that works for everyone.

Past that… just get to know each other. Figure out how to live together and how to make your combined life the best life it can be. For us, there’s so many of us that someone new can almost always find a fast friend in someone else, and sticks with them for a while until they’re more used to the system and more confident fronting and doing things without their buddy. Other systems may be able to mimic this approach, or may need to do something very different. Again, again, again, do what works best for you! If parts of this guide seem unhelpful or counterproductive, ignore them! This is based on our experience of plurality, not yours. Always do what’s best for you, what helps the most of you, and what causes the least distress while still letting you function as much as you need to.

Being plural is a very personal experience, in a lot of ways, which is pretty funny because sometimes that personal experience is spread across two or twenty or five hundred people. It’s also a very personalized experience, meaning we’re all quite different. Your “now what?” might look very different from ours, and that’s okay. We can only do our best, and that’s always good enough.

I hope this is helpful to someone! If you have any questions, please feel free to ask, and I may edit this guide in the future if it seems that I left something out or think of anything to add. =)

[lazycranberrydoodles]

its prosecutor jiang wanyin!!!! oh fuck!!! / gifs + au rambling below the cut / follow for more mdzs x aa crossover stuff :3

all the gifs i made (poses traced off franziska):

hes so similar to franziska when you think about it. theyre both deeply insecure tsundere adoptive younger sibling of successful main characters. who carry whips. something something edgeworth choosing death and wwx actually dying also

his share code is HWFEFF if you wanna use him in a trial! you can't share backgrounds but heres the scenery from the donghua i used.

the easiest way to put custom stuff into objection.lol is to send it in discord and then use the link from opening it in your browser :)

a whole lot of AU stuff

the art im making is for if mdzs was an ace attorney game, playing from WWX's POV to solve various mysteries/cases over the course of the plot. so this scene would be from turnabout goddess, which would loosely cover the dafan mountain mystery.

cases include:

Turnabout Revenge (Mo Manor, quick introductory first case)

Turnabout Goddess (Dafan mountain, the good times flashback)

Turnabout Saber (the man-eating castle (omg hiii nhs))

The Blind Turnabout (Yi City arc)

Turnabout Deviation (the Koi Tower conference, Empathy on NMJ ala turnabout memories or beginnings. opening cutscene is his qi deviation)

The Blood-Soaked Turnabout (second Burial Mounds siege, flashbacks: Xuanwu, Sunshot, YLLZ, Nightless City massacre)

Turnabout Lotus Seeds (testimony about JGY, tree scene, golden core reveal, bathtub scene. opening cutscene could be JGS' death but that would make it canon rather than ambiguous)

Turnabout Confession (Guanyin temple)

the problem with splitting novel!mdzs into turnabouts is that flashbacks are a huge chunk of the book but they don't have mysteries/ cases to solve so they've gotta be lumped together with present day stuff. imo? many of the flashbacks would likely have to be abridged so they could be retold ala DL-6, SL-9, or the fourth grade incident, where characters talk about it over some pieces of art. this is really difficult when theres a metric ton of unspoken, complex, and signifcant history between every character lmao

there's not as much of a problem with the cql timeline but i have not finished it. so.

the opening cutscenes in ace attorney always show the murder and/or the murderer plotting. the first cutscene of the game would be MXY summoning WWX, muttering about getting revenge on his family (it would also be good for him to mention the yllz being dead because that's how the novel starts.) cut to WWX's POV as he wakes up covered in blood and the investigation segment begins.

for investigations of monsters (goddess, saber, etc) the cutscene would be a scene of some poor throwaway cultivator getting their shit wrecked.

it would be cool to make a breakdown for JGY but again I need to review that scene cause I don't know who I'd base him on. maybe Vasquez or Dahlia.

tell me your thoughts!! i'm working off of a mdzs summary/ skimming the novel because i don't remember it too well so if i get anything wrong please yell at me

Jin Ling's sprites & Nie Huaisang's sprites / masterpost

[sciderman]

You mentioned Hugh and Nicole and sex scene in movie and I am shameless so I RAN to look it up and about coughed up a lung

LET'S TAKE A REAL LONG LOOK AND GUESS WHICH ONE IT LIKELY IS EVERYONE

they fuck canonically in all these movies.

[bmpmp3]

sorry to be a bit of a hater but i do wish youtubers weren't so scared of making their videos just like, "reviews", whys everything gotta be a "video essay" all the time. every day my recommendations are filled with 40 minute videos titled "_____: An Underrated Masterpiece" where the first like five minutes are reading the wikipedia definition of "masterpiece" in a somber voice with dramatic themed text on screen. please just tell me how good or bad you think something is and use the rest of the runtime to explain why. you dont need to put on all these airs

[friendlyneighbourhoodelf]

@codywanweek day 6: touch-starved

i’m really excited to share this, it’s very much the self-indulgent/write what you want to read fic. and i had fun (kind of weird codywan my beloved. i just think they’d be a little fucked up)

(to) kiss like real people do

rated M | word count 4,404

Cody pressed his hand against Obi-Wan’s neck, reaching further down, his thumb resting in the hollow of his throat. He shuddered desperately under the contact, wishing the hand could press further, beneath his skin into his very blood.

“Yes.” He was a little surprised when he managed the word, afraid that Cody’s hand would stop it escaping from his throat.

Cody’s other hand rested carefully on his bare shoulder and Obi-Wan wondered desperately and wildly if touch could burn. If, like this, Cody could truly remake him, shape him into a man that knew rather than remembered touch.

Obi-Wan is horribly and terribly in love with Cody. He dreams of closeness, even as it aches.

[mcybree]

I prepared this ask in the Notes app only for Tumblr to not let me copy and paste the text so here’s a screenshot bc I’m not typing all that again lol

there’s this funny trend i see in trafficblr art, in that, when there’s a lineup of every past winner, most players will be surrounded by symbols that were relevant to their POV, and perhaps drawn with the last emotion they’d felt just before death (or maybe just whatever emotion the artist most associates with the character). The winners might be doing something, or in a pose that reflects how they won—there are a million ways to make a life series winners’ piece. What’s funny about it is that no one ever seems to know what to do with Scott. He’s most often just standing there looking mildly disgruntled. And for the symbols he’s most depicted with, it’s typically poppies, which are only relevant to the first season; last life scott does not place any importance on poppies, poppies dont ever come up beyond a brief interaction in episode 1, and jimmy as a whole is less relevant to scott’s pov in last life than he is in every other season.

not that this is an issue with the art; the pieces are beautifully done, it’s just representative of how little fandom discussion there is about scott’s win thematically. Most discussion I see are about the watchers and how they hate scott for defying him or whatever, but watcher lore is not discussion of the series itself as much as it is a fan creation that is retroactively applied to create meaning.

Scott’s Last Life win, to me, was achieved through accomplishing what Third Life Scott could not.

Scott spent 3L waiting for his day one ally to die. He kept Jimmy at a distance, often fully gearing himself up first before backtracking to help Jimmy along. There’s a funny disparity in episode 5, where Jimmy spends the entire episode trying to get good enchants on his iron armor, while Scott sets up a villager and gets good enchants for the full diamond set that he’d already had in storage, in about half the time Jimmy took trying to accomplish his own goal, iirc. This disparity is also something scott acknowledges with the “I’ll always be more powerful than you” line, but it’s been a while since ive written a post like this so i unfortunately do not have the episode number memorized on that one anymore. But Scott goes on to explain that he’ll always have better armor and weapons, which is why Jimmy could never kill him. This is all to say that Jimmy and Scott do not stand on equal grounds in their alliance, and, more importantly, Scott does not depend on Jimmy. The progress Scott makes in Third Life is entirely his own, with Jimmy as more of an afterthought than a teammate.

This is what landed Scott his all time lowest placement. After Jimmy dies first, Scott loses sight of his priorities and dedicates his remaining time alive to avenging Jimmy, rather than focusing on his own longevity (like he’d go on to do in future seasons). And, in that way, Scott’s attitude towards Jimmy (disposable, going to die, unreliable) was an indirect contributor to Scott’s low placement.

In contrast: Scott could not have won Last Life without Pearl. Scott has to rely on Pearl from day 1, having only two lives to start with himself. Pearl gives Scott two lives total. Pearl and Scott are almost always together. They made it to the final four by each other’s side. And that forced day 1 reliance on pearl breaks down the role scott typically assumes (*he’s* supposed to be the person people rely on, he’s supposed to be the one bringing everything to the table) which curbs his tendency to see himself as above others, which then allows for the most genuine happiness i have ever seen him have in an alliance.

The comparison between the way Scott talks to Pearl and the way Scott talks to Jimmy is like night and day. Scott doesn’t compliment or otherwise say anything supportive towards Jimmy (save for the “I believe in you! MCC has trained you for this moment!” during Jimmy’s dare to flare attempt) until after Jimmy has already died. With Pearl, however, Scott is much more open about his care towards her, saying that she’s his best friend and that he loves her as early as episode 2. There’s more examples but between last life and third life, Scott’s attitude towards his primary ally is completely different, and i think it’s symptomatic of Scott allowing himself to love and be vulnerable rather than keeping himself at a distance. And i think that it’s so special that scott won the season where he was so close with his day one alliance, directly because of his day one alliance.

because, to me, one of scott’s defining characteristics is his self reliance. He will have allies, yes, but he often assumes a supportive role and acts as a supplier. He doesnt like taking things from other people. Last Life is different because Scott relies on Pearl, too. It’s also not a coincidence that last life is the only season where scott is normal about jimmy but that’s a different post

tldr yes scott won last life with the power of love but not in the way people say he did (ignoring the boogeyman curse was strategy ☝️)

I SHOULD NOTE, though, that the boogeyman curse was still a fail. Although purposeful, Scott receives the penalty and apologizes to his team. He says he just couldn’t bring himself to do it. I do think that his words here aren’t fully honest— he’d admitted earlier that this choice was fully for strategy. But I also think his apologetic attitude here is genuine. Scott is a perfectionist, he needs to succeed; failing, though purposeful, still hurts. He feels the need to apologize. It means so much to me that his win in last life directly follows the choice to fail on purpose. I’m insane though idk

third life scott embodies scotts flaws while last life scott is him overcoming them 👍 is what im trying to say 👍 last life scott is everything that third life scott could not bring himself to be, in allowing himself to love and depend on other people and overall just be a person.

[quatregats]

Something I've been thinking about is how Patrick O'Brian manages so skillfully to write characters whose actions contradict their beliefs, which I think is honestly a big part of why his characters feel so real. Mostly with Stephen and Jack—e.g., and perhaps most notably, Stephen has notably leftist sympathies (honestly I have no idea how to characterize his politics in period terms) who nonetheless becomes very comfortable with his rise to the landed gentry, while Jack is a card-carrying Tory who much of the time sympathizes far more with working class sailors and farmers than with the upper classes—but I'm sure he does it to a lesser degree with some of his minor characters (James Dillon, while perhaps not precisely minor, comes to mind), and I love that he's able to do that, especially the way in which he embeds it in the narrative. We see how they're all unreliable narrators of themselves; we understand how they want to be seen and how that does and doesn't coincide with the reality, but most importantly, this isn't presented as something reprehensible, just as a part of their own humanity. They are not their expectations for themselves, but they don't need to be those expectations to be beloved.

[prince-liest]

Hi! About your staticradio series (which is PHENOMENAL omg😍) - I know you said Vox is kinda falling in love while Al will remain aro. Which is awesome, we love to see rep! But I'm wondering if they will end up as QPPs (who fuck, lol)? Or it'll strictly be FWBs? Gah it's diffifult to describe it bc labels are so subjective and often too limiting, but I guess what I'm asking is whether they'll have an emotional relationship too, however it might look with their orientations? Will Al in particular have any soft feels for Vox & be fond of their unique bond? Even if Vox is in love with him when Al himself isn't? (I worry that would scare Al away😭) An intimate emotional closeness regardless of the specifics?

Thank you so much!! I've been enjoying writing it enormously so it always brings me a lot of joy that other folks are, too. >:D Just a heads up, this post has turned a little long because it got me talking about Alastor and the way he handles his feelings vs his ego in general.

First: I think the answer to this depends fully on how you personally define a queerplatonic partnership! I don't think Alastor would ever go for, like, a committed relationship with Vox in any form, but I also don't think that this would necessarily be a sad state of affairs for Vox, who I obviously write as poly as fuck with his toxic yaoi husband. Maybe it's because I'm aro af, but I feel like from Vox's end, "Yeah, I get to fuck around with the guy I'm obsessed with and he's not, like, nice, but I think I Stockholmed him into giving a shit about me!" is not actually a state of affairs he'd dislike! Especially since it's got that shiny "I'm special!" vibe in the sense that Nobody Else Gets To Get This Far With Alastor.

As for Alastor's side of things...

I think that so much of their dynamic dynamic isn't just set by Alastor being aroace, it's also set by him being a fucking sadist and a narcissist, HAHA. Like, he is very much in the middle of developing feelings about Vox, which (if my favorite interpretation of his little breakdown in the finale is correct) is also where his character arc is heading with regards to the hotel crew in canon, too, but his friendship-and-trust arc is slowburn as all hell and not entirely linear.

Part of the fun in writing Alastor is the process of qualifying all of his feelings with his sense of superiority in a way that is protective of his ego. He is freely and openly fond of people when that fondness doesn't expose any kind of emotional vulnerability in him. For example: He feels a condescending but genuine fondness for Niffty and Mimzy, whom he protects, and that's safe! He's quirky friends with Rosy, who is a benevolent semi-equal who uplifts his ego, and that's safe! He... may or may not have started caring enough about the hotel crew to have put himself at risk for them, and that is not only dangerous to his physical well-being but also massively humiliating, which is arguably worse to someone like Alastor.

He has SO many ego-prioritizing defense mechanisms and it's fun for me to pay attention to because I, too, am someone whose cardinal sin is probably pride. Anything is permissible only as long as it can be framed in a way that doesn't insult his ego.

Anyway, the point is: I don't think "soft feels and fondness for their unique bond" is on the list of ways that Alastor is able to find himself feeling about someone like Vox. The whole reason their whole situation in 666: Live on Air! started is thanks to Alastor's awareness and amusement at how obsessed Vox is with him. He sees himself as above Vox, and knowing that Vox is more emotionally invested than he is is part of the appeal. It's just gone from (derogatory) to (fond). (Which is, guess what? Safe!)

(It also means realizing that Vox is falling madly in love or whatever just nets a reaction somewhere in the region of, "Wait, is that significantly different from what you were already doing?", lol, because the only thing that's changed is the flavor of feeling, not the level of exposed emotional underbelly that he thinks Vox is showing him.)

TL;DR: He likes Vox like a cat likes a favorite mouse.

[unordinary-diary]

Blyke and John: the Followup

In my last entry, I pointed out the similarities between chapters 249 and 121, but I had hit the image limit and wasn’t able to embed screenshots. I got around this by linking the chapters, but this is probably my favorite parallel, and to do it justice I think I need to really put them next to each other.

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

(121) (249)

It’s the same fucking scene but backwards and in a different font.

They’re the SAAAAAAAAAAME!!!!!!!!

This was definitely on purpose. Shit like this ^^ doesn’t happen by accident.

[worstwolverinesbf]

main takeaway from the 60th anniversary of dr who is that the doctor will offer running away to the stars to all hot villains as shown with the master and the toymaker

[metathemeta-art]

specifically for any other celiac dca enjoyers because. look. we gotta cope somehow!! but also this can apply to anyone who has food stuff going on. I think Moon would be super gross about it but he would also not let a single thing poison you ever. special robot sensors or something

[pinazee]

Season 3 time!

Ghosts!

And oh baby are they coming out swinging with all that juicy drama. Prepare yourselves ya’ll, im about to read way too much into things.

How come we’ve never seen Ray?? He’s henrys partner; given cop lore i would think he’d be a pretty significant person in his and probably shawns life, especially since he seems to be a voice of reason trying to get henry not to go through with arresting his son. Does he show up later? I don’t remember.

“Oo i have rights, thatll be new and fun” -i know that this line is probably just shawn being a bit dramatic but like, it cut me deep.

“This officially ends your chances of being a cop” -its just really sad that henry thinks thats whats going to make him rethink his actions. But also, i think this means Shawn was thinking of going down that path up until his mom left, because maddy even says when she left she thought he was going to be okay. Given Shawns character its kind of surprising he didn’t rebel against his dad long before that. Personally, i think shawn knew his arguments with his dad made things worse between his parents so he did what his dad wanted to keep the peace. Then when maddy left, well, there was no reason to keep the peace anymore.

Now, the henry of it all. This just makes me so sad. And i know they kind of say it’s the reason he retired later, that he regretted it, but i cant believe he ever thought this would “scare him straight,” and the way its shot certainly doesn’t seem like henry ever tried to connect with him. Like, if they wanted us to sympathize with henry later, they could have given us a shot of henry having second thoughts or even explained how Shawn was using the fact that henry was a cop to get away with breaking the law because he never thought his own dad would arrest him. They could have explained how shawns actions were becoming more and more reckless and henry didn’t know what else to do. But i think the reason they didn’t was because shawn is our protagonist and they didn’t want to muck up his character that much. I think it could’ve added some depth, personally. The way its shot though, it just makes henry look like an ass, sticking to the law unwaveringly without any remorse. (Sidenote-i can see how gus’s parents would think shawn was a bad influence)

Hes so rough with him :( (also baby lassie! Aww look at his little mustache)

I had to look up pinochet. Thats a heck of a reference.

Completely overlooked that haversham warmed his hot coco in a teapot. What an idiot (thats brilliant)

I love that each person in the show is like a dork for something. Juliet has weird football facts, carlton has westerns and guns, shawn has a few but i think favors movies, and gus has literally everything

I love the mystery of this ep! They make you think shawns solving one case (the ghost), and then you find out he is the ghost and they make you think Shawn had that one plan but then psych!turns out hes really looking for dirt the whole time. Also, shawn has to know quite a bit about business to pull that summary out of his hat. I might add it to his list of random skills.

Why would she have to clear henry for twisting his ankle? Also, now that i think about it, henry doesn’t seem the type to 1. Actually talk to a shrink or 2. Think highly enough of them to want to date one. So i have to imagine young maddy was a smoke show and he lost all sensibility.

I love that she calls him goose. Thats such a cute little nickname- that i need to know the origin of. Was this a goose and maverick thing? Was she maverick? Also, we get some more insight into shawns gifts because it implies he can remember everything hes heard thanks to his mother. So thats neat, and a cool way to show his “powers” didn’t necessarily all come from henry. Its nice to see maddy gave him something other than abandonment issues.

Ohmygod its so sad that shawn thinks his dad would sabotage him with his own mother jesus christ this family.

I wanted to end this with my thoughts on Maddy. I love that we see bits of shawns personality that came from her. He got her charisma, certain aspects of her humor, certain ways of speaking (like when carlton says, “then you wouldnt be opposed to me patting you down,” and maddy deadpan replied, “actually im very opposed to that.” It just sounded like something shawn would say). i love how the episode frames the narrative from shawns perspective too by putting maddy on a pedestal. Shes a very likable person. She takes his side when he tells her henry never told him she was coming, tells henry to buy him a phone, goes toe to toe with lassie and keenly gets him to open up.

But come on. This lady sucks.

First of all, SHAWN HASNT SEEN HIS MOM IN 3 YEARS, mind you the show says they’ve been doing Psych for about a year, so thats two years where he’s bouncing from job to job and not once did he visit her. And she was out of the country apparently and never told him she was back- why wouldn’t you let your kid know you were coming back to the country? She couldn’t shoot him an email or texted?

I would argue she is almost a worse parent by the sheer neglect alone. She gives off the impression of someone having never wanted to be a mom. she never seems to be around when shawn was little, we never see or hear of shawns mom sticking up for him against henrys teachings, and she straight up abandoned him the first chance she saw. And then on top of that, fails to communicate with him.

Lastly, I cant believe maddy (a psychologist mind you!) never talked to shawn about any of this years ago. She assumed henry would explain it all, but what part of his personality ever gave her the impression that henry could have an open and honest conversation with Shawn? And shawn says they used to talk all the time, but, like, how long ago because it seems like they haven’t had any real conversations in a long time. So its not just that she left him physically, but she also left him on his own to handle the emotional burden, because his dad certainly couldn’t talk about it. Shes the one who left shawn to pick up the pieces, not henry.

I mean its no wonder shawn struggles to form long lasting relationships.

P.S

Boneless shawn! Boneless shawn! My heart is filled with so much warm nostalgia it might burst! I remember when this first aired i laughed so goddamn much!

[loserboyfriendrjl]

i think that we often do forget that the black brothers were not inherently good people; they were more or less morally grey, more or less leaning towards the good/bad side. it's hard to fully unlearn beliefs of your family (and i think that many people resonate with this statement, whether we are talking about fictional characters or real, fully-fledged people), and i think that morally grey characters are far more interesting than people who are inherently good or evil.

sirius black

many people (including myself) would say that sirius is leaning more towards the lighter end of the spectrum, given the fact that he actively tried to unlearn his family's beliefs, he ran away from home at the age of sixteen and decided to move in with people who were recognized in the wizarding society as good people, he joined the order as soon as he finished hogwarts, and, even after the unfortunate ending of the first war, he decided to join the order again and stay inside a house that was never a home for him, to ensure the safety of himself, the order, and harry, too. his last act was the attack at the ministry where he found himself, despite the fact that he was supposed to stay inside grimmauld place, and where he died.

however, we cannot deny that sirius, too, had slip-ups. one of them was the prank (to review what happened, essentially, he told snape how to get past the whomping willow, therefore revealing remus' secret to him). in this situation, sirius shows recklessness and a lack of thought towards the consequences that his actions could have towards not only himself, but severus snape and remus, too. his behavior showed a lack of altruism, and a lack of consideration for the people around him, being willing to put them in danger for whatever may have been the reason.

another one would be swm (snape's worst memory), where james is a part of the action too, but the tormenting of snape was unjustified (j&s started the fight, and snape responded) and ended badly. now, i am in no way a defender of severus snape's, but both j&s and him were acting based on either boredom (the aforementioned) and a need for revenge caused by the actions that had happened against him (the latter).

in canon, we are also shown that he does not exactly think the words he says, and the effect they have on people. (“You're less like your father than I thought.” — GoF). i think that sirius had no right to say this to harry, who was just trying to make sure that sirius would be safe. what we need to remember is that, by the time of the action of GoF took place, sirius was still on the run, and the ministry was still looking for him; it would have been dangerous for both him and harry (and whoever might have joined them) to go out of hiding and go meet up somewhere near hogwarts (hogsmeade). harry's response to sirius' request was logical, and sirius' response was reckless and not well-thought.

regulus black

we do not have enough information on regulus to fully state on which side of the spectrum he finds himself on. however, he was known to have held the same beliefs that his parents did and to be an open voldemort supporter (The Slytherin colours of emerald and silver were everywhere, draping the bed, the walls and the windows. The Black Family crest was painstakingly painted over the bed, along with its motto Toujours Pur. Beneath this was a collection of yellow newspaper cuttings (of voldemort), all stuck together to make a ragged collage.)

therefore, to some extent, we can safely assume that he held the same beliefs as him (and, implicitly, his parents). the voldemort collage might have been on the wall for either research purposes or an act of devotion (this interesting perspective has been added by @/werewolfenthusiast) we cannot be sure; however, i am inclined to think that it might have been a mixture of both.

furthermore, i think the fact that regulus only started actively betraying and going against voldemort only after voldemort's actions had direct consequences on him and the ones he loved — kreacher, and this is shown in two acts; (wording taken off the hp wiki)

After becoming a Death Eater, Regulus began to consider abandoning Lord Voldemort, partly because his master mistreated and intended to kill the Black family's loyal house-elf Kreacher whilst setting up the security measures for one of his Horcruxes.

One day, Voldemort asked Regulus for the use of his house-elf, Kreacher and Regulus eagerly accepted as he wanted to please his master. Voldemort used Kreacher to test the defences around his locket Horcrux, leaving him to die afterwards. Kreacher was able to escape using house-elf magic and told Regulus of what had happened. Regulus worked out that the locket was a Horcrux and was the reason behind Voldemort's immortality. This was the deciding factor in Regulus's defection.

therefore, regulus has been shown to feel remorse and to start to realize the lenghts lord voldemort would go through only when his family (implicitly, his house-elf) were targeted. however, by researching horcruxes and trying to destroy one of them, regulus (un)willingly helped the wizarding world towards voldemort's fall.

all in all, the black brothers are two complex characters who, to some extent, held their family's beliefs and values. whether they had actively tried to unlearn them (sirius) or their betrayal was slow and silent (regulus), and neither of them can be fit in the category of inherently good or bad people.

[dreamsy990]

so it all comes to this.

to say i was excited to play 3 would be wrong. actually i was sort of dreading the game. i went in with expectations for the worst and was pleasantly surprised. which is not to say that its good. but its certainly a game! that i played! and now you get my thoughts. unfortunately a lot of my thoughts about the end of the game are kind of hard to separate so. if youre wondering where my thoughts on endgame stuff is. its at the end.

(also i havent played remind so theres no remind thoughts here. its all just base game kh3)

combat (with some other gameplay notes)

so. im not a big fan of the combat. to preface, i played the rest of the series on standard, but with kh3 i was told it was easy so i did proud! and yet it was still the easiest kh game.

kh3 is the first game in the series where i feel as though 'mash x to win' is a valid criticism <- thats not entirely true at the start, but later in the game it does feel a lot like that. almost every fight is mindless because of how easy it is. you can see it in the enemy health bars, theyre absurdly large because of how easy it is to take them down. they need to have that high of health so the fight isnt over in under a minute.

i dont think the base combat is bad. unsatisfying, maybe. But not bad. except for attraction commands.

attraction commands feel like part of a pattern in kh3, where they try to recreate what made the other games so good without understanding WHY it was good. what theyre recreating ofc being reaction commands. technically its the same as some reaction commands, sure, being a giant dramatic attack, but it doesnt work because theres no situational awareness in them.

attraction commands dont feel cool because theres nothing in them that requires use of your surroundings or that is tailored to the enemies youre fighting, since theres only a couple that can be used at any time. there's nothing strategic about using them either- reaction commands normally would give you a specific advantage, or could be used to avoid attacks, only sometimes dealing damage on their own. in kh3, all attractions do is deal damage. they are impersonal and often obtrusive- if youre like me and hate attractions, youll still often accidentally use one, since theres no way to disable them.

this is more abstract than anything, but something about attacking feels unsatisfying. the combat feels like it lacks any real sense of impact or weight to me. but thats all personal and not exactly good criticism so. i digress

also the bosses in 3 suck. you know its bad when the most memorable boss fight in your game is the tutorial. most of the boss fights in this game are so unmemorable that ive literally forgotten them. except of course demon tide. i despise demon tide. it was fine in 0.2 but not here. every time you fight it feels like a missed opportunity for something cooler.

i think flowmotion is worse now. i get that it was a bit too overpowered, but with how much it was limited i ended up hardly using it. i didnt like flowmotion because of the attacks, i liked it because of the movement. so to me, it ended up being a reminder of how kh3 failed instead of a fun feature.

also i know a lot of people like being able to switch keyblades in fights, but honestly i feel like it removes an element of strategy the other games had

the ui (and other visual things)

this isnt something i talked about in my other reviews. but in kh3 i must bring it up. if you follow me you may know my hatred for kh3s ui. so im going to talk about it again! this is the abridged version though. heres my whole rant if you want my full thoughts on it. but the short version is that i dont like it. i am someone with terrible vision and i can play every single kh game without glasses because the ui is just big enough that i can read it. most of the time i can read subtitles too. but in 3? i struggle even WITH glasses to read anything. the ui is too small to make out anything almost all the time. its really only by muscle memory that im able to play. my glasses broke while i was playing, and i literally couldnt play until i got new ones because i couldnt make out a single word on screen. its bad design.

im also upset that there ui art has been replaced with renders. its just a shame honestly. i loved the art in the older games. the renders feel bland in comparison.

and thats generally my take on the look of modern kh. sure its pretty, but its bland. kh has always had a certain cartoonish vibe to it thats starting to die out, and i think the shift to unreal engine was the first marker of that change. i like the look of old kh. its not too technically impressive but its incredibly charming. kh3 is anything but. the characters feel far less expressive, the worlds are realistically rendered, it feels unfitting for a series like kh. its hard for me to find kh3 as charming as the other games. the only word i can think of to really describe it is corporate.

i dont know if this is a rare take, but i think technically impressive visuals are far worse than distinct ones. kh used to have a unique look! now it just looks like every other semi-realistically rendered rpg.

story (featuring: more gameplay notes)

my problem with kh3's story was unavoidable really. dream drop distance set this game up for failure and so im not going to complain about dream drop distance. ANOTHER TIME ill talk about dream drop distance. i dont have time to make a post that long. i do have a lot of problems with the story that werent a result of ddd being terrible so i guess ill just bring up those.

one of my biggest issues with the game is how unimportant the roxas plot is. youre led to believe the game will revolve around it but then sora does nothing to further it. at all. at the start he CONSIDERS doing something, and then hes told by ienzo "no its fine ive got it. go do something else" and its barely ever mentioned again until the end.

this relates to my overarching problem with the plot: it feels aimless. in every kh game theres a REASON theyre going on a journey. soras looking for his friends, roxas is working a 9 to 5, the wayfinders are all following each other, etc. but in kh3 sora is looking for "the power of waking". what is the power of waking? i literally have no clue. thats how poorly defined it is. its an abstract goal, its not tangible or even really achievable. its just a macguffin. when the plot suddenly decides to happen at the end the whole journey feels pointless. you could skip every disney world past twilight town and you would probably be fine. it's not a journey, you're not exploring for a purpose, you're just killing time until other people handle the plot.

i also really hate the new organization (i refuse to call them the real organization. theyll never be the org). theyre painfully boring and poorly put together. the old org had structure, they had very specific goals, every member had a purpose. you knew how they worked and why they did what they did. the new org is just completely lacking in that. calling it an 'organization' is stupid because there's nothing organized about it. and even disregarding all that, the new organization also lacks any real personality. the members feel so boring, which sucks, because almost all of them are returning characters who used to be really fun. and why are most of them even there? no one except maybe xigbar seems to actually care about their mission. the old organization had a common goal and a reason everyone was there. they were nobodies, they wanted their hearts back. there's no reason for any of the new members to stick with xehanort. and if you say "well they were norted!" i then must ask. what exactly is norting? like really. it hasnt been possession since birth by sleep. norting is whatever nomura needs it to be in the moment. its not clearly defined, its just another macguffin.

also because i dont know where to put it, the battle of 10,000 heartless is just a terrible successor to the original fight. there's no stakes, no buildup, no friends fighting by your side, no reason to care. they just throw thousands of heartless with no ai at you. literally no ai, if you stand still they wont attack you. its a drag if anything, an homage to a better game done absolutely no justice.

back to what i was saying about the roxas plot, roxas' return is just such a nothing scene. theres nothing about it thats cathartic, his lines are impersonal and bland, theres nothing 'roxas' about it. roxas' defining feature has always been how emotional he is, and there's none of that here. its nothing. and then he does nothing afterwords. he has seven whole lines in this entire game, six of them are in this scene, and the last one is an inconsequential jab at sora at the very end. and then he fades into the background.

the writing in this game in general is actually weirdly worse than normal. it feels a lot less, idk, human? the older games were weird and absurdly cheesy but this is just. strange. look at the scenes with riku and mickey in the realm of darkness and youll see what i mean.

WHILE IM ON THAT SUBJECT. RIKUS KEYBLADE BREAKING IS BULLSHIT. remind me to rant about that another time though im not gonna go on a tangent about that here

also i would give my thoughts on the ending but i literally couldnt care less about xehanort. so i dont really have any! the final boss was alright though

i have more specific thoughts, but generally, the game feels aimless and underwhelming.

positives

i love axel and kairi! theyre a fun duo and ill never shut up about their parallels so seeing them together is nice. i wish they did anything but thats BESIDES the point im being POSITIVE here

also. the music is great. i love the music sm. its nowhere near my favorite kh soundtrack, it feels a lot more grand which isnt my thing but its still some of yoko shimomuras best work. also hearts as one. its the PERFECT conclusion to roxas' theme and arc. the progression of it from melancholic (roxas) to desperate (the other promise) to triumphant (hearts as one) is just so good. i wish the rest of this scene was as good as the music so i could compliment it more wholeheartedly yknow?

its actually funny also! kh isnt the funniest series, most of the time when it IS funny its completely on accident. but kh3 is like days in the way that it just. actually has funny writing. the jokes intended DO land and its just a breath of fresh air.

oh also riku being well adjusted is the funniest possible conclusion to his character arc. 10/10 im so happy hes normal. never give that boy an emo arc again nomura

conclusion

over all, kh3 is exactly like how my teachers described me in elementary school: it has a lot of potential, but doesnt apply itself. this couldve been a decent game but it simply doesnt do most things very well. i give it a 5.2 / 10. its not an actively bad game but its a game i have trouble enjoying. sidenote im retconning my opinion on bbs to say its 4.7 / 10 because a: my opinions have changed and b: i think 3 is better but i dont want to give it a very high score.

[bisexual-kelsier]

Love Is Stored in the Oatmeal Raisin Cookie

On Lizzie & Ripred

The newest take I’m seeing right now, both in the TUC tags and on my “controversial TUC takes” post, is that Lizzie’s relationship with Ripred is unfounded and that the inclusion of it “robbed” us of a softer moment between Gregor and Ripred. I disagree with this take so much that I decided to write an entire essay about my thoughts on the subject. The most common argument I see against Lizzie is that she received Ripred’s affection, as well as his tragic backstory, after being present for a very short period of time, while Gregor has known Ripred for months. At a surface level, this may seem counterintuitive, but when we dig deeper into the characters and their behaviors, motivations, and allegiances, the thematic significance of Lizzie’s role in the story becomes apparent.

First and foremost, let’s take a look at Gregor. I love this kid so much, but I do believe that the core of this argument hinges on his more subtle flaws as a character. Consider this: the entirety of The Underland Chronicles is narrated from Gregor’s point-of-view. What does this mean for our perception of the story? We receive only the context that Gregor has, and we only receive the details that Gregor notices and finds important. Across the series, his understanding of the Underland and its denizens expands, grows, and solidifies. He is twelve by Code of Claw and very much still learning and growing, but some of beliefs have settled by this point.

This is where Ripred comes in. Gregor has more or less made up his mind about Ripred by the end of Curse of the Warmbloods. He wants to lead the Gnawers and will achieve that goal by any means necessary. He’s an ally, but probably not a friend, grumpy and abrasive and untouchable. Definitely not worthy of sympathy, because he can take care of himself. In short, Gregor doesn’t see Ripred as a multidimensional person, as someone with emotions outside of anger and self-importance.

In direct opposition, we have Lizzie. Upon first glance, she might seem inconsequential until Code of Claw, because her character arc is quiet and mostly happens off-screen. She’s anxious about almost everything, and the Underland puts her through a lot of trauma in the earlier books without having ever set foot down there. It took her dad from her when she was only four years old, and when he returned years later, he was ill and severely traumatized. His absence and then his inability to work meant that she grew up in poverty, spending a large portion of her childhood food insecure and without a stable home life. Similarly, the Underland suddenly took Gregor, who by that point had undertaken a parental role in the household, and Boots away on more than one occasion. These traumas were then compounded on in Curse of the Warmbloods, first when her family’s apartment was swarmed by rats and then when Grace, the stable parent and breadwinner, contracted the plague and was unable to return home.

Lizzie’s role in both Marks of Secret and Code of Claw directly opposes the effect that Gregor—and by direct extension, we as readers—expects this trauma to have on her. Lizzie is afraid of almost everything, and the Underland has harmed her directly in the past. She should approach it with fear, maybe even hostility, like Gregor does in portions of the book. Lizzie is not Gregor, though, and her key trait as a character is that she is able to see the world as a whole through different eyes. So she chooses kindness, instead.

This is where the excerpt above comes in. Lizzie has never met Ripred personally at this point, and she really only knows anything about him from Gregor’s stories—which almost certainly don’t paint Ripred in the kindest light. Lizzie sees beyond the surface of these stories, though, and considers Ripred as an entire person, with depth and emotions. What she sees between the lines is up for individual interpretation. Maybe she latches onto Ripred’s insistence that Gregor learn echolocation, a skill that might save her brother’s life. She does pester Gregor about practicing. Maybe she sees pieces of Gregor reflected in those stories about Ripred. A rager who doesn’t quite fit in where he’s from or where he’s fighting for, who can be stubborn and short-tempered and quick to hide his vulnerabilities from the people he considers himself responsible for. Maybe she sees pieces of herself reflected in those stories. Maybe, as someone who has lost pieces of her family, who has only one friend, who has likely eaten less than her share so that others could be full, she finds it easy to spot the humanity, for lack of a better word, in Ripred, like light through the crack under a locked door.

Whatever her reasons—and maybe there are no reasons beyond “he’s a person, too”—Lizzie goes out of her way to treat Ripred with kindness before she ever meets him. She sends some of her own food with Gregor so that Ripred doesn’t have to go completely hungry. She makes sure Gregor knows to share that plate of oatmeal raisin cookies with Ripred. Where Gregor rarely shows any gratefulness for his help and, in fact, rarely views him through a lens unclouded by a deeply ingrained bias against Gnawers, Lizzie is kind. Ripred notices.

This is not a matter of Ripred suddenly opening up to Lizzie for little reason after bonding with Gregor across the entire series. Ripred treats Lizzie differently because she acted differently. Their relationship is not built only on Lizzie’s similarities to Silksharp, but on a history of compassion and respect. It isn’t shoehorned in, it’s a necessary relationship that supports the central themes of The Underland Chronicles—violence, war, and colonialism are cyclical, but the refusal to continue living life based on the biases of the past can break that cycle and bring about a brighter future for everyone.