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dizzydancingdreamer · 4 years ago

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Everything, Everywhere | The Mikaelson Boys

Hello Lovelies! I circled back to my element and wrote a more traditional Mikaelson Boys fic. Did I reuse the theme of a ball? Yes, I am a weak and lazy woman. Did I make the fic completely implausible and touchy? You know I did, they’re vampires and I will let them touch whoever they want (with consent of course). Anyway, it’s honestly just a cute, kinda steamy romance. I altered some of the points from the universe but you have to squint to see where. You know, my entire gambit. You could use this as a prologue for my other fic, Big Decisions, but this is more than fine as a standalone. Anyways, I hope you are all doing well and that this story brings you joy! Until next time <3

Description: Y/n is part of a founding family and gets invited to a Mikaelson ball. Somehow she manages to enamour three of the brothers. They soon discover she has a few secrets that they’re more than willing to indulge.

Pairing: Fem!Reader x The Mikaelson Boys

Warnings: Kudos to me I think there are none

Word count: 10k (oops)

Tags: Fluff, smut if you squint (more like nudity)

“Are you heading home this weekend?” Lily twirls a strand of blonde hair between her fingers, “Mama told me there’s an event.”

Your best friend lays on your bed as opposed to her own, her legs dangling over the edge. Her eyes are closed, probably halfway to being asleep. It’s been this way since the two of you left for college three years ago, always more in your space than her own. You’re lucky that way, you have a best friend who would follow you across the country if you wanted her to. Honestly, you would do the same. Luckily, though, you decided on only two hours away away from home. Just far enough to find your footing. At least, that’s what you tell yourself.

You smile softly at her, swiveling in your chair, “what event? My parents haven’t said anything to me.”

Your family is a founding family, just like Lily’s is. That’s how the two of you became best friends, it was practically destined. You were babies at the same time and your parents brought you to every meeting together. You were inseparable long before you can remember.

Lilly yawns, curling her legs to her chest, “I think it’s some sort of ball. I’m not too sure, I think we got invitations,” Lily rolls her eyes as if the concept of a hand written letter offends her very being, “and they probably just forgot or assumed I would tell you. Isn’t your mom, like, the head of the committee now?”

You nod at her, closing your own eyes for a second, “yeah she’s always got something going on. I swear she forgets she even has a daughter half the time.” You let your mind drift to the other half of the conversation, “Invitations? That’s exciting.”

You don’t have to look at her to know that she’s rolling her eyes again. You crack an eye open anyway just in time to glimpse her do that very thing. You giggle lightly, shaking your head.

Always one for theatrics, “careful, Lil, your tomboy is showing. What would your mother think if she could see you up in arms over a silly, little note, hmm?”

She scowls at you before letting the grin crack through, flipping her middle finger up at you and mouthing bite me.

You lean your head back against your chair, “I’m not even sure if mama wants me to come. She hasn’t said anything about this to me. She called me yesterday and it didn’t come up once. Maybe I should just stay here.”

“Not true,” Lily curls her fingers at you, beckoning you to join her on the bed, “she’s just busy these days. Remember how she was when we were little?”

You move to the bed, curling next to your best friend, “you mean how she was always around? She went from helicopter parent to too busy to text me back.”

You yawn, closing your eyes and letting the lullaby of sleep on your limbs sing a little louder. Lily cuddles closer to you, almost gone herself. You wish you could hold onto these moments. These fleeting minutes of comfort in your best friend’s arms. It’ll be gone all too soon. You almost don’t want to fall asleep. Laying next to her feels like the calm before the storm and you want to soak up as much of it as you can. Your heavy eyelids, however, have other plans.

“You’re coming. If I have to go then so do you. I’m sure this weekend will be different,” her voice is the last thing you hear before you drift off, “I can feel it.”

* * * * * * * * *

Sure enough, when you pull into your parent’s driveway after dropping Lily off at her own house, your mother bursts through the door, a wide smile on her face. You let your own smile drown the nerves you’ve been fighting for the last three hours, practically falling out of the car to get to her. She wraps you in a hug, her familiar honeysuckle and lilac scent trickling around you.

“I missed you, mama,” you whisper against her shoulder and she squeezes you tighter for a second before letting go.

“Oh honey,” she crinkles her nose at you, her face the picture of serene joy, “what’s to miss? I’m always right here. I, however, missed you so much.” She leads you into the house, her arm around your shoulders tight, “Tell me all about everything!”

You suck in a breath as you enter your house, letting your shoulders sag as you pass over the door frame. You’re home, finally. You glance around quickly at everything you’ve missed for the last few months. You glance at family photos, most of which include Lily, and the random trinkets your parents have collected over the years. There are a few new ones and you make a mental note to look at them later.

You settle on a stool at the kitchen counter, leaning your head in your hand, “you first, mama. What’s this about a ball? And an invitation, hmm? You’ve been holding out on me.”

Her eyes widen, telling you everything you need to know. She forgot. You really aren’t that surprised. It makes you feel better, at least the reason she didn’t tell you wasn’t because she didn’t want you to attend. Lily was right, you’ll have to let her say I told you so when you see her next.

“Oh shoot,” she snaps her fingers, rushing to the foyer, her voice floating to you as she turns the corner, “I’m so sorry honey, it completely slipped my mind. I barely had a chance to glance at my own invitation,” she comes back into view, now with two envelopes in her hand, “here you go!”

She hands you the envelope and you almost gasp at how luxurious the paper feels in your fingers. The cardstock is definitely of the more expensive selection and you blanche. Who on earth could be sending this? You read your name on the card drawn in an elegant script. Handwritten. You had been joking with Lily when you thought that but now, looking at it first hand, it almost offends you as well. You could never write like that.

You open it carefully, making sure to not taint the red seal. You’re pretty sure your heart would collapse if that happened. This has to be one of the most beautiful things you have ever touched. You pull the equally luxurious note from the envelope, your eyes dancing over the paper.

Please join the Mikaelson Family this coming Saturday at seven o’clock for dancing, cocktails, and celebration.

Your heart stops. This coming Saturday. Saturday. As in today Saturday. You whip your head up to stare at your mother, your mouth falling open.

“Mama,” this time your eyes widen, “this is tonight!” you hiss, your brows shooting up, “I can’t attend this! There’s no time, it’s two in the afternoon already!”

She rolls her eyes and for a moment you picture Lily and how she would call you dramatic. You can practically hear her voice. Just wear jeans you princess. You scoff at imaginary Lily. You can’t attend a ball in jeans, not that that would stop her at all.

“You can and you should attend,” she places a finger under your chin, drawing your eyes to meet hers, “the Mikaelson’s are new to town and have invited us. It’s only polite that we attend. Besides,” she winks at you and your cheeks flood with heat, “they are quite the handsome bunch. Perhaps you can end this dry spell? Give me some grandbabies?”

You choke at her words, pulling your face from her fingers with burning skin, “oh my god, mama! I’m almost certain you should not be condoning grandbabies! Besides, I have nothing to wear so I highly doubt I’ll be the one pulled from the crowd. Reproduction rates are looking slim, I am sorry to say!”

She laughs, her eyes crinkling, and you can’t stop yourself from joining her, “alright, alright. No grandbabies. Yet. However, I’m not so sure how you can be so certain when you haven’t even looked at what I picked up for you. I quite think you’re going to change your mind, honey bunch.”

Your laughter stops abruptly as she leaves the room for the second time. You hear her jog up the stairs and your interest is officially peaked. She never jogs. What on earth has she done? You rack your brain, trying to picture what she’s going to show you now. You don’t have much time to sit on your thoughts, however, because soon you can hear her feet on the stairs again, still jogging, now humming a tune you can’t place.

When she comes back into view, your mouth falls open. In her hands is a gown. No, not just a gown. In her hands is the most beautiful thing you have ever seen. It’s a black, sequined number with a full skirt and a slit that looks like it will rest a touch lower than your hip. The straps keeping it on the hanger are thin, almost nonexistent, and the bodice has a deep but modest dip. When she moves it sparkles like a diamond, catching the sun rays pouring in through the kitchen window. She holds it up, letting it flow to its full effect in front of you, and you gasp, your hands flying to your mouth.

You can feel the tears prickling at the edge of your vision and you silently scold yourself for being so emotional, “mama, where did you get this? It’s too much!”

Her smile falters, minutely, but you still see it and curse silently, “you don’t like it?”

You stand quickly, your eyes wide, “no! That’s not it,” you take the dress from her, afraid it’ll disappear if you don’t touch it, “this must have cost a fortune is all! How can we afford this?”

It’s true, the dress looks like a million bucks and probably costs as much. You’re a founding family, sure, but that doesn’t instantly equate to old money. It doesn’t even mean new money. Your family has never struggled to get by but you also know that something this extravagant would have definitely set your father back a pretty penny. You don’t want your family to waste their hard earned money on something this frivolous, even if it is the most stunning thing you’ve ever laid your eyes on.

Your mother’s smile returns to its full brilliance and she shakes her head, “it didn’t cost me a thing, honey, don’t worry. Mrs. Jackson down the street owed me a favor and I asked if she had anything particularly pretty laying around. She pulled this from her closet. She also told me to let you know that it’s yours if you would like.”

You hug the dress tiger to your chest, your mouth gaping further, “I can keep this?”

Your mother giggles, bobbing her head up and down quickly. She looks like she’s ready to start jumping. You don’t blame her, you’re half a second away from doing the same thing. You could scream from how ecstatic you are.

“Come, honey,” your mom grabs your hand, dragging you up the stairs with her, “I think it’s high time we start getting ready for tonight, don’t you think? You have some Mikaelson’s to wow!”

* * * * * * * * *

When seven o’clock rolls around you’re standing outside the biggest mansion you’ve ever laid your eyes on. Its white pillars taunt you, each one large enough to hide your body. Twice. You’re alone, spare the people around you milling in and out of the large doors. Your mother had dropped you in front while her and your father went to park the car. Never before in your life has a house made you feel this small. This alone. You pull your shawl, a sheer black number, around your shoulders and shrink slightly.

A hand lands on your shoulder and you jump, spinning around quickly only to be greeted with Lily, whose face is twisted from the laughter pouring out of her. She clutches her stomach from the force, wrinkling the red satin dress she’s wearing. You take a moment to admire how much it suits her. It’s a little bold for your tastes but she wears it like no one else could. Her hair is twisted on the top of her head, a few curls falling to frame her face. She looks amazing, not that you had any doubts.

You lightly smack her shoulder, finally letting a few giggles loose, “you scared me you idiot!” You turn your eyes back to the mansion, swallowing the lump of nerves growing in your throat, “take a look at this place, will you. It’s huge! Have you ever seen a house this big? What could someone possibly need a house this big for?”

“Yeah it’s something alright,” her eyes drag down the hulking facade before meeting yours once more, a naughty smirk now on her red lips, “and I’m sure the inside is even nicer! Let’s go!”

She grabs your hand, all but dragging you over the threshold. Light pours over you, catching the sequins on your dress and making it sparkle delicately, something that would usually make you squeal however your attention is currently elsewhere. That elsewhere is the dual grand staircase in the center of the room. It’s encased in pillars, the feature leaking in from the exterior of the mansion. It’s bronze railings are strung up with thousands of twinkling lights. The staircase is easily the focal point of the foyer.

But not because of the lights.

Lily digs her nails into your hand, pulling you to a screeching halt, “are you seeing what I’m seeing right now?”

Her eyes are glued to the same place that yours are, dragging up and down the staircase with little care to whoever might be watching her little show. You choose a less outright form of gawking, opting to look all around the room while still making little glances at your main focus.

“Yeah, Lil, I think I am,” you gulp, your eyes training on three sinfully gorgeous men, “mama said they were handsome but this,” you let the end of your sentence drop, not having nearly the vocabulary to explain the Mikaelsons.

In total, there are five people on the staircase. Four men and a woman. Each one is gorgeous in their own right. You mull over the woman first. If you thought that you looked nice before you left, that’s pretty much gone now. She’s absolutely stunning. Her blonde hair lays in a sheet over her shoulders, winding almost to her base of her spine. She wears an emerald gown, one fitted to every dip and curve of her body like it was spun by Aphrodite herself. You have to look away, she’s the kind of pretty that makes you feel like you’re not worthy of seeing it.

Your eyes travel to the man next to her and your mouth goes dry. He’s tall. That’s the first thing you notice. If you were next to him he would easily tower over you. Not just because of his height, though. You shift your focus to his arms and the way the sleeves of his tux hug them tightly. You have no doubts this man could rip you in two if he wanted to. He stands at ease, his eyes wandering the faces of those closest to him as he lifts a hand to smooth over his brown hair. At least he doesn’t look to be in the killing mood.

Behind him is a man with blonde hair. Even from across the room it looks softer than silk and your palms itch to run through it. He leans against the railing, a glass of champagne loose in his fingers. His eyes are on the others but he has the appearance of a man who is a thousand miles away. Your heart hurts at the thought but you brush past it. You don’t know him and you’re most likely wrong. Still you give him another brush over, wishing slightly that he would crack even a hint of a smile.

You shake your head, moving to the man at the top of the stairs. He’s alive with something fiery, speaking to the others with animated hands and laughing hard. You can’t hear him over the crowd around you but, gods, you wish you could. It’s probably nothing important but, by the looks of him, he could make anything sound special. He throws his head back laughing, his brown hair flopping wildly. You can’t look at him for long either but not for the same reason you couldn’t look at the woman. No, you can’t look at him because you’re afraid if you look any longer than you’ll be sucked in forever.

When you look at the last man you shiver. It’s not the kind of shiver that makes you feel exhilarated though, it’s the opposite. Your blood runs cold when you look at him and, when his eyes meet yours, you look away instantly. You can feel his eyes burning into your back for a few moments after and you hate it. Unlike the rest of them, this man makes you feel ice cold.

You tug on your best friend’s hand, desperate to get away from the man, “come on, Lil, let’s go find the champagne.”

Lily’s eyes light up at the thought, instantly taking the lead on this new expedition, “girl you read my mind!”

You take one last glance towards the staircase as she pulls you into another room, momentarily catching three pairs of brown eyes before scampering around the corner. Your cheeks are hot when you’re finally out of their vicinity. You hadn’t realized how heavy the air around them had been. Now that you can’t see them your bones feel marginally lighter. Something nags at you though, a loss of sorts. You rub a hand over your chest, massaging the ache away.

Lily pushes a cool glass into your hand, lifting her own to her lips. You follow suit, breathing in the sugary scent before letting the sweet bubbles flow down your throat. They pop, soothing your flaming chest.

“Shit,” Lily breathes, “everything about this screams money. The invitations, the house, this damn champagne. What’s next? A pool of synchronised swimmers?” Her eyes wander the room, her fingers tight around the glass, “I’m not used to this Great Gatsby level of wealth. It’s making my head spin a little. This is my parent’s scene, not mine.”

You nod lightly, her words everything you’ve been dying to say. It’s magnificent but you’ve never felt more out of place. Not even the founders day balls are like this. At least Mrs. Lockwood has the good sense to cater to the modesty of the town. Before you can answer, however, a voice joins your conversation.

“My apologies, my brothers like to go overboard when throwing parties. It’s not quite my taste either, a little too stuffy if you ask me.”

You spin around to the sight of the woman from the stairs and your heart pounds hard in your chest. She’s even more beautiful up close, like a Van Gogh masterpiece. Her voice is accented and smooth, impossibly so. You feel like a peasant in her presence but her smile is light and it helps to soothe your nerves a touch. When you look at Lily, though, her cheeks are beet red and her eyes are wide.

“Oh my, I am so sorry! I didn’t think anyone would hear me besides,” she nudges you lightly, the smile she’s plastered on her face sheepish, “this one here. It really is gorgeous. Perhaps university has lowered my standards.”

You watch Lily fumble her words and you don’t blame her. This girl seems like she was made to insite insecurity and you mean that in the very best of ways. Despite her slight enthusiasm, though, Lily’s eyes flow over the woman slowly. You can tell she’s interested. By the way her stares are being reciprocated, you would say she isn’t the only one. You smile at that.

The woman laughs, her eyes filled with mirth, “your standards aren’t low, this party is just a nightmare. I’m Rebekah, one of the many Mikaelsons you will surely encounter tonight,” she looks over her shoulder, her eyebrows furrowing slightly, “and it looks as though you’re going to get the immersive experience.”

You, too, look over her shoulder and your heart stops. The three men from the staircase, the ones who didn’t make your blood run cold, walk towards you slowly, stopping here and there to welcome guests. The tall one catches your eye and you freeze, a deer caught in the headlights. He says something to the other men and they join in looking at you. You swallow hard, your insides doing somersaults at the sight of them. A deer caught in three headlights, it would seem.

You look back at Rebekah, your eyes blown wide from the panic rising in your chest. She isn’t looking at you, her eyes still locked on your best friend. They’re in the middle of a conversation that you haven't been paying attention to. You tune back in just in time to hear Lily ask about the gardens behind the house. You scrunch your nose. What gardens?

“Yes, they’re marvelous,” Rebekah leans towards Lily, a glint in her eyes, “and much less crowded. I could show you around them if you’d like?”

Oh no. No no no. You can see the gears turning in your best friend’s head and the smile that blossoms on her face. You know what’s about to happen and for a moment time stands still. She’s really going to do it, isn’t she?

She looks over at you, tossing you and apologetic squint before meeting Rebekah’s wondering eyes, “I would love that! Lead the way.”

You watch in slow motion as your best friend wanders away, once more looking over her shoulder to mouth a quick I’m sorry. You roll your eyes at her, murmuring a silent you owe me. You close your eyes briefly, tipping the remainder of your champagne into your mouth. You set your glass down as the alcohol swirls in your stomach, adding a kind of weightlessness to your movements. You embrace it, your eyes scanning the ornate walls. What the hell are you going to do now?

A breeze swirls around you, a myriad of spices hitting your nose just as a honeyed voice breaks your daze, “this house was built in the seventeenth century. As a matter of fact, those are the same walls. I do apologize, we’re a little slow when it comes to modernization. I know it can be a lot to take in, if you need another moment to confront them I do understand.”

You turn quickly, your cheeks hot to the touch, and you find yourself inches away from one of the men from the staircase. You bite your cheek, you really need to figure out their names. Up close you see that you were right about him, he does indeed tower over you. You have to bend your neck significantly to make comfortable eye contact. You almost wish you hadn't, though, his dark eyes flooding your chest with butterflies.

“I think I’ve had my fill of the walls but thank you for your consideration,” you pull your wrap tighter around you, clutching it like it's the source of magic that is helping you keep your composure, “and for the history lesson. This house is beautiful.”

He smiles widely, an action so doused in beauty that your head spins, “thank you, it was my father’s. I am Elijah, I don’t believe we’ve met before,” his eyes flit across your face and you can feel the blush begin to creep down your chest, “something which I’m beginning to understand is a terrible misfortune on my part.”

Your heart pounds painfully, your throat dry. This man clearly has a deep grasp on words and knows exactly how to use them. You wonder for a moment to what extent. What would he sound like in a more intimate setting? What words would he use when no one else could hear him?

Your eyes widen, your chest burning at the thought, “I’m y/n. Perhaps you’ve met my mother, Mary-Anne?” you glance around, trying and failing to locate your mother, “She’s around here somewhere, she has a hand in most of the happenings around town so it wouldn’t surprise me if you do know her.”

Elijah’s carmel eyes fill with recognition, “ah, yes, I believe I’ve seen her in town. Never you, though.”

Though he doesn’t ask, the question is clear in his tone.

“I attend university out of town,” you clutch your chest lightly, your fingers curling around the top of your dress, “I’m actually only home for the weekend. My mother was adamant I attend this evening.”

Elijah tilts his head, his eyes flitting quickly to where your fingers slip down your dress. When he looks back at you his eyes are a touch darker than before. Your heart pounds harder as well and you bite your lip slightly, thankful your mother didn’t make you wear lipstick.

“I see. I suppose that means we must give you a night to remember,” his eyes linger on your mouth for a moment and the heat that was swirling in your chest sinks lower.

“Indeed we shall, brother,” a voice from your left pulls your attention.

You’re greeted with the blonde from earlier, the one who looked like he was on another planet. Standing in front of you now he looks much more aware. His eyes, a touch lighter than Elijah’s, skim down your dress, lingering on the high slit on your hip before meeting yours again. You suck in a breath but there is no oxygen to be found.

“I do hope my brother is giving you a proper welcome,” his eyes flash, a cheeky smile tugging at his lips, “I wouldn’t want you leaving here tonight without a proper taste of the Mikaelson charm.”

The way he says the word taste, the way it rolls of his tongue, is positively sinful. It hits you straight in the stomach, spreading like poison through your already airy body. It anchors you to the ground, to him. You glance at Elijah who’s already watching you like a hawk. You feel naked under his gaze but, for some reason, it isn’t a wholly unwelcome feeling. You actually kind of like it.

You smile lightly at him before turning back to his brother, “I think he’s doing a marvelous job. His introduction skills, however, need a little bit of a touch up.” You giggle at the glimpse of his furrowed eyebrows from the corner of your eye, “Too much talking about walls for my liking.”

“Ah, there you two are,” a third voice joins your arsenal of men, standing on your right and piercing you with a voice accented enough to make the gods fall to their knees, “hogging all the pretty girls tonight, are we Klaus?”

You meet the eyes of the third man, the one who made laughter look like a gift, and your heart sings. He grins at you, his eyes, much like his brothers’, a warm brown. Having all three of them this close to you is more intense than you could have imagined. They make the room feel smaller. Intimate. You’re not sure if you want to run away screaming or move closer to them. They’re magnetic, you’re just not sure if being pulled in or pushed away.

He takes your hand, an action that sends your heart into overdrive. His eyes light up, as if he can hear every rapid beat of your pulse. You scold yourself inwardly. Don’t be stupid, y/n, that would be impossible.

“I’m Kol,” he brings your hand to his lips, laying a kiss that renders your knees weak against your knuckles, “it’s a pleasure.”

Your heart thunders at the feeling of his lips against your skin. You feel like a schoolgirl, dizzy from the slightest touch from your playground crush. His lips are warm and soft. Is this how princesses feel? God, you need another drink.

“So,” Klaus steps towards you, his eyes swirling with something barely contained, “what’s this I heard about us giving you a night to remember?”

Your heart stops on the spot and you almost choke, not missing any of the implications behind his tone, “I have to head back to school tomorrow is all,” you breathe, trying to play off some of the heat swirling under the surface of your skin, “please, don’t let me keep you from the rest of your guests. I’m sure there are quite a few more important people than me here tonight.”

Elijah chuckles, the sound piling on top of the many other ones you’re already holding tight to, “the guest list is merely a formality, it would really be my pleasure to show you around.”

He holds his hand out to you, his eyes warm but challenging. You swallow thickly, a string of indecipherable emotions rushing through your chest, circling your lungs. You know it’s just a gesture so why does it feel like something more? Why does the thought of taking his hand feel like stepping into the rest of your life? You take a breath, squaring your shoulders and slipping your hand into his. Bring it on, destiny.

“Wait just a moment brother,” Kol’s fingers slip around your wrist, dragging down your palm until your fingers are locked together, “stealing her away from me so soon? I’m not sure I can let you do that.”

Elijah and Kol stare at each other, something wild brewing in their increasingly dark eyes. You tense, feeling like the rope in a game of tug of war. This doesn’t feel like a game, though, this feels real. You’re not a rope to be fought over, you get to decide what and who you want. Even if that’s all of them.

You squeeze both of their hands, drawing their attention back to you, “I’m sure this house is big enough for us to all comfortably go for a tour.”

Elijah’s eyes widen, dragging over you once more as if seeing you properly for the first time all night. He, like his brothers, lingers on the most delicate parts of you for just a few moments longer than he should. It’s a hole in his armor, a hint past the gentleman front. You want to leap at it and pull until all that’s left is the darkness swirling beneath his surface.

You glance at Kol who meets your eyes head on, a toothy grin already on his face, “marvelous, darling. What a great idea.”

He begins pulling you, and by default Elijah, out of the room but you halt, feeling a tad off. You look behind you at Klaus and sigh, your heart heavy. He stands tall but you catch his eyes and the way they glance at your hands, both of which are still being occupied. He squeezes his hands into fists, shoving them in his pockets. You tilt your head, pouting slightly at him.

“Mr. Mikaelson, are you coming? Time is of the essence,” you nod your head toward the foyer, a coy smile on your lips, “we can’t can’t afford to waste any now.”

His face lights up instantly, walking towards you with flames dancing behind his eyes, “time isn’t real, love. Tonight we have as much of it as we want. As much of it as you want.”

You swallow hard. You want it all.

Kol pulls you towards him, twirling you slowly, making your dress spin around your legs like a ribbon, “where to first, darling? What do you want to see?”

Your hands land on his chest, your cheeks flushed and legs wobbly from the spinning. His other hand goes around your waist, his fingers squeezing gently, his thumb pressing into your side in a way that makes you want to draw his body closer to your own. Your thoughts from before ring through your head. He makes everything sound special. More than that; he makes everything feel special.

“Everything,” you can’t tear your eyes away from his, you don’t want to, “show me everything please.”

He leans down, his forehead inches from your own. You can feel the heat rolling off his body even through his tux. It’s luxurious and mingles with the last dregs of the champagne. When combined with his scent, a nutty blend of cloves and cinnamon, you feel lightheaded.

“Very well, darling,” his eyes flit to your lips, “everything it is.”

An arm snakes around your waist, pulling you away from whatever mischief is brewing beneath Kol’s honey eyes. He tilts his head at the person who grabbed you, his aura turning from playful to down right frosty.

You turn away, breaking the hold of one Tyler Lockwood. Your ex. You squint your eyes. If you were a cat, your hackles would be raised. You wouldn’t claw his eyes out but you would be damn close. Memories from your senior year pour through your mind, twisting your gut painfully. You blink them away. Contrary to Klaus, you don’t have time for this.

“Tyler,” your voice courteous but cold, “what is it?”

He doesn’t catch your tone or, if he does, he doesn’t act like it. He reaches towards you again, no doubt to pull you into a hug, but you back away. Unlike with Kol, you don’t want to touch him. You definitely don't want him touching you. That part of your life is over.

“Y/n,” his voice is light, happy, “I didn’t know you were back! Mom didn’t say anything. How have you been?”

The atmosphere around you thickens. You don’t have to look at the Mikaelsons to see that their shoulders are tense. You feel them take a step closer to you, surrounding you with some much needed warmth.

You clench your jaw, forcing a smile on your face, “yes, well, I didn’t know if I was going to be home this weekend or not. University and all, I’m sure you understand. I’m fine, thank you.”

He nods enthusiastically and you grind your teeth slightly, wishing the floor would just swallow you whole. You dart your eyes to the side, briefly skimming Klaus as he rolls his eyes. Lily would be proud. Kol and Elijah don’t look amused either. You’re not sure how you know but you have to get them away from Tyler as fast as possible. The air drops another few degrees and you shiver.

“Oh well, no harm done!” Tyler steps closer to you, “say, how long are you in town? We should grab a bite at the grill.”

You drop your fake smile, your heart stinging slightly, “sorry, Lily and I are heading back tomorrow morning.”

You feel the boys once again tense, as if they don’t like the information you just shared. You don’t have time to think too hard about it though before Tyler closes even more space between you, grabbing your hand. You flinch back, hitting something hard and warm. The smell of pine trees, a whole forest of them, swirls around you as a hand circles your waist.

Tyler scrunches his brows, his smile slightly faltering, “tonight, then? I would really love a chance to talk. Catch up a little.”

You almost laugh. He just isn’t giving up. He can never make it easy for you, can he? The hand on your waist squeezes and you look over your shoulder, your heart stuttering. Elijah is staring at Tyler, something swirling under his irises. Whatever it is looks untamed. Not in the good way, like how he was looking at you earlier. No, whatever he’s feeling right now is dangerous. Time to go.

“I really can’t, my night has been spoken for. Maybe next time, Tyler,” you turn to Elijah, “Elijah, did you say that you saw my mother looking for me? Would you mind showing me to her?”

Elijah’s eyes sparkle, clearly taking your hint, “indeed, she was right this way.”

He pushes you gently, blocking you from Tyler as he leads you out of the room. You can hear Tyler call out to you but you keep walking. Two other sets of footsteps join you, Kol grabbing your hand and twining your fingers together once more. When you break into the foyer you let the anxiety that had been building drain. That was more exhausting than you would like to admit.

Elijah leads the four of you silently to a room off to the side of the foyer. He pushes the large mahogany door open, ushering you in before shutting it again. The smell of ink and old pages hits your nose and your mouth drops open at the sight. You’re in the biggest library you’ve ever seen. It’s like something out of The Beauty and The Beast, the ceilings high and the walls lined from top to bottom with shelves upon shelves of books. You break away from the boys, your fingers itching to touch what is no doubt an impressive collection of history.

You hear a chuckle behind you but you don’t turn, your fingers skimming an older looking manuscript. Upon closer inspection the handwritten inscription on the cover reads Vonya i mir. Your heart stops and you quickly pull it from the shelf throwing all common courtesy out the window. This can’t be what you think it is. You flip it over in your hands, taking care not to crack the spine too much. Lev Nikolayevich Tolstoy.

You whip your head up, meeting three curious glances with wide eyes, “this is War and Peace! Like, the original manuscript. This is,” your heart pounds, your eyes glued to the yellowed pages in your hands, “this is history. I can’t believe I’m holding this.” Your heart stops, “Oh my, I should not be holding this! This belongs in a museum! What am I even doing, holding it like it’s nothing.”

You set it carefully on a desk behind you, looking apologetically back at them. Your cheeks heat rapidly. It’s very much not like you to go into a stranger’s home and start groping their collectables. You pull your lip between your teeth, lowering your head.

A hand gently grabs your chin, “you didn’t mention you’re a classic literature major, love.”

A small smile toys on Klaus’ lips, his thumb skimming over your jaw. Your heart stutters when he says love, warmth spreading through your chest. You reluctantly move your head from his hand, turning to motion at the manuscript.

“That’s because I’m not. I am a history major, with a focus on Russian culture. I’ve read War and Peace more times than I care to admit,” you smile lightly at the book, thinking about the hours you’ve spent pouring over it, “never in Russian, though.”

You glance back at Klaus, your hand flying once more to your bodice. He studies you carefully, his head tilted to the side.

“And what do you think of it? Do you prefer the war or the peace?” He steps towards you, his words filling the almost nonexistent gap between your body and his.

Your breath catches. He’s close enough to touch and, gods, do you ever want to just reach out and pull him against you. First Elijah, then Kol, now him. You’re really gunning to end that dry spell in one night and three ways aren’t you? Heat creeps up your neck, your ears flaming at the thought.

“You can’t have one without the other,” you glance over his shoulder at Elijah and Kol, both of whom are hanging on to your every word, “war is inevitable but peace,” you look back at Klaus, “peace is fundamental.”

Klaus brushes a strand of hair from your cheekbone, sending shivers racing up your spine, “fundamental to what, love?”

His voice is low, his accent wearing down any reservations that you had at the beginning of the night. Your mother’s voice rings through your ears. Give me some grandbabies. She had clearly been joking but your body clearly has no concept of satire, heat pooling between your legs at the thought of making those babies. You close your eyes, sucking in a deep breath. It does nothing to quench the heat. You’re in the thick of it now and there is no escaping the white hot fire growing inside of you.

You sink your head into his hand, “happiness.”

An arm hooks around your waist, spinning you into a pair of spiced arms. Kol. You crack your eyes open and, sure enough, you’re correct. You shouldn’t have been able to guess that already. You’ve known them for no longer than an hour. This is insane. He lowers his face towards yours and your heart slams against your ribcage, his lips inches from yours. You swallow hard, your hands finding the lapels of his jacket. Instead of kissing you, however, he rubs his nose against yours. Oh. That feels nice.

“What makes you happy, darling?”

You laugh softly, his question catching you off guard, “I’m not sure, to be honest. I haven’t had many opportunities to find out.”

“Well then, If you could do one thing that you think would make you happy what would you do?” Kol lifts a hand to your face, his thumb, like his brother’s, skimming your jaw.

You don’t have to think about it, the answer is on your tongue as soon as he asks the question, “I would leave this town,” you glance down, the truth of your statement making you feel all too guilty, “and I’m not sure that I would ever come back.”

His thumb stills and you hold your breath. Perhaps you should have answered with something a little less full on. You haven’t even told Lily that you want to leave and never look back so you honestly have no idea why you just divulged one of your greatest kept secrets to three men you just met. Maybe because it doesn’t matter. Who are they going to tell, right? But no, that doesn’t feel right. You didn’t just tell them because. You had a reason, you just can’t put a name to it.

“I see,” he draws his thumb over your lips, an action that both surprises you and steals the air from your lungs, “and where would you go?”

Again, your answer is effortless, “everywhere, Kol. I would go everywhere.”

Kol smiles, his eyes lighting up with his grin. Your heart skyrockets, fireworks shooting through your chest from the slightest tilt of his perfectly red lips. They look soft; perfectly kissable. If only you had half of his self-assurance. What you wouldn’t give to run the tips of your fingers over his lips.

His hands draw back down your sides, “what was going on back there? You didn’t seem pleased to be speaking to that,” Kol clicks his tongue distastefully, his accent thickening, “boy. Is he the reason you want to leave?”

You pull back slightly, your hands tightening on his coat. How are you even supposed to answer that? The story is a long one and there are very few enjoyable moments to lighten it. Tyler is not the reason you want to leave but you surely wouldn’t be doing yourself any favors by staying for him either. He’s part of a long past, one you’re not going to tell them about. Not today, anyway.

“It’s a long story,” you gently remove yourself from his hold, “one that I assure you none of you would care to hear. But to answer your question, no. Tyler has nothing to do with me wanting to leave. That’s entirely my own, for better or worse.”

He nods, the understanding clear in his honeyed eyes, “in that case, darling, tell me something else.” He pulls you back to his chest, “Do you like the stars?”

* * * * * * * * *

They left the party. Their party. They just up and left the party that they were hosting. You’re shocked. You were shocked when they dragged you out of the mansion and you’re still shocked now, laying on a blanket a few miles away with your mouth hanging open. You hadn’t thought anything of it when Kol asked you about the stars. You thought he was continuing with his little game of twenty one questions. You didn’t think he was serious! Who the hell just leaves the party they’re hosting?

Elijah shuffles his hands through your hair, pulling pins from it left and right and letting the hardwork your mother put into it fall. Yes, indeed you’re laying across the lap of one of the most eligible bachelors you have ever come in contact with, your face pressed against his warm thigh. Your fingers are wrapped around a bottle of the sweet champagne from earlier.

“You know,” you murmur quietly, your eyes locked on the spray of stars above your head, “when you host a party, it’s usually expected that you attend. Running away is frowned upon.”

He laughs and you can feel it through your entire body. It awakens the butterflies sleeping in your chest, sending them fluttering to your guts where the beating of their tiny wings create an inferno so large it sets you on fire from the inside out. You always wondered what it would feel like to be burned alive. You would have never guessed that it would make your toes curl.

“I thought that was what you wanted,” he drags his fingers through your scalp, the final blow to your once styled hair, “to run away. Here’s a start.”

You rub your cheek against his thigh, your face heating when he tenses at your action, “we’re pretty terrible at this running away thing then,” you hum, pulling yourself to your knees, “we only made it five miles. If I focus I think I can still hear the music. We’re lousy escape artists.”

A breeze blows over your shoulders and you shiver, your thin shawl doing nothing to veil you from the night. You’re just thankful it’s still warm enough to be outside at this time of night. Soon the nights will be getting colder and you won’t be able to do this. It’s one of the many reasons you long to move away. A pair of hands draws over your shoulders and you shiver again, this time from something entirely unrelated to the elements. You smile lightly. Maybe not. The Mikealson’s have more than proven that they are a force of nature.

Klaus’ voice is like ocean waves in your ear, cresting your skin with every low syllable, “well this is just the beginning, love. How far we go is up to you.”

He’s joking, of course. He has to be joking, right? You turn to look at him, seeking out his eyes in the darkness. They burn into yours, no hint of humor anywhere on his face. His gaze pierces through the night and your breath catches, your heart pounding at all the possibilities of what he meant. You bring the bottle to your lips, using the cool liquid to stall while you gather your feelings.

Kol takes your hand, bringing it to his mouth, “So, darling,” he kisses one of your knuckles, his lips like heavenly fire, “how far are we going?” Another knuckle, another kiss, “what is it you want?” He nips lightly at your fingertips and you gasp, the feeling akin to tiny zaps of lightning against your skin, “where do you want to go?”

Your head is spinning, the champagne settling once more over your bones, “I wouldn’t know where to start. There are too many places,” you swallow hard, “too many things.”

Klaus’ fingers toy at the straps of your dress, skimming down your arms with them in tow, “the first place that comes to mind, love. What is it?”

Elijah pulls you towards him, his hand sliding up the slit on your thigh and curling around your hip. His fingers whisper over your bare skin and you tighten your hand on the bottle. Not out of fear, though. No, you use the bottle to keep your hands busy. If your hands were empty you can’t be sure where exactly they would be. On who they would be.

Elijah squeezes your hip and you gasp again, this time louder, “New Orleans,” it’s the first place that comes to your mind, “I want to go to New Orleans.”

Time stills when you finally answer the question. You can hear the wind rustle through the trees and crickets chirping in the distance. Three smells, each of their own element, wrap around you. Klaus’, like water, pouring over your back. Kol’s, like fire, burning up your arm. Elijah’s, like earth, sliding down your hips. You, the air, curl around each of them, pulling them close with your very essence.

And then, with a far off howl, time unfreezes and Klaus rips the straps down your arms, “New Orleans, hmm,” He sweeps your hair back, his nose skimming down the side of your neck, “a woman after my own heart. When shall we go?”

You laugh, the sound breaking through the almost reverent atmosphere, “we can’t just leave, Klaus. You have to plan things. I can’t just drop everything and run to New Orleans.”

Kol pulls your arm through the strap, furthering the tantalizingly slow process of peeling the dress from your body, “but you want to, darling. Am I right?”

His lips find the crook of your elbow and you almost moan, “of course you are but it’s not practical.”

Elijah tugs at your hips again, pulling you onto his lap. Kol and Klaus move with you, clinging to you like shadows. Kol’s hair tickles your arm, the soft strands brushing against you as his blazes a trail of open mouthed kisses up your arm. Klaus nips the back of your neck, his fingers wrapped in your hair and pulling lightly. It should feel wrong, you know it should, but by god how could something this ethereal possibly be wrong. Your body feels like it’s made out air and for the first time you’re free to breeze wherever you choose.

“Neither are we. It’s simple,” Elijah leans down, grabbing your jaw and steering you to meet his eyes, “would you like to go, y/n?”

Your heart stops when it hits you that they’re dead serious, “to New Orleans?”

It’s dark but you can still make out the smile on his face. It says it all, his words only reaffirming what your brain has been screaming at you.

“Not just New Orleans, darling, everywhere,” Elijah murmurs, his lips just in front of yours, his peppermint breath fanning your face delicately, “do you want to go everywhere?”

Just like that, your heart restarts, a rush of adrenaline spreading over your bones. Very rarely in life are you presented with the opportunity to go everywhere. You can’t even fathom what everywhere means. Surely there isn’t time to go everywhere, right? You suck in a breath, one that makes it feel like before this moment you were never truly breathing at all. Who cares if there isn’t enough time, you think to yourself.

You slide your arms around Elijah’s neck fast, nodding your head furiously in lieu of all the words that refuse to form a coherent sentence. You tangle your fingers in his hair, the strands like silk against your skin. You don’t take your time to admire it, though, you just yank his mouth to yours, smashing your lips against his and hoping it says everything that you can’t.

His hands squeeze your hips again and this time you don’t hold back, moaning into his mouth with the force of the tropical storm building under your skin. Your dress feels much too tight all of a sudden, the sequined material biting into your flesh. You shuffle, pulling your other arm from the strap before wrapping it back around Elijah’s shoulder, your fingers digging into his back through his tux jacket. That needs to go too. Now.

“Darling,” Kol’s husky voice whispers against your skin, his face buried in the other side of your neck, “as beautiful as you look right now I’m about half a second away from ripping this dress off your body.”

His words barely register but you catch the important parts, peeling your lips from Elijah’s just far enough to utter, “please don’t rip it, it’s the prettiest thing I own.”

His hands, which are curled around the back of your bodice, stall momentarily, “well that won’t do, now will it?” He muses, his mouth skimming your shoulder with each word, “New Orleans is fine, you won’t need many clothes at all I’m sure. But Paris will demand more of us, darling. We’ll have to fix this.”

Your heart shudders, along with your body. Paris. Surely now he’s joking.

He opts instead to use the zipper rather than tearing it apart, his knuckles softly skimming your bare back as it becomes exposed to him. Inch by inch, cool air wraps around your skin. When he gets to halfway, his mouth begins following his hands. He nips at the bumps of your spine, biting down harder when he gets to the base. Your hands, which are still on Elijah’s shoulder, tighten as flames roll through your body.

Klaus’ hands slip around you, tugging this time at the front of your bodice and pulling it down to reveal your bare chest. He pushes the fabric down your stomach, trailing his fingertips over your ribs as you arch into his chest, a string of incoherent praises falling from your lips. You’re pretty sure you murmur his name somewhere in there though, because his chest rumbles against your back and, before you know it, he pulls you up to your feet.

“Klaus, what are you-” your words are cut short from the night, swallowed instead by lips which taste too much like oranges and rum for you to even consider trying to repeat yourself .

His tongue slips into your mouth, his hands flying into your hair, pushing it away from your face and using it to tilt your head to an angle that makes you see stars. The cold air sweeps over your breasts and you shiver again. It doesn’t last long before a pair of hands are sliding up your exposed sternum and over your chest, cupping your breasts. Kol’s cinnamon musk furls in your lungs as he pulls you into his now bare chest. His skin is hot against yours but you wouldn’t expect anything less from the flame made man.

Klaus detaches from your lips, pressing them once more against your swollen mouth before moving down your neck. He pulls your skin into his mouth, his tongue swirling over the dip in your throat. He courses a river down your front with his mouth, stopping to leave little love bites all over your collarbones and shoulders before heading south. He falls to his knees, shrugging his jacket off before pressing his lips to the valley between your breasts.

You moan, loudly, and thread your fingers through his hair, tugging him harder against you, “god, you’re too good at that,” you roll your head against Kol’s shoulder as Klaus lips flow over your skin, finding your nipple between Kol’s fingers, “we should not be doing this.”

Another pair of hands, the last pair, pulls your face to a pair of lips, the last pair of lips, “Is that what you think, darling? Do you want us to stop?”

Elijah’s lips skim over yours as he speaks, sparks igniting with each touch. You don’t have to think about his question.

“No,” you press your mouth against his assertively, “please don’t stop. Never stop.”

With that Klaus pushes the rest of your dress off your body and, well, the rest of the details of that night remain between you, Kol, Klaus, Elijah, and the stars.

* * * * * * * * *

You lean your head against the cool leather of the seat, your eyes closed as the wind whips your hair behind you. You’ve never ridden in a convertible before but, much to the trend of Mikaelson fashion, it’s luxurious. Elijah slings his arm around your shoulders and you smile, cracking your eye open to glance at him. His hand is on the wheel, his eyes focused on the road ahead of him. He looks peaceful. Happy. He looks over at you, tossing you a wink before turning back to the road. Butterflies flutter through your chest and you welcome them with open arms.

You glance in the rearview mirror, your grin growing when you see two sleeping men. Kol is leaning back, his mouth half open as soft snores fall from his mouth. You giggle quietly. Last night must have exhausted him. He wears his slacks still but now, instead of his jacket, he wears a wine colored hoodie. His hair is mussed and you swallow thickly, thinking back to how it felt between your hands.

You move to Klaus, shaking your head slightly to defuse your slowly heating skin. He, too, no longer wears his jacket but, unlike Kol, he only has a t-shirt on. His arms are folded under his head as he leans against the seat. His body is relaxed, his legs spread in front of him. You yawn looking at him, fighting the urge to crawl over your own seat and into his lap.

“Are you tired, love?” Elijah’s voice mixes with the wind, floating over you like music.

You meet his glance for a moment, smiling sheepishly, “yes but it’s nothing.”

“You should try to sleep,” his voice is slightly concerned, his eyes slipping over your bruised skin before turning back to the highway, “we still have about seven hours before we’re even in Louisiana.”

You stifle another yawn, pulling the sunglasses on your head over your eyes as the sun breaks over the trees blurring past you, “not yet, Eli. I don’t want to miss anything. I’ll sleep when we get there.”

You hear your phone beep from the bag at your feet but you ignore it. That’s another thing that you’ll wait until the Louisiana state line for. Instead you lift the book on your lap, your fingers skimming delicately over the words on the cover. Vonya i mir. Your heart warms as you open it to the first page, settling into the leather seat. Elijah looks over at you and chuckles, the sound even more musical than last night. This is going to be the easiest seven hours of your life.

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fyeah-terranigma · 3 years ago

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Every time I play through this game I notice some new things. I’m currently playing through the Japanese version for the second time, using Martin Denk’s rearrangement of the music on MSU-1.

The towers in the underworld match the continent they are supposed to resurrect. This is kind of obvious, but somehow I never noticed it before. The first tower, for Eurasia, has a European theme with castle walls and armored knights. Second tower, for South America, has Incan statues (in the Japanese script, there’s a ghost which actually calls them “Incan statues” too, how Ark is supposed to know what that means, I don’t know). Third tower, for Africa, is a bit less obvious but has some Egyptian designs on the doors and vaguely tribal looking statues. The fourth tower, for North America, has native American tribal designs and totem poles. The last tower, for Australia, just reuses the African tileset, because they couldn’t be bothered to make a bunch of kangaroo statues, I guess.

It’s fairly obvious that the final resurrection scene for Australia shows Ayers’ Rock/Uluru, but when I paid more attention to the other scenes they are pretty obvious too. The first one is a snowy mountain landscape (probably Himalayas, for Eurasia), second one is a river (Amazon), third one is a desert with a rising moon (Sahara, probably), fourth one is a canyon (Grand Canyon).

In the Japanese script for Crysta there’s a bit more foreshadowing. One of the girls in front of the weavers’ shop says something like “oh, this is like the last time you went away, you didn’t come back that time either” (probably a memory from her previous life in Storkolm, when the original Ark went away to stop the apocalypse and died). There’s a few more small details like that.

Lastly I think the whole underworld scene borrows a lot from Ryunosuke Akutagawa’s short story “The Spider’s Thread”, in which Buddha sends a small shiny thread down into hell to help a thief climb up to heaven. There’s a description of hell as being covered in “mountains of needles” and “rivers of blood” that matches the appearance of the underworld, and the crystal thread itself appears in the game as well. I’m not sure if this is a deliberate literary reference or not, but it certainly might be. As I’ve posted before, there’s a few other references like that in the series, especially to the story of Urashima Taro.

#submission #zisspeth

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writingbeary · 4 years ago

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Kingdom - To The World (pt.2)

Minyoung’s Outfit

Note:

Texts placed inside brackets are Kingdom’s show subtitles

Italicized texts are in English

Texts that are block quoted are interview cuts

────────── ♔ ──────────

Hongjoong went to the studio to gets ideas from Pirates of the Caribbean and writing down notes when a knock was heard. Pausing the movie, he stood up and unlocked the door to check who came.

"Joong-oppa! I brought you snacks and coffee. I figured you'd pull another all-nighter to brainstorm and a little sugar might help generate ideas." Minyoung entered with a paper bag full of snacks and a cup of coffee.

"Why are you here? Shouldn't you be resting by now? I thought you had a schedule tomorrow." Hongjoong frowned knowing how late it is, before taking the snacks thanking the younger girl for them before making himself comfortable on the couch.

"I accidentally left my script at the lockers this morning so I went to get it. I figured I’d drop by the studio and give you something while I'm at it. Don't worry, I'll get some sleep as soon as I get home and the shoot starts at 10 anyway so I'd get plenty of time before I have to leave tomo-.. later" Minyoung smiled plopping down next to Hongjoong

"Just try to get some rest soon. You're busiest among all of us with your drama on top of our promotions and Kingdom." Hongjoong reached out to pat Minyoung's head

"It's nothing I cannot handle! You know me, I can sleep whenever." Minyoung laughed as she look at the screen, recognizing the movie she turned to look at the leader excitedly “You’re watching Pirates? Are we continuing our Introduction Stage concept?”

“I’m not yet sure but our group’s concept is mostly about pirates so we might as well stick with it.” Hongjoong shrugged taking a sip of coffee

“I always trust your decision oppa! Your ideas for songs and concepts have been all brilliant so far that I’ll follow you in whatever you plan on doing.” Minyoung declared making Hongjoong chuckle.

“I appreciate the confidence but I’ll also ask for your inputs once I talk it over with Eden-hyung”

“Mhm. I’m just saying that if you tell me to do perform a stunt, I’ll do it. Or maybe even if you tell me to suddenly sing a ballad version of Fireworks or Pirate King, I’d do it in a heartbeat if you arrange it. You know what I mean?” Minyoung said seriously before laughing with Hongjoong. “I’m pretty sure the other members would tell you that too. That’s how much we trust you as our leader.”

“Got it. Thank you bun.” Hongjoong ruffled her hair smiling. “You should head back and get some rest. I’ll finish up here first before my meeting with Eden-hyung. I’ll see you during our meeting, okay? Did you come with manager-hyung?”

“No. Don’t worry, I’ll just call a cab home. I’ll be fine, I’m already an adult. Geez! If it helps, I’ll send you a message once I’m at the dorms. Fighting oppa!” Minyoung pouted before waving goodbye to Hongjoong “I’ll see you the day after tomorrow!”

[What song did ATEEZ choose for their first round?]

“We just finished our practice and it’s almost 1:00AM” Hongjoong faced the camera as San and Wooyoung fiddle with the vitamins in the box with San being forcefully fed. “It’s good for your body.” Wooyoung chuckled as San looked at him in disbelief.

“We have to win first place after we eat this.” Hongjoong declared laughing

“Okay. First place? We can do it.” San nodded, trying to finish what’s in his mouth despite not liking the taste. “People say what’s good for your body, tastes bad.”

“Do each of these taste different?” Hongjoong asked as he force himself to swallow despite the bitter taste.

“Nope. They all taste the same.” Wooyoung laughed when Hongjoong confessed he might not be able to finish his before going off to get water.

“There is a reason why I made you guys eat this.” Hongjoong said as he took out his tablet showing them the division of the teams made in preparation for Round 1 of Kingdom. “So I need your ideas on what comes to mind when you think about pirates?”

San listed of things that first came into mind like guns, sword, and eye patch. Wooyoung adding in that they need the flags “We already have flags right?”

“But isn’t the ship the most important thing?” San asked as Hongjoong writes down all their ideas on the tablet for the KQ teams to check before their meeting tomorrow.

“Hey. Hey there. Park Seonghwa-ssi. Got any ideas?” Hongjoong called out to the him on the other side of the practice room. The three laughing when they noticed what is happening. Minyoung was clinging unto Seonghwa like a koala while the eldest just lets her do what she wants, patting her back repeatedly as if making her sleep.

Minyoung answered “Treasure! Pirates go sailing for treasure with their treasure map.” her sudden answer making the three in-front of the camera laugh.

“I thought you didn’t want to be in today?” San asked the girl who looked up at him from her position before shaking her head. “I’m comfortable here.”

Seonghwa chuckled before answering Hongjoong’s previous question “Maybe like a compass, a trumpet, or a telescope.”

“You’re saying we should reuse what we used before? I like the idea.”

“Oppa, I don’t think we have the luxury not to use what we have.” Minyoung commented making the members crack up particularly with how she looked when she said it.

“Now that we’re discussing together, we’re getting lots of ideas.” Wooyoung noted as their concept grows clearer as they talk

Hongjoong looked at the growing list of ideas nodding “Yesterday, I watched all of Pirates of the Caribbean in the studio all night.”

“Did you get anything from it?” Wooyoung asked curious what they’ll adopt into their performance.

“I really want fog effects on the stage. You know how the ship appears with the fog? I really want to incorporate that to our performance.” Hongjoong explaining the scene to the members. Everyone agreeing that it’ll look great and cinematic which is perfect for the concept they’re going for.

The next day, the members sat around in their practice room to discuss the details of their performance with everyone. “Since our results for the Introduction Stage was a bit disappointing, we need to get ready for round one.” Hongjoong stated as everyone looked as determined as ever to rank higher this round.

“Since we’re sticking with the concept of being pirates, it’ll be fun if we make it like a movie.” Wooyoung suggested

“Then Hongjoong-hyung will be Joongyi Depp.” Jongho quipped with Hongjoong playing along. “San will be a swordsman. San has to fight.”

“As for Wooyoung..” Hongjoong looked at Wooyoung trying to think of a role when Yunho suddenly said “Chef” making everyone laugh at the unexpected role.

“Oh! That’s true though. We all need to eat and someone has to be the chef.” Minyoung said through her giggles

“So when a war breaks out, he’ll be fighting with frying pans.” Hongjoong chuckled doing fighting motions as if he was holding pans in both his hands while Wooyoung just laughed in disbelief at the idea

“As for Yunho since he’s tall, he’ll be in charge of raising the anchor.” Yunho nodded before firing another remark “Seonghwa-hyung can be the parrot on the Captain’s shoulder!” At this everyone laughed imagining the it.

[Parrot Seonghwa, featuring Hongjoong’s shoulder]

“I’m..I’m not even a human?” Seonghwa asked laughing at the idea

“For Yeosang-hyung since he is smart, he can plan strategies.” Jongho continued on.

“What about me? What am I? Oh! I can be the doctor! I like Chopper!” Minyoung exclaimed making everyone crack up at the random remark.

“Okay that’s enough joking around. We can position ourselves and show something in terms of our gestures.” Hongjoong explained as the others nodded already thinking of what to do for the performance.

“We’re not ordinary pirates. It’s a contest in a way..so in order to look more fancy and grand, I think we need fantasy elements. For example, we can have the Kraken come out.” Yunho suggested

“So based on what we said so far, let’s scatter and talk to the professionals if these can actually come true.” Hongjoong nodded delegating tasks to everyone

[They split into the music team and the choreography team and continue the discussion.]

“The TF team was formed just for Kingdom.” Hongjoong explained to the camera while Minyoung and Jongho nodded. “All the members are scattered right now.”

"The reason we split up is because we cannot waste time. We still have our promotions on top of making preparations for Round 1. So I came here with Minyoung and Jongho to discuss the music" Hongjoong explained to their producer Eden

“Personally, I think of Jongho’s crazy high notes as one of our strengths.” Eden started glancing at Jongho as he explained his idea, then turning to look at Minyoung who looked at him curiously.

"I was thinking along the lines of showcasing our main weapon and the hidden weapon." Hongjoong continued as he tapped both of them on their shoulders

"Right. People already know about Jongho's strength but I think it's about time we unveil ATEEZ's hidden treasure. So I’m wondering if I should add 3 or 4 levels of pitch for the both of you and blast them away with that." Eden suggested with Hongjoong agreeing almost instantly when Eden declared “Nevermind. Let’s just go with four. Since we’re doing it anyway, we should go all out.”

Jongho shifted in his seat knowing there’s no backing out of this plan when Minyoung sat up and said in all seriousness along with a blank face "Ah. It is time for my death. You’re asking me to die” making everyone laugh at her antics.

Minyoung let out a sigh before smiling “Since my leader says so, I have to prepare myself thoroughly and execute it well. I'll do my best, at least enough not to drag Jongho down!"

"You'll do well bun." Hongjoong grinned already planning how to highlight the youngest two’s vocals for the performance.

[What did you mean by hidden treasure?]

"It's actually a bit of a shame for me to say this..but we haven't really had the chance to let Minyoung's vocals shine in our songs. Although, we've made her do the killing part of songs here and there but she is mostly highlighted for the dance. If I were to put it in figures... I guess you could say we were only able to show off 40% of her potential as a vocalist." Hongjoong smiled before continuing "You can definitely look forward to it."

[Are you feeling pressured for Round 1?]

"Of course! This time, I was given a very important role that could really make or break our performance. I'm nervous but I think the excitement overshadows that nervousness. I just want to show off what ATEEZ is capable of and give back to our fans who continues to support us." Minyoung answered with a confident smile

“Let’s not worry about anything else and make a movie out there.” Hongjoong looked at everyone as they gathered in for their group cheer before they head to the stage. All of ATEEZ nodding with a smile before they cheered “9 makes 1 king!”

“Is that a ship?” Chan asked as he moved a bit closer to the monitor as the familiar sound effect was heard.

“Waah. That’s so ATEEZ.” Changbin nodded as the ship interior is shown before the music starts

“I guess their entire stage is set inside the pirate ship.” Q noted to the other members of THE BOYZ.

“Everyone has a story.” Eunkwang leaned in, anticipating the upcoming stage.

“I guess they’re going with the theme of Pirates of the Caribbean for this stage.” Jaeyoon noted finding the feeling of the opening similar to that of the movie.

“I guess he’s the Captain. That so cool! He wore a fur coat!” Bobby noted already absorbed in the performance.

“This is a movie. Totally a movie” Chan commented as the scene played and changed into Hongjoong’s opening rap.

“I asked Minyoung what they planned to do for this stage and all she told me is that I’ll understand when I see it. I can see why she didn’t tell me anything now.” Jisung chuckled as Minyoung’s part played after the opening rap.

“They really prepared a lot for this one. So cool. This arrangement is totally my style.” Eunkwang confessed watching the performance intently.

Everyone was surprised when Wooyoung danced together with the bone-breaking dancers but even more when the Kraken came into the screen. Out of everyone, Bobby was the most excited at seeing the creature. “It’s the Kraken!”

“That’s crazy. How did they come up with this idea?” Jisung exclaimed, letting out an astonished laugh

When Seonghwa sang the chorus, everyone’s mouth was hang wide open and cries of joy were heard from the groups as he fired at the creature killing it. The excitement from that scene has not yet faded when the camera changed and zoomed in on both Jongho and Minyoung on the platform as they sang the bridge as if answering one another. They were also unprepared for when both the youngest members of ATEEZ suddenly pulled off a 4-level high note, leaving most of them speechless.

Minhyuk gasped at how high the notes were while Changsub and Eunkwang clapped in admiration, knowing how hard it is to hit those notes.

“Just how high are they planning to go?” Sangyeon laughed in awe at how the two were able to hit the notes clearly.

Inseong chuckled in disbelief before saying “I can’t believe they’re going all out right now.”

Jisung not expecting the high notes let out a laugh, amazed at both of his friends as he clapped for them. “Wow.. Hold on.” Changbin managed to say shocked at what just happened

Chani laughed astonished particularly towards his friend, exclaiming “Park Minyoung! You’re crazy. From the highnote, now you do this?” when Minyoung took center position during dance booster of the last chorus before passing the focus to Seonghwa for the ending.

After the performance, the groups couldn’t help but compliment the group as they showed off and proven that the title monster performers wasn’t a title without reason.

“They’re awesome” Junhoe stated while Bobby who was still excited with the Kraken and the high note agreed nodding endlessly.

(Comments after the performance)

SF9 Inseong: I was really impressed with Jongho-ssi and Minyoungie. They both hit four high notes. SF9 Jaeyoon: Right. I knew Minyoung-ssi could sing well but I never knew she could do it this well. SF9 Chani: *proud smile* Minyoung pulled a huge surprise attack.

THE BOYZ Juhaknyeon: I was really surprised when they sang the high notes. Really.

THE BOYZ Hyunjae: Me too. I thought it was over, but they hit another high pitch. It’s a lot more difficult since there are two of them who did it. *laughs*

iKON Jinhwan: When their performance airs on TV, this will be a legendary performance for them.

Stray Kids Felix: The moment the Kraken came out.. *sound of awe* Stray Kids Changbin: I’ll go see it in person. *stands up* Stray Kids Chan: Yah.

THE BOYZ Sunwoo: They chose the performance they could do well and show who they are the best and executed to perfection.

BTOB Eunkwang: There were no flaws. Even as another singer, I thought it was really cool.

Stray Kids I.N: When they got off the pirate ship, everyone danced as a group. That was very impressive for me. Stray Kids Han: I loved the Kraken. How did they come up with the idea? Stray Kids Chan: Wahh. Kraken. Really. That’s all I can think about. Stray Kids Han: No wonder Minyoung wouldn’t give me any hints on what they prepared. Seriously.

iKON Bobby: I was so nervous when Kraken showed up. They defeated it. He shot his gun at the end. iKON Jinhwan: You were so happy iKON Bobby: I was so overwhelmed with the grandeur. It was incredible.

ATEEZ finally done with the performance thanked everyone as they made their way backstage. Minyoung hugging Jongho with tears in her eyes saying “We did it. We really did it.”

“You did well.” Jongho returned the hug, patting the girl’s back lightly. He knows how hard Minyoung had to prepare and how high the pressure she felt for this performance. He was really proud of her and glad that they can finally show off her talents through the show.

“This is why people love Kingdom.” Hongjoong grinned at the camera when it focused on him, Seonghwa adding in “It feels liberating.”

“We all had this feeling. After the performance, we had such a good feeling. I was satisfied with that.” Hongjoong explained when asked what he thought of their performance

As soon as the group is back in their waiting room, everyone commented how it felt liberating after they finished the performance.

“When we finished our performance, I felt so proud of ourselves.” Hongjoong confessed as the other members let out a laugh

“Didn’t you choke up?” Seonghwa asked chuckling

“Do you know who cried after the performance?” Wooyoung grinned teasingly and moving his hands to point towards Minyoung who was still a bit teary-eyed.

“Yah. Let her be. She did extremely well.” Yeosang reached out towards his friend patting his arm

“Who says she didn’t? We all did well but you have to admit, Minyoung had a higher hurdle than any of us.” Wooyoung stated defending himself. “I’m proud of everyone but right now, I’m most proud of Minyoung.”

(Phonecall with Chani and Minyoung)

Minyoung: Hello? Chani: Youngie-ah! What’re you doing? Minyoung: I’m at the broadcast station for our album promotions. Why? Chani: Is ATEEZ preparing well for round one? Minyoung: Are you trying to spy on us right now? *laughs* We’re still not done since we have to promote our album well too. Then what about SF9, are you preparing well? Chani: *laughs* yah. We haven’t even started anything. Minyoung: Ahh. That means you’re almost half way done right? What song are you going to do? <Fanfare>? <RPM>? <Now or Never>? Chani: *surprised* Why are you asking- Minyoung: Oh! So It’s one of the songs I said *laughs* so which one is it? Chani: Why did I even bother to call you? *sighs, chuckling* Minyoung: *laughs* Alright alright. Let’s just see each other’s stages during the filming.

[As expected, these two friends know each other so well]

(During SF9′s Stage)

“I talked to Chani last week and he said they didn’t get to practice as much but every time he says that, it always ends up something incredible. I don’t really believe him anymore.” Minyoung told her members as she focused on the monitor.

“That’s also what you told Jisung when he asked, no?” Jongho laughed as the girl shrugged

“It must be <Now or Never> given how they’re describing the song” San concluded

As SF9 started their stage, everyone wondered about what concept they’re going to show for this performance.

“Omo. That was a mirror? Are they going for Snow White?” Minyoung asked outloud making Hongjoong look at her laughing “Why Snow White?”

“I don’t know. They’re wearing red outfits and Snow White has the Witch with the mirror. Don't mind me." Minyoung shook her head realizing how far fetched the theory sounded.

“Oh, I got goosebumps!” Jongho confessed as the song’s overall atmosphere was changed into a darker tone than usual, highlighting SF9’s vocal and acting abilities.

"What is Chanhee doing? Did he suck blood or something? Omo. Are they vampires? Is that what's happening?" Minyoung fired continuously, Wooyoung who was getting distracted by her comments reached out to place a hand over her mouth. "Shh. Let me watch in peace."

"I know I shouldn't say this when their concept is far from it but Dawon-sunbaenim looks adorable." Minyoung commented, trying to stifle her giggle, as Dawon's part came with a mirror on his back. "..it's like he is pouting"

San still focused on the performance pointed to the monitors and said "I have no idea what is happening but this performance screams SF9. It shows off their mature characteristics. It’s all sexy."

“Oh he took his heart.” Hongjoong noted as the music cut off for a second transitioning to a group dance sequence.

“Omo. SF9-sunbaenim. This is really sexy.” Minyoung mumbled with Wooyoung glancing at her, as the opportunity to tease her presented itself again, saying “Are you falling in-love right now?” Minyoung became flustered shaking her head, lightly hitting his arm. “I didn’t mean it like that!”

“SF9-sunbaenim really showed off their acting skills. Their expressions were really on point.” Minyoung exclaimed clapping when the performance ended.

“I really got goosebumps throughout their stage. Wow.” Jongho agreed still in awe of how the performance went.

“But really..they know what the fans want. The fans love concepts that exude these charms and well, they have every capability and the confidence to pull off this concept. They’re all so cool.” Minyoung explained her thoughts from before as the other members nodded in agreement that SF9 does fit well with the concept.

“So are mature concepts are your style? Sexy?” Wooyoung continued to tease her while Minyoung blushed but kept quiet knowing that answering him would only fuel his teasing.

While this was happening the members of the Minyoung protection squad, as fans would call Hongjoong, Seonghwa, and Jongho, looked at each other with a silent agreement: make sure Minyoung doesn’t get too close with the rest of SF9 if they’re her type. If she’s going to be dating anyone then they have to get through at least the three of them before anything else.

All of the participants gathered inside the studio while waiting for the production staff to tally the results of Round 1 for both the expert’s evaluation and group evaluation. ATEEZ were seated beside iKON, a wish granted for the group as they all wanted to interact and get closer to their senior.

“Later..What time are you going?” Chanwoo asked Seonghwa who was seating beside him.

“We’re probably going to go straight right after this finishes.” Seonghwa answered truthfully, Minyoung who also heard the question looked over, piping in “We still have a schedule around 8 today.”

Jinhwan nodded before asking “How many weeks has it been since the start of your comeback promotions?” at this the whole of ATEEZ had their full focus on iKON, a bit giddy for being able to talk with their idols.

Wooyoung immediately answering “The first week has ended so it’s the second week now.” to which Hongjoong adding in “We came back around the same time as sunbaenims.

“Ah but the choreography for Fireworks is really intense, how did you have the time and energy to do two performances together?” Jinhwan praised them, in awe and curious how they could manage to prepare for the round 1 stage while having to promote with such an intense song. ATEEZ laughed understanding what he meant but offering no comment.

“Were you the one who did the high notes?” Bobby asked Jongho beside him the latter nodding “Ah yes. I did it with Minyoung” motioning to the girl who bowed to the rapper. Bobby was smiling looking over the two vocalists when Jinhwan explained “Bobby said he became a fan.”

“Ah. Thank you.” Minyoung surprised to hear the revelation bowed in thanks.

“Yeah really. Those high notes were just out of this world, more than the Kraken. For real..you’ll be first this time.” Bobby smiled as ATEEZ thanked them for the compliment.

Yunho taking in the opportunity to talk with iKON confessed that during their trainee period, everyone watched iKON’s performances and practiced their stages a lot. “That’s true. When we were trainees, during our monthly evaluations, everyone here did at least one iKON song for the test. We all did <Apology> and <Rhythm Ta> together.”

“That must have been tough.” Junhoe chuckled, thanking ATEEZ for liking their songs.

“How long has it been since your debut?” Bobby asked curiously

“We debuted in 2018.” Wooyoung answered

“Ah it has been a while. But it’s tough, isn’t it?” Bobby recalled his own experiences when they first debuted while ATEEZ just laughs awkwardly as they cannot deny that it does get tough. “When do you rest then?”

“When the promotion ends..” Jongho started trailing off, Hongjoong finishing the sentence for the maknae “When promotion ends, we get our breaks then.”

The continued to talk regarding promotions when Bobby suddenly asked them where their dorms are with Wooyoung readily describing the place making Bobby in particular excited as it is also near his residence. San invited him to visit the company sometime while Bobby agreed that he’ll drop by when he can.

“If there’s some time, it would be great to get a meal together.” DK suggested as all of ATEEZ agreed, excited at the idea.

“I’ll get your number sunbaenim.” Wooyoung shyly said making the rest of iKON chuckle and agree saying they should get each other’s contact number before they leave the studio today.

“I already have Minyoung’s number though?” Chanwoo confessed making his group members look at him in disbelief. “Yah. You didn’t tell us that though?” while ATEEZ looked at Minyoung who suddenly felt shy with all the attention she’s getting from both her members and iKON.

“We met through SF9′s Chani.” Chanwoo added in as the girl nodded.

“Ah but..we haven’t really talked after exchanging numbers.” Minyoung confessed shyly, wanting to hide herself or use Seonghwa as a shield. This information made both groups laugh, iKON acknowledging Chanwoo as a true insider for having celebrity friends outside of their company.

“That’s true. Sorry, let’s grab a meal together with Chani.” Chanwoo chuckled an apology.

“Now we’re going to announce the results of Round 1 that you’re so curious about.” the MCs started while all the groups waited with bated breath. The atmosphere in the studio suddenly becoming tense as no one knew what criteria the experts used for their scores or who the experts were. They also didn’t know how the other groups voted. There were a lot of unknown factor in the show made it harder for the groups to anticipate the ranking for the round, particularly so since this is only 50% of their overall score.

Minyoung suddenly feeling nervous, held unto Wooyoung’s and Seonghwa’s hands, trying to get some comfort. She felt as if she’ll faint the longer it takes to announce the results.

“Today’s first-place team will be given the authority to select the bracket for round two.” MC Changmin announced as all the groups gasp and commented that points aside, it’s a huge advantage to be able to do decide the bracket.

“I’m curious who the experts are.” Seonghwa wondered

As the MCs announced that all of the expert evaluation scores will be announce all at the same time, Minyoung closed her eyes tight mumbling “I cannot take this. Can you just tell me what the results are? I cannot watch. I’m too scared.”

“I’ll look for you.” Wooyoung patted the girls’ hand, giving it a light squeeze.

[What’s the result of the expert evaluation scores?]

As all of the members gasp, Minyoung who had her eyes closed asked scared “What is it?”

“Minyoung-ah, you can look.” Wooyoung let out a relieved sigh as ATEEZ placed first for the expert’s evaluation scores. At this, Minyoung peeked and immediately hugged the male in her joy. “I’m..reading it correctly right? We’re currently in first?” she asked as if in disbelief

“I’m actually relieved and glad that the things we wanted to do were actually conveyed properly.” Yunho confessed during the group interview.

As the results for the group evaluation were announced, Minyoung immediately hid behind Wooyoung scared that the rankings would change drastically.

[What will be the results of the teams’ evaluation?]

“ATEEZ you’re currently in first place. You wouldn’t want to step down. Do you think the others rooted for you?” the MC asked the group everyone nudged Jongho to answer for the team

“The eight of us finished our performance today without any regrets. Well...I’m not sure.” Jongho let out a laugh nervously as there really was no way to know how the other teams voted. Kingdom is still, after all, a competition. Everyone could have voted strategically to secure the points.

The MCs continued on with the show and as soon as the results were all announced, ATEEZ finally felt like they were able to breathe. They kept the number 1 spot even as the group evaluations were added in. Minyoung bit her lip trying not to cry as she felt the pressure lift off a bit. Seonghwa noticing it, rubbed circles on her back smiling at her. Minyoung turned to him and placed her head against his arm as she took deep breathes to calm herself down.

When asked how she felt during their interview “It just..It feels like our efforts were seen not only by the experts but also by the senior groups. We felt disappointed during the Introduction Stages so we steeled ourselves to do better and rise up the ranks but to actually be rewarded with the top spot just made me feel overwhelmed. It’s like hearing everyone say ‘good job today’ after a long day of hard work.”

“The past two weeks were really hard on us. All of the members has many moments when we were exhausted both physically and emotionally. One thing I can say confidently now that the results came out is that it was really hard, but we did our best. I think I can say that now.” Hongjoong concluded nodding

“We did well. ATEEZ is so lovely.” San adding in making the rest of the members smile, even Minyoung who was trying to fan her eyes with Jongho patting her back in comfort.

“Since we won first place, let’s take this energy and work hard to prepare for a great and fun performance.” Hongjoong declared before they did their team cheer “9 makes 1 team. Let’s do it!”

────────── ♔ ──────────

ATEEZ Minyoung Masterlist

Disclaimer: This is just a work of fiction. Any portrayal of real people is a combination based on what we could see on cameras and imagination of the author. This is purely fan fiction written for entertainment. Thank you for understanding.

━━━━━━ʕ ˵• ₒ •˵ ʔ━━━━━━

Writing Beary Corner

I seriously wanted to cry when I had to rewrite this because the site ate my drafted one. I don’t think I was able to capture the initial feeling anymore and it definitely got a whole lot shorter after rewriting but I tried to at least..make it a bit decent. Again, I have already drafted posts up to the Reborn stage but Kingdom “episodes” would be slowly posted to avoid spoilers for the people who haven’t watched it yet.

Thank you and I hope you enjoy reading this!

-Mimi

#kpop scenarios #kpop reactions #ateez scenarios #ateez 9th member #ateez au #ateez oc #kpop oc #kpop au #ateez minyoung #park minyoung #minyoung masterlist #writing beary

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this-tumbleweed-surecan-fish · 3 years ago

Text

Poison the Well

Word count: 2269

Warnings: Death, dead bodies, violent deaths mentioned, dead child, just lots of death, disrespectful handling of dead bodies.

A bit shorter than usual but I've had a bunch of exams and haven't gotten around to writing as much as I wanted to. I did manage to finish my Evo binge tho.

Ao3

First, Previous Chapter

Chapter Seven; In which Mother sure has a Garden

After one more sweep of the whole shop Grian stepped out again.

Mumbo jumped slightly and shot him an expectant look.

"I don't suppose you recognize this?" Grian tossed the medallion at him.

Mumbo barely managed to catch it. He studied it for a long time, turning it over and over before shrugging.

"I don't know many. I can tell you who it's not."

Grian locked the door again and took it back.

"I found it under a shelf. Could be either the victim's or the murderer's. There was a struggle, so one of them probably grabbed it and tore it off. I'm guessing they wore it as a necklace or similar," he let it slip into his shirt pocket.

Mumbo nodded.

"So," Grian clapped, "Mother's Garden. How do we get there?"

"It's lower," Mumbo gestured vaguely behind himself and began leading the way to the lift again. "Don't like it."

"Why not?" Grian fell into step next to him.

Mumbo had to clear his throat before he managed to speak again.

"Too many dead bodies. It's a graveyard, but hardly any graves."

"Where do the dead bodies go then?" Grian raised an eyebrow.

"You met Cleo?"

"Yeah?"

"Saw her stitches?" Mumbo gestured at his face.

"I did."

"Undead can rot. They need replacements."

Grian stopped short.

"Are... Are you saying they cut up the corpses to reuse them?"

Mumbo nodded slowly. "Not a great place."

He continued on and Grian hurried after him.

A slight drizzle began and he shivered. The sky was almost black and Grian had no ides whether it was the smoke, the clouds or if the sun simply hadn't risen yet. He hoped it wouldn't storm.

They took a lift further down.

Mumbo coughed into his elbow and Grian studied him again, to make sure he looked okay.

They got out of the lift after a few stops - Grian hadn't been paying attention - and took a cable railway across town. The car swung slightly and Grian felt ill. He was used to flying and he was far from scared of heights but something about standing in a small box suspended over the smoke without being able to use his wings made his stomach churn.

The car moved past the Heart and Grian caught a closer look at it. The outside was mostly made up of metal plates but from between them, he could make out parts of massive machinery and a red glow. He didn't look for too long - there was a persistent feeling that something was looking back.

The car stopped at a station on the other side and they got out again.

Mumbo took the lead again. They headed down a street lit with small lanterns hanging over the house entrances.

"They're supposed to protect," Mumbo whispered, nodding at the lights. "From the ghosts."

"Are there ghosts?" Grian asked.

"Who knows."

"Just like with the afterlife?" Grian asked.

Mumbo nodded. "Like that."

Grian nodded to himself, inspecting the lights as they walked past.

He supposed he shouldn't be surprised.

Mumbo tapped his shoulder to get his attention and pointed forward.

At the end of the road, with a bit of space, that wasn't given to any other buildings, on either side, stood a large stone gateway. An old iron gate with spikes at the top hung from the old hinges. Moss and ivy had spread over the high stone walls but kept away from the gate itself, or perhaps they were kept away. Over the gate hung rusty iron letters, in a script so old Grian couldn't really decipher it. He was pretty sure it didn't say Mother's Garden, though.

"Is this it?" he asked.

Mumbo nodded.

From the entrance a slim path made its way to a fountain and split into many, leading all over the cemetery. The fountain itself was small and the water standing in the basin was green with algae. In the middle stood the statue of an angel, holding a sword in front of themselves. It held it's head lowered and its wings tense, as if ready to take of at a moment's notice.

Angel's were weird in Grian's opinion. The way they'd come to look like less bird-like Avians instead of the abominations of eyes and rings and too many limbs that were still hailed among some Avian families and had once been common ground, rubbed him the wrong way. He'd heard stories of humans mistaking Avians for angles and worshipping them instead. Few of those stories ended nicely.

The sword this one was holding shimmered, despite the stains the water had left behind.

"Is that 'Mother'?" he asked.

Mumbo shook his head no.

He took a path towards the wall, where multiple doors had been built into the stone.

They passed a few gravestones, most unreadable from wind and weather, and a few open graves. One seemed to only just have been dug.

Grian hurried to catch up to Mumbo again.

They reached one of the holes soon enough and Mumbo held the door open for Grian.

"We already have a burial today," a gravelly voice spoke up. A half-rotten figure sat at a table, not even looking up. There was a hole in their chest, showing their lungs.

Grian felt ill.

He did his best to focus on their face.

"We're actually here to look for a body," he said.

"It's your lucky day, we have many," they still didn't look up.

"Uhm, a specific body."

They sighed - their lungs swelled up and deflated visibly - and finally looked up.

"Name?" they asked.

"We don't know," Mumbo whispered.

"You don't- What do they look like?" the zombie asked.

"We don't know that either," Grian admitted.

The half of their face that wasn't rotten frowned deeply.

"You don't know that either," they repeated deadpan. "I don't know how to tell you this but I need some identifying feature to find the body you want."

"Uhm, they were killed just two days ago and I know what their shoes look like?" Grian offered.

They sighed again.

"Fine, go and see if you can find the shoes you're looking for," the gestured at another door.

"Thanks," Grian smiled awkwardly and speed-walked past them.

The door was heavy and he had to pull it open with his whole body. The hallway behind was sparsely lit by oil lanterns, hanging from the ceiling every few metres. It had been mined out of the wall and even the floor was rough and jagged in all the places where it hadn't been worn down by countless feet.

Grian shivered.

In the walls of the hallway were many nooks, hidden behind metal chutes. On the handles hung small pieces of paper

"Is this where they keep the bodies?" Grian asked under his breath. It didn't feel appropriate to talk any louder.

Mumbo shrugged.

"I'd guess," he answered.

Hesitantly Grian took one of the papers and turned it to read.

Name: FNU LNU Death date: 13 th February Cause of Death: Headshot Species: Human Note: Red Death in left arm - Unusable Smoke poisoning in lungs - Unusable

"What's the date?" Grian asked over his shoulder.

"It uhm... The twentieth, I think?"

Grian dropped the slip again.

"So our victim died on the 18th," he muttered. "You check those, I take this side."

Mumbo nodded and headed to the other side of the hallway.

Grian picked another note.

Name: Jonathon Cobblepot Death date: 11 th February Cause of Death: Arsenic poisoning Species: Dwarf Note: Amputated left arm - Unusable Organ failure - Unusable

It was pretty obvious what the priorities of the people writing them were.

It didn't take long for Grian to find someone who'd died on the 18th - Maria Stevenson, beaten to death, Red Death in both knees - but his hand froze on the handle.

He didn't want to look at her.

It felt wrong to uncover a dead body that had been lying here for days. Especially one that had died so violently.

He swallowed down the fear and pulled.

Maria's feet were bare and she wore a dirty nightgown.

She couldn't be much older than 12.

Grian didn't dare to look at her face. He felt sick.

Slowly he closed the chute.

There were so many more. So many he'd have to go through.

He had yet to find a single person who'd died peacefully.

Mumbo suddenly poked his shoulder, startling him.

Grian turned to him and Mumbo gestured over his shoulder.

"18th," he said.

Grian followed him to another chute and Mumbo opened it.

The person inside had deep purple scales. Their shoes were new and leather.

"Not them," Grian shook his head.

Mumbo closed it again.

Name: Jonas-Maria Levis Death date: 15 th February Cause of Death: Red Death in lower torso Species: Avian Note: Right wing broken in crash - Unusable

Name: Laighnech Baker Death date: 18 th February Cause of Death: 27 stab wounds in the chest Species: Werewolf Note: Arthirites in both hands - Unusable

Old beat-up boots, coated in dirt and Redstone.

Name: FNU Kramer Death date: 12 th February Cause of Death: Hypothermia Species: Human Note: Scoliosis - Unusable

Every so often Mumbo would pull him over to show him a body.

Abigail Fletcher had died on the right day, but had been rolled over by a train; Valentine J. Abbot had been struck by lightning and Mishal Underwood had died of caries. Grian was glad for everybody he didn't have to disturb.

However there were plenty where the information on the cards left them with few other options.

Grian had no idea how long they spent slowly making their way through the corridor. There were no clocks anywhere and no windows, though Mountark barely got brighter until noon.

Mumbo pulled him to another chute and Grian pulled it open as little as possible.

Slightly worn boots, with reinforced toes and heels, covered in blood.

Grian hesitated.

"I think that's them," he said and grabbed the paper.

Name: Avery Morrison Death date: 18 th February Cause of Death: Five stab wounds, strangulated Species: Goat hybrid Note: Broken nose and cheekbone - Unusable Swamp infection on both hands - Unusable

"Avery Morrison," Grian read aloud and dropped the paper again.

Mumbo pulled the chute open all the way.

Avery was still covered in dried blood.

Grian recognised the pocket watch hanging from Avery's belt. Hesitantly he picked it up and opened it.

There was a symbol engraved in the lid.

Following an impulse, Grian unhooked it and let it slip in his pocket.

He could find out what it meant some other time.

"The medallion was on a leather string. If they wore it as a necklace and it was ripped off, there should be a bruise or burn on their neck, right?" he muttered.

Avery had thick, kinky hair and he had to push it out of the way to get a look at their neck.

"No, I don't think it's theirs. Their neck looks fine."

Mumbo leaned over his shoulder and nodded in agreement.

"So we know that the killer is part of a community. That's... something."

Though it really didn't feel like the last however long had been worth that.

He wasn't sure what else they'd gained from this.

"Rest in peace, Avery Morrison," Grian said and closed the chute again.

Mumbo huffed.

"What's so funny?" Grian frowned.

"It's a weird expression," Mumbo simply answered.

Grian shrugged.

"If you say so."

The Undead that had been at the counter earlier wasn't there anymore.

The fog had grown thicker and on the way back to the gate Grian felt even more uneasy than on the way in. He hoped he'd never have to return.

"Can these community symbols be on things other than medallions?" he asked when they were finally on the street again, feeling the pocket watch in his pocket.

"Sure," Mumbo shrugged. "Medallions are just common."

Grian hummed in acknowledgement.

"Let's go get something to eat, we must've been in there for hours," he changed the topic. He'd need time to collect his thoughts. He always did better if he had everything important laid out, so he might do that once they got back home. Write everything he knew down and see what blanks he could fill from there.

They ended up in a tiny shop that sold small meals, mostly for workers who didn't have much time for lunch before they had to get back, and sat down on a bench outside with their food.

"Are you planning to move soon?" Mumbo broke the silence after a while. He had to clear his throat afterwards, but Grian was pretty sure that his voice was less rough than it had been yesterday evening.

"I'm not sure," he replied. "I'd have to find a place first. Haven't really looked into it yet."

He knew where this was going. He'd waited for this conversation after all.

"What if- I mean, would you like to maybe look for something together?" Mumbo coughed into his elbow slightly.

"I'd love to," Grian said earnestly. "You've been looking for something, haven't you? Do you have something in mind?"

Mumbo shrugged. "Kinda. Haven't spoken to the landlord yet."

"We can do that together then," Grian said. He remembered Iskall saying that Mumbo should let him do the talking and while he wasn't sure why, he didn't really mind it either. "Maybe tomorrow. I think it's a bit late now."

Mumbo nodded.

"We should really find a clock," Grian decided.

Mumbo stayed silent for a moment.

"Didn't you steal a watch?"

#hermitcraft #hermitcraft au #hermitcraft fanfic #grian #mumbo jumbo #tw gore #tw death #mountark mcyt au #this fish has a type writer

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amostheartman · 5 years ago

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The Hero’s Bond final update

Hey everyone, it’s me Amos.

Okay, So…. Here's the deal…

I’ve got some bad news, and It's about the comic.

I'm pretty sure you can guess what's coming next, but don’t worry there is some good in here just hear me out.

It's been something I have struggled with for a while now and I had to finally sit myself down to think things over and I’ve come to this decision.

I’m no longer working on the hero’s bond comic.

It's been a long time coming and I thought I could beat the odds and power through. But I simply can’t work on it enough to finish it within a reasonable amount of time anymore. And even if I took my time to finish it, it still would take way too long.

When I first started it, it was just line art with gradient fill coloring and I had all kinds of time and ideas. It was a lot of fun and it felt like I was really going somewhere with it.

But with each passing year and all the things that have utterly derailed the comics progress it became clear that fully finishing this was never in the cards.

I did a lot of bending for this comic. Like way more than I reasonably should have.

I’ve stayed up whole nights working on it, worked entire weekends on it, fought past the crashes that destroyed 2 hours of work every other day, heck I even called in sick to work a few times to work on it, all of that so I could painstakingly upload it to tumblers dash on my slow shotty wi-fi.

All of it was because I wanted to.

And for a while it felt like it was worth it.

To get my ideas out into the world and show support for a series I love with people who feel the same. Seeing you guys love the comic was an amazing feeling and all I wanted to do was work harder on the next one and 1-up myself.

And if things had worked out like I planned, it totally would have been one massively fun project. But like most things, life gets in the way.

In the span of this comic I’ve been through 4 different jobs and some very soso online work.

As fun as it was to do the comic it wasn’t putting gas in my car or food on the table and it was drawing a lot of my focus. Even with my efforts to justify the time spent on working on it nothing was really coming of it.

I couldn’t work on the comic at work and I couldn't stay up all night anymore so my options were limited.

But I still wanted to do it, so I forced myself to do it every chance I got.

I started a patron, I gave myself hard deadlines, I reused assets, cut corners, made myself give you guys updates to keep me striving for something to show for it.

But I had to face facts, I simply didn’t have the time and couldn’t make the time for it anymore.

And so it eventually devolved into this.

I never wanted it to end like this, and it stinks that I have to tell you this way. But I honestly don’t know how else to put it.

I’m sorry I let you down.

So where does that leave us?

Well for one I’m surely not leaving you on a mid story cliffhanger. I’ve read enough online comics to know how much it sucks to have a story left unfinished with complete radio silence from the creator.

I plan on making a video or posting rough panels here detailing how the story would have played out and ultimately ended.

I would have posted the entire script, but that is unfortunately forever locked away in my flash drive that not even the professionals can crack and retyping it from memory would take forever.

You deserve better and I wish I was able to give it to you. You guys have been nothing but great to me and for that I simply can’t express my gratitude enough.

Thank you for everything.

Also, to the people who signed up and supported my Patrion you guys went above and beyond for me and that's something I simply can’t forget or thank you enough for. I honestly didn’t think anyone would sign up but you guys did and to this day I’m still floored by it.

But seeing how I've given you next to nothing back it doesn't feel right to just let things sit.

I’m still not entirely sure how Patron operates but I want to refund you your money. I feel awful for not delivering anything worthy of value and it doesn't feel right to simply take it.

So please message me so we can set something up.

It was fun while it lasted guys.

I’ll still be around, and I’ll still do little mini comics and art stuff. But this project of mine is pretty much over.

Just know that it was you guys that kept me going this whole time.

Thank you.

Thank you for all the messages

Thank you for all the encouragement

Thank you for all of the support

Thank you for all of your kind words

Thank you for being you.

I got this comic further than I had ever hoped it would actually go because of you.

Thank you for everything :)

- Amos

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queenofcarrots · 5 years ago

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Manuscripts in Star Wars (And Star Wars Fan Fiction)

This is the text of a talk originally presented at the conference Fan Cultures and the Premodern World at Oxford University in July, 2019, organized by Dr. Juliana Dresvina of the Oxford History Faculty. This presentation represents a collaboration between myself and Dr Brandon Hawke of Rhode Island College, and is essentially a summation of our video project Sacred Texts: Codices Far, Far Away, (Introduction to the series at that link) and examples below will include links to brief conversations where Brandon and I talk about the examples in a bit more detail. This has also been posted on my academic blog but I’m cross-posting here to reach a different audience.

Hi, My name is Dot Porter, and I want to start by thanking Juliana for the wonderful organization of this conference, and also for including me in the program. This is very different from the kind of conference I normally present at – in my day job I’m a special collections curator at the University of Pennsylvania, specializing in medieval manuscripts, their digitization, and their post-digital lives. Basically I get paid to digitize medieval manuscripts and then play with them. (I’d be remiss if I didn’t mention the Bibliotheca Philadelphiensis project, funded by the Council on Library and Information Resources, which is just finished, and through which we digitized and made available for reuse more than 465 codices from institutions in Philadelphia)

Aside from my family there are two things in life I adore: medieval manuscripts, and Star Wars. I must admit that while I am a scholar of manuscripts, of a sort, I am also a fan. I love manuscripts – the way they look, feel, smell; I love to hold a manuscript and think about all the other people who have touched it, and consider the signs of use that imply their long histories. This interest has led to current work on conceiving of medieval manuscripts as transformative works themselves, first presented at Leeds 2018 and work I’m continuing looking specifically as Books of Hours. (My original draft of this presentation featured some of this work, but it threatened to take over, so I axed it all; a blog post of my Leeds paper is on my blog, if you’re curious).

While I am arguably a manuscript scholar, I am most definitely not a scholar of fandom studies – you will, I’m sure, find my theory wanting – nor am I a scholar of Star Wars, but I am a fan. I do the things that fans do. I’m on Tumblr, although that platform is pretty dead now, and I have a fandom Twitter account, which is much more active. I write and consume fan fiction, and I regularly commission artwork to illustrate my stories and stories I would like to write. I have written exactly one notable meta, which was even picked up by the AV Club – they actually cited me, unlike many of the other websites, which only cited the person who stole my work and posted it on Reddit!

In Star Wars: The Last Jedi, released in December 2017, we were introduced, for the first time, to manuscripts in the Star Wars universe. I had avoided trailers and spoilers, so the first time I saw this was in the theater, and I was, as the kids say, shooketh. Not only one manuscript, but a whole shelf-full of them! And they’re important. Rey, our heroine, has been sent to the island of Ahch-to to bring Luke Skywalker back to help the Resistance, led by Luke’s sister General Leia Organa, defeat the First Order. Rey has been there for a day or so, following Luke around, making no headway, when she is called to the Uneti tree, a large, hollow, Force-sensitive tree that houses these manuscripts. It’s in the company of these books that Rey and Luke finally communicate with each other, when Rey admits that she has only recently come to the Force and that she needs Luke to train her to be a Jedi, and when Luke grudgingly agrees to give her some lessons, but also tells her that the Jedi must die. Exciting stuff, and the books are there to hear it.

According to Star Wars The Last Jedi: The Visual Dictionary, Luke Skywalker scoured the galaxy for these texts and collected them himself, storing them in the tree that we see in the film. So these texts weren’t originally all in one collection, they are from many different planets, potentially written in ten different places, ten different times, ten different languages and alphabets, although there’s only one we ever see in the film. The starwars.com blog post “Inside the Lucasfilm Archives: The Jedi Texts” gives us an up-close look at the prop book that was shown in the film; as you can see it’s a real book, written and bound, and even damaged. There are manuscripts in our collection at Penn that look not very unlike this book. It is a real manuscript.

This is one manuscript in the universe. What else do we know about manuscripts in star wars in general? To be honest: not much. But we do know that it is rare to write by hand (as opposed to writing with digital technology like data pads). In Claudia Gray’s novel Bloodlines, which takes place six years before The Last Jedi, Leia Organa is preparing for a fancy party when she finds a handwritten note at her seat, and she’s shocked: “Virtually nobody wrote any longer; it had been years since Leia had seen actual words handwritten in ink on anything but historical documents.” So it appears that, by the time the current films take place, there are no longer manuscripts being actively written in the galaxy, or at least it’s very rare.

Interestingly there is one character in the Sequel Trilogy who it is suggested knows how to write by hand: Kylo Ren, formerly Ben Solo. There is a scene – the same scene is actually shown three times, from three different points of view – where a young padawan Ben is sleeping and his Uncle, Luke Skywalker, comes to him and looks into his head, sensing great darkness in his dreams. Ben calls his lightsaber to either attack his uncle or defend himself against him, depending on the version of the scene, and in one of these shots we can see that he has a calligraphy set in his bedroom. We can see the set here, in a screenshot of his desk just before he calls his lightsaber over – which knocks over the pen and inkwell and jar of parchment scrolls in the process – and in The Art of Star Wars: The Last Jedi.

What else do we know about these specific books? There is concept art in The Art of Star Wars: The Last Jedi; including six internal pages and six shots of the bindings.

I remember looking at the concept art and thinking how alike and different they were from the manuscripts I’ve had the pleasure of working with at Penn, and I discovered that my Twitter mutual Brandon Hawke, an Assistant Professor of English at Rhode Island College, was having many of the same thoughts that I was. So in October of 2018, Brandon came down to Penn and we sat for hours in front of a green screen and talked about manuscripts and Star Wars, comparing books in the Penn collections to what we see of the manuscripts in the concept art. We’ve been posting snippets of our discussions on the Schoenberg Institute YouTube channel, and there’s a link at the top there if you want to check them out. So for most of the rest of this paper I’ll be walking through some of the possible comparisons between real manuscripts and the Star Wars manuscripts. I want to stress that we did this for fun, and not for science, and that we’re limited by the collections at Penn and by our own knowledge.

Consider yourself warned: The remainder of this presentation is essentially an educated fan, raving.

As far as Brandon and I have been able to determine, this is a previously unknown script in the Star Wars universe. When I saw it my mind immediately went to Ge’ez, shown here in an early 20th century book of Hymns from Ethiopia. There’s something about the blockiness that is just slightly curved, and a few of the letter forms are slightly similar although I don’t think that’s necessarily meaningful. (video)

We also made a comparison with Coptic, which is thinner, more curved, and perhaps a closer match. (video)

For the third example we looked not at the text, but at its layout on the page. We found a similarity with this 16th century collection of Persian poetry, both its illuminated header (similar in aspect to the illuminated blue line of text in the center of the ancient Jedi text) and the framing of the text. (video)

Aside from text, it is clear that the concept art of pages supplied to us here represent astronomical texts. This is really not surprising, considering that in the Star Wars universe we have a galaxy that seems to have been very closely connected, between planets and cultures, for a very long time, and so it makes sense that even the most ancient texts would be concerned with objects in the system – stars and planets and moons – and how they related to and interact with one another. And this is a major concern in medieval astronomical texts, too: these texts illustrate people trying to make sense of the system they live in, in the best way they know.

One of the pages in the jedi texts is the symbol of the Galactic Republic, but placed on some kind of chart, with characters dispersed through the chart and text – perhaps labels – along the outside. We found a similarity with this chart in LJS 57, a 14th century astronomical anthology from Spain. I don’t know exactly what this chart represents but I can tell you that astronomical texts are full of similar charts; it was one of the ways that medieval people made sense of the data they had available to them. (video)

Something similar is happening here, in LJS 449, a 15th century German medical and astronomical miscellany. These charts are perhaps a bit simpler than the Spanish chart, but they have that attractive blue coloring. Both the coloring and the arrangement of data around the circle reminded Brandon and me of the diagrams on this page of the Jedi texts. (video)

The next three slides show diagrams from LJS 26, a mid-13th century copy of Johannes de Sacro Bosco’s, Algorismus and Tractatum de sphaera, an immensely popular text that was copied and translated and commented upon from the time it was written in the early 13th century (it is possible that our copy was written during Sacrobosco’s lifetime) through the 16th century. It is full of diagrams illustrating the movement of the planets, and the sun, and the moon in relation to the earth. I personally find these diagrams most reminiscent of the two pages on the bottom left, although I feel like their organization suggests a sense of scale that is lacking in the medieval diagrams. (video)

Medieval astronomers only had to think about the earth, and the moon, and the sun, and a few other planets. On the other hand, the Star Wars universe operates on a whole other level – a galaxy with countless star systems and planets that aren’t even charted. When I look at these diagrams I see a clever attempt to illustrate scale using the relatively primitive technology of ink and paper in place of the star charts and 3D maps that we see in the films.

On the other hand, there are some really simple 1:1 comparisons to be made, such as this diagram, which pretty clearly illustrates the phases of a moon. (video)

I want to take a quick look at the bindings of these manuscripts, particularly this piece of concept art, which is quite similar to the prop that we see in the film.

This has a fairly standard binding structure, quite similar to LJS 102, the Ethiopic manuscript we looked at earlier, except for the front cover, which is built of three separate pieces that are obviously connected together. In western bindings, if a wooden cover were a composite of multiple pieces, we would expect that to be obscured, as in this late 13th century Catalonian manuscripts (It’s hard to tell, which is the point, but this cover is made of three pieces of wood).

The only example of a cover like this I’ve seen is from the Walters Art Museum, this 14th century Ethiopian Gospel book. The cover was broken and then sewn back together, but this was the result of an accident, not done on purpose.

My colleague Alberto Campagnolo also suggested that it is similar to the Chinese practice of writing on bamboo strips and binding them together, as in this 18th century example.

This is one instance where the artists who created these concepts have done an excellent job with suggesting a manuscript culture – in fact, several manuscript cultures, cultures that use what is available to them. There are two manuscripts here that appear to be bound in decorated tusks, one that has what appear to be shells embedded in a leather binding, and another that might be bound in hairy skin or – I like to think – had the binding grown on it underground. In any case these all suggest books written in different places, perhaps at different times, and as a manuscript scholar I find that fascinating.

Following up on this I wanted to see how the concept of the manuscripts was received by writers of fan fiction. As a fan author myself I have written a few stories featuring the ancient Jedi texts, but given my interests that made sense; I was curious to see what other authors have done with them. I think there’s more extensive work to be done here, but in reading through the 40 or so stories I was able to find (by searching AO3 for ancient jedi texts, and the “jedi text” tag) I discovered not surprisingly that the stories focused on the text of the books, not on their physical appearance (which is at least partially due to fan fiction being a written medium, vs. film being a visual medium) and that there are three main themes that can appear by themselves or be combined:

Rey can read the texts on her own, or she needs help (Kylo Ren, C3PO, Obi Wan Kenobi’s force ghost)

The translation is used to further the story (whether or not it happens)

The texts do something (e.g., magic spells)

What will happen next? Will there be manuscripts in the Rise of Skywalker, the final film in this last trilogy? Of course I hope so, and it seems likely. The Uneti tree was struck by lightning and burned, but Rey took the manuscripts with her (here is a screenshot of a drawer in the Millennium Falcon, at the very end of the film, showing the books clearly safe and tucked away)

and in the Poe Dameron comic #27 we learn that Rey has been working with C3PO to translate the texts.

And there’s also the spectre of Kylo Ren with a calligraphy set; if he had access to these manuscripts when he was studying with Luke Skywalker, it’s possible that he has read and perhaps even annotated some of the books. Only time will tell, and I for one can’t wait for December.

#star wars #meta #manuscripts #ancient jedi texts #jedi texts #medieval manuscripts

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ryuukia · 5 years ago

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[Translation] Tsukihana Kagura Message Cards

If you’re one of the lucky people who got to buy this pamphlet, you probably got some message cards with it. I only got Hajime and Arata, but with Ruby’s help I managed to gather all the messages (thanks again).

I translated Tsukiuta, SQ and Alive, Ryota translated the Vazzrock and infinit0 messages. Enjoy~

Please don’t repost/retranslate/reuse my translations. Likes and reblogs are appreciated.

Six Gravity

Shiwasu Kakeru:

“Kou-kun’s refreshments are so, so, so delicious……. I’m always the first one to take my share! I-it’s not like I’m waiting in front of the desk!“

Mutsuki Hajime:

“I ended up taking a nap while waiting, and when I woke up in front of my eyes was Issa-san’s sleeping face. I was ready to get up due to astonishment, but then I realized Shun was glued to my back in his sleep. I had to ask Haru to help me out. Stop laughing.”

Kisaragi Koi:

“The costumes are once again so cool! They’re so cool I can’t help but get excited! When I’m so excited I feel the strongest! Tsukihana Kagura, Kisaragi Koi, ready to dance!“

Yayoi Haru:

“Random Tsukipro miscellaneous knowledge: Among all our idols, those who can memorize the script fast are Hajime, Tsubasa-san from SolidS, Ryo-san from Growth, Takaaki-san from VAZZY and Ruka from ROCK DOWN. I guess I should get to work too.“

Uduki Arata:

“Why can we have team muscle training, but we can’t have team strawberry milk? Because it’ll make us more thirsty? That’s not true. Would you like to have some, Ouka-san?“

Satsuki Aoi:

“Rikka-san and I engaged in this blissful discussion about herbariums while we were waiting. We promised to go to a course about it together as soon as we’re done with Tsukihana Kagura. I can’t wait.“

Procellarum

Minaduki Rui:

“I made Russian pudding for the first time in a long while. Roa got the ‘bullet’ and I got a nice reaction from him. Rei laughed.”

Fuduki Kai:

“Kensuke and I got so pumped up after talking about ramen that we started visiting shop after shop together! The others told us to stop because we’ve already eaten too much! All these rehearsals are making me hungry!”

Haduki You:

“This scent coming from ROCK DOWN’s Reiji…… is it, by any chance…… First Love & Rose?“

Nagatsuki Yoru:

“Eichi from QUELL taught me the recipe for his Horimiya-style dry curry. I’m looking forward to giving it a try after we’re done with this.”

Kannaduki Iku:

“When I talked to Ren-kun about how Rui's been teaching me to play the piano, he said "Let's perform together someday!"... I gotta practice more!”

Shimotsuki Shun:

“Each dance reflects its unit’s personality and charm, I guess that goes without saying. …...But among them! Hajime’s! Kagura is!! Bewitching!! Amazing!!! The best OF the best!!!! That sleeve you see waving in the air is mine!!!!“

SOARA

Ohara Sora:

“Who’s been waiting for it? The day when this guy will be performing the ‘kagura’ is coming……!! I’ll dance!! With elegance! And beauty! Achoo!“

Arihara Morihito:

“Hearing Sou during the reading practice reminded me of our school days. When we talk to each other across the desk, it feels like nothing has changed since then. “

Kagurazaka Soshi:

“While we were practicing the kagura, Sora sent his folding fan flying. “Nice catch!’ my hat. From now on we’re under intensive training. Look at Ayumu-san and Haruto-san, that’s the kind of dancing posture you should have.”

Munakata Ren:

“Talking with Sou-nii and Eichi-san about training clothes got me really excited. With their build, they’d really look good in that. I wish my shoulders were as broad as theirs. “

Nanase Nozomu:

“It seems in this play we have traditional Japanese instruments! I want to try playing the shamisen too~! The charismatic shamisen player (?) is here!“

Growth

Etou Kouki:

“It's really fun talking to the other units’ members whenever the refreshments I bring catch their attention. The first one to notice when I bring refreshments is…… I’ll keep that a secret (laughs).“

Yaegashi Kensuke:

“This odd group consisting of Kakeru, Koi, Iku, Naosuke, Takaaki-san and I went yesterday to a shop that sells Sichuanese food~! It was so spicy I think it made me sweat more than the rehearsals did (laughs)?“

Sakuraba Ryota:

“It’s better for you to stretch properly, Mamoru. If your body is not warmed up enough, you might end up injuring yourself.“

Fujimura Mamoru:

“Ryo-kun is a demon when it comes to stretching! But I think he’s so strict with me because he cares about me! In other words, all I have to do is give my best!”

SolidS

Takamura Shiki:

“With my other jobs’ deadlines and the stage play rehearsals overlapping each other, I’m slowly starting to feel like I’m caught on a battlefield. After I get past this mountain, I think I’ll be able to dance naturally.“

Okui Tsubasa:

“Whenever we have to wait, Dai-chan and Kai from Procella always work on their muscles, but at one point the number of members increased so much that now it feels more like a club activity~ (laughs). Kai is the head and Dai-chan is his assistant!“

Sera Rikka:

“Lately, Shiki’s been in high spirits. But considering his current work situation, that excitement came to surface because this play gives him the chance to escape from reality. Whenever he’s in a tight spot during rehearsals, he ends up resorting to ad-libs. Right now he’s in need of a lot of attention (smiles bitterly).”

Murase Dai:

“The number of people joining us in muscle training during rehearsals has been increasing. Futaba from VAZZY and Gaku from ROCK DOWN are in really good shape. Seeing them makes me want to practice sports.“

QUELL

Izumi Shu:

“Seeing familiar faces in the training hall made it very fun. I guess it was also a good boost for Issei and Ichiru.“

Horimiya Eichi:

“The apple pie I baked together with Aoi-kun from Gravi was a delicacy! The stewed refreshments brought by Yoru-kun from Procella were also really tasty, so…… won’t you tell me the recipe after this?“

Kuga Issei:

“Since Haru-san and Morihito-san were reading something during break, I asked them to recommend some books. I want to give them a try after this. Both of them are thirsty for knowledge.“

Kuga Ichiru:

“With You, Nozomu, Issa and me part of the red team, our colour team’s dance skills level is high! I have to keep up with them! Alright! I’ll do my best“

VAZZY

Mamiya Takaaki:

“I went out to drink with a few of my old colleagues ♪ We talked a lot about so many interesting things like what parts of us have changed and what parts haven’t.“

Kira Ouka:

“I’m still in the middle of learning how to be an actor, so I observe a lot of things in the practice hall. Arata and Aoi seem to have stage experience, so I consult with them about how to conduct myself on stage.“

Kiduku Issa:

“I’m looking for a place to sleep in, y’know? They’re practically people I’m already familiar with. Sho, Hajime, Arata, etc. They won’t mind even if I sleep next to them.“

Kiduku Futaba:

“I’m training extra hard with Nao-kun and Yuma-kun for the kagura! It’s pretty difficult dancing in a kimono, isn’t it? I’m trying hard to make sure not to have my sleeves hit me in the face… (bitter smile) “

Oyama Naosuke:

“It’s so fun talking with the other units during the joint stage! I was talking about cats with Procella’s Rui-san the other day! Yay!“

Shirase Yuma:

“I’ve gotten along with Issei-kun and Ichiru-kun after we went out to eat one day. I managed to give them their birthday present, too!“

ROCK DOWN

Onoda Sho:

“What I was looking forward to during rehearsals was tea time with Shun. We’ve been told that the ‘atmosphere feels weirdly white’ when we talk, you know?“

Kujikawa Haruto:

“Since the traditional costumes are very heavy, it can become taxing both physically and mentally. But since the back is not tied up, it feels a bit more loose. I'll try to do this with dignity.“

Amaha Reiji:

“Just watching the other units in their costume is fun. Koi and You and… Oh, Tsubasa, too. It seems like they were interested in other units too, because they ended up approaching me the other day (laughs).“

Tachibana Ayumu:

“The Japanese sweets I was given yesterday were so delicious they moved me. Like that one I got from Growth’s Kouki-kun. I’ll ask him where he bought that next time.“

Oguro Gaku:

“I stretch and do muscle training at our rehearsal hall. I’m next to Procella’s Ikkun a lot, so we’ve become friends ♪“

Nadumi Ruka:

“Signing the promo posters turned into a competition against Gravi’s Arata! I won’t lose~ ☆“

infinit0

Sukigawa Rei

“I was expecting the design of Mamoru’s costume to be a pachira, but I was wrong. Guess that’s obvious (laughs). I was really interested in hearing about your song-writing, so let’s talk more next time, okay?“

Mikaze Roa

“This is my first time putting on a costume like this! I’m so excited ☆ But Taka-chan, please stop tickling my sides~! If you do it to me, I’ll fight back! There!”

If you want to support Ryota and her work, you can buy her a ko-fi right [here]. I also have my own [ko-fi] page and [commission page] linked here.

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takuchat · 5 years ago

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The development of Final Fantasy VII is a mysterious and hard thing to follow. While there is plenty of info out there, much of it is either rumors or unsubstantiated. The sad thing is, there is no easy way to find legitimate information on the game. This is why I am here now, this article will serve as a source of factual information about the development of the original Final Fantasy VII.

Below, you will find interviews from the games development and release. As well as links to the sources of these interviews( interviews copied so they will not be lost one day ). Beyond interviews there will be Press Releases and some other cool information. Enjoy.

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Final Fantasy VII – 1997 Developer Interviews

Hironobu Sakaguchi – Producer Yoshinori Kitase – Director Tetsuya Nomura – Character Design, Storyboards, System, Mech Design Yuusuke Naora – Art Director Motonori Sakakibara – Movie Director Akira Fujii – Battle Scene Director Ken Narita – Main Programmer Yasui Kentarou – Magic/Summoning Effects Kenzo Kanzaki – Backgrounds Nobuo Uematsu – Music

FF6 vs. FF7

Kitase: Our development concept for the story in FF6 was to have over 10 main characters, any of which could be called “the protagonist.” We challenged ourselves to create a world without someone you could point to and say, “this is the main character.” This time, with FF7, we knew from the beginning that we wanted Cloud to be the main character, and we were going to tell his story.

Aside from the story, FF6 had a lot of details undecided when we began development. A great many things were filled out along the way. In contrast, with FF7 we knew from the outset that we were going to be making a real 3D game, so from the earliest planning stage we had very, very detailed designs drawn up. The script was also locked in, and our image for the graphics was completely fleshed out. So when we began the actual work, we had already created what you could call “storyboards”. Of course there was some experimenting as we worked, but we were very clear about what we were supposed to be doing from the outset.

Actually, the very first thing we decided in FF7 was how the camera angles would change during battle scenes. We also decided on the materia system, where any weapon and armor can be equipped with any materia. Accordingly we knew the battles wouldn’t be about characters with individual, innate skills, but rather that combat would change depending on the way materia was used.

Sakaguchi: After FF6 was completed the staff had some free time. We then started thinking about what new hardware there was and what we wanted to do with our next creations, and we created a movie as an experiment. At that time we were working with the SG1 workstations, which had rendering software designed for next generation hardware. For that reason we thought it would be good if we could continue using this setup for our next game. With the SG1 software, we could develop graphics for any hardware. 1 However, for our purposes, we didn’t want the frame-by-frame, slow rendering that takes many hours; we wanted to develop a way to render the visuals in real-time for our new game.

Kitase: I believe we only had 3 months to figure all that out.

Choosing the Hardware for Final Fantasy VII

Sakaguchi: It was starting to become clear to us what the memory capacity for the different next-gen consoles would be. Our games were going to need a huge amount of memory. The Final Fantasy VI CG demo we made for the Siggraph exhibition took 20 megs all by itself. We thought that demo had a lot of visual impact, so there really wasn’t much question about which hardware we would use; if we were going to realize the promise of the demo we had shown at Siggraph, nothing but the CD-ROM format would suffice.

Another reason for choosing the CD-ROM was related to price. I think one of the big reasons the first Final Fantasy was favorably received by players, and the later games in the series gained so many fans, was that you could buy those games for around 5000 to 6000 yen. We tried to have the same pricing for Bahamut Lagoon, Gun Hazard, and our other later Super Famicom games, but using cartridge ROM meant those games had to be sold for over 10000 yen. New players did not flock to those games like they had before. If we used CD-ROM for Final Fantasy VII, we’d be able to have a 2-disc game at a price of 5800 yen. I was hoping it would be possible to make a game that could sell several hundred thousand copies.

Introductions, Difficulties, Favorite Moments

Sakaguchi: I’ve been working with Kitase for a long time, since FF5. He did most of the event scenes in FF6: the opera house, Celes’ suicide scene, the scene where Setzer climbs the stairs and reminisces, and more. I’m not exactly turning things over to the next generation just yet, but for FF7 almost all the story was done by Kitase. His original ambition was to be a film director, so he’s well-disposed towards this work–I’ve left all the in-game event scripting in his hands.

As for my part, since FF3 I’ve led the battle team, and that was my role this time too. Well, actually, the battle team is composed of solid veterans, so I stepped back a bit and played more of a producer role.

Nomura: For FF7 I worked on character design, storyboarding, and the underlying story.2 I have too many favorite parts to sum up quickly here… well, I like it all.

Narita: I was the main programmer. I did all the programming related to the field, and I also helped get everything together at the end. As for difficulties… hmm. Since it’s been a pretty sudden shift from the Super Famicom to the Playstation, we struggled first with getting used to the Playstation hardware itself, then finding out what appealing features it had, and learning how to bring out those features to make a good, balanced game. But on the programming side, what was really hard for me was going from 2D to 3D. Probably any programmer would say the same I think.

As for things I’m proud of, I thought the movies and the in-game field scenes transition into each other very smoothly. That was also the most difficult thing for us in terms of the programming.

Sakakibara: I worked on the movie cutscenes. The challenge for me was just the amount of volume we had to create, it was crazy. What I liked was the opening scene in the beginning. Although I’m already starting to forget it. (laughs)

Fujii: I did the backgrounds for the battle scenes. What was hard for me was that the field graphics would design their graphics with a very high polygon count, and I think had to find a way to reduce that count so the graphics could be rendered in real-time. Selecting the primary elements to render was very difficult. At first I was just fumbling through it, but I gradually got the hang of it and was able to connect things very well. When I first saw characters move around in those backgrounds I had made, I thought they looked great… if I do say so myself. Unless you’re specifically paying attention to them, battle backgrounds aren’t something you usually notice in a game, but we really had to prepare a huge number of different backgrounds for all the different map terrains.

Kentarou: I did the programming for the battle effects and summons. What was fun for me was recieving the storyboard mockups from Tetsuya and thinking “there’s no way, this is impossible.” But then when I got down to it, they came out surprisingly well. The Titan summon was especially memorable for me. The way we did it was new to me, and I think it compares really well with the work I’ve done in the past.

The CG Team

Sakaguchi: We definitely hired a lot more CG staff than we had before.

Kitase: Yes, but they didn’t feel like a separate, “detached force” from our main development team. They had experience in the game industry. What’s more, our existing staff at Square, who up to now had only worked on games, were able to learn a bit about CG from them.

Sakaguchi: For FF7, about 80-90% of the field and game mechanics were done by our traditional staff. For the CG staff with their specialized hardware knowledge, we tried to let them do their thing (but this time with a video game). Several top-grade special fx guys who had worked at Digital Domain and Lucasarts’ Industrial Light Magic also contributed to FF7.

Maps and Backgrounds

Naora: I worked on the unifying all the graphics, including the movies. The majority of my work was on the background graphics. In our previous games, most of those graphics were done with a fixed top-down perspective. To take a town for an example, the map would be composed of various sprites: houses, streets, foliage, fences, and so on. With FF7 we didn’t have to use sprites and could instead present the maps as one seamless image.

I had experimented with this before in the trial scene of Chrono Trigger. I used a bunch of memory to make one single image for the background. Previously we had to reuse so many sprites for our maps, but it was very exciting to be able to include whatever we wanted for FF7. We could have more varied terrain, and our whole image of the game world really expanded.

The work of mine that I really want people to see is, of course, Midgar. I had the image of a pizza in mind when I designed that city, and I really like how it turned out.

In any event, what we really wanted to convey with the backgrounds was a lived-in feel. Down to the beds and individual toilets, I put a lot of detail into everything.

And even after I stopped working, my boss was still making stuff. On one of the posters hanging on the wall, he added an image of Hironobu Sakaguchi. (laughs) I should be upfront: there’s many graphics that even I don’t know about hidden away in the game. Be sure to look closely at the walls inside the buildings. Who knows what surprising things you might discover. The Rocket Town especially has a variety of interesting things hidden away.

Cinematic Aspirations

Kitase: Visually, I wanted Final Fantasy VII to be a completely unified work, with a single style running from beginning to end. The cut-scene movies, overworld map, and battle scenes would not be disconnected, but would instead smoothly and seamlessly transition into one another. To call this game “cinematic” would be correct, but what I really wanted was something where all the compositions and shots would be suffused with meaning and show the intent of the creators.

For all our previous games, when we’ve been in the phase of brainstorming ideas and sketching pictures, there’s always been the knowledge that we have to work within the hardware memory limitations. This time there were no limits, and no restraints.

That difference in available memory had a really big influence on the development. For the gameplay system, story, and in-game events, it didn’t change very much. What the increased memory allowed in FF7 was more painterly visuals, with a better sense of space and composition. Naturally the graphics quality itself has also gone up, but I think it’s in the cinematic presentation where you see the evolution.

Sakaguchi: Speaking of cinematic, we also wanted to have a soundtrack with no repeated music. In movies, you don’t hear music get repeated, you know. Depending on the scene the tempo or the intensity might change though. I think something like that should be possible… although there is the matter of how much available spirit/creativity we can get out of our composer, Uematsu. (laughs) Of course FF7 is a game that takes over 40 hours, so some music is repeated, but our overall goal was to make it as cinematic as possible in that regard.

We also had Yoshitaka Amano do illustrations for the world of FF7. Some of his work appears as a frescoe on a wall in the game.

Kitase: We had really been wanting to use Amano’s artwork in-game before. In FF6, we wanted to have one of Reim’s drawings being Amano’s artwork. In the ending scene Reim would have painted a wall mural showing scenes of all the adventures the heroes had undertaken.

Character Design

Nomura: Since the characters in FF7 were going to be rendered in real-time, the nitoushin,3 chibi-style character design we’ve used in previous games wasn’t going to work here. If they brandished their sword overhead they’d end up stabbing themselves in the head. Not using the super-deformed style meant we had no limits on how to animate these characters.

Naora: I helped out on the character design too. In the previous games with the nitoushin, deformed sprites, it would look really lame if they rode a motorcycle or something. By changing the character’s dimensions, we were able to have them ride different vehicles.

Nomura: My involvement with FF7 goes back to helping create the basic story, and we came up with the characters during that time too. I think that was a good way to do things. Barret and Cait Sith were two characters whom I had wanted to create for a long time, but everyone else was created as we were writing the story.

As for things I personally designed, I think the Yin and Yang boss came out really well. Also, the Iron Giant. It wasn’t enough to just have a good initial design though. I had to create a design, then translate it into a 3D model, then see how it looked all-around, and only then could I say “alright, this is good.” Yin and Yang and the Iron Giant were two designs I felt that way about.

I also helped out on all the storyboad designs for the summons. Since 3D allows you to change the perspective in various ways, we decided to make the summons have really flashy camerawork.

Favorite Characters

Kentarou: I personally really like Red XIII’s scenes. Every time I remember that one scene of his, I start to tear up. (laughs)

Kanzaki: My favorite would be Tifa, because of her ample bust. (laughs)

Fujii: Yuffy. I like the sounds she makes. Also, it’s not a character, but I like all the summons.

Kentarou: Ah, yeah, I have a special love for Titan. Nomura said Titan should flip over the ground that the enemies are on. He would peel off a slab of the land: no matter what terrain he was on. (laughs) At first I had him come in on normal ground, and he’d flip the same slab of ground no matter what terrain… but that looked boring. I had a small insight into the problem and was able to solve it.

Narita: My favorite character is Barret. Because he does the same damage when he’s in the back row. (laughs)

Kanzaki: Yuffy and Vincent can do that too, though.

Narita: You can clear the game without getting Yuffy. I didn’t add her to my party. As for Vincent, I can’t forgive him. (laughs) Yeah, it’s Barret all the way for me.

Sakakibara: I like Jessie. She cleans your face for you. (laughs) If only you could have had Jessie in your party.

Nomura: For me, it’s of course Cloud and Sephiroth. My concept for Sephiroth from the beginning was that everything about him would be kakkoii.4 His battle movements, and all his in-game scenes too. My image of the relationship between Cloud AND Sephiroth was that of Musashi Miyamoto and Sasaki Kojiro, and I had them in mind when I designed their appearance, as well as their swords. Of course Cloud is Musashi, and Sephiroth is Kojiro.

Animating the Characters

Narita: The movement of the characters during the in-game events was actually all done by character designers in the planning group. Normally those designers convey what they want to a motion specialist, who then animates them. But in our case, the character designers learned how to do the motion work, and if they wanted to add some movement or gesture to a character they did it themselves. That’s why each character’s movements differ depending on who created them. There were designers who liked very exaggerated movements, and those who preferred more quiet, subtle movement.

For the character battle animations, however, we had motion specialists for each character. But for all the other in-game events, the designers created the character’s movements themselves.

Narita: Nomura was the Demon King of retakes. He was always making the designers re-do things. “Nope, that’s wrong there.”

Kanzaki: But it’s really thanks to him that we achieved very realistic motion.

Nomura: We spent more time on the typical, everday motion of the characters than we did on other types of motion. That’s where the character’s personality comes out, after all. So yeah, I stuck my nose into everyone’s work there. (laughs) I drew the designs for these characters from the moment we had our basic idea of them; no one told me “draw him this way” or anything like that. Every character in FF7 is one that I designed just how I wanted to.

The first characters we had were Cloud and Barret. From there we kept talking, and as we worked our ideas out, new characters would come up. All the characters were created in the course of our discussing our ideas for the game. None of them were created after the fact, as in “oh, let’s make this kind of character.” As we brainstormed about the game, we’d realize a character was already there in our minds.

Limit Breaks

Nomura: With each Final Fantasy, the entire team contributes to the initial design/planning documents, and we then pick out the best ideas from there. During that highly individual period of brainstorming, I came up with the idea of adding limit breaks to the battle system. In FF6 we had desperation attacks that would happen when you were near death, and I wanted to build on that idea. Since you were free to build your character by adding and removing materia, I also wanted to add limit breaks as a way to bring out the individual, innate personalities of each character. For that reason I’m really glad we were able to include them. It also allowed us to add more unique animation for each character, too, further emphasizing their individuality.

The Music of FF7

Uematsu: I know many players were hoping that with the move to the Playstation, we’d have studio quality music instead of the internal sound chip like that used in the Super Famicom games. And I know other companies are recording CD quality music for their games, but with FF7 we decided to do all the music with the Playstation’s internal chip.

That’s because as far as sound quality goes, we felt the Playstation’s hardware was more than capable. It has a higher dynamic range than the Super Famicom, and 24 voices (the Super Famicom had 8). The sound effects were all recorded in the studio, but the music, from start to finish, is all the Playstation’s internal chip. This way the music puts less demands on the read access time of the CD-ROM. It’s stressful to be playing a game and have to wait all the time for the CD-ROM to load data. So we prioritized a less stressful experience over better sound quality.

From the first Final Fantasy up to Final Fantasy V, the music has had a European atmosphere: the north, castles, blue skies… But FF6 started to break away from that, and FF7 begins with a new image, a dirty city of the future. So I was thinking the music should change too. I personally like a lot of different styles of music, so I saw this game as a chance to show parts of myself which I hadn’t been able to express before.

I used keyboard and guitar for the basic compositions, and I read the story and script as I composed. But there were so many songs this time that I was really worried I would run out of time. There were something like 100 songs needed. I’d compose, then program it in, and if it was wrong I’d revise it. Rinse and repeat. I write the music out first and then proram it into the sequencer, but there was no guarantee that the Playstation hardware would have the kind of sound I was looking for. And the sound quality might be very different. For that reason there ended up being a lot of unused songs.

Wrapping things up

Narita: At the end of the development we had a closing party. We gathered all the development staff together, and we all watched the credits roll after the last boss was defeated. As the staff was listed, each respective developer stood up and took a bow. It was the first time I realized “oh, he did that.” And it was the first time I really felt how many people had been involved in making this game.

Fujii: Once the field, battle, and world maps were all joined, that was when I first felt the power of FF7 as a finished work.

Narita: Until then, everything was being developed separately, and only at the end was it all joined together. When the world map was added and you could walk around, that was definitely the moment when I felt, “wow, we’ve really made it.”

You see, the way we made FF7 was totally different from the way we made the previous Final Fantasy games. Before, there was no real “director”–everyone was, individually, their own director, and everyone created the actual data that would be used in-game by themselves. There was a head person who generally controlled the flow of work and made sure everything got into its final form, though. I guess you’ve got to have someone like that.

But to imitate that with FF7 would have required a huge number of staff and hardware for them all to work on. You could say that the way we made FF7 was closer to the way they make movies.

Sakakibara: Speaking of that, we were also asked to make sound effects that would be of the same quality and character as those you hear in movies. It felt entirely different from the way we made sound effects before.

Kanzaki: The quality of the backgrounds took a huge step up, too. We didn’t have to reuse any sprites or tiles.

Kentarou: When I was making the battle effects, it felt like business as usual for me, so I didn’t have a feeling like “these are awesome!” then. But at the very end when we were debugging and I saw them, I thought for the first time how nice they looked. I also thought, “damn, it’s a good thing I didn’t slack off.” (laughs) It would have been really bad if we had just made a bunch of shoddy effects. (laughs)

Kanzaki: There were a lot of worries at the start of the development though.

Narita: Yeah, in a certain sense, FF7 is something of a minor miracle. I mean, we only had a year to do everything.

Fujii: It’s the shortest development we’ve had so far.

Narita: Yeah, that it was. And normally you’d start developing your game after you’d learned the new hardware. But we had to learn the hardware and create the game all in the same year. I really couldn’t believe it when I saw the finished product of FF7. It’s amazing that so many people were involved, and that we completed it in so short a time.

Fujii: Time is always the one thing you’re in short supply of. We had to do the battle system after all the field stuff was done, so practically speaking we only had half a year for that. The last dungeon was a real slap-bang, rushed affair.

Midgar near finished

Concept

midgar

Interview with Official UK PSX Magazine

Published in October 1997

Official UK PSX Magazine: Describe the game in 100 words.

Square: The latest in the Final Fantasy series is the closest Square have come to their ultimate goal of blending real-time action with FMV-quality animation, in an all-encompassing, totally absorbing and immersive interactive gaming experience. This seventh heaven is a mix of stunning backdrops, adorable and believable characters, intriguing plots, pulsating battles and tricky puzzles, which all add up to the best RPG yet to appear.

What’s the plot?

The world of Final Fantasy VII expands on FFIII’s concept of Magitek, where magical forces are a reality and have thus been incorporated into the technological progress of civilisation. This isn’t your typical fantasy setting: vast chimneys belch smoke, steam trains criss-cross the urban sprawl, neon signs crackle in the rainswept ratruns between towering factories. It transpires that Mako is a ‘dark’ form of magic, and its insidious corruption of the Shinra Corporation has created a police state by empowering a security force. You begin the game as an ex-soldier-turned-revolutionary, and immediately find yourself assisting a terrorist group called Avalanche in their attempt to overthrow Shinra and restore balance to the exploited world.

Is there anything in this game that we’ve never seen in any other?

If you’ve played SNES versions of the Final Fantasy series, then possibly not. There are slight deviations from the first six, and the music and graphics are obviously enhanced. But as a PlayStation starting point, continuity was very wise. For novice owners, however, this will be like nothing you’ve seen.

What other games have influenced Final Fantasy VII?

Final Fantasy, Final Fantasy II… need we go on? There is a whole history of RPGs and all the paths that lead Square here were winding. In Final Fantasy VII, however, there have been more Western influences both externally and from those on the team.

What’s going to be the best bit of the game?

Taking an already believable story and gameplay and placing it in an environment that now looks real it is a real shock to the senses.

Why will it be better than any other game of its ilk?

The characters for a start. Square’s scriptwriting talents are once again employed to make you fall in love with the characters, then mercilessly pull your emotional strings as they experience suffering, joy, love, betrayal and even (whisper) d.e.a.t.h. Also the quest is huge, straddling no less than 3 CDs, and with so many locations that the average completion time is reportedly 120 hours.

Any specific technical conventions to speak of?

At first the system might seem to bear similarities to Resident Evil, in that your polygon hero can move around a detailed pre-rendered environment, but the backgrounds are packed with interactive ‘hot spots’. The integration of old and new techniques also gives FFVII a unique cinematic quality. Its many cut scenes are CGI movie sequences that use the same pre-rendering as the rest of the game, so that when the dizzying camerawork finally comes to a halt, the scene on which it settles is also the environment in which your character can explore. The direction is seamless. The combat system boasts AD&D complexity. Weapons and items have slots in which to fit Materia, orbs that endow the wearer with extra powers such as the ability to steal, or summon Esper-like creature attacks, with some weapons boasting more slots for combining enhancements.

So why should anyone care about the game?

Because it’s the best RPG to appear on the PlayStation. It’s sold five million copies already in Japan!

Hironobu Sakaguchi Interview

Interview with Hironobu Sakaguchi, the creator of the Final Fantasy series and producer of Final Fantasy VII. From PlayStation Underground #2 demo CD set, released in the US in 1997.

Transcription and screenshots by Tuulisti.

PlayStation Underground: Why is Squaresoft publishing Final Fantasy FVII only on PlayStation?

Hironobu Sakaguchi: In the August of 95, one of the US’s largest CG conventions, Siggraph, was held in LA. At that time we were not sure what the next generation RPG game should look like, so as an experiment we created a CG based, game like, interactive demo to be presented at the show. It focused on battle scenes that were 100% real time and polygon based. This became the seed of Final Fantasy VII and it was then that we decided to make this a CG based game.

When we discussed designing the field scenes as illustrations or CG based, we came up with the idea to eliminate the connection between movies and the fields. Without using blackout at all, and maintaining quality at the same time, we would make the movie stop at one cut and make the characters move around on it. We tried to make it controllable even during the movies. As a result of using a lot of motion data + CG effects and in still images, it turned out to be a mega capacity game, and therefore we had to choose CD-ROM as our media. It other words, we became too aggressive, and got ourselves into trouble.

Why did you need such a large staff?

A larger developer team will not always create a better game, but when a project moves onto a scale such as this, you get to spend a lot of money, and work with highly qualified staff.

We were able to use many high-end machines and work with a staff of approximately 100 people, and I believe this was one of the largest game development teams in history. As a result, the final game generates a tremendous amount of energy. My theory is this: if one person creates a game – it can be a racing game or anything – or 10 people create the same game, the one created by 10 people will be much richer in scope. There is a larger pool of resources to draw from, and each person is able to put passion into his role, creating a greater sense of depth.

How has film influenced your game-making?

It is easy to get emotionally involved with both films and games, although in different ways. Adding certain interactive aspects to films however, I believe players can get further into them, even become one with the visual images. I have always emphasized visual and sound effects because rather than making my games equivalent to films, I want my games to surpass films. That is my goal.

Why is Final Fantasy VII getting so much praise?

Without changing the basic game play, the visual and sound effects have been significantly enhanced further drawing the players’ emotions in to the game. One way RPGs enforce too many images and too much sound on the players, robbing them of the feel of control. In order to avoid those responses, we did extensive research during Final Fantasy V and VI on how to make the players interactively involved in the game, while upgrading the visual and sound effects. The results of this research are reflected in Final Fantasy VII.

Are there any new themes in Final Fantasy VII?

When we were creating Final Fantasy III, my mother passed away, and ever since I have been thinking about the theme “life”. Life exists in many things, and I was curious about what would happen if I attempted to analyze life in a mathematical and logical way. Maybe this was my approach in overcoming the grief I was experiencing. This is the first time in the series that this particular theme actually appears in the game itself. See if you can spot it!

What was it like to work with director Yoshinori Kitase?

I have been working with him since Final Fantasy V. When he joined Square, he told me he initially wanted to become a film director, but that he thought this would be impossible in Japan. The previous version of Final Fantasy could be called puppet shows compared to this one. It’s a real film requiring innovative effects and various camera angles. His experience studying cinematography and in making his own films has contributed a lot to the making of the game. He is the director of this game.

The Making of Final Fantasy VII

May 2003 edition of Edge magazine’s regular feature “The Making Of…”, spotlighting Final Fantasy VII. Interviewed for this article were Yoshinori Kitase and Tetsuya Nomura.

Transcription by Tuulisti.

3.28m sales in Japan, 2.92m in the US and 1.77m in Europe. Three CD. Over two years’ development. Over 100 team members. Nine out of ten. Adults in tears. But Final Fantasy VII represents much more than cold record-breaking statistics. Here was the catalyst for the worldwide RPG revolution…

“This was undoubtedly the game that changed everything.” Yoshinori Kitase, the director the most important RPG ever, has cause for hyperbole. “We felt a wind of change inside the company during the development process. There was this incredible feeling I’ll never forget: we were making a new thing… making history. Imagine.” He pauses. Imagine. At the time there were many doubters, but Kitase-san’s instinct proved right; Final Fantasy VII eventually propelled the high-production RPG into one of the most popular videogame genres worldwide. The first demo of the title, creatively bundled on an extra disc with Square’s first 32bit offering, Tobal No.1, stunned the world with its steam punk setting, achingly melancholic score and arresting visuals. And it bore evidence of a huge team working on a title with aspirations not yet though possible in the medium of videogames. “There was a huge number of people we had never worked with before. Up until that point Squaresoft’s teams had only ever dealt with the traditional 2D medium. All of a sudden we had new people coming in working with software like Power Animator and SoftImage that we had never heard of before. From and industry point of view, it was unbelievable what we were trying to achieve. That is why we all had this strong feeling; this great enthusiasm.” As the software houses were jumping from the 16bit systems to 32bit hardware, Squaresoft made the headlines for choosing Sony over previous soul mate Nintendo. The story behind the split is yet to be explained and as the two companies only recently kissed and made up (with the departure of warring Hirosohi Yamauchi from Nintendo and Hironobu Sakaguchi from Squaresoft) we’re are unlikely to anytime soon. Kitase-san is predictably diplomatic, “We had a big decision to make in terms of which hardware to use. Nintendo was not one step behind in terms of hardware. In fact, the N64 was quite attractive actually. But as our goal was to develop the next-generation RPG we came to the conclusion that only a high capacity mass storage media would facilitate what we wanted to achieve. This meant CD was the only option and so from that perspective, Playstation was the only choice.”

Access All Areas

There was a great pressure on the team to maximise the benefits of the new medium. “At that time Sakaguchi-san (Square’s founder) was the series’ producer. Right from the time the decision to go with CD was made he set down a ground rule for the team saying, ‘If the player becomes aware of the access times we have failed.’ So we tried many tricks to circumvent the issue such as offering animation while the game was loading data, etc. The constant fear for us having worked with cartridges for so many years was that the player would feel bored while waiting for loads. However, only CD media was able to facilitate more than 40 minutes of FMV movies so we virtually had the decision made for us.”

Another Dimension

Graphically Square was trying things only hinted at in the first generation of 32bit titles. Using polygonal characters on CG backgrounds and interspersing the action with streaming FMV was a bold aesthetic decision. “We were keen that the distinction between the in-game graphics and the CG movie sequences was not overly pronounced: something we could not have done on the N64. The change of dimension into 3D was a massive one for the Square team. You could see the game with maps and angles that only 3D could offer and in terms of game characters, we were able to offer far greater, detailed animations, so they would look more real and more alive on screen. But it was a daunting task.” The change from Final Fantasy VI to Final Fantasy VII is as graphic a demonstration of the transition between 2D to 3D as one will see. Just how apprehensive was Kitase-san about this sea change? “It was during development that I realised the impact that 3D realistic CG visuals had on overseas players. In Japan, you have the manga culture with the traditional deformed style world design and characters that live through a story with very serious themes. Overseas, you don’t have this. To be honest we were pretty confident that FFVII’s characters and graphics would be accepted overseas and ironically I was much more anxious to see how Japanese users would respond.” Undoubtedly at the heart of any RPG’s success is the plot. No matter how good your battle system or locations, without quality scripting there will be no incentive for the player to play. It is testament to FFVII’s story that the game is widely regarded as the acme of the series and still frequently referenced today. While Final Fantasy games have traditionally always drawn upon a huge selection of myths and legends, the seventh game used them as a framework for loftier ethical aspirations and ecologically conscious evangelism. “Sakaguchi had a great vision of the force behind the universe. He wanted to explore the idea that planets and people share the same basic energy and so are, in some way, intrinsically linked. He developed this philosophy from drawing upon other cultures that stated when a planet disappears an invisible energy is released in to space. This energy goes to some place to give life again when certain conditions are met. The same energy drives people. So matter who or what this energy comes from, it will concentrate all together to give life to something or someone again.” These were ideas that the SquareSoft founder had long been toying with and it is unclear as to how much of the philosophy was pure fantastical fabrication and how much was his own dogma. One thing is certain, they posed difficulties for Kitase-san, “Sakaguchi’s ideas were incredibly difficult to represent in the game since they concerned an invisible abstract concept. It was something I’d never seen done in a game before. So, I came up with the Life Stream. “This was an idea that planets have the same kinds of life systems as people’s blood or nerve network. It allowed us to more clearly examine the issues we wanted to. Sakaguchi-san’s main ideas for FFVII and the world he imagined for the game (the creatures, etc.) were very closely integrated into the “Final Fantasy” movie. FFVII and “Final Fantasy” started at the same time in their development process and they share nearly identical roots. I may have to play/watch both again and compare all their common elements.” Although lengthy FMV, random battles and an arcane combat system alienated some gamers—especially in the west where anecdotal evidence suggests it became the most returned game history—the combination proved the winning formula for thousands who had never sampled such fare before. Boosting weapons and skills with Materia, summoning devastating guardians, scouring the planet’s highest peaks and deepest oceans for secret items and raising and training Chocobo gave both fresh and old RPGers an inconceivably large universe to explore and revel in. It also provided us with a legendary videogame moment.

Death of a Friend

Easily the most infamous and memorable character in FFVII was neither the main lead nor the central antagonist, although both Cloud and Sephiroth are premier examples of excellent design and characterisation, but rather a flower seller who appears a little more than a third of the game. Tetsuya Nomura, character designer, conceived both the characters of Sephiroth and Aerith. “The main issues of contention for fans worldwide are still Aerith’s death and the ending sequence with Sephiroth. With the plot I wanted people to feel something intense, to understand something. Back at the time we were designing the game I was frustrated with the perennial dramatic cliché where the protagonist loves someone very much and so has to sacrifice himself and die in a dramatic fashion in order to express that love. We found this was the case in both games and movies, both eastern and western. But I wanted to say something different, something realistic. I mean is it right to set such an example to people?” Kitase-san is adamant that cultural art puts too high a value on the dramatically meaningful death, “In the real world things are very different. You just need to look around you. Nobody wants to die that way. People die of disease and accident. Death comes suddenly and there is no notion of good or bad. It leaves, not a dramatic feeling but great emptiness. When you lose someone you loved very much you feel this big empty space and think, ‘If I had known this was coming I would have done things differently.’ These are the feelings I wanted to arouse in the players with Aerith’s death relatively early in the game. Feelings of reality and not Hollywood.”

Classic Convention

At the time of release the internet was awash with rumours that it was possible to resurrect Aerith. Edge wonders if this was ever the developers’ intention? “The world was expecting us to bring her back to life, as this is the classic convention. But we did not. We had decided this from the beginning. There was a lot of reaction from Japanese users. Some of them were very sad about it while others were angry. We even received a lengthy petition addressed to our scenario writer asking for Aerith’s revival. But there are many meanings in Aerith’s death and that could never happen. Final Fantasy VII is arguably one of the most significant games of all time. Not simply because it was so well conceived and executed, but mainly because of its wider significance to Sony. In Japan, history dictates that hardware can not succeed without a best-selling RPG franchise. With Final Fantasy VII Squaresoft secured its position as king of the adventure tale and won Sony an army of fans both in Japan and the west. The continued pressure Square receives to do a remake of the title is evidence of the game’s continued popularity. Edge gently pursues the rumours. “If I were to redo the game onto today’s hardware I would like to make the characters more realistic, I mean like FFX for instance. I think I would try include full voice support but I would definitely keep very same plot and scenario. I know that other members of the team are eager to do the update, but, currently I have no plans. Cloud and Aerith have appeared in other titles (Final Fantasy Tactics, Kingdom Hearts) so it is possible FFVII character will appear in a future title but there is much discussion to be had first.” Whether a new generation of videogamers get to experience this RPG in next-gen clothing is almost irrelevant. While few would go back to experience this epic again, it is one of those rare games that cast an emotional spell over legions of players. For that reason it will always remain the stuff of legend.

Afterthoughts: Final Fantasy VII

Interivew with Yoshinori Kitase and Tetsuya Nomura from Electronic Gaming Monthly, issue #196, October 2005.

In light of all these new FFVII offshoots, we thought it would be interesting to look back at the groundbreaking original PS1 game that popularized the role-playing genre in the United States. We waxed nostalgic with two of FFVII’s most integral team members: Director Yoshinori Kitase and character designer/battle director/coauthor Tetsuya Nomura.

EGM: What does Final Fantasy VII mean to you? Yoshinori Kitase: FFVII was the first Final Fantasy for the PS1, and it was also the first 3D game in the series, so it determined the new direction that the franchise would take after the 16-bit Super Nintendo era. It’s by far the most memorable and important title for me, and when I had the chance to expand any of the past games, I immediately chose Final Fantasy VII for the project. The ending of FFVII seemed to me to open up so many possibilities with its characters, more so than other games.

EGM: When you were working on FFVII eight years ago, could you conceive of how much the game would affect the RPG marketplace? Tetsuya Nomura: When I look back, I remember having no concept of just how massive that project would go on to become. Of course, I’d been associated with the Final Fantasy franchise before FFVII, as I did monster designs on Final Fantasy V (Super NES). I remember that before we started FFVII, the characters from Final Fantasy IV were still very popular, despite the fact that FFV and FFVI had been released. I found this really frustrating. Why would people still be talking about those characters? So I made it my goal to create my own batch of characters that would be remembered and loved by the Final Fantasy fans. Also, starting with FFVII, I was far more deeply involved with the story and characters, so I was really extremely excited to work on that project.

EGM: FFVII was a departure from the Super NES titles… were you worried about fan reaction? YK: I wasn’t really worried about response to the graphical shift, as there were already several 3D games in America that were accepted by fans. My fear had been that the Final Fantasy franchise might be left behind if it didn’t catch up to that trend, actually.

EGM: What did you think of Cloud as a hero when you were making FFVII? YK: There wasn’t really much controversy or criticism about having him as the hero from within Square, but he is definitely a mysterious character. That’s one of the game’s main themes, the fact that the protagonist has all these secrets to unravel. He isn’t a straightforward hero like Superman; rather, he has lots of mysteries, self-doubts, and a real dark side. Mr. Nomura was also very good at designing a character like that.

EGM: We heard that the death of Aerith and the creation of Tifa both originated in a phone call between you two…. TN: It’s funny, some magazine ran that story, but only the beginning and ending of it. People think that I wanted to kill off Aerith and replace her with Tifa as the main character! [Laughs] The actual conversation between Mr. Kitase and myself was very, very long. Originally, there were only going to be three characters in the entire game: Cloud, Barrett, and Aerith. Can you imagine that? And we knew even in the early concept stage that one character would have to die. But we only had three to choose from. I mean, Cloud’s the main character, so you can’t really kill him. And Barrett… well, that’s maybe too obvious. But we had to pick between Aerith and Barrett. We debated this for a long time, but in the end decided to sacrifice Aerith.

EGM: Did you pick her to increase the drama? TN: In the previous FF games, it became almost a signature theme for one character to sacrifice him or herself, and often it was a similar character type from game to game, kind of a brave, last-man-standing, Barrett-type character. So everyone expected that. And I think that death should be something sudden and unexpected, and Aerith’s death seemed more natural and realistic. Now, when I reflect on Final Fantasy VII, the fact that fans were so offended by her sudden death probably means that we were successful with her character. If fans had simply accepted her death, that would have meant she wasn’t an effective character.

EGM: Which female character in FFVII is your personal favorite? TN: [Laughs] I’m not really interested in any superdeformed females.

EGM: Since Dirge of Cerberus is, chronologically speaking, the furthest game in the FFVII timeline, does it have a happy ending? YK: AC and DC both have their own resolutions, so don’t expect cliff-hangers there. Also, DC isn’t the direct sequel to FFVII, Advent Children is. So we can’t view DC as the ending to the whole big FFVII saga. Plus, FFVII definitely has so many diverse elements, and different fans have interest in different characters, so if, for example, one person is interested in Cloud, Tifa, and Aerith’s relationship, then AC may provide some sort of answers for them. Somebody else might be interested in Vincent, so they might want to explore DC. It’s not like this is going to complete the whole story, but it will satisfy fans who have strong attachments to individual characters.

EGM: At the very end of FFVII, we see the epilogue to the whole story that takes place 500 years later, so really, you still have another 497 years’ worth of games and movies to fill in…. YK: Ha, maybe I’ll try to do that. In a way, I consider that epilogue to be the true happy ending of FFVII. Well, it’s a happy ending even though all the human beings are destroyed. [Laughs]

Concept art

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Dengeki PlayStation Vol.17– Dengeki PlayStation Vol.40-Non Translated

Magazine Previews

Forum member Brooke dug up some old FF7 previews from August of 1997 and was kind enough to share them with us. If you were already a Final Fantasy fan then, you might enjoy the nostalgia of the excitement that had been absolutely ravaging the West after the game’s January Japanese release. If you were not, it’s a pretty fascinating look at just how beside themselves people were to play this game. Also included is the preview of Final Fantasy Tactics, another imminent release at the time, as well as a truly prophetic piece about gaming and the third dimension.-lifestream

final fantasy vii development final

final fantasy vii development early

FFVII 10th Anniversary Discussion: p. 8 to 13 of the FFVII 10th Anniversary Ultimania

FFVII 10th Anniversary Discussion

In 2007 FFVII hit its 10th anniversary. To find out the secret of its appeal, we went to the 3 central members of the development staff behind FFVII and the Compilation. How does FFVII look through their eyes? Cloud’s Animations determined the image of the scenario

– It’s been 10 years since FFVII was released. I think the reason fans have continued to support it for so long is because it left that much of an impression on them, but what scenes stand out most in your memories as the creators?

Nojima: For me, it’s the scene where Cloud first appears at the start of the story. That scene used the cool standing animation Toriyama (Motomu Toriyama: FFVII’s event planner) made. If I remember correctly, it was named “Cloud showing off” (laughs). But when I say that animation I thought to myself objectively, “wow, this is great.” It was when I’d just started writing the scenario, and Cloud’s false persona was kind of determined based on that pose, and after that the image of the scenario started to solidify. Back in those days, a lot of different tasks would be going on simultaneously during production, so there were a lot of cases like that where the other staff would influence each other. All the important stuff was usually decided by talking it over in the smoking room (laughs). Nowadays since you’ve got the voice acting to record the scenario needs to be done first, so it’s turned into quite a lonesome task.

Kitase: That Cloud ‘showing off’ standing animation appears in the Nibelheim flashback as well. When the Shinra soldier asked about doing “the usual”, he does that pose. The same scene is in CC too, so I instructed the staff to recreate that animation (laughs). You were in charge of the Nibelheim events in FFVII, weren’t you, Nojima?

Nojima: That’s right. Right up till the very end we couldn’t get the bugs out of it, so it was pretty rough. Like when Cloud was waiting outside of the screen for his part in the scene, his hair would be poking out from the edge of the screen (laughs). Story-wise, the scene at the Northern Cave where Cloud talks while upside-down left an impression on me. I worked on the direction for that scene, but getting the characters to run to match with the movie scene was tricky, and I remember having trouble with it. The part where Cloud addresses Tifa as “Mrs.” Tifa, I made that hoping that the people playing it would be taken aback by the change in Cloud and it would really hit the player.

Nomura: The scene that sticks out for me is the scene when Tifa going into Cloud’s mental realm and he remembers the truth about what happened in the past.

Nojima: It was Katou (Masato Katou: FFVII event planner) who made the events for that part, and the movies were made by Ikumori (Kazuyuki Ikumori: FFVII movie designer). Ikumori was originally graphic designer for the maps, and this was the first time he’d tried his hand at movies. He said, “I’ve never worked on the movies before,” but looking at him now…

Nomura: Now he’s the movie director on DC and CC.

Kitase: Katou also did the event on the airship, the night before the final battle.

Nojima: Oh, the scene with the risqué line of dialogue? It was Katou who wrote that as well, not me.

– The line “Words aren’t the only way to talk someone how you feel,” right? That was quite a mature conversation for a FF game.

Kitase: But I remember having to get another version that was too intense toned down.

Nojima: The original idea was more extreme. The plan was to have Cloud walk out of the Chocobo stable on board the Highwind, followed by Tifa leaving while checking around, but Kitase turned it down. But even with the line in question, maybe at that time none of us thought it would be something so important (laughs).

In the original scenario, Zack didn’t exist

– Mr. Kitase, which scene do you find most striking even now?

Kitase: Like Nomura, I’d have to say the climax in the mental realm. The scene where the mysteries regarding Sephiroth and Cloud all become clear. I didn’t know until we were in the latter stages of development that Cloud’s memories were Zack’s. First of all, when I originally checked the scenario, the character of Zack didn’t exist. Zack was a character who came up as Nojima was building up the mysteries. So until that part was complete I was left wondering just how he was planning to solve this, and all the while making the event scenes, still in the dark about the truth.

Nojima: But with Zack, I didn’t simply bring him in just because it was needed for solving the mysteries. When I joined the development team, the concept of Aerith seeing her first love again in Cloud was already there, so I brought him in to link that with solving the mysteries.

Nomura: About the concept of her seeing her first love again in Cloud, at first we were thinking of making that man Sephiroth. When I got the request for the illustration of Zack we were already near the end of development, so when you look at it now it’s not even coloured, and I can’t really deny that it feels like quite a sudden request.

– Had you thought about the truth of the mysteries regarding Cloud and Zack from the very beginning?

Nojima: No, I thought of it as I went on with my work. So at the beginning there wasn’t much foreshadowing. The foreshadowing scenes, I asked the staff in charge of the event scenes to add after development reached a point where an outcome for the mysteries came into sight.

Kitase: In those days it was easy to go back and change things around later on. Lately, with the workload involved in making the graphics, it’s hard to ask people to change something once it’s been finished.

Nojima: Well, even back then, there were some people you could easily ask to change an event later on, and people who were difficult to ask, so the locations of the foreshadowing might be biased. I only went to the people who were easy to ask, and the foreshadowing is focused at the scenes they were in charge of (laughs).

Red XIII: Four-Legged Bane of the Event Planners – I think one of the things that have helped maintain FFVII’s popularity is the uniqueness of its characters. How did you go about creating the characters?

Nomura: At the very start of development the scenario wasn’t complete yet, but I went along like, “I guess first off you need a hero and a heroine,” and from there drew the designs while thinking up details about the characters. After I’d done the hero and heroine, I carried on drawing by thinking what kind of characters would be interesting to have. When I handed over the designs I’d tell people the character details I’d thought up, or write them down on a separate sheet of paper. At that time, I still wrote everything by hand as well.

– So in exactly what order did you draw the characters?

Nomura: The first ones I drew was Cloud and Aerith. Next was Barret.

Kitase: And then Nomura said he wanted to have a four-legged character, and drew Red XIII…

Nomura: After that I think things kind of stalled for a while (laughs).

Nojima: Because you said you wanted to have a four-legged character, it was a real struggle to make the cut-scenes. Like, ‘how is he supposed to climb a ladder?’ and ‘when he turns around his tail and his body end up going into the wall’ (laughs).

Nomura: The scene with Red XIII standing on two legs on the transport ship was funny.

Nojima: The scene where he says, “It’s hard standing on two legs” (laughs).

Kitase: You named Red XIII, didn’t you, Tetsu (Nomura)?

Nomura: I thought a name that didn’t sound like a name would be interesting, so I combined a color and a number. The reason I chose 13 was pretty much because it’s an unlucky number. The official details for the character and his real name ‘Nanaki’ was something one of the other staff did.

Kitase: It was probably Akiyama (Jun Akiyama: FFVII event planner) who thought of those.

– This is something I noticed before, but to type in ‘Seto’, Nanaki’s father, in Japanese with the keyboard set to kana input, you press the keys ‘PS’. I was wondering if this perhaps was where the name came from…?

Kitase: Did he think that deeply about it?

Nojima: If it was Akiyama who was in charge of that, I wouldn’t put some deep-rooted reason like that past him (laughs).

Yuffie and Vincent, who were almost cut at one point.

– Yuffie and Vincent are secret characters who you don’t have to get in your party, but I was surprised that they had so many cut-scenes prepared for them.

Nomura: There was even a time when some people thought we should cut them because we didn’t have enough time. But we somehow managed to veto cutting them, and as a result they became the secret characters they are today.

Kitase: The main reason for there being so many cut-scenes for Yuffie is down it the strong attachment that Akiyama, who was in charge of them, had. Her appearing in a battle and talking with her afterwards, all those were his ideas, and as development moved along the scope steadily got bigger and bigger.

Nojima: It’s really annoying when you try to save after the Yuffie battle and get tricked (laughs). For the story in Wutai, I made the parts related to the main story, but the events in the Pagoda of the Five Mighty Gods were the work of Tokita (Takashi Tokita: FFVII’s event planner).

Kitase: Those bits do have a Tokita-feel to them.

Nojima: Tokita is involved in the theatre, and the characters who appear there have the names of people involved with the theatre like playwrights.

– Who was in charge of Vincent’s cut-scenes?

Kitase: I remember making the event where he joins you in the Shinra Mansion, but his episodes themselves was Nojima, wasn’t it?

Nojima: I did write his episodes. The back story for Vincent and Lucrecia was around from the start, and I remember linking that with Shinra. In the end, Chiba (Hiroki Chiba: FFVII’s event planner) crammed the Vincent-related events in right at the last minute.

Kitase: Chiba is in charge of DC’s scenario, but thinking about it now maybe it turned out that way because he worked on the events with Vincent in FFVII.

Nojima: However, despite Vincent not having many scenes due to him appearing in the latter half of the story, he has a fair amount of dialogue, and when he does show up he talks a lot. Even though really he’s meant to be a quiet person (laughs). Even now I have a problem when creating scenarios, where even though the character is a cool and silent type, I end up making scenes where they just keep on talking and talking. Roles like Barret, who appear from the start and have a lot of lines, most of the time, basically don’t know anything. But characters like Vincent, or Auron in FFX, it tends to be the case that the quieter they are the more they know about things, and they just end up with more expositional dialogue. I still haven’t found a solution to this problem.

The reason FFVII’s characters have continued to be loved

– When thinking of the character’s stories or working on their designs, do you have any kind of tried and tested methods, Mr. Nomura?

Nomura: Maybe not a method in particular. For FFVII’s characters, they’re the result of wanting to make varied, and in a sense going for an orthodox balance. In the recent FF games, I now receive the profiles of the characters before handling the designs, so I don’t worry about the character building much now. I think FFVII was it as far as me thinking of the character’s stories first goes.

– The characters of FFVII seem to be especially popular even out of the entire series, but where do you think the reason for that lies?

Nomura: Hmmm, I wonder? Nothing really hits me. Well, I guess that each character has their own individual episodes which are well told. You might say their personalities are too strong (laughs).

Nojima: Yeah, they were made nearly excessively individual. For example, once you’ve decided Aerith speaks like this, it starts to escalate in that direction. And like Cloud’s cool standing animation we mentioned before, all the staff in charge of the events took in anything that seemed interesting. Even Cloud’s “not interested” catch phrase comes up so much you start to think, you won’t normally say it that much (laughs).

Kitase: Everyone used it, didn’t they?

Nojima: In that sense, their characters were definitely strong. In FFVIII onwards, the height of the characters increased, and we starting to be conscious of realism. And when that happens, there are times when you start comparing them to real life people. But with FFVII’s height, even in 3D, you still don’t really get that sense of reality. Maybe in that aspect they were like cartoon characters, which was a plus. I think, maybe they had a kind of easy to remember quality as symbols.

Kitase: When I first read Nojima’s scenario, I felt strongly that his image of a heroine was fresh. The hero didn’t have a typical personality, single-minded or righteous, and Aerith lived in the slums. Those things were really fresh. And having 2 heroines, Aerith and Tifa, and having the hero waver between them, at the time that was something new. And Sephiroth too, who appears from the start and is the final enemy, and is sort of a rival. For me personally, I think those things which weren’t in past FFs might be the secret to its popularity.

Nomura: In regards to Sephiroth, I wanted to avoid having the kind of plot development where you get to the end of the story and suddenly this boss you’ve never heard of yet just appears. With FFVII, I wanted to do a story where you’re chasing someone you’ve known was the enemy from the get-go. As for the heroines, during development some people were of the opinion that compared to Tifa, Aerith has fewer scenes and didn’t really stand out, so we also increased her appearances.

Nojima: As a motif for them, Tifa is “the childhood friend who’s been with you since nursery school”, and Aerith is “the girl who transfers school mid-term and quickly leaves for another school.” Since she doesn’t have many scenes, you’ve got to make it so that the transfer student has a big impact. That was what I thought.

Feelings about Aerith, the tragic heroine

– You can’t talk about FFVII’s heroines without talking about the tragedy that befalls Aerith at the Forgotten City. That event was a very memorable scene not only for the FF series, but all RPGs.

Kitase: In the past FFs as well, important characters died and went away. Like Galuf in FFV for example, they followed a pattern where the character would go down after giving it his all in a fight. In this case, often it went that the characters think something like, they’ve tired so hard, and just accept the death and overcome it. When creating stories I think that is an option, but in FFVII we were thinking, could we take this a step further? Bring out a sense of loss somehow? What I didn’t want to have was the kind of story development where even when a character dies there’s no sense of loss, on the contrary it just raises motivation and pushes you forward.

Nojima: Kitase’s loss talk has been consistent since back then.

Kitase: And with a lot of stories, before they die there’s a lot of dramatic preparations, aren’t there? Like a “pre-prepared excitement”, or “using this as a step to fight evil further”, those are the kinds of developments I wanted to avoid. In reality, death comes without warning, and you’re left feeling dazed at the gravity of the loss… Rather than wanting to fight evil, you’re just overcome by a great sense of loss, like you just want to give up everything. I was in charge of the direction of that scene, and I tried to bring out that sort of sense of realism.

Nomura: It’s related to ‘life’, one of the themes of FFVII, so it’s not portrayed as a “death for excitement’s sake” but expresses a realistic pain. Death comes suddenly, so I think the emotion there wasn’t excitement or anything, but sadness.

Nojima: Speaking from a scenario standpoint, FFVII is ‘a story of life cycling through the planet’, so someone needed to be part of that cycle. In other words, although what happened to Aerith isn’t really based on logic, as far as the story goes, maybe one of the team was destined to lose their life from the very start. But how that one became Aerith wasn’t decided through a notice as is popularly mentioned. It was decided after everyone, including myself, racked our brains about what to do.

Truth hidden in the abbreviations of the Compilation titles

– 7 years after the release of FFVII, the Compilation began, but it was a surprise that Advent Children, the sequel, was a film.

Kitase: Originally the AC project came about when the staff said they wanted to make a film.

Nomura: But having that film work being based on FFVII was decided from the beginning.

Kitase: They’ve made several of the movie scenes for games before, so they have the know-how. But an independent film was a big challenge for us, so we had to be ready for it being considerably difficult. When thinking of what subject material we work with while having that readiness, we came up with FFVII. At first it was only planned to be 20 minutes, but before I knew it there were fight scenes, and finally it grew to 100 minutes… (laughs).

Nomura: After we started the project, there was a period where it was put to one side for a while. At that rate, the project itself seemed like it would just go up in smoke, so I put my hand up and said I’d do it, and started again from there, adding in fight scenes and so on.

– Was the formula for the Compilation’s titles, AC, BC, CC and DC, planned from the start?

Kitase: In order of release BC comes first, Advent Children was the first title we decided on.

Nomura: For BC’s title, Taba (Hajime Tabata: BC’s director) and Itou (Yukimasa Itou: BC’s producer) came to me saying they had a good idea. “How about linking with AC, and Before Christ (B.C.), and going with Before Crisis?” I just gave an nonchalant “sure, why not,” but I never thought it would end up being a formula (laughs). So, next we skipped C and went for DC. Then planning for CC suddenly began. Kitase came to my office one day and told me, “think of something” (laughs).

Kitase: That was how it all began. At then, we were thinking of a PSP port of BC. At the time, you could only play BC on NTT DoCoMo mobile phones, so we wanted to let a wider spectrum of players to have a chance to play it. So personally, I was planning releasing it on the PSP with basically the same graphics as the mobile phone version, even if we did fill in the story a bit. However, when I told Tetsu about this, I hadn’t realized at that time that that wouldn’t be enough (laughs).

Nomura: Since at first I was told it’s BC on the PSP, I thought of calling it “Before Crisis Core”. But at that time we’d already decided on having Zack as the main character, so we said, “since it’s going to be different from BC, we don’t need ‘Before’ in the title, do we?” So we took off the “Before”, and by chance it fitted the CC which we had skipped.

Kitase: When I saw the cut-scenes of the completed CC, the quality was good enough to release on the PS2, and I never expected it would be this good. With CC, I had only read part of the scenario when I worked on it, so when played up to the ending myself, as a consumer, I was moved, like “aah, so this is what Zack’s story was like…” (laughs). When I saw the ending, I though to myself, “all the titles have come together nicely. I’m glad we did the Compilation.”

WEEKLY FAMITSU ISSUE NO. 1224: YOSHINORI KITASE INTERVIEW

IT BEGAN ON THE SNES

—First off, can you tell us how the development of “FFVII” came about?

Kitase: After development on “FFVI” ended, we started the “FFVII” project on the SNES. All of the team put forth ideas for the characters and game systems, but during that time we needed to help out “Chrono Trigger” team who at the time had run into trouble, so for a time development of “FFVII” was put on hold.

—Was the “FFVII” being developed then different from the finished one?

Kitase: Yeah. It was completely different, and Nomura (*1) had proposed things like a design for a witch. In the end, when development started up again it changed to the current setting centred on mako and the like, but the design for the witch Nomura made was incorporated into “FFVIII” in Edea.

—I see. So then, when the development began again, it become the world we have now which has a strong sci-fi feel.

Kitase: At the time there were a lot of Western-fantasy RPGs around, so we wanted to set it apart, and we wanted to achieve more realist ways of showing the story. Also, Mr. Sakaguchi (*2) had suggested a modern drama-esque story with a strong sci-fi feel.

—Had you decided on making it an RPG using 3D polygons at that point?

Kitase: When development had restarted, talk of a next generation console was already in full swing. Since the next generation hardware was said to have chips that excelled at 3D graphics, we also made a 3D battle demo movie based on “FFVI” and studied using 3D. Soon the idea came up that movies would be indispensible to the evolution of “FF” and we decided to development for the PlayStation, which utilised CD-ROM that had a large storage capacity.

“ALONE IN THE DARK”

—Was the decision to make “FFVII” in 3D a unanimous one?

Kitase: There were two directions the development of “FFVII” could have taken. One was to put pixel characters on 3D maps, like “Dragon Quest VII” and “Xenogears” would later use. And the other was the method used in “FFVII” where the characters are rendered using polygons. The pixel characters used in the story scenes in previous “FF” games were extremely popular, so at first we were considering the former which is an extension of that method. But as we couldn’t made a realistic drama in that way, and with polygon characters we could use the movement of their entire bodies to express things, we went for the later to look for new possibilities.

—Was there no resistance from the team?

Kitase: There was at first. Particularly, with the loss of the pixel graphics, the designer team such as Naora (*3) seemed to have felt that their job was put at risk. But in their own ways, everyone went to the CG training sessions and such and learnt to handle it. The people who had been there since the old days are those who had overcome that sort of times of change. In a sense, that was really the turning point for the development.

—Were there any titles that served as a reference when making a 3D RPG?

Kitase: A foreign game called “Alone In The Dark” was an inspiration. The backgrounds were single images done in CG, and when the polygon character moved along them, the camera would switch and the viewpoint would change. That method was new. “Alone In The Dark” was an adventure game, and its story was set in a mansion, but I thought that by taking this and using in it in RPG with vast field maps, it could be something different and new, so I went around showing this game to all the staff.

MOVIE SCENES YOU CAN CONTROL

—In “FFVII” one of its unique features was being able to control characters during the movies.

Kitase: What I wanted to do most of all in “FFVII” was to seamlessly join the movies and the game parts. We wanted to avoid there feeling like there was a massive gap in the graphics when moving from the movies to the playable parts, and Mr. Sakaguchi also said to not make it feel like the movies stick out. So we did some tests and made the part in the opening where the camera zooms in from a shot of all of Midgar to Cloud jumping off the train. I was in charge of the composition of that part, we used a method where as it moved from the movie to a CG image, the characters were positioned so they didn’t move out of place, and we refined it numerous times to get it to sync up nicely. When it went well without moving out of place, it felt brilliant. By the way, the kind of showy events like the scene where Tifa jumps off the Junon cannon, I was mostly responsible for those (laughs).

—Do you think scenes you can control during movies not being in other games was down to Square’s high level of technical skills at that time?

Kitase: No, rather than technical skill, I think it was more the inventiveness to want to do those kind of things. We wanted to take what “Alone In The Dark” did, having polygon characters on top of a CG background, and take it one step further. And because this was our first 3D game, we didn’t know the limits so we could have reckless ideas. We commissioned an outside CG company for the movie scenes, but when the trial version was completed, we would say “the story’s changed so we’d like to extend the movie scene by about 30 seconds” which really surprised them. Since at that time even just extending a movie by a few seconds costed 10 million yen. We made these unreasonable orders without knowing that. In the end we made do with a few revisions, but we gradually learnt that you can’t get retakes as easy as you could with games (wry smile).

—(Laughs) Did Mr. Sakaguchi give any orders for other parts?

Kitase: I think Mr. Sakaguchi wanted to follow the tradition of the pixel graphics, and to show the characters’ expressions on the field screens, so he paid attention to the size of the heads. In battles you can zoom in the camera, but since the field screens are a single background image, you can’t do that. As a result, the proportion of the characters are different in battle and on the field. But when we looked at it after “FFVII” was released, we thought “people are probably going to feel something is off with the difference in proportion” and so in “FFVIII” we the proportions on the field and battle scenes the same.

A SCENARIO WITH A HINT OF MYSTERY

—How was the story, which was distinct from the RPGs that had come before it, created?

Kitase: Before “FFVI” we had Mr. Sakaguchi’s plots, and based on that each of the staff would throw in their ideas and flesh it out, but with “FFVII” we could express things more realistically, so we couldn’t take a mishmash of all the separate episodes the staff had made up and make a single coherent game. That’s where Mr. Nojima (*4), who was one of the new staff members, came in. He had written an RPG scenario with mystery elements for “Glory of Heracles III: Silence of the Gods” on the SNES, so to make it a surprising story like that we left the scenario to Mr. Nojima and he incorporated the elements everyone wanted to do.

—Things such as Cloud’s true identity were certainly surprising.

Kitase: For Cloud’s identity, we only vaguely had an image of Cloud’s own existence being up in the air and it ending there, but the actual unfolding of events was left in Nojima’s hands. And he made not only the scenario but the actual event scenes as well, and the parts where all the mysteries get made clear like Nibelheim in the past were all in Nojima’s head so he hadn’t written it down in detail in the scenario. So we were doing the test play with no idea how it was going to end, and that’s how we first found out what happens. In particular Zack was made like that as well, he was a character Nojima brought in while he was building up the mystery, so we had no clue that he was that important a character (laughs).

—That’s surprising (laughs). Did Mr. Sakaguchi have any directions for the story, having written the plot?

Kitase: Mr. Sakaguchi had been deeply involved with the story up to “FFVI” but with “FFVII” he focused his efforts on the battles. It was Mr. Sakaguchi who suggested the materia system. At first materia had the name “spheres” which Nomura proposed, but Sakaguchi thought we should make it something that would resonate easily even with elementary school kids, so we went for ‘materia’. Back then, the staff were trying to come up with some cool name, but Sakaguchi said that in order to get it embraced across the board you can’t just think about what’s cool.

DEVELOPMENT BRIMMING WITH ENTHUSIASM

—Was the wide variety of mini-games something you planned to include from the start?

Kitase: We had thought of the bike mini-game where you escape from Midgar, but apart from that we had no plans at all (laughs). Now we don’t have staff who aren’t working on anything, but back then we could have staff who had a bit of free time between projects. There were some new staff as well so, kind of doubling as training, we had them make things that needed specialised programs, like the roller coaster shooting game or the submarines.

—So that’s the story behind it! By the way, were there any specific episodes from back then that left a mark on you?

Kitase: Actually, 6 days after “FFVII” mastered up, my eldest son was born. I luckily got there in time for the birth, but afterwards my wife said “you can’t just simply show up for the moment he’s born and everything’s fine” (wry smile). So while I caused some worry, it was a memorable time also for the birth of my son.

—So finally, can you give a message to the fans of “FFVII”?

Kitase: Looking back on the development of “FFVII” now, the difference in proportion between the field and battle sections encapsulates how the desire to “include the stuff we wanted to do” won over consistency. Those bits that are rough but you can feel the energy behind them, those are my favourite points in “FFVII”, and I think maybe what has been supported for so long. As you get used to game development you try to make something more clean and refined, but even if some things were a bit irregular, like there being so many mini-games, later on you come to realise that those can create some unpredictable sort of fun. I hope we can treasure that energy in the future as well, and not forget the enthusiasm we had at first as we make new games.

*1: Tetsuya Nomura. Character designer for “FFVII”. *2: Hironobu Sakaguchi. Produced heavily involved with the “FF” series. *3: Yusuke Naora. Art director for “FFVII”. *4: Kazushige Nojima. In charge of the scenario of “FFVII”.

– On the 15th anniversary To Tetsu

You’ve mainly received attention for your character designs, but you also suggested various systems like the limit breaks in “FFVII” which would be used in later games in the series. Limit breaks are similar to the special attacks in fighting games, but what an interesting idea it was to think it would be fun to place those into an RPG format. If I said it to you directly you’d get ahead of yourself so I won’t, but I would just like to say ‘thank you’ (laughs). (Kitase)

– On the 15th anniversary To Nojima

While we were asking you to come up with a mysterious story like “Glory of Hercules III”, me and Nomura kept throwing these elements we wanted without considering foreshadowing, so I think incorporating them must have been tough. But I am grateful that you pieced them together without turning us down. Thank you. But around the time of “FFX” our unreasonable behavior was too much *even for you* and you had a displeased air about you, didn’t you (wry smile). (Kitase)

WEEKLY FAMITSU ISSUE NO. 1224: TETSUYA NOMURA INTERVIEW

CHANGES IN THE VISUAL ASPECTS

—What was the most significant thing for you in the transition from “FFVI” to “FFVII”?

Nomura: I guess it was utilising polygons. The difference in high between the characters on the battle screen and the characters on the field screen also kind of seems like the gap between “FFVI” and “FFVII”, and seeing that process of trail-and-error is memorable for me.

—At that time, I hear you could have gone in the direction of using pixel graphics, or 3D, but what were your thoughts on it?

Nomura: I originally handled the pixel graphics, so I thought that if there were no pixels then my work would be gone (laughs). Later I took some training to learn CD, but I went into design and direction rather than working as a modeller.

—The “FF” series had been particularly known for Mr. Amano’s (*1) illustrations previously, so did you feel any pressure when your illustrations were to become the main focus in “FFVII”?

Nomura: I thought of my drawings as the standing images for the pixel graphics of the previous games, so there wasn’t any pressure.

—Standing images for the pixel graphics?

Nomura: In the “FF” series, Mr. Amano’s image illustrations and the pixel characters’ designs didn’t necessarily match. Personally, I considered image illustrations and the pixel graphics as being different categories in a sense. I was in charge of the pixel graphic parts, so I never considered myself as standing alongside Amano or taking over from him. The company decided from a rights perspective to put my name out in front, but originally there weren’t any plans like that at all.

THE TRADEGY OF AERITH AND THE BIRTH OF TIFA

—It was apparently Mr. Sakaguchi who selected you for “FFVII”, but how did that come about?

Nomura: From before when making a “FF” title, everyone would put plans regardless of their section. While everyone handed in text documents they made on a PC, mine were hand-written and had illustrations attached. Because I had originally studied advertising, I would keep in mind how to make people want to read it. Mr. Sakaguchi thought those illustrated proposals were amusing. Then one day he said, “let Tetsu draw the characters.” The start of this was the brush images for “FFVI”.

—Because your proposals were amusing!?

Nomura: Until that point, I hadn’t had many proposals taken up at all, so I don’t think that’s the reason (laughts). I suppose he liked the illustrations on the proposals.

—When it was decided that you would draw the illustrations, was the world and characters’s details already pinned down to a degree?

Nomura: There was a plot for the story, and I drew them based on that. But during the course of it Mr. Sakaguchi put Mr. Kitase (*3) in charge of production, and at that point in time the plot went back to square one. From there, I was also included in coming up with the original idea for the story, and began drawing while thinking up character and story details. At first Mr. Nojima (*4) was still on the “Bahamut Lagoon” team, so Kitase and myself refined the plot.

—Was the Aerith’s shocking death scene also confirmed at that time?

Nomura: I suggested to Kitase about having either Aerith or Tifa die, and it was decided that we’d go in that direction.

—Were there two heroines from the outset?

Nomura: No, originally there was only Aerith, and Tifa was added as another heroine later. To make up for Aerith dying, we needed a heroine who would be by the hero’s side until the end. Plus with Aerith’s death, while there were characters in previous “FF” games who lost their lives, we wanted to try a different approach. By bringing out a ‘sense of loss’ with Aerith’s death, we also wanted to portray the theme of “FFVII” which is ‘life’.

—It did certain have a different impact than that of the loss of characters in past “FF” games. Were there any other points you focused on with the story?

Nomura: I wanted to have a story where you chase Sephiroth. One where there is a SOLDIER who was once a hero, and the heroes follow him. Following a moving enemy hadn’t been done before, and I thought that by chasing something it would help pull the story along.

RELATION BETWEEN THE ORIGINAL CONCEPTS AND THE DESIGNS

—Were there any aspects of the character designs that you struggled with?

Nomura: For Cloud, at first I thought that it’d be better not to use too many polygons, so I gave him sweptback hair, but I didn’t think that looked much like a main character so I changed his hairstyle.

—Were you already thinking about polygon counts at the design stages?

Nomura: While considering it, I tried to be as unreasonable as I could. I thought that was necessary in order to do things no one else had done. For instance, making Aerith’s dress with polygons was very hard at the time. But I believed that thinking about how to make that so it moves naturally would lead to improvement of skills and rendering.

—Sephiroth’s long hair must have also been tough work.

Nomura: That’s right. That was also because I wanted to make the contrast easy to see between Cloud and Sephiroth in their designs. Blond and silver, short and long.

—At the time you said in an interview with our magazine that the image of Cloud and Sephiroth was based on “Musashi [Miyamoto] and Kojiro [Sasaki].”

Nomura: Yes. In particular the weapons, and the “showdown” image, was Musashi and Kojiro.

—Were there any other parts where the story concepts or mental images came through strong in the designs?

Nomura: At first, Sephiroth and Aerith were to be brother and sister, so I gave them similarities in their fringes. That aspect was dropped during the early stages, but the fringes stayed (laughs). I believe the original idea for them to be siblings later became that Sephiroth was Aerith’s first love. Ultimately Nojima thought up Zack, and it was all tied up.

WHITE IS THE “FF” IMAGE COLOUR

—Back at the time, did you realise the extent of the influence “FFVII” had on people?

Nomura: The Internet wasn’t wide-spread yet, and there weren’t really any avenues to see the opinions of a vast number of people, so I didn’t really know how it was being received by the public. But as the release was drawing nearer, the commercials on TV were played a lot, which gave a sense of the scale of things.

—There were several variations of commercials, right.

Nomura: Among those was a commercial that Kyle Cooper (*5) had edited. That was really cool, and it impacted me the way that different editing can give such a different impression. It was because of that that I took an interest in video editing.

—So the current high quality trailers came about because of a commercial for “FFVII”!?

Nomura: No (laughs). There is an outside editing director who has worked with us for a long time, but the present trailers are created with him.

—I see. The novel design for the game packaging, with just the logo on a white background which would be carried over to the future titles in the series, was also talked about.

Nomura: A lot of that was down to (Tadashi) Nomura who lead publicity for “FFVII”. Actually, we were talking about removing the lettering of the logo and just having the image of Meteor Amano had drawn. To have people recognise that it was “FFVII” from that. I thought that was pretty cool, but it didn’t materialise. The background being white was because Sakaguchi said that the image of “FF” was white.

—So there were lots of ideas even for the packaging. By the way, I heard that you are also involved with overseeing merchandise and publicity?

Nomura: That’s true, at the time I wasn’t sure how much I should do, so ended up drawing everything like roughs for plush toys and such (wry smile). I think it’s precisely because I didn’t know, that I was able to try my hand at everything. It was “FFVII” that was the start of my involvement in publicity as well. Though I ended up revealing info about “FFVII” I shouldn’t have and causing trouble, after that I started getting confirmation first. After I started working together like that, I was also able to cooperate with their publicity strategies, and I think I managed to get them to understand the intent of the development. Most of all, it was fun to be able to do that together.

ENERGY FROM IGNORANCE

—What sort of impression do you have now looking back on time spent making “FFVII”?

Nomura: We were basically rushing headlong, without knowing what we could or couldn’t do. And that’s why I think we could generate that much power, and pack everyone’s ideas in there. Our being able to be reckless making games that way ended with “FFVII”. Personally, it was the first “FF” where a wide range of my ideas were picked up, so it was a lot of fun.

—But before then as well, you not only created the pixel graphics but also submitted proposals as well, right?

Nomura: I put forth ideas for “FFV” and “VI”, but they were only really a part of the whole. Unlike in “VI” where with the inclusion of my ninja and my gambler I was given charge of the stories for Shadow and Setzer, “VII” was the first “FF” where I was involved from the ground up. Before then, I had been giving my opinions to a few people like Kitase, so it was interesting to be able to openly introduce proposals.

—”FFVII” is a game that has been supported by fans for over 15 years, but what kind of feelings do you have for the “FF” series?

Nomura: I still remember well what Mr. Sakaguchi said about “FF” at that time. There’s no one to tell that to the new staff, so I’d like to ask Kitase if he’d do so (laughs). I watched up close how Sakaguchi had left Kitase in charge of the development floor, and personally I think that Kitase is the true heir of “FF”. Also, “FF” carries weight because it’s a title that passed through many people’s hands and not just a single person’s. For example, “Kingdom Hearts” has the same main characters and the story carries on, but with “FF” the fact that ‘each time it’s different’ can feel like a tall hurdle. But that’s exactly why the new “FF” must always exceed the ones of the past. Even “FFVII”, which has been supported by the players for a long time and many people hope for a remake, but right now we want to prioritise new titles, and to try our best to make those become like “FFVII” or something greater.

*1: Yoshitaka Amano. Works on the image illustrations and logo designs for the “FF” series. *2: Hironobu Sakaguchi. Producer heavily involved with the “FF” series. *3: Yoshinori Kitase. Director of “FFVII”. *4: Kazushige Nojima. In charge of the scenario of “FFVII”. *5: Kyle Cooper. A video creator who produces the opening credits for films, with many credits such as “Se7en” and “Mission: Impossible”.

– On the 15th anniversary To Kitase

We see each other a lot normally, so I don’t really have anything to say (wry smile). Lately, there are getting to be fewer people who worked on “FF” with Mr. Sakaguchi. Among them, I’ve worked with you for a long time, and it feels like you’ve done a lot for me. Let’s keep on going into the future. (Nomura)

– On the 15th anniversary To Nojima

I think it’s great how you write this dialogue that gives characters clever things to say, and surprising stories. In “FFVII” Cloud’s true identity was a real shock. You later founded your own company and went independent, but I hope we can keep on working together still in the future. (Nomura)

Sources and Other Links!

If you like to read about Final Fantasy VII, I would also recommend buying the Final Fantasy VII Ultimania.

Interviews

Interview with Official UK PSX Magazine – October 1997

Hironobu Sakaguchi Interview – from PlayStation Underground #2, 1997

The Making of Final Fantasy VII – from Edge #123, May 2003

Afterthoughts: Final Fantasy VII –

Dengeki PlayStation Vol.17– Dengeki PlayStation Vol.40

“EGM2 August 1997 issue” scans

FFVII 10th Anniversary Ultimania p. 8-13 “Creators’ Discussion”

Final Fantasy VII Developer Speaks Out About “The Travelling Salesman”, interview by GlitterBerri.

Yoshinori Kitase Interview

Tetsuya Nomura Interview

Press Releases

FFVII North American Release Announcement – SCEA, February 1997

FFVII’s Marketing Campaign – SCEA, August 1997

FFVII Official Release Date Broken – SCEA, September 1997

FFVII Breaks Sales Records in First Weekend – SCEA, September 1997

FFVII Sells Over 500,000 Copies in the U.S. – SCEA, September 1997

FFVII Sells Over One Million Copies in the U.S. – SCEA, December 1997

FFVII for the PC Official Announcement – Eidos, June 1998

Other

Marketing material https://www.resetera.com/threads/final-fantasy-7-marketing-stuff-etc-reunion.37961/page-2

Xenon- http://xenon.stanford.edu/~geksiong/papers/sts145/Squaresoft%20and%20FF7.htm

Final Fantasy Beta- https://www.unseen64.net/2008/04/11/final-fantasy-7-beta/

See Also Beta versions of Final Fantasy VII’s world and assets- Here and here

Deleted Scenes and unseen text- Here

Concept arts here and here. Oh look more.

From the FFVII Ultimania Omega (2005). Early concepts for the world, characters and themes. – Character Files: Page 518, Cloud, Barret & Tifa. – Character Files: Page 519-520, Aerith, Red XIII & Cait Sith. – Character Files: Page 520-523, Yuffie, Cid & Vincent. – Worldview & Terminology: Page 523-525 – Scenarios & Scripts: Page 525-526 – Scenarios & Scripts: Page 527-528 – Scenarios & Scripts: Page 528-529 – Scenarios & Scripts: Page 528-529 (Part 2)

The Unused Text Series

Text and scenes found within the game code of the retail editions. Complete with in-depth commentary written by Shademp. • Article Index and Term Register • Part 1: Bombing Mission & The Train Ride • Part 2: Sector 7 Slums • Part 3: Train Escape & The Sector 5 Slums • Part 4: Honey Bee Inn – (1) Entrance, Lobby & Dressing Room • Part 4: Honey Bee Inn – (2) Waiting Room & Second Floor • Part 5: Rescuing Aeris, Story Time at the Inn – (1) Wall Market to Shinra HQ Library • Part 5: Rescuing Aeris, Story Time at the Inn – (2) Shinra HQ Library to Kalm • Part 6: Chocobo Farm to Corel Prison – (1) Chocobo Farm to Cargo Ship • Part 6: Chocobo Farm to Corel Prison – (2) Costa del Sol to Corel Prison • Part 7: Gongaga to Wutai • Part 8: Keystone Quest to End of Disc 1 • Part 9: Over the Glacier – Attack on Junon • Part 10: On the Highwind – Cloud’s Return • Part 11: Underwater Reactor – Infiltrating Midgar • Part 12: End of Disc 2 – Final Dungeon

Additional Sources- http://shmuplations.com – http://www.ff7citadel.com/ –

As time goes on, I will try and further enhance this article with more sources and interviews as I find them. I truly believe it is important to keep the history of classic games development alive.

The Development of Final Fantasy VII The development of Final Fantasy VII is a mysterious and hard thing to follow. While there is plenty of info out there, much of it is either rumors or unsubstantiated.

#aeirth #aeris #cloud strife #concept art #Development of Final Fantasy VII #final fantasy vii #jessie #kitase #nojima #nomura #remake #sakaguchi #sephiroth #tifa

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