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adachikiyoshi · 1 month ago

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Rating (almost) every Cherry Magic iteration

Manga, Japanese Drama, Chinese Radio Drama, Japanese Drama Movie, Thai Drama, Anime

After rewatching (almost) every iteration of the story multiple times, I've compiled a list of my personal reviews for each adaptation (and the manga) and how much I would recommend them, what they each did well and what they might have lacked.

Manga:

Personal Score: 9.5/10 (only because it's still on going)

Objective Score: 9/10

Skipability: 0, you can't understand the whole story without the manga and also, you're missing out.

If you're reading this post, you probably know the plot of Cherry Magic, so I won't explain much about that. Since this is mostly to rate the adaptations in comparison to the manga, I can only emphasize how important the entirety of the manga is to understand cherry magic. Doesn't matter how many adaptations you've watched, I don't think you can truly consider yourself a fan if you don't engage with the manga. It's the only version where everything has the proper time to be fleshed out, especially in regards to Adachi, Kurosawa and their relationship. Toyota's writing as the story goes on is something to marvel at and unfortunately, the adaptations have yet to reach that far to represent it properly. The art progression is also noticeable and even if the art style puts you off at first you can see and appreciate the improvement.

Japanese Drama (2020):

Personal score: 9.5/10

Objective score: 8.5/10

Skippability: Maybe a 2-3, you can still enjoy the story without it but it's worth seeing how the drama influenced the manga.

Arguably the most popular and most successful iteration of the story, the Japanese drama of Cherry Magic deserves every bit of praise it gets. Before I get into the pros and cons, I need to contextualise the environment the jdrama was created and aired in because recent conversations lack nuance on that aspect. The Cherimaho drama was produced and aired on TvTokyo in 2020 and it was the station's second BL drama, the first being the incredible slice of life gay cooking drama, What Did You Eat Yesterday? So, wanting to replicate the success of that, the creators wanted to focus on the human drama aspect of Cherry Magic without, of course, toning down its LGBT themes. And they did exactly that. And they did that very well. The execution, while not flawless, was incredible start to end. The way they adapted the characters into a more toned down environment felt natural, and not too far off from their original characterisation. It's a visual feast and among all adaptations, it has the best and most memorable soundtrack. The strongest point of this adaptation has to be Kurosawa as well as the way more minor characters were handled and fleshed out. The progression of the relationship feels natural and they managed to adapt the manga's fast pace in a way that doesn't feel rushed on film form.

As for the weak points, it all comes down to the second half of the show, which I feel I need to give context for once again: Cherimaho drama was created when the manga was merely at volume 4 (in events, that's their first date) and Toyota had shared with the writing team her drafts for volume 5. So, after the confession, the drama had to create original plot lines which, while not bad, did feel different from the strong beginning of the show. The most complained about is the rushed handling of Tsuge and Minato's relationship, which was to be expected as they had so little interactions at that point in the manga. And, of courss, the thing the jdrama is notorious for: the lack of a kiss scene. Was it disappointing? Yes. But believe me when I say that it's literally not as a big deal when you watch the entire show. The show does not shy away from its queerness and there is nothing in their actions that could be interpreted as platonic. This poor production choice (which we can assume was implemented by someone else, tvtokyo has also removed straight kisses from adaptations for some reason and also it Was the height of covid) should not sully your experience with the show and in no way does it take away from its queerness. This version also features an asexual character as well as a mini arc for them so it's clear that the writers knew what they were doing and they were doing their best and it's so clearly conveyed in the gentleness of the show. It is also evident in the movie sequel, but more on that on its time to review.

All in all, I would say you need to experience the jdrama as it becomes a set point for the manga; the story shifts in the best way possible and it's all thanks to the jdrama and its unpredictable success.

(Though nothing beats watching it weekly during COVID)

Chinese radio drama (2022):

Personal score: 9/10

Objective score: 9/10

Skippability: Above a 6 since it's not really influential but I am not exaggerating when I say you are missing out maybe the best spin on the story thus far.

Cherry Magic's first and best foreign adaptation to date. First of all, we need to acknowledge how bananas it is for a niche yaoi manga to get a chinese radio drama because of its drama's success. Second of all, it's hilarious and incredibly romantic and the best and most creative take on the story. The localisation made for some interesting changes in the story and when it came to original plot lines, they nailed every single one. It's been a hot minute since I rewatched it but it's such a memorable piece of media. It's extremely underrated considering how accessible it is (thank you naina <3). Audio form foreign media may be hard to get into but the radio drama deserves every second of your time. Literally the only weak point I can mention for this adaptation is that it's not a visual medium and it's hard to get used to at first. But the voice acting, the character writing, the music, the manga and original plots— everything was executed near perfection.

Oh and it's just fucking hilarious. Like, extremely so.

Japanese Drama Sequel Movie (2022):

Personal score: 9/10

Objective score: 8/10

Skippability: 0 if you've watched the jdrama.

Cherimaho the Movie was announced on November 28th 2021 for a, later revealed, April 2022 release. And us international fans were able to watch it on November 8th 2022.... And yes, it was worth it! A manga loyal sequel to the jdrama, which had an original ending, was a bit hard to execute so there are points you have to suspend your belief. But this sequel was a nice last peek into the relationship of jdrama Adachi and Kurosawa and a well done farewell to the jdrama franchise. I was especially moved by the tackling of the reality of a long term gay relationship and the way the characters handled it. The movie is essentially split into two halves and both are crucial for Adachi and Kurosawa's development. If I had to mention a weak point, besides one or two scenes, it would be that I would love for certain events and character actions to be more in line with the manga but I am also aware that those changes were made to fit the characterisation already set by the Japanese Drama. Oh and the no kiss thing is still an issue somehow. But again, the rest of the story being good enough makes up for it. Still questionable production choices.

Thai Drama (2023-2024)

Personal score: 4/10

Objective score: 6/10

Skippability: 10, only recommended out of morbid curiosity.

Harsh score. What did the show get so wrong? I will admit being biased against it at first. Right after the movie had just dropped, a new adaptation is announced and almost immediately steals the spotlight. It doesn't help that it's produced by GMMTV, who, along with japanese channel MBS, I consider the most annoying BL factories (with the rare exceptions) for fans and shows alike. I also wasn't thrilled that the casting was decided on a pre-existing couple rather than which actors would fit each individual character best. But I tried to look forward to it, especially since the cast and crew insisted that this was a manga adaptation rather than a remake and that they would go beyond the plot lines the japanese drama did. I had some gripes with the jdrama in comparison to the manga so that was good to hear. After a while, they dropped a few trailers and I decided that my worries were probably for nothing and that the show seemed interesting and we produced. And it surprisingly was! For a few episodes, at least. The localisation is very well done. Adachi's living situation, his transport to work, the work environment— vastly different from the original setting but successfully adapted to Thai culture. This version is a lot more lighthearted on about everything. At first, this was a fun spin. Focusing on its comedy, since it's a strong point of the earlier story. But, as the show went on, that wasn't necessarily a good thing. The strong point of this adaptation was the first few episodes as well as the production quality. It's visually beautiful as far as settings, Tay and Jan go. The runtime being longer kind of worked in their favor, as each episode would cover more ground (with exception ep1 which managed to adapt like 15 pages into 50 minutes). Another strong point is the handling of Tsuge and Minato—although their age gap wasn't properly conveyed, the chemistry they had, even if they were a bit out of character, was fun enough. Unlike the Jdrama, the writers here had a clearer visiom of what they wanted to do with them (and they also had like 7 more volumes of content).

Unfortunately, this is as far as my praises go. The weakest point of this show is its main character. Adachi, in this show Achi, is the most unlikeable protagonist I've seen in a hot minute—and I was watching Ossans Love while this was airing. Generally, he's not even that bad ; but he's kind of run of the mill stereotypical uke archetype you'd find in those manufactured BLs, pretty opposite of what Adachi is. He goes through no character development as he begins pretty much at where Adachi ends and he's just so uninteresting to follow. The actor didn't do a great job either but to his defense, he wasn't given much to work with. Kurosawa's counterpart, Karan was way better, at least but he can't make up for the protagonist. The completely made up heterosexual ship between Fujisaki and Rokakku (Pai and Rock here) was a pain to watch especially since they tried to keep Pai's independent nature from the Jdrama (where she was canonically aroace) which just made her disinterested in Rock's advances until the very last episode where she's suddenly into him–if i wanted to watch a badly paced heterosexual couple I wouldn't be watching a BL, respectfully. But besides all that, I think this adaptation was a wasted opportunity. It clearly had budget and time. But it relied heavily on the Jdrama instead of the manga and well, that's fine for fans of the drama but promising manga accuracy and delivering an even more sanitised version of the jdrama was just a huge disappointment. Why should I relive the japanese drama? What's YOUR take on the manga?

Also to clarify rumours I've seen spread around, Toyota was not involved in the making. The japanese side that needed to approve the script was not directly reporting to Toyota because another company has the rights to distribute the Cherry Magic IP, she wasn't as involved in negotiations and stuff as people claim she was, especially considering she learned of the show's existence a few days before the general public did. The usage of AI art in the drama's promotion despite Toyota being vocally anti AI was also a point of disconnect that left a bitter taste in my mouth. But also I acknowledge that Cherry Magic Thailand exists mostly for Thai fans, probably in a similar way the 80% of my country's tv shows are remakes and honestly good for them, I'd love to have a CM remake in my culture even if it's not "perfect" and I'm sure parts I personally found confusing as changes make sense in a way I cannot understand, hence why the objective score is pretty higher than my personal score.

Anime (2024)

Personal score: 8.5/10

Objective score: 7.5/10

Skippability: 4, cute and loyal enough so it's worth checking out

The much anticipated Cherry Magic anime was something, alright. I thoroughly enjoyed it from start to finish but it, unfortunately, has some glaringly big problems when it comes to its animation. For the runtime they were given, they were able to include much more than I thought they would and even if the pace tended to be faster than expected at times it wasn't as much of a problem; I love Cherry Magic a lot and I believe its strongest narratives begin after volume 5 or so and I'm glad we had the chance to see a little of that as well. The voice acting is definitely the greatest thing about this adaptation. In most of CM's adaptations, Kurosawa's actor tends to always stand out more but the anime for me is a bit more balanced; both Kobayashi and Suzuki are extremely talented and passionate in this. Thankfully, the same passion is also transmitted in the english dub, which is so fucking funny. A lot of people were disappointed with the last episode, as they fast forwarded some things for a grand finale but I'm willing to let it slide because at least they are self aware about the impossibility of a second season and chose to show some highlights we might not have gotten otherwise. Plus, they're making up with the movie so, we'll see! Back to the animation though, some episodes were criminal to sit through. It's sad because this treatment is likely because CM is a josei bl manga and animation projects like that tend to get the short end of the stick a Lot. That piano BGM *you know the one* was also frustrating at times. And I wish the colors popped a little more, yknow?

Honorable mention: Audio Drama (2019-)

I can't score it because I listened to it once on a bus ride and I'm not even sure I finished it. I'm sure I'll come back to it.

Happy Cherimaho The Musical to all those who still celebrate <3 And if you made it all the way here, don't forget to check the Cherry Magic Masterdoc <3

#cherry magic

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raven-at-the-writing-desk · 28 days ago

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About Malleus new years card, given how heavily Japanese culture it goes into. It might be a hagoromo, a white cloth/scarf that floats in the air around a goddess. Given that Malleus is the strongest mage, it might be a symbolism of that. Even so it's used for goddess, Vil and a few others worn clothing meant for women. It wouldn't be unusual to be used for Malleus.

[Referencing this post!]

These asks are all about the fashion of the New Year’s Attire cards and how they relate to Japanese culture, so I thought to combine them ^^

Since I’m responding to three asks in one post and it takes a while to explain things, I’ve placed everything under the cut :> There’s a lot of discussion of Japanese clothing, culture. and folklore in this, so if you’re interested in those topics then you’re in for a treat!!

To the first ask: Though Twst is fairly gender fluid when it comes to dressing its characters, I'm certain that's not a 羽衣 (hagoromo/"feather garment/cloak"; typically worn by celestial women in Japanese mythos). Hagoromo are thinner, longer, and more scarf-like than what is depicted in Malleus's initial card art. You can tell that he's clearly got a sheet that covers his entire body there. The fabric also doesn't appear to be floating like a hagoromo would.

The first two images depict 被衣 (kazuki/katsugi); the latter two images depict 羽衣 (hagoromo); you can see there is a notable visual distinction between them.

To the second ask: It’s possible that the artists looked at kabuki fashion for inspiration, but they most likely did not base the entirety of the New Year’s Attire outfits on that alone. As Yana states in one March 2023 interview, she and her team try to avoid creating outfits that too closely resemble a single real-world culture or brand. To that end, they seem to pull their inspiration from many different cultures and time periods, which is why you'll see a mixture of traditional and modern Japanese elements in the New Year’s Attire.

歌舞伎 or Kabuki, for those who don't know, is classical form of Japanese theatre which mixes dramatic performances with traditional music and dance. I consulted with a few friends who are familiar with Japanese culture (hereby referred to as A-ko, B-ko, C-ko, and D-ko) about the topic and they had some enlightening information to share. Because I am not familiar with the art form or how to gauge it myself, I will be relaying the information provided by those friends in addition to my own research. A-ko informed me that kabuki used to be co-ed (or at least did feature women; the first kabuki troupe formed was all-women) and modern kabuki is all-men. As for the poses, B-ko remarked that they can be considered common "festival dance poses", not strictly kabuki poses. C-ko added, "[...] There is very little, if anything, kabuki-like about the New Year’s cards apart from possibly SOME of the poses [...] Jack is probably the most kabuki we’re going to get because of the dynamic palm thrust and gaudy composition of his attire." The eye makeup being red and of that design also invokes the image of kabuki makeup without it fully committing to its extravagance!

Overall, the group seemed to agree that the New Year’s Attires lack the over-the-top expressions and elaborate costumes of kabuki. There’s also the more obvious lack of full-face stage makeup, but it’s kind of a given that Twst is wouldn’t go this route, especially since the context of these cards is helping out in a store and not putting on a dramatic performance.

On the topic of Malleus and oni (Japanese yōkai, demon, orc, ogre, or troll), I don't think he's intended to look like one??? Sure, he has the horns, but as B-ko said, "[Malleus] always has those horns." Very little in his actual outfit resembles the costume a kabuki actor playing the part of an oni would wear--unless you count the excessive black, as that's a color typically used for oni, but that black is usually paired with red. As for the hair styling, D-ko explained, "Oni usually don't have hair [...]". I find it interesting that some oni masks I found do seem to have hair, but it's usually very sparse omg balding!Malleus real???? and/or a middle part and not the sideways part that Malleus is sporting. Additionally, while oni do have horns, the shape of them is nothing like Malleus’s.

It's true that fur is rarely seen in historical Japanese clothes, but they don't seem to be that common in kabuki either?? According to C-ko, "fur and pelts [...] were a luxury few could afford. Thus, only those people decorated with furs would be royalty or individuals vying for power.

B-ko suggested that the reason why Jack wears fur in his New Year’s Attire isn’t to emulate Kabuki—which tends to feature fluffy wigs, like the one pictured below—but to emphasize his “wolf”-ness and to keep him warm from the cold. C-ko pointed out, however, that “[…] fur accents (like what Jack has) became the trademark for popular and celebrated figures [...] towards the end of the warring states period; when kabuki came into vogue, many plays were inspired by the lives of such personae as well as the legends surrounding them. This is why much of kabuki is characterized by the term basara—of grandeur and ostentatious eccentricity. The actors themselves would not have had access to furs, so they focused instead upon conveying that same sort of energy through their theatrics and outlandish couture. They still used substitutes, of course.” C-ko also added, “The most memorable kabuki roles feature things like fur—which many associate with kabuki.”

Finally, the group altogether said that, “Vil isn’t [dressed like] a geisha. His outfit bears no resemblance to what geisha wears.” 芸者 or Geisha are highly trained Japanese hostesses who entertain guests with song, dance, and conversation—furthermore, there’s a rigorous training process and a very specific appearance they take on. Makeup aside (if Twst is not doing kabuki makeup, why would they do geisha makeup?), a feminine figure and long, flowing kimono is not enough to get the “the look”. B-ko commented, “[…] Calling Vil [dressing like] a geisha just because he wore a feminine kimono […] Like, damn. Does that mean every woman who wears that style [of a] kimono is a geisha now?” It takes considerable time and dedication to achieve this to earn the title; it’s not meant to be taken lightly!

From D-ko, “Overall Vil’s outfit is kinda westernized.” This is due to the hat, gloves, bows, fishnets, and laced collar. A traditional geisha’s outfit lacks the bells and whistles that Vil’s design boasts. The silhouette also seems to be wrong. Why? “Because technically you try to make your silhouette as not curvy as possible when wearing a kimono,” but Vil’s silhouette appears more hourglass-like. The devil is in the details!!

Lastly, to the third ask: Going to skip over talking about Jack's umbrella pose and the kabuki inspiration, since I already addressed that earlier in this post! I'll briefly add that it's not for sure that Malleus is meant to be a certain thing unless Yana and/or her team come out and say it. B-ko agreed, saying "I don't think you can say Malleus is definitely [Ushiwakamaru], since I literally gave [other examples of what] he's dressed like [...] I can understand 'taking inspirations from', though..."

In the final ask, Anon remarks that Jack and Malleus's looks may be inspired by that of 弁慶 (Benkei) and 牛若丸 (Ushiwakamaru), two characters from Japanese folklore. Ushiwakamaru is the nickname of Minamoto no Yoshitsune, who, according to C-ko, "[...] fought and recruited his loyal vassal Benkei in a fabled confrontation on a bridge." While some elements of Jack and Malleus's New Year's Attires resemble what Ushiwakamaru and Benkei are usually depicted wearing--especially Malleus's veil--not all of it matches up. For example, as B-ko notes, "[...] what Malleus is wearing under the veil isn't what Ushiwakamaru is wearing, but looks [like] more of a kannushi (神主/"divine master (of ceremonies; often Shinto clergy)")." B-ko linked this site and recommended checking it out to make clothing comparisons; the kannushi garb was just an item they picked out for similarities on a cursory glance. This brings me back to a point I mentioned in the second ask: Twst's fashion takes inspiration from many sources and blends them.

"I think it really boils down to [Malleus and Jack] evoking the atmosphere of that famous [Ushiwakamaru and Benkei] print," C-ko continues. They drew comparisons between Malleus, a character twisted from Maleficent (commonly depicted with her raven Diablo), and Usiwakamaru, who is the disciple of a tengu {crow/raven yokai). They also compared Jack, a steadfast and virtuous individual, with Benkei, who is a monk with similar traits. Furthermore, in the famous folklore story, Benkei is depicted as having felled 999 men before facing off against Usiwakamaru, a supernatural force. So, like Jack, Benkei is a powerful combatant up against an even more powerful supernatural force, Usiwakamaru/Malleus.

jxxbisbsjJvsjsb I didn’t think we’d be talking about Japanese fashion, history, and folklore to this extent, but here we are 🤩 I hope that, if you’re reading this, maybe you learned something new and interesting from the post!! I know I certainly did while chatting up my friends.

P.S. Thank you to A-ko, B-ko, C-ko, and D-ko for their knowledge and perspectives! Couldn’t have written this without you.

#twisted wonderland #twst #disney twisted wonderland #disney twst #Malleus Draconia #Jack Howl #Vil Schoenheit #notes from the writing raven #jp spoilers #Maleficent #Diablo

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rorydrawsandwrites · 23 days ago

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what is the appeal of ribbun to you? genuinely trying to understand

It's like a fucked up little science experiment

...And now to attempt a serious answer:

For me to enjoy the romantic pairing between two characters beyond occasionally seeing fanart of it, finding it cute, and moving on with my life, there has to be some sort of a conflict in it. Opposing personalities in some way, issues the characters have with each other, issues the characters have with themselves that create issues between each other... also a secret fourth ingredient that I can't describe and is entirely subjective. Call it chemistry.

(For instance I see no romantic chemistry in Funnygummy. They're sweet, they'd make good friends, that's about it for me. I had a whole rant typed out here in a stroke of passion but since I don't want to be the one to judge someone else's comfort ship, I removed it. Plus I dig LollyDolly, so I realized I was starting to sound like a hypocrite.)

I get that canonically, realistically, Gangle might hate Jax. I wouldn't say the same the other way around (perhaps after the latest episode), because I figure Jax must usually enjoy having someone weak-willed to walk all over. He does tease Ragatha the most, the one who reacts with otherwise uncharacteristic anger to his antics, which is plenty amusing, but press a little bit and Gangle folds. She's an easy, weepy target. (Which doesn't mean she never talks back, and I appreciate that.) Meanwhile Gangle in the first three episodes hadn't been getting that much attention from the rest of the cast. Initially it led me to believe that poor soft-spoken sadsack Gangle is for the most part ignored for her issues; they can't help her if her comedy mask is broken, so they just let her be. Thus she gets the most attention from Jax, and not the good kind, but you take what you get... I could see a toxic sort of attachment forming on both sides.

BUT. I don't particularly enjoy the ship when it's one-way abuse. Jax just tormenting Gangle ad nauseum, trotting past all her boundaries, bordering on noncon. Nah, I think she could be a bit unbearable too for karma's sake... and out comes episode four!! Yippee!!

Gangle is every bit the enthusiastic nightmare I was hoping her to be when she's in charge; I was waiting for her to get back at Jax in some way, and boy did she ever. I do prefer a sort of back-and-forth mutuality in my ships, not tipping the scales too far in one way, and anyhow Jax's harrassment of Gangle and lack of comeuppance in the beginning irked me regardless. My Puppeteer AU art I've been making since last summer was supposed to balance out what in the first couple episodes was one-sided torment; also I like fucked up women who are creepily intimate with their victims, so there's that.

(Funnily enough I didn't even ship it before I began drawing more for the AU and studying the two characters. I used to see the ship and think "oh, that's so toxic, I could never". Albeit the fact still hasn't changed that in the AU itself, Gangle's attachment is intended to be platonic.)

Now for taking the ship in a healthier context...

I like the idea of Jax toning himself down for the sake of a relationship, because he's finally realizing he'd rather catch cooties than die alone, and Gangle coming to terms with her abhorrent taste in men but biting the bullet anyway, because it's the circus and they're not exactly rife in options and also because she's a little bit of a freak. As well, arriving some time after one another and forced into proximity by the situation and Jax's pestering of her, they would've come to know each other pretty well. She can guess that there's a lot hiding behind the bunny's mask... which doesn't negate the harm done to her, though. In any case the making of amends would be in order.

If he could bite back his asshole comments for five minutes he might even find himself encouraged to open up a little by a partner who's so vulnerable and expressive of her feelings, however insecure she may be of them. And I also suspect Gangle could be more assertive in private than you'd expect... after all she's shown full capability of retaliating in canon now. I have faith that she could handle herself long-term, granted she develops some more (genuine) confidence.

On a slightly related note, it's unfortunate but interesting to me how much the confidence she does display is conditional. She needs physical objects, the masks, to hype her up, and yet all of what she says and does when wearing them is still coming from herself and only herself. The mask doesn't affect her, she simply adjusts her behavior in tandem with her current expectations. Which reminds me of those kids' cartoon episodes where the gained self-esteem and power the protagonist attributed to an object or keepsake was inside them all along.

These expectations can be a burden as well, and she's better off getting rid of the happy mask in the end. The lack of pressure to take charge can be reassuring if that's something you don't feel comfortable doing.

And when it comes to Jax, it may also be that she normally just... doesn't want to exert the energy to snap back at him. A constant battle with someone who insists on being an active dick to you but you can't get rid of sounds exhausting. It's easier to keep to yourself and go along with it, and as someone who also tends to take the easy way, I get that. Especially since it wouldn't even make a difference. It's not like she had any means of truly punishing him for his actions before being placed in a position of power during Fast Food Masquerade. (Good for her.)

In all my AUs where I am receptive to Ribbun, I make sure to level the playing field. Since it's hard to imagine Jax being much kinder, she should get to at least irritate him equally in return. She can be cringe and annoying and a handful too, as a treat.

Ultimately they're still gonna like each other, or else what's the point? But the clashing of their personalities adds a dash of spice to it.

Anyway this got long, maybe because the passive-aggression I've picked up from this anon message compelled me, intentional or not, to elaborate beyond the first sentence. I think it's the fact that I'm pretty sure I've seen a Ribbun shipper I follow questioned likewise almost word for word, I don't know how long ago, as if indulging in this ship is a uniquely baffling and suspicious activity that must be questioned. Regardless there you have my attempt at an explanation, a.k.a my slapdash pile of barely connected ideas.

(P.S it's not even my favorite ship involving either of these characters. But I've come to acknowledge it's got its own tasty flavor, toxic or not.)

#💌 rory answers #ribbun #yaaay I finished it after three days #this was the FIRST ask I got in 2025 at the strike of midnight so I knew I had to sit on it a little more

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probablyasocialecologist · 5 months ago

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The programmer Simon Willison has described the training for large language models as “money laundering for copyrighted data,” which I find a useful way to think about the appeal of generative-A.I. programs: they let you engage in something like plagiarism, but there’s no guilt associated with it because it’s not clear even to you that you’re copying. Some have claimed that large language models are not laundering the texts they’re trained on but, rather, learning from them, in the same way that human writers learn from the books they’ve read. But a large language model is not a writer; it’s not even a user of language. Language is, by definition, a system of communication, and it requires an intention to communicate. Your phone’s auto-complete may offer good suggestions or bad ones, but in neither case is it trying to say anything to you or the person you’re texting. The fact that ChatGPT can generate coherent sentences invites us to imagine that it understands language in a way that your phone’s auto-complete does not, but it has no more intention to communicate. It is very easy to get ChatGPT to emit a series of words such as “I am happy to see you.” There are many things we don’t understand about how large language models work, but one thing we can be sure of is that ChatGPT is not happy to see you. A dog can communicate that it is happy to see you, and so can a prelinguistic child, even though both lack the capability to use words. ChatGPT feels nothing and desires nothing, and this lack of intention is why ChatGPT is not actually using language. What makes the words “I’m happy to see you” a linguistic utterance is not that the sequence of text tokens that it is made up of are well formed; what makes it a linguistic utterance is the intention to communicate something. Because language comes so easily to us, it’s easy to forget that it lies on top of these other experiences of subjective feeling and of wanting to communicate that feeling. We’re tempted to project those experiences onto a large language model when it emits coherent sentences, but to do so is to fall prey to mimicry; it’s the same phenomenon as when butterflies evolve large dark spots on their wings that can fool birds into thinking they’re predators with big eyes. There is a context in which the dark spots are sufficient; birds are less likely to eat a butterfly that has them, and the butterfly doesn’t really care why it’s not being eaten, as long as it gets to live. But there is a big difference between a butterfly and a predator that poses a threat to a bird. A person using generative A.I. to help them write might claim that they are drawing inspiration from the texts the model was trained on, but I would again argue that this differs from what we usually mean when we say one writer draws inspiration from another. Consider a college student who turns in a paper that consists solely of a five-page quotation from a book, stating that this quotation conveys exactly what she wanted to say, better than she could say it herself. Even if the student is completely candid with the instructor about what she’s done, it’s not accurate to say that she is drawing inspiration from the book she’s citing. The fact that a large language model can reword the quotation enough that the source is unidentifiable doesn’t change the fundamental nature of what’s going on. As the linguist Emily M. Bender has noted, teachers don’t ask students to write essays because the world needs more student essays. The point of writing essays is to strengthen students’ critical-thinking skills; in the same way that lifting weights is useful no matter what sport an athlete plays, writing essays develops skills necessary for whatever job a college student will eventually get. Using ChatGPT to complete assignments is like bringing a forklift into the weight room; you will never improve your cognitive fitness that way.

31 August 2024

#ai #artificial intelligence #ai art #chatgpt #generative ai #ted chiang

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somebodys-nightmare · 3 months ago

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Understanding the Romantic Narrative Arcs in Final Fantasy VII

There has been no shortage of discourse surrounding the “Love Triangle Debate”, (a fan-constructed term, I must inform you) of FFVII for a very long time. Most recently, with the release of FFVII Rebirth, this discourse has intensified and led to a wide spectrum of fan conclusions that range from grounded in narrative sense to completely baseless or delusional. Some takes are attached to contemporary relationship issues, personal experience, comparisons to other media or works of fiction, social constructs or societal issues, personal preference, or a lack of full context.

While any piece of media or fiction is subject to some level of interpretation (this is the very nature of humans consuming works of art), most works are created with intentional narrative direction. In fact, many works are formulaic, especially in genres such as fantasy, romance, mystery, etc. While of course there are always exceptions and deviations, as a writer and former English literature teacher I can say that most stories follow a general narrative structure or arc that makes them digestible and satisfying to readers/audiences. Such arcs impact the main, external, internal, and subplots of a story, as well as individual character arcs and character relationship arcs.

Final Fantasy is no different. While there are other cultural influences as FFs are Japanese stories, my experience with the series is the writing generally follows most storytelling conventions that can be found in all forms of archetypal writing, cross-culturally and generationally. FFVII is often accused of being ambiguous or open-ended in many aspects of its story. I tend to disagree with this idea and think that its storytelling is subversive rather than ambiguous, meaning that it requires players to work harder and use more critical thinking in order to reach the author’s intended conclusions. It also relies on false or misleading narratives for a good part of the story (such as red herrings, illusions, or unreliable narrators) as storytelling devices that help the truth in the story unfold in later parts of the narrative arc(s). Like any piece of media using these storytelling methods, this means that there will be controversy or debate as audiences contend with the author’s messages or intentions. However, that does not mean that the intentions are not there and that there is not an intentional outcome on the part of the writers.

Personally, I believe that FFVII has a very clear narrative structure for all of its main plot, sub plots, and character arcs, but that its approach is challenging to many players who have to wrestle with the story as it unfolds to understand it. It is not spoon-fed, and some revelations may betray player attachments that were originally formed. However, in my view, this is what makes FFVII such an exceptional story when compared to many others. That being said, the lack (or refusal) of understanding of FFVII’s narrative arcs has led to discourse that unfortunately mischaracterizes many of the characters and pushes inappropriate perspectives onto the storytelling, mostly surrounding the romantic arcs of the main characters and the so-called “LTD” (the fan construction, remember?). I strongly believe that the best way to understand any story is to follow the narrative arcs in order to arrive at the author’s intended conclusions.

I’m going to attempt to do that for the romantic subplots in FFVII in hopes of bringing some clarity to this issue. This analysis is based on a standard Three-Act Romance narrative writing structure (which aligns with the Hero's Journey structure), as well common romantic archetypes and tropes, both for characters and plot, but applied to the specific context of the story, world, and characters of FFVII. Please note that this is my personal analysis and it is by no means perfect, nor am I saying this is the bible of how FFVII has been written. I just hope it gives some insight into why some storytelling interpretations of FFVII should make more sense than… others. This analysis will draw from bits of the entire compilation, but the primary focus of the structure will be looking at FF7R with the OG as a baseline.

This is a long thread, so please see the outline for discussion below.

Romantic Structure/Trope Analysis

Cloud/Tifa: The Slow Burn/Childhood Friends to Lovers Romance

Aerith/Cloud: The Unrequited Love/Not Meant to Be Romance

Zack/Aerith: The Long Lost Love Romance

Final Thoughts: The "Love Triangle" is a Narrative Illusion

Cloud/Tifa: The Slow Burn/Childhood Friends to Lovers Romance

Act 1: The Beginning

The Hook (Childhood Connection Revealed)

Romance Structure: Introduction / Setup

Purpose: Establish the protagonists in their everyday lives, showing what emotional or psychological issues are holding them back from love. Readers should get a sense of their internal conflicts and motivations, along with the external situations that will challenge them later.

Childhood Friends Layer: Introduce the deep connection between the two characters, showing them as lifelong friends with an established bond. There could be hints of one or both characters secretly harboring feelings for the other, but they haven't acted on it due to fear of losing the friendship.

Example: Cloud and Tifa are childhood friends with a complicated history. Although they were close when they were little, they drifted apart but secretly longed for one another. They shared a romantic promise and then separated for seven years. At the beginning of FFVII, they are reunited, but both characters are contending with serious internal and external conflicts - Cloud’s identity crisis and the Shinra Company’s greed and abuse of the planet.

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

Purpose: The main characters meet or are pushed together by external circumstances. This encounter introduces the romantic conflict—whether it’s instant attraction or tension between them.

Childhood Friends Layer: Since they’ve already known each other for years, the “meet-cute” here is more about seeing each other in a new light. Maybe one of them returns to town after time away, or an external event shifts their dynamic, making one or both start to view the other differently.

Example: Cloud and Tifa reunite in Midgar and Tifa recruits Cloud to work for AVALANCHE. She does this primarily to keep him close so she can keep an eye on him as she is worried about him and his mental state. During this time, we see an instant chemistry between Cloud and Tifa as they reconnect after years apart. When conflicts are introduced, we see the strain that it puts on them, but we also see how there’s a lingering desire for closeness, whether it be in their discussion/memory of the promise, their mutual flirting, their skinship, etc.

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

Purpose: The characters resist the idea of a romantic relationship, often due to internal or external obstacles. There’s a clear push-pull dynamic as they fight their growing attraction, often rejecting the possibility of being together.

Childhood Friends Layer: The hesitation here comes from their shared history. Both characters are afraid to risk their close friendship for something as uncertain as a romance. This dynamic creates tension as they begin to realize how much they depend on each other emotionally.

Example: This isn’t directly addressed, but the narrative deflects from intentional romantic confrontations at this point because of Cloud’s identity crisis and the pressing issues of the external conflict. Neither character is outwardly pursuing a relationship, but they don’t exactly deny their desire for closeness. We consistently see the push/pull between Cloud and Tifa throughout the early part of their arc. It's also further complicated when Sephiroth starts to sabotage their relationship.

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: External circumstances push them together, forcing them to interact and face their growing connection. Even if they resist the idea of love, the bond between them deepens as they spend more time together.

Childhood Friends Layer: Their shared history becomes an advantage and a source of conflict. The deeper they dive into new romantic feelings, the more they rely on the comfort of their friendship, but they’re also terrified of crossing the line and ruining everything.

Example: Cloud and Tifa work together both with AVALANCHE and the party at large to combat the threats present in the external conflict. Additionally, they share deep trauma from the Nibelheim Incident that brings them closer together as sources of comfort. They become one another’s rocks, and though they still do not move toward any explicit romantic confirmation, it is clear from their behavior that they both hold deep feelings for each other and care for each other greatly. Cloud in particular holds on to his promise to Tifa, making it a cornerstone of his strength moving forward.

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: This is a major turning point where the characters either experience a "false high" (where they feel like things are going well but something still isn’t quite right) or a "false low" (where they feel like things are falling apart). There’s often a pivotal moment of intimacy that deepens their bond but also introduces new fears.

Childhood Friends Layer: The fear of losing the friendship intensifies. They might experience their first kiss or confession of deeper feelings, but the risk of ruining their long-established bond makes the situation more fraught with anxiety.

Example: This particular point in the arc gets a little tricky for Cloud and Tifa because of Cloud’s identity crisis and Tifa’s reticence around their mismatched issues. However, Rebirth has made it clear that before the end of disc 1, Cloud and Tifa are aware of their feelings for each other and that the narrative is still in the way of it. This arc intersects events that transpire from Kalm to Gongaga, and we see the build-up of tension due to the internal conflict between Cloud and Sephiroth.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: The characters are drawn back together by external events, but their internal fears and conflicts still loom large. The romance starts to deepen, but both are still fighting their feelings in some way.

Childhood Friends Layer: They try to go back to being "just friends," but it’s clear that things have changed between them. The emotional and romantic tension keeps building, and they can’t ignore how much they need each other.

Example: We see this dynamic between Cloud and Tifa continue to build throughout disc 1, particularly in Rebirth. We are consistently reminded of the tension between them and the importance of their relationship, regardless of romantic intent. Gongaga and Nibelheim are great examples of this.

Second Plot Point / The Fall

Romance Structure: The Fall

Purpose: The characters are now falling in love, even if they haven’t fully admitted it to each other. There’s often a deeper moment of intimacy—physical or emotional—that makes them realize just how much they mean to each other.

Childhood Friends Layer: One or both characters realize they’ve fallen hard for their best friend, but they are still careful or hold back from telling the other, afraid it might ruin everything. Nonetheless, they give in to their feelings in some capacity, which marks a turning point.

Example: The Gold Saucer date would be the best parallel for this point in the arc for Cloud and Tifa. In the OG Tifa almost confesses to a very interested Cloud, in Rebirth, they confirm feelings and kiss. Either way, it’s clearly meant to signal at this point, the fall has happened.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

Purpose: This is the point where everything falls apart. The characters break up or distance themselves, either because of internal or external forces.

Childhood Friends Layer: The weight of their shared history makes this moment even more devastating. The fear of losing the friendship forever becomes real.

Example: For Cloud and Tifa, this moment is really hinged on Cloud’s mental breakdown. After the Gold Saucer Date, Cloud’s mental state progressively worsens due to events that occur within both the internal and external conflicts, and his bond with Tifa is severed completely at the Northern Crater. Cloud and Tifa are separated when Cloud falls into the Lifestream.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: One or both characters must confront their fears and make a choice. This moment often involves a grand gesture or a realization that love is worth the risk.

Childhood Friends Layer: The realization comes that their friendship has always been the foundation of something more. They understand that risking the friendship for love is not only worth it but that the friendship can only deepen through their romantic connection.

Example: This point comes in Mideel and the Lifestream Scene. Tifa reaches her own realization about her relationship with Cloud and how her reticence has impacted things, and her conviction to save him and be with him is both profound and clearly romantic. Inside the Lifestream, Tifa helps Cloud to find himself, and many revelations about his true feelings for her are brought to light. Of course, we have not reached this point of the story in FF7R, so it will be intriguing to see how it unfolds, given all of the additional context the remake series and ToTP have provided.

The Climax / Declaration

Romance Structure: Declaration

Purpose: The characters finally confess their love for each other, making the leap from friends to lovers. This is the emotional high point where the relationship is solidified.

Childhood Friends Layer: The confession of love is tied to their long history, as they realize that their deep emotional connection as friends is the foundation for a strong romantic relationship.

Example: This moment for Cloud and Tifa is the Highwind Scene in the OG, where they confirm, without words, that their feelings match. Once again, we will see how this event unfolds in Part 3 with all the new and deepened context of Cloud and Tifa’s relationship in 7R.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: The characters are together and happy, giving the reader a sense of closure.

Childhood Friends Layer: The resolution emphasizes how their strong friendship has transitioned seamlessly into a romantic relationship, giving the sense that they’ll continue to support each other as both friends and lovers.

Example: In the OG, this is seen in the FMV of the game where Cloud and Tifa are together, leading to the resolution of the entire story as Holy and the Lifestream are released. While this scene isn’t particularly direct, it’s enough to show that Cloud and Tifa are together, which leads to ACC where they live and raise a family together. This entire ending segment will likely be greatly expanded in FF7R, and so it'll be interesting to see how these moments are handled, given all of the new context.

Aerith/Cloud: Unrequited Love/Not Meant to Be Arc

Act 1: The Beginning

The Hook (Unrequited Feelings Introduced)

Romance Structure: Introduction / Setup

Purpose: Introduce the protagonist, who falls for the other character. Set up their emotional and psychological conflict, showing how these unrequited feelings shape their interactions with the other character.

Unrequited Love Layer: The character’s love is clearly unreturned, but they hold on to hope. There is a mix of admiration, longing, and pain as they watch the love interest live their life without ever seeing them as a romantic partner.

Example: Aerith’s feelings for Cloud, who she meets first on the streets of Midgar and later inside her church, are inspired by her long-lost love, Zack, whom he reminds her of. We don’t know this immediately, but we find out soon enough, and the story, especially 7R, is full of visual and symbolic cues.

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

Purpose: The characters are pushed together by external circumstances, giving the protagonist more time with the love interest. The character sees this as an opportunity to grow closer, but the other character remains unaware or indifferent to their romantic feelings.

Unrequited Love Layer: The character is thrilled to spend more time with the other character and hopes this will bring them closer. However, the love interest still sees the relationship as platonic, creating tension.

Example: While their interaction on Loveless Street is the fated moment for Cloud and Aerith, the meet-cute is their meeting in the church. This is the inciting incident that not only truly triggers Aerith’s latent Zack-longing, but also begins Cloud and Aerith’s friendship as they work together for a common cause. Aerith flirts with Cloud quite a bit at this point, displaying her interest, but Cloud does not reciprocate in any romantic sense. She also refuses to let him leave and follows him around, essentially solidifying Aerith’s place in the player party and cementing her role as the heroine driving the external conflict. From here on out, we are consistently reminded that Cloud reminds Aerith of Zack, the deeper reason for her interest in him.

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

Purpose: The protagonist’s feelings remain unrequited. The other character might express interest in someone else or explicitly state that they don’t see the protagonist in a romantic light. This deepens the emotional conflict for the protagonist, who struggles with unspoken feelings.

Unrequited Love Layer: The protagonist is heartbroken but holds onto hope. They keep pushing their emotions down, unwilling to let go just yet.

Example: Aerith meets Tifa and quickly realizes that she is someone deeply important to Cloud. In Remake, she realizes this even before meeting her when Cloud has a headache and calls out Tifa’s name. Her awareness changes her behavior somewhat, but internally, she still is still conflicted because of her internal conflict over Zack.

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: External circumstances continue to push the characters together, and the protagonist’s feelings deepen. They begin to cling to small moments, hoping that their love might one day be reciprocated.

Unrequited Love Layer: The protagonist interprets friendly gestures as signs of romantic potential. They invest emotionally in every small interaction, hoping it means more than it does. However, deep down, they start to feel the weight of their unreturned affection.

Example: The journey continues with the party leaving Midgar, and Aerith’s feelings for Cloud grow despite her knowledge of his bond with Tifa as the party travels together. In Rebirth this is further complicated by Aerith’s loss of foresight/memories to the Whispers. We are also constantly reminded of Aerith’s lingering feelings for Zack and her grief and sadness over his loss/disappearance. Throughout the journey, she seeks out opportunities to spend time with Cloud - “dates” even though these moments are not reciprocated romantically. A notable example of this is her date with him on the clock tower in Kalm, where she speaks to him about his relationship with Tifa (hinting at her knowledge of their bond and her jealousy over it) and then her public declaration that they were on a date (in front of Tifa). Cloud's reaction to moments like these continue to inform the audience he does not return romantic affections for Aerith.

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: A major turning point occurs where the protagonist either faces the possibility that their love will never be returned or sees a fleeting moment where they think it might be. The emotional stakes are higher, as the protagonist grapples with whether to continue holding on.

Unrequited Love Layer: The character might attempt to make their feelings known, either explicitly or through subtle gestures, but the love interest doesn’t reciprocate. The character is left feeling exposed and vulnerable, yet still holding on to hope that things might change.

Example: For Cloud and Aerith, this continues to be the nature of their relational development throughout most of disc 1, but their interaction on the water tower in Nibelheim is probably the best example of this. Aerith has to grapple with her jealousy over Cloud and Tifa’s bond, which she has been observing for the entire game. Her acknowledgment of her feelings over it is a major turning point as a character. Additionally, this moment really cements that Cloud views his relationship with Aerith as a cherished friendship, as we see the way that he cares about her angry reaction.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: Circumstances force the characters to spend more time together, even though the character is starting to feel the emotional strain of unrequited love. There may be a moment of temporary hope, but it’s tinged with the growing realization that their feelings might never be returned.

Unrequited Love Layer: The character becomes more emotionally drained as they begin to sense that their love will remain one-sided. They might try one last time to be closer to the love interest, but the gap between them is becoming clearer.

Example: This moment could best be viewed through Cloud and Aerith’s Gold Saucer date. There, Aerith not only tries to get closer to Cloud but she opens up emotionally and gives Cloud insight into the root of her feelings, which is Zack. Cloud does not reciprocate any of Aerith’s romantic overtures in this date and rather displays discomfort or awkwardness throughout most of it. However, he does allow her a moment of emotional vulnerability, which he has not been willing to do previously. This is further contextualized by how, In Rebirth, Cloud has remembered Zack by this point (albeit incorrectly). Cloud, who cherishes and cares for Aerith greatly as a friend, is considerate of this connection and offers her comfort for the grief and loss she has just admitted to feeling and seeking consolation in him from. Hence "just until the ride's over"; "I didn't do anything" etc...

Second Plot Point / The Fall

Romance Structure: The Fall

Purpose: The character finally realizes that their love will never be returned. This is an emotionally intense moment where they are forced to confront the truth—they will never be more than a friend or confidant to the love interest.

Unrequited Love Layer: The protagonist may be devastated by the final confirmation that their feelings will never be returned. The emotional weight of unrequited love becomes too much, and they start to realize they need to let go, or come to other realizations about their feelings.

Example: The moment that most closely matches with this point in the arc is the dream stroll through Sector 5. Not only does Aerith accept that Cloud doesn’t return her feelings romantically, but she comes to a realization of her own feelings and questions them. This is clearly a reference to Zack, whose internal conflict has been consistently foreshadowed. Aerith also seems to recognize that she can’t help Cloud with his internal conflict - that is Tifa's role.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

Purpose: This is the point of emotional reckoning, where they face the reality of unrequited love and move on in their arc.

Unrequited Love Layer: The character experiences grief over their unreturned feelings. They might decide to pull away from the love interest entirely, or they may try to come to terms with remaining friends while letting go of their romantic hopes and moving on.

Example: For Aerith, this moment is marked by her complete transition to her role in the external conflict. At this point, she has let go of her romantic fancy for Cloud and has committed herself to the bigger picture. It is at this point that she leaves the party, and leaves Cloud in the Sleeping Forest, to fulfill her role as a Cetra.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: The protagonist sacrifices their unrequited love, realizing they need to move on for the sake of their own emotional well-being or greater purposes. This is a bittersweet moment of acceptance and self-growth, where they let go of the hope that kept them holding on for so long.

Unrequited Love Layer: The protagonist may realize that holding on to unrequited love is only hurting them or preventing them from reaching a greater purpose.

Example: For Aerith, this point in the arc is less about Cloud and more about her role in the external conflict. This is the point in which she travels to the Forgotten City, prays, and ultimately is killed. However, it is bittersweet and tragic for her, ultimately, because she dies with unrequited love from Cloud and without ever getting closure on her true love, Zack.

The Climax / Declaration

Romance Structure: Declaration

Purpose: Instead of a declaration of mutual love, this is the protagonist’s internal declaration of acceptance. They start the process of moving on.

Unrequited Love Layer: The protagonist lets go of the love interest in their heart, realizing that they need to focus on their own future. The love interest is likely unaware of this internal shift, but it’s a powerful moment of growth for the protagonist.

Example: For Aerith, this is perhaps best viewed in her complete transition after death to the larger role she plays as the heroine of the planet from within the Lifestream. Her arc has fully transitioned away from her feelings for Cloud into her greater purpose. In FF7R, we can hope to see how Zack, who has been trying to find her, begins to impact this next phase of her arc.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: Instead of a traditional happy ending, this is a reflective, bittersweet resolution. The character has grown emotionally. There is a sense of closure, though it may come with lingering heartache.

Unrequited Love Layer: The character has let go of the hope that their love would ever be returned. They are stronger for it and have moved on.

Example: For Aerith and Cloud, this moment is best summed up by their brief Lifestream reunion at the end of the game. It will be intriguing to see how this moment is expanded and provides closure for Cloud and Aerith’s relationship, as well as Zack’s role in both.

Zack/Aerith: Long Lost Love/Tragic Love Arc

This arc is a little more complicated to map out since it is not only incomplete but riddled with mysteries at this point. However, I’m going to do my best to make the connections based on the information we have and where we can theorize things may be going.

Act 1: The Beginning

The Hook

Romance Structure: Introduction / Setup

Purpose: Establish the protagonist’s life after the estrangement, showing how unresolved feelings for their lost lover impact their emotional world. There’s a sense of longing and unfinished business that propels the protagonist’s actions.

Long Lost Lovers Layer: The protagonist is haunted by memories of their estranged lover and driven by a deep desire to find them again. This longing is fueled by unresolved emotional wounds, and the protagonist clings to the hope of a reunion.

Example: In Rebirth, from the beginning, Zack is singularly focused on reuniting with Aerith. After his escape from Nibelheim, even as he carries the wounded Cloud, Zack’s thoughts are consumed by Aerith. His love for her pushes him forward despite the dangerous and confusing circumstances he finds himself in. Zack’s motivation intensifies when he discovers, through a newscast, that Aerith is in danger. This revelation shifts Zack from hopeful longing to immediate action, driving home the urgency of his quest. His decision to prioritize Aerith’s safety over everything else, including Cloud, underscores how central Aerith is to his purpose, raising the stakes for his emotional journey.

The Inciting Incident

Romance Structure: The Call to Adventure

Purpose: The inciting incident transitions the protagonist from passive longing to active pursuit of reunion. Some event or revelation forces the protagonist to act, prompting them to seek out their estranged lover. Often, this is triggered by the discovery that the lover may be in danger.

Long Lost Lovers Layer: The protagonist realizes that simply hoping for a reunion isn’t enough—there’s now a tangible reason for urgency. This event serves as a catalyst for the protagonist to fully commit to the journey of reconnecting with their lover, increasing the stakes as they shift from passive longing to active pursuit.

Example: After mysteriously "surviving" his last stand against Shinra (as seen at the end of Crisis Core), Zack rescues Aerith from Shinra’s grasp in Rebirth. However, instead of a triumphant reunion, the moment is clouded with confusion and tragedy. This rescue scene signals Zack’s deep emotions for Aerith and heightens the sense of foreboding in their relationship arc. The player quickly realizes that the reunion isn’t straightforward and that darker forces are at play, casting a shadow over Zack’s determined rescue.

First Plot Point

Romance Structure: Refusal of the Call / First Obstacle

Purpose: The first major obstacle or refusal of the call introduces the initial challenges the protagonist faces in their pursuit of the lost lover. Despite their determination, external forces or internal doubts surface, complicating the journey.

Long Lost Lovers Layer: The protagonist’s optimism about reuniting with their estranged lover is challenged by harsh realities—whether through physical danger, supernatural elements, or emotional barriers. This moment introduces doubts about whether a reunion is possible, raising tension and uncertainty.

Example: Zack eventually brings a comatose Aerith and Cloud to Elmyra’s house. Zack’s devotion to them is evident as he cares for them despite their unresponsive states, but the world around him behaves in strange ways. The eerie sense of something deeply wrong in Sector 5 hints that Zack’s reality—and Aerith’s fate—are far from certain. He’s not just fighting to reunite with Aerith; he’s battling a reality that is becoming increasingly unstable. The player shares in Zack’s growing sense of anxiety and confusion, setting the tone for the more tragic layers of their arc to come.

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: The protagonist resolves to pursue their lost lover, hoping to rekindle what they once had. However, unresolved issues and emotional scars from the past begin to surface, complicating their journey.

Long Lost Lovers Layer: Time and distance have changed both characters, making reconnection difficult. The focus is on how time has altered both individuals and the lingering emotional weight of their separation.

Example: Zack’s attempt to reunite with Aerith is complicated by the metaphysical separation created by the Lifestream. Aerith remains comatose, as does Cloud, and Zack has to contend with both his own internal conflict as he tries to help them as well as the external conflict of his strange and mysterious circumstances within "Sector 5".

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: The protagonist’s need for their lost lover intensifies, but the relationship is far more complicated than expected. Old wounds and emotional or external barriers resurface, making reunion seem out of reach. Despite their determination, the protagonist begins to doubt whether they can ever restore what they once had.

Long Lost Lovers Layer: Time and emotional distance have changed the dynamics of their relationship. While both may care for each other, the past cannot easily be erased, and their attempts to reconnect are fraught with tension.

Example: External forces such as Sephiroth’s manipulations, and Aerith’s internal conflict over Cloud create an emotional barrier between her and Zack. Aerith, “asleep” in Zack’s world, remains unaware of his presence. As Zack learns from Marlene that Aerith’ "likes" Cloud, more tension and conflict is added. Despite these challenges, Zack remains unwavering in his commitment to reconnect with Aerith, determined to overcome the growing emotional distance.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: The protagonist makes another push to reconnect with their lost lover despite significant setbacks. Faced with the reality that time is running out, the protagonist must act decisively to restore the relationship. While emotional connections may deepen, unresolved challenges threaten the outcome, leaving uncertainty in the air.

Long Lost Lovers Layer: Despite growing obstacles, the protagonist remains committed to rekindling the relationship. The emotional and physical distance between the lovers may still seem insurmountable, but the protagonist refuses to give up, holding onto the hope that they can salvage what they once had.

Example: Even as Zack’s hope begins to wane, he remains steadfast in his desire to reunite with Aerith. Zack finds himself pulled in multiple directions, creating additional conflicts. External forces and emotional entanglements continue to complicate their relationship, but Zack’s determination to bridge the emotional gap keeps pushing him forward. This section of Rebirth continues to heavily foreshadow both the truth about Zack as well as the future of Zack and Aerith's relationship, despite the conflicts.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: The Break-Up / Darkest Hour

Purpose: The protagonist faces their darkest moment, where it seems that the reunion will never happen. Emotional scars or external forces tear the lovers apart, and the protagonist believes they’ve lost their final chance to reconnect. The relationship nears failure as the protagonist faces the harsh reality of their situation.

Long Lost Lovers Layer: The conflict grows to the point of no return. Previous mistakes or external conflicts surface, causing the relationship to fall apart, and the protagonist is left devastated, feeling that the reunion may never come.

Example: In Rebirth, this moment comes near the ending of the game when Sephiroth's confluence of worlds plays a role in role in further uprooting Zack's existence in the Lifestream. We also know that this is the time that Aerith dies in the real world, further complicating matters and adding new layers of conflict.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: The protagonist realizes that to win back their lost lover, they must sacrifice their pride, fear, or ego. This emotional climax reflects their willingness to make a grand gesture or display vulnerability, showing they’ll do whatever it takes for a second chance.

Long Lost Lovers Layer: The protagonist makes a final, heartfelt plea to the estranged lover, acknowledging their mistakes and baring their soul. The lover, moved by the sincerity, must decide whether or not to take the risk of rekindling the relationship.

Example: Although we don’t yet know how this will play out in the Remake series, it’s likely that Part 3 will feature a reunion between Zack and Aerith. The conflicts that have built up—including Aerith’s internal struggle regarding Cloud—will need resolution. Advent Children (ACC) shows Zack and Aerith together in the Lifestream, setting the stage for a reunion in the Remake. The exact nature of this reunion remains speculative, but it’s likely Zack will make a significant sacrifice or grand gesture to resolve the emotional conflicts that have kept them apart.

The Climax / Declaration

Romance Structure: Declaration

Purpose: The estranged lover finally decides to take the risk and give the relationship another chance. After much internal struggle, they admit they’ve never stopped loving the protagonist, and they’re ready to move forward together. This is the emotional peak where both characters commit to each other.

Long Lost Lovers Layer: The reconciliation finally happens. After everything they’ve endured, the estranged lover acknowledges their lingering feelings and agrees to rebuild the relationship. Both characters take a leap of faith, trusting that they can overcome the past and move forward.

Example: Though speculative, if the arc follows the long lost lovers trope, Zack and Aerith will likely experience a heartfelt reunion in Part 3. Their lingering feelings would finally be acknowledged, clearing up Aerith’s complicated feelings for Cloud while reaffirming her bond with Zack. This declaration of love would also tie into the larger narrative arc, offering emotional resolution for both characters and allowing their story to move forward, especially in support of Aerith's role in the external conflict of the Planet.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: The story concludes with a glimpse of the couple in their newly rekindled relationship. The emotional weight of their past has been lifted, and they are now ready to face the future together. Even if circumstances prevent a traditional “happy ending,” there is emotional closure and a sense of peace.

Long Lost Lovers Layer: After the pain, separation, and emotional struggle, the couple is finally together. The audience is left with a sense that their love will endure this time, offering a bittersweet but satisfying conclusion to their long journey.

Example: In Advent Children (ACC), we see Zack and Aerith reunited in the Lifestream, helping Cloud in his final battle. Their reunion suggests that, while they may no longer live in the physical world, their connection endures beyond death. Though bittersweet, their reunion offers emotional closure. The final installment of the Remake series will likely bring full resolution to Zack and Aerith’s arc, providing a satisfying conclusion, even if there are tragic elements along the way.

Final Thoughts: The Love Triangle is a Narrative Illusion

Cloud and Tifa’s Slow-Burn Childhood Friends to Lovers (Canon)

Cloud and Tifa’s relationship in Final Fantasy VII is a carefully crafted slow burn, rooted in a deep bond that extends back to their childhood in Nibelheim. Their connection is not built on superficial or flimsy romantic interactions but on a shared past and the quiet intimacy that grows from years of unspoken longing but is complicated by trauma.

Cloud and Tifa’s natural chemistry is driven by their subconscious desires and the deep, unspoken feelings they have for one another. For Cloud, his buried emotions instinctively reach out to Tifa, even though he isn’t fully aware of them. The narrative hides these true feelings, but subtle moments of affection and protectiveness reveal that, deep down, Cloud’s heart is already tied to hers, laying the groundwork for their eventual emotional connection.

The game’s emotional climax in the Lifestream, where Tifa helps Cloud piece together his shattered memories, is a pivotal moment in which both characters finally confront the depth of their feelings for each other. Their journey isn’t one of dramatic declarations, but rather a gradual, emotional reconnection that allows deeply held, mutual love and longing to blossom—a love that is grounded in shared history, healing, and mutual understanding and compassion.

This slow-burn romance stands as the true heart of Cloud’s emotional journey, dispelling the illusion of a love triangle and making it clear that Cloud’s deepest emotional ties are with Tifa.

Aerith and Cloud’s Unrequited Love / Not Meant to Be Semi-Canon/One-sided) (Fanon - mutual)

The dynamic between Aerith and Cloud, while often misinterpreted as romantic, is better understood through the lens of unrequited love and fate’s intervention. Aerith’s initial attraction to Cloud is undeniably influenced by his resemblance to her first love, Zack Fair.

As time goes on, Aerith tries to see Cloud for who he is, but tragically, this is not possible before her death, and her feelings remain complicated and unreciprocated. Their bond, while significant as friendship, never goes beyond that, reinforcing the fact that Aerith’s feelings for Cloud are more of an echo of her past with Zack.

Cloud's true self being in love with Tifa and Aerith’s tragic death seal the fate of their relationship as one that was never meant to be—a fleeting connection, shaped by circumstance rather than true compatibility.

The tragedy of this unfulfilled arc serves as a powerful narrative device, but it is clear that Cloud and Aerith were never destined to end up together, further dispelling the notion of a love triangle.

Zack and Aerith’s Long Lost Love / Tragic Love (Canon)

Zack and Aerith’s relationship is the quintessential tragic love story in Final Fantasy VII, defined by separation, longing, and loss. Aerith’s first love, Zack, vanishes from her life without explanation, leaving her with unanswered questions and unresolved feelings. Even as she begins to move forward, her heart never fully lets go of Zack, who is revealed to have fought valiantly to return to her—only to tragically lose his life in the process.

The tragedy of their love lies in the fact that both characters hold onto each other, but fate conspires to keep them apart, making their love story one of the most emotionally poignant elements in the game. Even in death, their connection endures, with Zack and Aerith appearing together in the Lifestream in ACC, symbolizing a love that transcends life itself. This arc, while bittersweet, resolves the narrative of Aerith’s romantic life—Zack was her true love, and Cloud was a reflection of the man she had lost, not a new love interest.

Their tragic love story dispels the myth of a love triangle in Final Fantasy VII, emphasizing that Aerith’s heart always belonged to Zack, even as she developed a bond with Cloud during her journey.

All of the relationships in the game are important. However, Cloud/Tifa & Zack/Aerith are the canon, mutual romantic relationships of Final Fantasy VII. Cloud/Aerith have a cherished friendship, but any romantic subtext of their relationship in the game is used as a vehicle to drive the conflicts and truths of the canon relationships forward. This is accomplished through illusions and subversions in storytelling, as well as creating internal conflict for the characters and canon relationships.

FFVII’s storytelling is deliberately designed to mislead the player through incomplete truths and emotional misdirection, including the use of red herrings, illusions, unreliable narration, and the omission of critical information or context. Cloud’s confused memories and persona, coupled with Aerith’s initial attraction to him based on his similarities to Zack, create the illusion of a romantic triangle, but the deeper truths—Cloud’s unresolved trauma and false identity, Tifa’s role as the keeper of Cloud’s real past and his true feelings, and Aerith’s ultimate fate as the Planet’s protector and her true love being Zack—gradually dismantle this illusionary love triangle.

I cannot stress enough that FFVII is not a love drama or soap opera where the game’s conflict centers on romantic rivalries, betrayal, deception, or morally questionable behaviors.. It’s a complex story that focuses on themes of life, loss, identity, self-discovery, legacy, and on and on.

Love - all kinds of love, including romantic, platonic, and familial - is a theme of FFVII, but truly and holistically, not for the sake of creating meaningless drama between the characters. The relationship dynamics appear messy at times in the earlier parts of the story, but these dynamics are designed to help us reach the proper conclusions about the story and the characters’ arcs, and how true love is a vehicle for reaching resolution for both.

Player’s choice is irrelevant to the plot. You cannot decide or alter the story structure or direction or individual character arcs or relationships. The most you can do is view the game through a slightly different lens by gaining an expanded understanding of character arcs and motivation with new replays.

Shipping is a fandom construct. It’s meant to be fun, and you can ship whatever you like. But shipping doesn’t intersect with the facts of a story or its narrative. Lying about any piece of media to convince yourself or others of its canonicity is bizarre behavior.

Respect the work and its intention, while having your shipping fun within your fandom. Don't embarrass yourself by saying an FF protagonist kissing the girl he’s loved since childhood and joined the army to impress means nothing, or worse, proves he the opposite of a hero.

You can ship your fanon without doing all that.

Last thing: Reunion is a primary theme of Final Fantasy VII. You may have noticed that it is also a primary theme for both of the canon romantic relationships. Personally, I believe that Part Three is going to drive this message home in a way that is unmistakable. I also believe that both lovers' reunions will be instrumental in resolving all of the conflicts of FFVII in the final game.

It’s not a coincidence that both reunions will take place in the Lifestream, or that they've been foreshadowed by the presence of the yellow flower.

I also believe that the dual Rebirth cover arts, described by Tetsuya Nomura as Sephiroth "tearing Cloud and Zack's worlds apart" are heavily foreshadowing the resolution of these relationships along with their connection to the the larger story structures of FFVII/FFVIIR.

Let's wait and see when Part 3 comes along.

#ffvii #cloud strife #cloti #tifa lockhart #final fantasy vii #ffviir #ffvii remake #ffvii rebirth #ltd #love triangle #love triangle debate #shipping discourse #shipping dynamics #shipping drama #shipping discussion #shipping debates

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petday · 11 months ago

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whats little magic?

It is a puzzle game for the Super Famicom and Game Boy Color video game systems. I like the Game Boy Color game much more for its art direction, and it's also just more fun for me to play with the 'bubble magic' mechanic in that version. I wrote more about my enjoyment below, in case anyone is curious.

The game’s box art is very beautiful, right? It caught my eye right away. The in-game 'cutscene' artwork appears to be carefully-made pixel art versions of the same artist's illustrations and they are similarly beautiful. (Sorry in advance if my photograph quality is not great.)

But the actual levels themselves look very haphazard. Clashing colors and tiles. It's easy enough to guess that a blue tile next to a white tile represents water and snow, respectively, but what does the yellow cluster-of-boxes tile represent? Yellow bricks of a tower…? How about the spike-y objects in the snow-water levels? I guessed they were underwater mines, but then there's the same tile in a later level too, just palette-swapped to be red… The two monochrome tiles in the third picture above teleports your character, but it has a two-frame animation that made me think of an ‘industrial grinder’ and ‘static noise’, so I assumed it was dangerous at first. Was it intended to be nondescript ‘sparkly magic’? Where are all of these levels taking place, anyway? No other humans are in these areas, just various animals and vague environmental indicators. There are cute snakes in some ‘yellow brick’ levels that end your life upon touching them. Seems irresponsible for a teacher to allow her student into perilous areas, no matter how eager she is to pass her final exam at magic school and become a magician.

Oh, I should explain the story. (None of the above photos are in sequence, just wanted to show more of the game.) The story is about a girl who attends magic school, and aims to pass a series of tests to become a full-fledged magician. Her teacher encourages her. The lack of explanation in the story is another fun point for me. Her magic teacher doesn't explain why 'learning magic' consists of pushing a heart into a heart-shaped hole that triggers a staircase to appear, which is what you need to do to complete each level. (It’s a beating heart – is it alive?) No explanation as to why snakes end your life instantly upon touching them. The context of 'because you want to pass your exams, a teacher is putting you through trials to help you become a master of magic’ isn’t an adequate explanation, because the teacher also tells you that she has not passed the final exam - why is a teacher putting a student through something that is too difficult even for herself? Who is in control of all of the strange areas you need to ‘complete’ in order to become a real magician, then? (After you complete the game with the student, you can play a different set of levels as the teacher, but even the usual sparse context-giving ‘cutscenes’ are not there… Mysterious…)

So, all of that is why my drawing about ‘Little Magic’ is about ‘confusion’, ‘going along with something that makes sense at first, but quickly unravels to not make sense any longer’, ‘growing distrust of authoritative figures’, and ‘frustration from stagnation.’ https://petday.tumblr.com/post/730315736066768896

Maybe the instruction booklet explains everything; I did not have access to that while playing, and I like that feeling. ‘Renting a game from a video game rental store that did not come with an instruction booklet, and being perplexed by it, forced to create your own context because you have nothing else’ feeling. Randomly selecting games to play that do not have much documentation online is enjoyable to me, because of that feeling.

A fan translation group translated the Game Boy Color game from Japanese to English in 2018. There wasn't a lot of dialogue in the first place, though. I like games where there is little to no dialogue because one can imagine a story/context besides what is shown. Up until 2022, I could not find a solution for the teacher’s final puzzle, so I interpreted the ending of the game’s story as, ‘The magic teacher thought she could harness a type of magic far stronger than what she could handle, accidentally designed an impossible puzzle for herself and is trapped for eternity.’ Of course, the puzzle has a solution, but I wanted to honour my strange interpretation regardless. When I play games and have weird interpretations of them, I am definitely not saying, 'I bet this is what the people who worked on this game were thinking!' I dislike that attitude. It's just imaginative interpretation, and working with the odd way I interact with things in order to maximize fun for myself…

A part about old games that I also love, is that they can never be updated; they had one chance to release a finished game, and maybe another chance to fix glitches in a re-release if they sold very many copies the first time. I greatly enjoyed the ‘imperfect’ tilesets and abrupt feeling of this game, which might have been ‘improved’ in a patch if it had been released in recent years instead of 1999.

(I wasn’t sure where to include this point, but I must also say, my favourite YouTube comments are about someone’s unusual interpretations of a game, when they did not have access to a guide at the time. I read one recently – the comment author and their brother rented ‘Final Fantasy IV’ from a rental store, and they did not know about the ‘Poison’ status effect that depletes the characters health. There is a strange pixelation effect and a ringing sound when you walk around the overworld while poisoned. Because the save file they were playing from was during a point of the game where you visit the moon, and because of the unfamiliar visual and sound effect, they interpreted the ‘Poison’ status effect as, “The moon must be running out of air.” Things like that are beautiful to me.)

(I also wasn’t sure where to put this point, but the main character, May, from ‘Little Magic’, is stylized differently in some ‘cutscenes’. She resembles a dragon to me. It’s cute.)

#long post #writing

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scapegoated-if · 11 days ago

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How did the band come up with the name “Voyeurs” and why did they choose it? Would the name itself have been controversial in-game at that time, due to the sexual connotation?

This also comes up in the story but I will spoil it because it’s not majorly significant in the grand scheme of things. There will be a scene that explains all of this again, so read at your own discretion.

In the group, their initial idea as a band was ‘The Spectators’, which I got from a 1970 Jim Morrison interview where he said something along the lines of ‘a spectator is the most dangerous thing you can be’—I will reblog this with the specific quote and interview when I get home later (I have spare time on my hands so I’m replying to this at work).

Léon, however, suggests the name ‘The Spectators’ in reference to Oscar Wilde’s Preface from The Picture of Dorian Gray:

‘All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital.’

Léon also sees “spectating” as the act of baring witness to the world around him at the time and writing what he’s baring witness to, more so than having anything to openly say about it. He doesn’t see himself as a writer but a vessel.

I imagine Vince thinks it’s too pretentious and, although Léon doesn’t agree with this sentiment, he does agree that the name in particular isn’t right for the band because it’s too on the nose.

Shiloh then suggests ‘The Voyeurs’ as a synonym, without knowing that the actual sadistic meaning refers to sexual voyeurism as well as in a sense enjoying pain inflicted upon others.

Vince would shut it down, interpreting the former. Leon would be open to it in the context of the latter—he would elaborate that he is specifically referring to watching those who suffer at the hands of progression and transgression from capitalism and the discriminatory systems currently in place at the time.

Eventually MC would decide to remove ‘The’ altogether from the name because there are many examples already of groups that have ‘The’ in their names: The Beatles; The Rolling Stones; The Velvet Underground; The Lovin’ Spoonful; The Byrds; The Who; The Doors; and etc, but I could go on.

I have the scene written down for the sake of myself contextually (it was one of the first pieces of writing I did for Scapegoated to grasp a sense of the dynamic between the band), but I’ll share it with you guys at a later time because I want to include space for coding so your MC can decide where she stands in this discussion.

The name is received negatively for a while by others and has a lot of discourse around it. Many record labels receive it negatively in the fear of a lack of marketability. But your label is open to it and loves it for the discourse it can create and the image of your band as very much so a product of your “angry” and “subversive” generation. At the time your band takes this well, especially because it’s a very famous and successful label (evidently), but bad publicity isn’t always good publicity…

I offered a different name to my best friend when I was planning Scapegoated: ‘Pitstop’. It would have been a literal reference to the QE2 and the fact you met Léon on a pit stop along the ship’s schedule. But I didn’t feel that it had the same impact if the MC was from France because you would both be getting on the QE2 at the same time, rather than experiencing the journey without Leon for a day, and then picking him up at the South of France terminal where it massively turns around what the trip is like for you. On the other hand, metaphorically it was meant to be allusive to the fact your group are passing by—you’re dropping an album and then disappearing, which felt too on the nose on my part in terms of the hiatus. The band wouldn’t know they’re going on hiatus when they start it, otherwise it’s like what’s the point in the first place?

Also, I associated the name ‘Pitstop’ as less ‘70s and more ‘00s heavy metal for some reason—maybe I’m subconsciously rhyming it with ‘Slipknot’ or something.

Sorry for how long this has become! A lot to unpack!

Stay groovy!

#inbox #general

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justsomeidiott · 2 days ago

Text

How i perceive Dream's story

(My art)

-The story starts out how it does within the canon. Dream and Nightmare live under the Tree of Emotion, with Nightmare bullied and abused by the villagers, while Dream is used and manipulated by them to do whatever they want. Both brothers don't talk to the other and it ends with Nightmare eating the Negativity apples and turning Dream to stone.

---500 years pass

The stone starts to crack and Dream breaks free, falling to his knees as he sees his old village over run with monsters made of Negativity. The moment they see him, they approach and after a moment of shock and fear, Dream runs. Eventually Nightmare appears within Dreamtale and is out for his brothers apple, but Dream manages to escape by accidentally opening a portal to a world full of positivity.

Over the past 500 years, Nightmare has damaged the multiverse. Dream can now sense the lack of positive emotion and decides to go around and help, inspire positivity and hope. e does what he can to help, but Nightmare is hunting him though, and he had to jump timelines regularly to avoid him.

This eventually leads to him meeting Ink, the Guardian of the Multiverse. Dream is fascinated by him, his unique emotions and overall attitude and the two decide to work together. Together they meet various worlds and people, but the biggest of note are Core Frisk and Error. Core is an ally, helping shelter those displaced by Nightmare and Error.

But Error? Ink hates him, but Dream respects him. Error is an unfortunate need in the multiverse, without him keeping the balance it could collapse, and Error, while viewing him as another mistake, respects his determination and strength, even enjoying his company, his glitches making him immune to Dream's positivity aura. They eventually have a run in with Nightmare which ends with a stalemate, and Dream learns that Ink doesn't care about protecting lives. This drives a wedge between them, with Dream losing a lot of trust in his "friend."

They keep on however, with Dream eventually running into Blueberry. Blue really reignites that spark in Dream that was being lost by this point and the two become best friends. Dream also learns that this specific timeline of Underswap has already had experience with the multiverse, specifically with the Omega timeline and Error. Blue joins the team, wanting to aid and help people. They now get the name Star Sanses.

[Context] This is the Swap from the Ask Error! Omega timeline. After the unfinished plot of that story, Blueberror would go out and help within the multiverse, fixing up errors and glitches, while giving the Swap living in the Omega Timeline his blessing to take his place within his timeline.

A few years pass of this. Dream, Blue and Ink protecting the multiverse and people in it, fighting Error, Nightmare and any other threats. Dream is a Beacon of positivity throughout this, always trying to help people rather than hurt them, with Blue being his rock in this. They are best friends and deeply care for each other, while Ink is their sort-of friend and leader.

Nightmare adapts however. He sees how strong the Star Sanses are as a unit and decides he needs his own team. He takes a few evil Sanses from various AUs and creates his own team to combat them. The first two are Killer and Dust, two timelines of the original Universe that massacred their worlds. They join without hesitation and Killer becomes Nightmare's 2nd. Horror is next, given a deal where his world gets fed as long as he serves Nightmare. FInally? Cross. Cross lost his timeline and Nightmare promised to help restore it if he helps.

This is where a lot of fanon and HC come in, most of this so far has been based on the canon Dreamtale facts and lore.

The Star Sanses get into a large battle with Nightmare's crew and badly lose, with Core saving Ink and Blue, but Dream is kidnapped by Nightmare. Dream is a prisoner within his brother's castle for a year, Nightmare wants to break Dream before taking his apple and becoming unstoppable. Dream resists, but over time he starts to crack, his view getting more negative and spirit breaking. But there is one light.

Cross.

Cross has positivity within his soul, and Dream calls out to him. He pleads with him to help get him out of here, begs. He can sense Cross hates this, that Cross hates to see someone tortured. His world is gone but he has the chance to do the right thing, to save a life and stop being Nightmare's pawn, and after some consideration? Cross decides to break Dream out, betraying his team to break the Guardian out and the two escape to an AU Nightmare shouldn't be able to enter. Heaventale.

Here they hide away and slowly develop a close bond, that leads into a deep friendship or romance, depends if you want Dream x Cross.

But eventually Killer makes his way into the AU and starts massacring the innoncents, and before Dream and Cross can get to him and stop him, Nightmare has a arrived. The pain and fear being enough for him to enter the AU. Dream and Cross lose, with Heaventale getting utterly massacred. The pair escape and Dream just, loses it. He realizes that he can't just see the good in everyone anymore. He has to put an end to Nightmare, and his team. He asks Cross to train him, to teach him to be a Royal Guard, with Cross happily agreeing.

Ink and Blue on the otherhand are still off protecting the multiverse, but the pair don't really get along anymore. Ink is too focused on having fun, often leaving Blue to save lives and do damage control. The pair haven't seen Dream in a while, Ink believing hes dead, but Blue holds out hope. Eventually they have another skirmish with Nightmare, Ink and Blue taking out a few of his crew, but eventually falling to Night's raw power. Nightmare is about to kill the pair, but falls limp as an arrow flies through his skull.

Being made of Goo, it doesn't kill him, but it BURNS. Nothing like he's ever felt and he spins around to see something he truly didn't expect , while Dream and Blue look in awe. Dream. A new look, a bow in hand and a look of confidence and disgust on his face. Nightmare tries to manipulate him, oh how could he hurt his brother? But mid sentence Dream lets the next arrow fly, telling Nightmare that his brother died when he ate the apples. That he's done trying to save him, letting arrow after arrow fly, tearing Nightmare into bits and making him retreat.

Killer charges him, but Cross is in to his defence and both teams fight. The Star Sanses, Dream, Ink, Blueberry and Cross finally win against Nightmare and his crew, forcing them to retreat or die.

Ink and Blue are both extremely happy to see Dream alive, and with a new look and seemingly a new outlook. He's still a beacon of positivity, hope and goodness, but he won't let that blind him anymore. Nightmare is pure evil, his brother is Gone and they have a responsibility to the multiverse.

It's on.

Das my Dream Sans plot. The ending is idk lmao. Probably Dream saves Nightmare and then idk Nightmare x Ccino or somethin.

Dream and Nightmare by Joku Ink by Comyet Error by LOP Killer by Rahafwabas Horror by Sour-Apple

#bad sanses #dream sans #dreamtale #nightmare sans #killer sans #dust sans #horror sans #error sans

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matrixbearer2024 · 26 days ago

Text

Modernity AU Main Four Lore Snips(1/?)

Sorry for the lack of art and content on my main and my blog guys, been really busy so far given the holiday. I plan on updating things asap but for now I'll try my best to answer any asks or entertain suggestions and comments regarding the modernity AU! For now, I offer some little lore snippets that I think should be more helpful context clues. I'm not entirely sure how to slot these into my askblog in the meantime so have at thee!

Fiddleford's family comes from a successful pigery which had eventually expanded and branched out. The corporation his family actively owns distributes and sells meat products all over the world.

It's something I don't really talk about much aside from saying it's old money, but I do generally think given the current world and all that meat products could either be a hit or miss. In this case, I wondered what it would be like if his family had been successfully rooted in the business for decades. Generally speaking, it's not a guarantee and oftentimes the food production industry can have it's ups and downs. Still, I figured with the convenience and efficiency of the modern day- why not try?

So yeah, when I say Fidds comes from old money in this AU— it's old money. Like, decades old at this point. Thankfully, the Mcgucket family is generally very smart about their riches despite the fact they could quite literally throw money at everything. It's also why sometimes Fidds doesn't realize his privilege borders on rude when he's just that accustomed to a lifestyle with insane amounts of money.

Bill's necklace isn't inanimate, not that anyone knows or notices even.

That actually has a lot to do with his backstory, the demon triangle actually still does exist in this AU but this human Bill is a completely separate entity from the Euclidean. His necklace works more like a window for that chaotic piece of geometry and it's why I constantly draw it emoting or reacting to certain things around.

What I will reveal about Bill's backstory is that his entire family is part of a weird cult that worships the triangle and his role to play in most of it is generally as a homunculus. Something "human-like" or a "humanoid puppet" in terms of alchemy. He is human, just born and created for some pretty screwed up reasons. He isn't even the first, nor the last. It just so happens his siblings either died from complications growing up or during childbirth.

It's why his aunt and uncle were able to get custody of him pretty early, taken away from his biological family at the age of three and the guardianship was legally transferred when he was five. Bill's fascination with triangles in this AU isn't really unfounded, he just doesn't know the real reason why. But the scars that his blood family left behind did stick, and it's why he has such an aversion to the occult or most religious regalia.

Ford having a general lack of interest or indifference to romantic relationships actually has a lot to do with his upbringing.

Personally, I don't think Stanford would be entirely keen on the concept of "love" given how he sees the bond between his parents. That and he doesn't see how someone could turn so irrational or blind with the right cocktail of hormones. He doesn't see the objectivity in most of it so he's generally just confused or doesn't care enough to try. It's actually why he didn't even entertain Cathy's confession letter, immediately assuming it had something to do with bullying or a chain instead of anything amiable or even romantic.

He's not disgusted or has an aversion to it like many of his peers assume, he's just indifferent and doesn't have it as a priority. Ford isn't actually sure if he's ever really even fallen for somebody before, the closest he's got and is painfully aware of is just caring for somebody to a detriment without even feeling "lovey-dovey". Do with that as you will.

Stanley loves musicals, he loves watching them and listening to the soundtracks. It's just not very known because he feels like he has a reputation and he'd rather leave the "geeky" thing to his twin.

This isn't to say that he has an aversion or general distaste for being labeled as nerdy or geeky, just that he loves to knock heads with his brother for being the "cool" Stan. He first watched Wicked on broadway and then everything else soon followed, Hamilton, The Greatest Showman, Six, Dear Evan Hansen, etc., things just snowballed from there and he's been hooked ever since. His favorite probably really has to be "Six" or "The Greatest Showman".

It helps that he knows how to sing and still does, he just doesn't do it often to avoid people from making requests or asking him to perform. Stanley doesn't have stage fright like his twin, he just gets tired very easily by it when it's non-stop performing tunes he doesn't even like or know.

That doesn't stop him or Ford from drunkenly singing "The Other Side" or "Defying Gravity" at three in the morning after a weekend of partying though.

The Stan Twins for the life of them will not stop debating on whether tea or coffee is better.

Ford is jittery because of the copious amounts of caffeine he ingests and Stan sometimes wonders if you could drop from too much caffeine. He's tried to stop and only ended up sleeping like a dead man for four full days. Fidds still often refers to it as a post-exam hibernation.

On the other hand, Stan is often too aware of the crash his brother gets and would rather sleep more often than end up shaking and twitching non-stop from caffeine. He does need the boost though, so he drinks tea.

Bill usually often thinks that it's like trying to watch oil and water mix while eating breakfast with the Stan twins given that most of the conversation is just swallowed by this debate. His guess is it has a lot to do with the fact Ford is not a morning person and he makes it everybody's problem.

Fiddleford loves horseback riding and it's a hobby he's had ever since he was a kid. He has a stable and field for his horses. Fidds both buys the horses and pays for their care with his own allocated allowance.

It's not really even because he's into cowboys and everything, he just finds them very sweet animals and genuinely interesting. They're basically bigger and faster dogs in his mind. Most of the horses Fidds buys aren't even wild, they're retired horses that most owners would already decide to get rid of because their either aged or far past their use(carriage horses, racehorses, etc.).

Fidds' favorite horse which he's had for around 15 years now is a retired deep brown racehorse named "Marlboro". That horse is already around 20 years old and was forced to retire after it slipped and fell on the racetrack. That horse belonged to a relative and was just given to Fidds as a gift for his 8th birthday.

Marlboro loves his person so much that every time Fidds returns home during breaks, the horse straight up starts walking out of the stable and stops for absolutely nobody.

It's something his family is slightly surprised and alarmed by sometimes because Fidds' horses do have designated caretakers and vets that do their job well. It just so happens that the horses really just remember Fidds and are more than happy to see him again.

Fidds doesn't always ride his horses whenever he's home but he never fails to visit all of them and check in. As of now, he has six horses and four are stallions(all gelded); the other two are mares. Fiddleford isn't really interested in breeding horses anyway so this doesn't give him any issue.

Bill has a slight obsession with the show squid game but doesn't really talk about it.

The concept and idea behind the show and the games genuinely interests him for reasons he isn't sure why. Though, he would sometimes think about it for a long while trying to figure it out. It also doesn't help that the games also tend to fixate on human desperation and greed, something that terrifies the blonde as much as it intrigues him.

It resonates with how he typically sees his own life, a pick your poison of: "you die now or die later". Even so, Bill is a bit irked with himself for gravitating towards something like this when he also finds himself nauseated by the amount of death and gore. His fixation generally merits mixed feelings on his end but it's a fixation nonetheless.

Stan and Ford throw things at each other almost daily, it doesn't even have to be for any specific reason other than they're screwing around.

Ford has thrown at thesaurus at Stanley before for the sake of a joke and consequently couldn't stop laughing at the sheer utter confusion his brother had because of it. He does debate on doing it more often though when Stan annoys the heck out of him by just murdering the English language.

On the flip side, Stan's also gotten hilariously good at sniping his twin with a pillow when the guy does or is about to do some really dumb shit. Like messing with rocket fuel that may or may not explode? Yeah Stan's chucking that flask out the window and hitting a bullseye to the face on a grumpy Stanford with a couch cushion.

It's all fun and games no matter what happens and both of them know when to take it seriously or when not to do this. Though so far, it's generally free game and the twins are just that chaotic even as adults.

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