#and I know it isn’t really in keeping with canon to portray him as unhappy after that but

[lettersfromn0where]

Himmel is the kind of person who finds fun in the everyday stuff of life no matter what, and we know he had a busy and much-loved life after the Hero Party disbanded, but thinking about how lonely it must have felt to leave this party he cherished at the end of their journey and strike out alone for the first time in his life makes me want to curl up and sob

[letteredlettered]

QUESTION: do you think of harry as bi/pan or do u think he was dealing with comphet when he dated ginny

I think JKR was dealing with comphet when she wrote Harry dating Ginny. We don't see the romance affect Harry's decisions, considerations, or growth, and we basically don't see who Ginny is as a person at all; I don't know why it's in the story other than to give Harry what JKR seems to think as a happy ending. The default happy ending in today’s society is het marriage; this is an aspect of compulsory heterosexuality. While Harry very much deserves happiness, he deserves something that meant something to us.

As for how I interpret the character, I do sometimes choose to interpret it as somewhat compulsory. For 9 years, Harry lived within sight of a very “traditional” family, but didn't receive the benefits such households purportedly offer--safety, security, attention, comfort. (I’m using the word “traditional” to refer to the societal stereotype that a cis-presenting mom plus a cis-presenting dad with cis-presenting kids equals normal; this is my acknowledgement that LGBT families and non-nuclear families have a longer and richer history than that stereotype). Dudley, however, did get those benefits. Harry then learns that he came from a traditional family that did offer such things--his parents left him lots of money (security), loved him (attention/comfort), and died to save him (safety). He also sees another fairly traditional family in the form of the Weasleys--they're not rich, but Ron is safe and provided for; his mother shows him attention, physical affection, comfort, and love. Harry also knows Hermione and Draco, who also seem to have benefited from such families.

Basically, in Harry Potter, children from traditional families get a lot of benefits. People from “broken” families, such as Tom Riddle, are bad an unhappy. People who don’t work to create the traditional family, such as Dumbledore and Sirius, suffer. Remus tries to create that traditional family, but he was too late. The thing to do is marry your high school girlfriend and get started quick or you all might die. 

This is what compulsory heterosexuality is about, a world where the default is assumed to be heterosexual, and where success, security and comfort are all portrayed as heterosexual, and no other options are presented. It makes sense to me that Harry would look at the world he knows and think that he wants this traditional family. For one thing, he was born into such a family, but his time with the Dursleys was actually non-traditional. He was not “their” child. Marriage to Ginny is his fix-it; he creates the family he should have gotten to keep and provides that family for the children he should have been. That's how his relationship with Ginny reads to me, not in the least because Harry looks almost just like James, and I believe it's even stated that Ginny looks like Lily.

In addition to these stereotypes, the way Harry's desire for Ginny is written in the HP series is written as almost entirely jealousy, which seems sparked just as much by Dean Thomas and Quidditch as it is by Ginny. He does seem to enjoy kissing Ginny, and later his jealousy is sparked by other things, but we don't get a true sense of how he feels when he is with Ginny.

As a result, I honestly can't say what canon really seems to indicate about Harry's sexuality. I think he could be straight and end up happy with Ginny. I think he could be straight and end up with a different woman. I think he could be bi. I think he could be pan. I think he could realize he isn't into women at all and is entirely gay. I think he could realize he isn't into women or anyone else and is ace.

I usually write Harry as bi, but I think I would accept any reading, as long as you don't tell me it's the only one.

[faelicy]

Miss Faelicy I would love to get your opinion on Bingqiu.

I see people posting things like how they are "problematic" and how they don't really love each other and SQQ only feels sympathy etc. Obviously there were struggles between them as there should be (considering all that happened) and just because sqq wasn't very open and super obvious about his feelings doesn't mean they are not there..this is how I interpreted it. I would love to know your opinion

Hello! This also covers part 2 of the previous ask.

First, massive spoilers for the end of the novel. Second, a disclaimer: I despise shipwars, which I think are behind most of those comments. I hate them because it's usually all in bad faith: everyone's already committed to their interpretation of the ships, and any discussion is just a guise for justifying their preferences.

So to any readers: I don't want anything here to be used as shipwar fuel. This post is about Bingqiu's canon arc and themes. Basically, I don't know or care if Bingqiu is a good ship, but I do think it's a well-written one.

I'll start by saying directly: for most of the novel, Bingqiu is neither healthy nor romantic. And that this is not bad writing, but on purpose.

A relationship that drives one party to mental breakdown isn't healthy. A relationship where that party says it's okay to hurt or kill them can't possibly be healthy. That happened because there was something deeply wrong with their relationship, something that can't be reduced to Xin Mo, miscommunication, or LBH throwing a tropey yandere fit.

And out of all three MXTX novels, only SV lacks a love confession from the MC to the ML. Again, I don't think it's an oversight, or just because SQQ's face is too thin. There are plenty of ways MXTX could have worked a subtle one in if she really wanted to.

In my opinion, Bingqiu's narrative can be split up into four arcs: Qing Jing Peak (ch 1-27), Jin Lan City (28-43), Post-revival (29-55), and Reconciliation (56-81). Other than the first arc, where their relationship is pretty straightforward, Bingqiu spend most of the rest in direct conflict.

I'll give an overview of the arcs here, but what I truly want to say about Bingqiu starts in arc 4, so if you're impatient you can scroll down. But the overview might help add context.

Jin Lan City arc is about LBH's anger at being brutally betrayed by the one person he thought he could trust. Here he tries to force answers out of SQQ, who he believes both hates him and is a hypocrite. He's driven by a desire to return to the past, but his rage and love makes his actions contradictory: on one hand he tries to win SQQ's approval constructively, by climbing to the top of Huan Hua Palace and performing good deeds, on the other hand his belief that SQQ doesn't care about him so it's all futile anyway (reinforced by SQQ's own actions) causes him to lash out destructively, going as far as to hurt and imprison SQQ.

LBH's bitterness is portrayed very negatively, because all it does is instill despair into SQQ, until SQQ ends up believing that he's only been a blight on LBH's life, and that he must make up for it by killing himself. Whereupon LBH breaks down, regressing into a childlike state. Some might ask, why does LBH never bring up the Abyss again afterwards? It's because he gives up here. This entire arc is about getting LBH to let go of past wrongs and to stop seeking answers, whether the reader believes it's fair to him or not. Because SQQ's life is more important.

Post-revival arc then is about SQQ trying to come to terms with a blackened LBH who also loves him. Interestingly, despite SQQ's horror at realizing LBH was romantically interested in him all along, SQQ actually has a very subtle but telling secondary reaction. To explain, let's back up to the first arc.

Starting around ch 9, probably as a sign of his growing affection, SQQ begins addressing LBH as 这孩子, or "this child," in his internal monologue, instead of LBH's name. He does it once each in ch 9, 12, 17, 21, 25. However, once Jin Lan City arc starts, SQQ drops the address entirely. LBH and "child" are never brought up together except for one snarky comment on LBH's tantrum being disgracefully childish in ch 38.

At first glance this doesn't look noteworthy because LBH by this point is no longer a kid. But when LBH kisses him in ch 49, SQQ changes again: right away he returns to using "child" on LBH, and the "this child" address starts popping up at a much higher frequency. By the end of SV SQQ has referred to LBH as a child in some manner at least 35 times (yes I went and counted), with the vast majority after ch 49, and he continues to do so right into the last extra.

Why was SQQ unwilling to use this address of affection for over 20 chapters? Perhaps because he too thought LBH hated him, and couldn't bear to think about him so intimately knowing that. So SQQ immediately falling back into it the moment he learns LBH loves him is a sign of his relief. He's still dismayed at the romantic part, but though SQQ likes to deflect from his real emotions (this is the guy who focused on bad naming sense after being fatally poisoned, who cavalierly commented only after it was all over that he'd expected to die), the fact that LBH loves and doesn't hate him, means a lot.

Here SQQ's feelings towards LBH are at their most complicated. He still assumes the worst of him like in Jin Lan City, but now because of the above, also sees a lonely child whenever LBH is unhappy and lost. It's like he has two filters actively interfering with each other, "crazed criminal" and "pitiful child," and so he flip-flops between pushing LBH away and comforting him. But when LBH drags CQMS into it, and even seemingly takes advantage of SQQ's love for him, SQQ's negative image and frustration with him only grows, until he finally snaps and tells LBH to never come near him again.

At this point SQQ still believes that LBH is the same black-hearted, invincible, devil incarnate that og!LBH was portrayed to be. The Reconciliation arc starts by chipping away at this filter that's been plaguing SQQ for so long. First the revelation that TLJ/ZZL was behind the sowers, thus clearing LBH's name at Jin Lan City. Then we see how unloved he is by his own father; we see him injured and helpless and unconscious. Meng Mo yells at SQQ, reinforcing that image of a vulnerable, terrified child. So by ch 62 SQQ has thrown away the "crazed criminal" filter completely, and in that same chapter they cling to each other and finally make up. Because while it's true that the current LBH is misanthropic, antisocial, and mercurial, SQQ has also finally accepted that he's still the same LBH he'd raised and doted on, back on Qing Jing Peak.

Now I'm going to talk about what I see as the most important part of Bingqiu. Yes, despite the wall of text already.

A common sentiment of Bingqiu shippers about their issues seems to be, "SQQ is dumb and oblivious; he can't figure out what LBH needs even though he loves him because he sees LBH as a novel character," but I think the problem is far more complicated and insidious than that. If that was everything, why give SQQ the epiphany that he misunderstood LBH so early? Why have him think in ch 66 that "truthfully, he'd never really trusted Luo Binghe, and that's why he kept accidentally hurting him?" If he's already realized that he shouldn't treat LBH like og!LBH (he even meets og!LBH in ch 71 to rub it in further), why do we go another 13 chapters believing their relationship is good and well, even giving us a sweet, happy moment in ch 75, only to show LBH having the worst breakdown of the novel just 4 chapters later? Was it all just padding to demonstrate the danger of Xin Mo?

Or is there something else beneath the surface?

In ch 66, the same chapter where SQQ implies he doesn't want to accidentally hurt LBH anymore, he says something telling. When LQG is skeptical that LBH can be trusted, SQQ thinks, 家里孩子不懂事，大人不容易做, or "when your child doesn't know any better, as the adult you don't have it easy." The child here of course refers to LBH, and the adult is SQQ, who's complaining about smoothing over LBH's messes. But what is SQQ implying here?

Doesn't know any better? That's what you say about a toddler who can't think for themselves, not a grown man. LBH is 25 and SQQ thinks he doesn't know better. Doesn't know better about what? LBH's wants, his needs? His feelings? Or even what's good for him?

And then you realize that's exactly how SQQ's always treated him, like a helpless child who can't make his own choices.

It's SQQ who chooses to throw LBH down into the Abyss without trying to talk to him. It's SQQ who decides that keeping silent is the best choice. It's SQQ who believes self-destructing in front of LBH will help, who thinks that breaking off their relationship is for the better. And it's SQQ who scolds LBH into tolerating CQMS, even though they hate each other and CQMS is hostile towards him. Who forces him to leave first at Zhao Hua Temple despite LBH's pleas otherwise, who shoos him out the window when CQMS walks in on them.

Every single one of these decisions, SQQ made believing it was for the best (repair LBH's relationship with his family, help him avoid arrest, not wanting to make excuses, wanting LBH to be free of his hatred), and every single one of them only damaged LBH further. Because SQQ's never listened to him, even once. Never consulted him or considered his feelings.

(And LBH did try to bring up his feelings on one of the matters in ch 75. He insinuates to SQQ that he doesn't like LQG calling him "little beast" or "ingrate." And SQQ's response is to dismiss them entirely, saying that LQG's "not wrong.")

SQQ has always loved LBH, but he's never once respected LBH's agency or personhood. Because LBH doesn't know better and SQQ does, so SQQ must make all his decisions for him.

And this, amplified by Xin Mo, is what finally drives LBH mad in ch 79.

To LBH, the important part isn't whether SQQ loves him, which I think he knew after ch 43 (it's why he can be so daring and pushy with SQQ's boundaries). What's important is that the moment SQQ believes abandoning LBH is justified for whatever reason again, SQQ absolutely will.

Ch 80's two-way noncon (since LBH was basically unconscious and couldn't consent) tends to draw most of the attention, but I actually think that what happens afterwards is one of the most important scenes for Bingqiu. There SQQ tries to sacrifice himself a second time for LBH, drawing Xin Mo's demonic qi into his body. Yet the novel claims that SQQ's actions here are completely different than in ch 43. SQQ himself says that this time he's doing it for LBH, while last time he was doing it for himself. But can the reader see a functional difference?

There is one, in fact: it's SQQ's response to LBH's choice afterwards. LBH decides to follow SQQ in death, even though this would void the point of SQQ's sacrifice. But instead of insisting otherwise, SQQ just accepts it. Because he finally understands that whether LBH's life is worth living, whether LBH will be better off, is for LBH and only LBH to decide.

It's the first time he respects LBH's agency. And this is the only reason why he and LBH can finally begin building a healthy relationship on the mess they've had up to now.

So that's what I see as the true beauty behind Bingqiu. It's about communication and mistaken assumptions, yes, but it's also about the nature of love between parent and child. The romantic developments were left to the extras, I believe, because this was the main story MXTX wanted to tell with them. Their relationship as lovers only starts afterwards, hence why SV ends with, "the story between you and I, has only just begun." It was never meant to be a whirlwind romance where they fall in love cleanly. It might not to be to everyone's tastes, but an incredible amount of thought was put into the narrative, and that's what amazed me when I first finished this novel.

(This post went on way too long and I ended up cutting off a huge chunk of tangential stuff and how SQQ came to his realization in ch 79: he didn't do it alone. It took him seeing the LBH in TLJ and the himself in YQY for him to understand. In fact, YQY and og!SQQ's relationship has a similar parent-and-child dynamic. I've touched on it before on twitter; if there's interest I might try writing that up here too.)

[insanehobbit]

a twenty-five thousand word post about a twenty-three year old “debate”

As time goes on, I’m baffled that it remains a commonly held opinion that:

The LTD remains unresolved

SE is deliberately playing coy, and are (or have been) afraid to resolve it.

To me, the answer is as clear as day, and yet seeing so many people acting as if it’s a question that remains unanswered makes me wonder if I’m the crazy one.

So I am going to try to articulate my thought process here, not because I expect to change any hearts and minds, but more to get these thoughts out of my head and onto a page so I can finally read a book and/or watch reruns of Shark Tank in peace.

To start off, there are two categories of argument (that are among, if not the most widely used lines of argument) that I will try NOT to engage with:

1) Quotes from Ultimania or developer interviews - while they’re great for easter eggs and behind-the-scenes info, if a guidebook is required to understand key plot points, you have fundamentally failed as a storyteller. Now the question of which character wants to bone whom is often something that can be relegated to a guidebook, but in the case of FF7, you would be watching two very different stories play out depending on who Cloud ends up with.

Of course, the Ultimanias do spell this out clearly, but luckily for us, SE are competent enough storytellers that we can find the answer by looking at the text alone.

2) Arguments about character actions/motivations — specifically, I’m talking about stuff like “Cloud made this face in this scene, which means be must be [insert whatever here].”

Especially when it comes to the LTD, these tend to focus on individual actions, decontextualizing them from their role in the narrative as a whole. LTDers often try to put themselves in the character’s shoes to suss out what they may be thinking and feeling in those moments. These arguments will be colored by personal experiences, which will inevitably vary.

Let’s take for example Cloud’s behavior in Advent Children. One may argue that it makes total sense given that he’s dying and fears failing the ones he loves. Another may argue that there’s no way that he would run unless he was deeply unhappy and pining after a lost love. Well, you’ll probably just be talking over each other until the cows come home. Such is the problem with trying to play armchair therapist with a fictional character. It’s not like we can ask Cloud himself why he did what he did (and even if we could, he’s not the exactly the most reliable narrator in the world). Instead, in trying to understand his motivations, we are left with no choice but to draw comparisons with our own personal experiences, those of our friends, or other works of media we’ve consumed. Any interpretation would be inherently subjective and honestly, a futile subject for debate.

There’s nothing wrong with drawing personal connections with fictional characters of course. That is the purpose of art after all. They are vessels of empathy. But when we’re talking about what is canon, it doesn’t matter what we take away. What matters is the creators’ intent.

Cloud, Tifa and Aerith are not your friends Bob, Alice and Maude. They are characters created by Square Enix. Real people can behave in a variety of different ways if they found themselves in the situations faced by our dear trio; however, FF7 characters are not sentient creatures. Everything they do or say is dictated by the developers to serve the story they are trying to tell.

So what do we have left then? Am I asking you, dear reader, to just trust me, anonymous stranger on the Internet, when I tell you #clotiiscanon. Well, in a sense, yes, but more seriously, I’m going to try to suss out what the creator’s intent is based on what is, and more importantly, what isn’t, on screen.

Instead of putting ourselves in the shoes of the characters, let’s try putting ourselves in the shoes of the creators. So the question would then be, if the intent is X, then what purpose does character Y or scene Z serve?

The story of FF7 isn’t the immutable word of God etched in a stone tablet. For every scene that made it into the final game, there are dozens of alternatives that were tossed aside. Let us also not forget the crude economics of popular storytelling. Spending resources on one particular aspect of the game may mean something entirely unrelated will have to be cut for time. Thus, the absence of a particular character/scenario is an alternative in itself. So with all these options at their disposal, why is the scene we see before us the one that made it into the final cut? — Before we dive in, I also want to define two broad categories of narrative: messy and clean.

Messy narratives are ones I would define as stories that try to illuminate something about the human condition, but may not leave the audience feeling very good by the end of it. The protagonists, while not always anti-heroes, don’t always exhibit the kind of growth we’d like, don’t always learn their lessons, probably aren’t the best role models. The endings are often ambivalent, ambiguous, and leaves room for the audience to take away from it what they will. This is the category I would put art films and prestige cable dramas.

Clean narratives are where I would categorize most popular forms of entertainment. Not that these characters necessarily lack nuance, but whatever flaws are portrayed are something to be overcome by the end of story. The protagonists are characters you’re supposed to want to root for

Final Fantasy as a series would fall under the ‘clean’ category. Sure, many of the protagonists start out as jerks, but they grow through these flaws and become true heroes by the end of their journey. Hell, a lot of the time even the villains are redeemed. They want you to like the characters you’re spending a 40+ hr journey with. Their depictions can still be realistic, but they will become the most idealized versions of themselves by the end of their journeys.

This is important to establish, because we can then assume that it is not SE’s intent to make any of their main characters come off pathetic losers or unrepentant assholes. Now whether or not they succeed in that endeavor is another question entirely.

FF7 OG or The dumbest thought experiment in the world

With that one thousand word preamble out of the way, let’s finally take a look at the text. In lieu of going through the OG’s story beat by beat, let’s try this thought experiment:

Imagine it’s 1996, and you’re a development executive at what was then Squaresoft. The plucky, young development team has the first draft of what will become the game we know as Final Fantasy VII. Like the preceding entries in the series, it’s a world-spanning action adventure RPG, with a key subplot being the epic tragic romance between its hero and heroine, Cloud and Aerith.

They ask you for your notes.

(For the sake of your sanity and mine, let’s limit our hypothetical notes to the romantic subplot)

Disc 1 - everything seems to be on the right track. Nice meet-cute, lots of moments developing the relationship between our pair. Creating a love triangle with this Tifa character is an interesting choice, but she’s a comparatively minor character so she probably won’t be a real threat and will find her happiness elsewhere by the end of the game. You may note that they’re leaning a bit too much into Tifa and Cloud’s past. Especially the childhood promise flashback early in the game — cute scene, but a distraction from main story and main pairing — fodder for the chopping block. You may also bump on the fact that Aerith is initially attracted to Cloud because he reminds her of an ex, but this is supposed to be a more mature FF. That can be an obstacle they overcome as Aerith gets to know the real Cloud.

Aerith dies, but it is supposed to be a tragic romance after all. Death doesn’t have to be the end for this relationship, especially since Aerith is an Ancient after all.

It’s when Disc 2 starts that things go off the rails. First off, it feels like an awfully short time for Cloud to be grieving the love of his life, though it’s somewhat understandable. This story is not just a romance. There are other concerns after all, Cloud’s identity crisis for one. Though said identity crisis involves spending a lot of time developing his relationship with another woman. It’s one thing for Cloud and Tifa to be from the same hometown, but does she really need to play such an outsized role in his internal conflict? This might give the player the wrong impression.

You get to the Northern Crater, and it just feels all wrong. Cloud is more or less fine after the love of his life is murdered in front of his eyes but has a complete mental breakdown to the point that he’s temporarily removed as a playable character because Tifa loses faith in him??? Shouldn’t it be the other way around?

Oh, but it only gets worse from here. With Cloud gone, the POV switches to Tifa and her feelings for him and her desire to find him. The opening of the game is also recontextualized when you learn the only reason that Cloud was part of the first Reactor mission that starts the game is because Tifa found him and wanted to keep an eye on him.

Then you get to Mideel and the alarm bells are going off. Tifa drops everything, removing her from the party as well, to take care of Cloud while he’s a catatonic vegetable? Not good. Very not good. This level of selfless devotion is going to make Cloud look like a total asshole when he rejects her in favor of Aerith. Speaking of Aerith, she uh…hasn’t been mentioned for some time. In fact, her relationship with Cloud has remained completely static after Disc 1, practically nonexistent, while his with Tifa has been building and building. Developing a rival relationship that then needs to be dismantled rather than developing the endgame relationship doesn’t feel like a particularly valuable use of time and resources.

By the time you get to the Lifestream scene, you’re about ready to toss the script out of the window. Here’s the emotional climax of the entire game, where Cloud’s internal conflict is finally resolved, and it almost entirely revolves around Tifa? Rather than revisiting the many moments of mental anguish we experienced during the game itself — featuring other characters, including let’s say, Aerith — it’s about a hereto unknown past that only Tifa has access to? Not only that, but we learn that the reason Cloud wanted to join SOLDIER was to impress Tifa, and the reason he adopted his false persona was because he was so ashamed that he couldn’t live up to the person he thought Tifa wanted him to be? Here, we finally get a look into the inner life of one half of our epic couple and…it entirely revolves around another woman??

Cloud is finally his real self, and hey, it looks like he finally remembers Aerith, that’s at least a step in the right direction. Though still not great. With his emotional arc already resolved, any further romantic developments is going to feel extraneous and anticlimactic. It just doesn’t feel like there’s enough time to establish that:

Cloud’s romantic feelings for Tifa (which were strong enough to launch his hero’s journey) have transformed into something entirely platonic in the past few days/weeks

Cloud’s feelings for Aerith that he developed while he was pretending to be someone else (and not just any someone, but Aerith’s ex of all people) are real.

This isn’t a romantic melodrama after all. There’s still a villain to kill and a world to save.

Cloud does speak of Aerith wistfully, and even quite personally at times, yet every time he talks about her, he’s surrounded by the other party members. A scene or two where he can grapple with his feelings for her on his own would help. Her ghost appearing in the Sector 5 Church feels like a great opportunity for this to happen, but he doesn’t interact with it at all. What gives? Missed opportunity after missed opportunity.

The night before the final battle, Cloud asks the entire party to find what they’re fighting for. This feels like a great (and perhaps the last) opportunity to establish that for Cloud, it’s in Aerith’s memory and out of his love for her. He could spend those hours alone in any number of locations associated with her — the Church, the Temple of the Ancients, the Forgotten City.

Instead — none of those happens. Instead, once again, it’s Cloud and Tifa in another scene where they’re the only two characters in the scene. You’re really going to have Cloud spend what could very well be the last night of his life with another woman? With a fade to black that strongly implies they slept together? In one fell swoop, you’re portraying Cloud as a guy who not only betrays the memory of his lost love, but is also incredibly callous towards the feelings of another woman by taking advantage of her vulnerability. Why are we rooting for him to succeed again?

Cloud and the gang finally defeat Sephiroth, and Aerith guides him back into the real world. Is he finally explicitly stating that he’s searching for her (though they’ve really waited until the last minute to do so), but again, why is Tifa in this scene? Shouldn’t it just be Cloud and Aerith alone? Why have Tifa be there at all? Why have her and her alone of all the party members be the one waiting for Cloud? Do you need to have Tifa there to be rejected while Cloud professes his unending love for Aerith? It just feels needlessly cruel and distracts from what should be the sole focus of the scene, the love between Cloud and Aerith.

What a mess.

You finish reading, and since it is probably too late in the development process to just fire everyone, you offer a few suggestions that will clarify the intended romance while the retaining the other plot points/general themes of the game.

Here they are, ordered by scale of change, from minor to drastic:

Option 1 would be to keep most of the story in tact, but rearrange the sequence of events so that the Lifestream sequence happens before Aerith’s death. That way, Cloud is his true self and fully aware of his feelings for both women before Aerith’s death. That way, his past with Tifa isn’t some ticking bomb waiting to go off in the second half of the game. That development will cease at the Lifestream scene. Cloud will realize the affection he held for her as a child is no longer the case. He is grateful for the past they shared, but his future is with Aerith. He makes a clear choice before that future is taken away from him with her death. The rest of the game will go on more or less the same (with the Highwind scene being eliminated, of course) making it clear, that avenging the death of his beloved is one of, if not the, primary motivation for him wanting to defeat Sephiroth.

The problem with this “fix” is that a big part of the reason that Aerith gets killed is because of Cloud’s identity crisis. If said crisis is resolved, the impact of her death will be diminished, because it would feel arbitrary rather than something that stems from the consequences of Cloud’s actions. More of the story will need to be reconceived so that this moment holds the same emotional weight.

Another problem is why the Lifestream scene needs to exist at all. Why spend all that time developing the backstory for a relationship that will be moot by the end of the game? It makes Tifa feel like less of a character and more of a plot device, who becomes irrelevant after she services the protagonist’s character development and then has none of her own. That’s no way to treat one of the main characters of your game.

Option 2 would be to re-imagine Tifa’s character entirely. You can keep some of her history with Cloud in tact, but expand her backstory so she is able to have a satisfactory character arc outside of her relationship with Cloud. You could explore the five years in her life since the Nibelheim incident. Maybe she wasn’t in Midgar the whole time. Maybe, like Barret, she has her own Corel, and maybe reconciling with her past there is the climax of her emotional arc as opposed to her past with Cloud. For Cloud too, her importance needs to be diminished. She can be one of the people who help him find his true self in the Lifestream, but not the only person. There’s no reason the other people he’s met on his journey can’t be there. Thus their relationship remains somewhat important, but their journeys are not so entwined that it distracts from Cloud and Aerith’s romance.

Option 3 would be to really lean into the doomed romance element of Cloud and Aerith’s relationship. Have her death be the cause of his mental breakdown, and have Aerith be the one in the Lifestream who is able to put his mind back together and bring him back to the realm of consciousness. After he emerges, he has the dual goal of defeating Sephiroth and trying to reunite with Aerith. In the end, in order to do the former, he has to relinquish the latter. He makes selfless choice. He makes the choice that resonates the overall theme of the game. It’s a bittersweet but satisfying ending. Cloud chooses to honor her memory and her purpose over the chance to physically bring her back. In this version of the game, the love triangle serves no purpose. There’s no role for Tifa at all.

Okay, we can be done with this strained counterfactual. What I’ve hopefully illustrated is that while developers had countless opportunities to solidify Cloud/Aerith as the canon couple in Discs 2 and 3 of the game, they instead chose a different route each and every time. What should also be clear is that the biggest obstacle standing in their way is not Aerith’s death, but the fact that Tifa exists.

At least in the form she takes in the final game, as a playable character and at the very least, the 3rd most important character in game’s story. She is not just another recurring NPC or an antagonist. Her love for Cloud is not going to be treated like a mere trifle or obstacle. If Cloud/Aerith was supposed to be the endgame ship, there would be no need for a love triangle and no need to include Tifa in the game at all. Death is a big enough obstacle, developing Cloud’s relationship with Tifa would only distract from and diminish his romance with Aerith.

I think this is something the dead enders understand intuitively, even more so than many Cloti shippers. Which is why some of them try to dismiss Tifa’s importance in the story so that she becomes a minor supporting character at best, or denigrate her character to the point that she becomes an actual villain. The Seifer to a Squall, the Seymour to a Tidus, hell even a Quistis to a Rinoa, they know how to deal with, but a Tifa Lockhart? As she is actually depicted in Final Fantasy VII? They have no playbook for that, and thus they desperately try to squeeze her into one of these other roles.

Let’s try another thought experiment, and see what would to other FF romances if we inserted a Tifa Lockhart-esque character in the middle of them.

FFXV is a perfect example because it features the sort of tragic love beyond death romance that certain shippers want Cloud and Aerith to be. Now, did I think FFXV was a good game? No. Did I think Noctis/Luna was a particularly well-developed romance? Also no. Did I have any question in my mind whatsoever that they were the canon relationship? Absolutely not.

Is this because they kiss at the end? Well sure, that helps, but also it’s because the game doesn’t spend the chapters after Luna’s death developing Noctis’ relationship with another woman. If Noctis/Luna had the same sort of development as Cloud/Aerith, then after Luna dies, Iris would suddenly pop in and play a much more prominent role. The game would flashback to her past and her relationship with Noctis. And it would be through his relationship with Iris that Noctis understands his duty to become king or a crystal or whatever the fuck that game was about. Iris is by Noctis’ side through the final battle, and when he ascends the throne in that dreamworld or whatever. There, Luna finally shows up again. Iris is still in the frame when Noctis tells her something like ‘Oh sorry, girl, I’ve been in love with Luna all along,” before he kisses Luna and the game ends.

(a very real scene from a very good game)

Come on. It would be utterly ludicrous and an utter disservice to every character involved, yet that is essentially the argument Cloud/Aerith shippers are making. SE may have made some pretty questionable storytelling decisions in the past, but they aren’t that bad at this.

Or in FFVIII, it would be like reordering the sequence of events so that Squall remembers that he grew up in an orphanage with all the other kids after Rinoa falls into a coma. And while Rinoa is out of commission, instead of Quistis gracefully bowing out after realizing she had mistaken her feelings of sisterly affection for love, it becomes Quistis’ childhood relationship with Squall that allows him to remember his past and re-contextualizes the game we’ve played thus far, so that the player realizes that it was actually Quistis who was his motivation all along. Then after this brief emotional detour, his romance with Rinoa would continue as usual. Absolutely absurd.

The Final Fantasy games certainly have their fair share of plot holes, but they’ve never whiffed on a romance this badly.

A somewhat more serious character analysis of the OG

What then is Tifa’s actual role in the story of FFVII? Her character is intricately connected to Cloud’s. In fact, they practically have the same arc, though Tifa’s is rather understated compared to his. She doesn’t adopt a false persona after all. For both of them, the flaw that they must learn to overcome over the course of the game is their fear of confronting the truth of their past. Or to put it more crudely, if they’re not lying, they’re at the very least omitting the truth. Cloud does so to protect himself from his fear of being exposed as a failure. Tifa does so at the expense of herself, because she fears the truth will do more harm than good. They’re two sides of the same coin. Nonetheless, their lying has serious ramifications.

The past they’re both afraid to confront is of course the Nibelheim Incident from five years ago. Thus, the key points in their emotional journeys coincide with the three conflicting Nibelheim flashbacks depicted in the game: Cloud’s false memory in Kalm, Sephiroth’s false vision in the Northern Crater, and the truth in the Lifestream.

Before they enter the Lifestream, both Cloud and Tifa are at the lowest of their lows. Cloud has had a complete mental breakdown and is functionally a vegetable. Tifa has given up everything to take care of Cloud as she feels responsible for his condition. If he doesn’t recover, she may never find peace.

With nothing left to lose, they both try to face the past head on. For Cloud, it’s a bit harder. At the heart of all this confusion, is of course, the Nibelheim Incident. How does Cloud know all these things he shouldn’t if Tifa doesn’t remember seeing him there? The emotional climax for both Cloud and Tifa, and arguably the game as a whole, is the moment the Shinra grunt removes his helmet to reveal that Cloud was there all along.

Tifa is the only character who can play this role for Cloud. It’s not like she a found a videotape in the Lifestream labeled ‘Nibelheim Incident - REAL’ and voila, Cloud is fixed. No, she is the only one who can help him because she is the only person who lived through that moment. No one else could make Cloud believe it. You could have Aerith or anyone else trying to tell him what actually happened, but why would he believe it anymore than the story Sephiroth told him at the Northern Crater?

With Tifa, it’s different. Not only was she physically there, but she’s putting as much at risk in what the truth may reveal. She’s not just a plot device to facilitate Cloud’s character development. The Lifestream sequence is as much the culmination of her own character arc. If it goes the wrong way, “Cloud” may find out that he’s just a fake after all, and Tifa may learn that boy she thought she’d been on this journey with had died years ago. That there’s no one left from her past, that it was all in her head, that she’s all alone. Avoiding this truth is a comfort, but in this moment, they’re both putting themselves on the line. Being completely vulnerable in front of the person they’re most terrified of being vulnerable with.

The developers have structured Cloud and Tifa’s character arcs so that the crux is a moment where the other is literally the only person who could provide the answer they need. Without each other, as far as the story is concerned, Cloud and Tifa would remain incomplete.

Aerith’s character arc is a different beast entirely. She is the closest we have to the traditional Campbellian Hero. She is the Chosen One, the literal last of her kind, who has been resisting the call to adventure until she can no longer. The touchstones of her character arc are the moments she learns more about her Cetra past and comes to terms with her role in protecting the planet - namely Cosmo Canyon, the Temple of the Ancients and the Forgotten City.

How do hers and Cloud’s arcs intersect? When it comes to the Nibelheim incident, she is a merely a spectator (at least during the Kalm flashback, as for the other two, she is uh…deceased). Cloud attacking her at the Temple of the Ancients, which results in her running to the Forgotten City alone and getting killed by Sephiroth, certainly exacerbates his mental deterioration, but it is by no means a turning point in his arc the way the Northern Crater is.

As for Cloud’s role in Aerith’s arc, their meeting is quite important in that it sets forth the series of events that leads her to getting captured by Shinra and thus meeting “Sephiroth” and wanting to learn more about the Cetra. It’s the inciting incident if we’re going to be really pedantic about it, yet Aerith’s actual character development is not dependent on her relationship with Cloud. It is about her communion with her Cetra Ancestry and the planet.

To put it in other terms, all else being the same, Aerith could still have a satisfying character arc had Cloud not crashed down into her Church. Sure, the game would look pretty different, but there are other ways for her to transform from a flirty, at times frivolous girl to an almost Christ-like figure who accepts the burden of protecting the planet.

Such is not the case for Cloud and Tifa. Their character arcs are built around their shared past and their relationship with one another. Without Tifa, you would have to rewrite Cloud’s character entirely. What was his motivation for joining SOLDIER? How did he get on that AVALANCHE mission in the first place? Who can possibly know him well enough to put his mind back together after it falls apart? If the answer to all these questions is the same person, then congratulations, you’ve just reverse engineered Tifa Lockhart.

Tifa fares a little better. Without Cloud, she would be a sad, sweet character who never gets the opportunity to reconcile with the trauma of her past. Superficially, a lot would be the same, but she would ultimately be quite static and all the less interesting for it.

Let’s also take a brief gander at Tifa’s role after the Lifestream sequence. At this point in the game, both Tifa and Cloud’s emotional arcs are essentially complete. They are now the most idealized versions of themselves, characters the players are meant to admire and aspire to. However they are depicted going forward, it would not be the creator’s intent for their actions to be perceived in a negative light.

A few key moments standout, ones that would not be included if the game was intended to end with any other romantic pairing or with Cloud’s romantic interest left ambiguous:

The Highwind scene, which I’ve gone over above. It doesn’t matter if you get the Low Affection or High Affection version. It would not reflect well on either Cloud or Tifa if he chose to spend what could be his last night alive with a woman whose feelings he did not reciprocate.

Before the final battle with Sephiroth, the party members scream out the reasons they’re fighting. Barret specifically calls out AVALANCHE, Marlene and Dyne, Red XIII specifically calls out his Grandpa, and Tifa specifically calls out Cloud. You are not going to make one of Tifa’s last moments in the game be her pining after a guy who has no interest in her. Not when you could easily have her mention something like her past, her hometown or hell even AVALANCHE and Marlene like Barret. If Tifa’s feelings for Cloud are meant to be unrequited, then it would be a character flaw that would be dealt with long before the final battle (see: Quistis in FF8 or Eowyn in the Lord of the Rings). They would not still be on display at moment like this.

Tifa being the only one there when Cloud jumps into the Lifestream to fight Sephiroth for the last time, and Tifa being the only one there when he emerges. She is very much playing the traditional partner/spouse role here, when you could easily have the entire party present or no one there at all. There is clearly something special about her relationship with Cloud that sets her apart from the other party members.

Once again, let’s look at the “I think I can meet her there moment.” And let’s put side the translation (the Japanese is certainly more ambiguous, and it’s not like the game had any trouble having Cloud call Aerith by her name before this). If Cloud was really expressing his desire to reunite with Aerith, and thus his rejection of Tifa, then the penultimate scene of this game is one that involves the complete utter and humiliation of one of its main characters since Tifa’s reply would indicate she’s inviting herself to a romantic reunion she has no part in. Not only that, but to anyone who is not Cl*rith shipper, the protagonist of the game is going to come off as a callous asshole. That cannot possibly be the creator’s intention. They are competent enough to depict an act of love without drawing attention to the party hurt by that love.

What then could possibly be the meaning? Could it possibly be Cloud trying to comfort Tifa by trying to find a silver lining in what appears to be their impending death? That this means they may get to see their departed loved ones again, including their mutual friend, Aerith? (I will note that Tifa talks about Aerith as much, if not even more than Cloud, after her death). Seems pretty reasonable to me, this being an interpretation of the scene that aligns with the overall themes of the game, and casts every character in positive light during this bittersweet moment.

Luckily enough, we have an entire fucking Compilation to find out which is right.

But before we get there, I’m sure some of you (lol @ me thinking anyone is still reading this) are asking, if Cloti is canon, then why is there a love triangle at all? Why even hint at the possibility of a romance between Cloud and Aerith? Wouldn’t that also be a waste of time and resources if they weren’t meant to be canon?

Well, there are two very important reasons that have nothing to do with romance and everything to do with two of the game’s biggest twists:

Aerith initially being attracted to Cloud’s similarities to Zack/commenting on the uncanniness of said similarities is an organic way to introduce the man Cloud’s pretending to be. Without it, the reveal in the Lifestream would fall a bit flat. The man he’s been emulating all along would just be some sort of generic hero rather than a person whose history and deeds already encountered during the course of the game. Notably for this to work, the game only has to establish Aerith’s attraction to Cloud.

To build the player’s attachment to Aerith before her death/obscure the fact that she’s going to die. With the technological limitations of the day, the only way to get the player to interact with Aerith is through the player character (AKA Cloud), and adding an element of choice (AKA the Gold Saucer Date mechanic) makes the player even more invested. This then elevates Aerith’s relationship with Cloud over hers with any other character. At the same time, because her time in the game is limited, Cloud ends up interacting with Aerith more than any of the other characters, at least in Disc 1. The choice to make many of these interactions flirty/romantic also toys with player expectations. One does not expect the hero’s love interest to die halfway through the game. The game itself also spends a bit of time teasing the romance, albeit, largely in superficial ways like other characters commenting on their relationship or Cait Sith reading their love fortune at the Temple of the Ancients. Yet, despite the quantity of their personal interactions, Cloud and Aerith never display any moments of deep love or devotion that one associates with a Final Fantasy romance. They never have the time. What the game establishes then is the potential of a romance rather than the romance itself. Aerith’s death hurts because of all that lost potential. There so many things she wanted to do, so many places she wanted to see that will never happen because her life is cut short. Part of what is lost, of course, is the potential of her romance with Cloud.

This creative choice is a lot more controversial since it elevates subverting audience expectations over character, and understandably leads to some player confusion. What’s the point of all this set up if there’s not going to be a pay off? Well, that is kind of the point. Death is frustrating because of all the unknowns and what-ifs. But, I suppose some people just can’t accept that fact in a game like this.

One last note on the OG before we move on: Even though this from an Ultimania, since we’re talking about story development and creator intent, I thought it was relevant to include: the fact that Aerith was the sole heroine in early drafts of the game is not the LTD trump card so people think it is. Stories undergo radical changes through the development process. More often than not, there are too many characters, and characters are often combined or removed if their presence feels redundant or confusing.

In this case, the opposite happened. Tifa was added later in the development process as a second heroine. Let’s say that Aerith was the Last Ancient and the protagonist’s sole love interest in this early draft of Final Fantasy VII. In the game that was actually released, that role was split between two characters (and last I checked, Tifa is not the last of a dying race), and Aerith dies halfway through the game, so what does that suggest about how Aerith’s role may have changed in the final product? Again, if Aerith was intended to be Cloud’s love interest, Tifa simply would not exist.

A begrudging analysis of our favorite straight-to-DVD sequel

Let’s move onto the Compilation. And in doing so, completely forget about the word vomit that’s been written above. While it’s quite clear to me now that there’s no way in hell the developers would have intended the last scene in the game to be both a confirmation of Cloud’s love for Aerith and his rejection of Tifa, in my younger and more vulnerable years, I wasn’t so sure. In fact, this was the prevailing interpretation back in the pre-Compilation Dark Ages. Probably because of a dubious English translation of the game and a couple of ambiguous cameos in Final Fantasy Tactics and Kingdom Hearts were all we  had to go on.

How then did the official sequel to Final Fantasy VII change those priors?

Two years after the events of the game, Cloud is living as a family with Tifa and two kids rather than scouring the planet for a way to be reunited with Aerith. Shouldn’t the debate be well and over with that? Obviously not, and it’s not just because people were being obstinate. Part of the confusion stems from Advent Children itself, but I would argue that did not come from an intent to play coy/keep Cloud’s romantic desires ambiguous, but rather a failure of execution of his character arc.

Now I wasn’t the biggest fan of the film when I first watched a bootlegged copy I downloaded off LimeWire in 2005, and I like it even less now, but I better understand its failures, given its unique position as a sequel to a beloved game and the cornerstone of launching the Compilation.

The original game didn’t have such constraints on its storytelling. Outside of including a few elements that make it recognizable as a Final Fantasy (Moogles, Chocobos, Summons, etc.) and being a good enough game to be a financial success, the developers pretty much had free rein in terms of what story they wanted to tell, what characters they would use to tell it, and how long it took for them to tell said story.

With Advent Children, telling a good story was not the sole or even primary goal. Instead, it had to:

Do some fanservice: The core audience is going to be the OG fanbase, who would be expecting to see modern, high-def depictions of all the memorable and beloved characters from the game, no matter if the natural end point of their stories is long over.

Set up the rest of the Compilation - Advent Children is the draw with the big stars, but also a way to showcase the lesser known characters from from the Compilation who are going to be leading their own spinoffs.  It’s part feature film/part advertisement for the rest of the Compilation. Thus, the Turks, Vincent and Zack get larger roles in the film than one might expect to attract interest to the spinoffs they lead.

Show off its technical prowess: SE probably has enough self awareness to realize that what’s going to set it apart from other animated feature films is not its novel storytelling, but its graphical capabilities. Thus, to really show off those graphics, the film is going to be packed to the brim with big, complicated action scenes with lots of moving parts, as opposed to quieter character driven moments.

These considerations are not unique to Advent Children, but important to note nonetheless:

As a sequel, the stakes have to be just as high if not higher than those in the original work. Since the threat in the OG was the literal end of the world, in Advent Children, the world’s gotta end again

The OG was around 30-40 hours long. An average feature-length film is roughly two hours. Video games and films are two very different mediums. As many TV writers who have tried to make the transition to film (and vice-versa) can tell you, success in one medium does not translate to success in another. 

With so much to do in so little time, is it any wonder then that it is again Sephiroth who is the villain trying to destroy the world and Aerith in the Lifestream the deus ex machina who saves the day?

All of this is just a long-winded way to say, certain choices in the Advent Children that may seem to exist only to perpetuate the LTD were made with many other storytelling considerations in mind.

When trying to understand the intended character arcs and relationship dynamics, you cannot treat the film as a collection of scenes devoid of context. You can’t just say - “well here’s a scene where Cloud seems to miss Aerith, and here’s another scene where Cloud and Tifa fight. Obviously, Cloud loves Aerith.” You have to look at what purpose these scenes serve in the grander narrative.

And what is this grander narrative? To put it in simplistic terms, Aerith is the obstacle, and Tifa is goal. Cloud must get over his guilt over Aerith’s death so that he can return to living with Tifa and the children in peace.

The scenes following the prologue are setting up the emotional stakes of film - the problem that will be resolved by the film’s end. The problem being depicted here is not Aerith’s absence from Cloud’s life, but Cloud’s absence from his family. We see Tifa walking through Seventh Heaven saying “he’s not here anymore,” we see Denzel in his sickbed asking for Cloud, we see a framed photo of the four of them on Cloud’s desk. We see Cloud letting Tifa’s call go to voicemail.

What we do not see is Aerith, who does not appear until almost halfway through the film.

Cloud spends the first of the film avoiding confrontation with the Remnants/dealing with the return of Sephiroth. It’s only when Tifa is injured, and Denzel and Marlene get kidnapped that he goes to face his problems head on.

Before the final battle, when Cloud has exorcised his emotional demons and is about to face his physical demons, what do we see? We see Cloud telling Marlene that it’s his turn to take care of her, Denzel and Tifa the way they’ve taken care of him. We see Cloud telling Tifa that he ‘feels lighter’ and tacitly confirming that she was correct when she called him out earlier in the film. We see Cloud confirming to Denzel that he’s going home after this is all over.

What we do not see is Cloud telepathically communicating with Aerith to say, “Hey boo, can’t wait to beat Sephiroth so I can finally reunite with you in the Promised Land. Xoxoxo.” Aerith doesn’t factor in at all. Returning to his family is his goal, and his fight with Bahamut/the Remnants/Sephiroth/whatever the fuck is the final obstacle he has to face before reaching this goal.

This is reiterated again when Cloud is shot by Yazoo and seemingly perishes in an explosion. What is at stake with his “death”? We see Tifa calling his name while looking out the airship. We see Denzel and Marlene waiting for him at Seventh Heaven. We do not see Aerith watching over him in the Lifestream.

Now, Aerith does play an important role in Cloud’s arc when she shows up at about the midpoint of the film. You could fairly argue that it’s the turning point in Cloud’s emotional journey, the moment when he finally decides to confront his problems. But even if it’s only Cloud and Aerith in the scene, it’s not really about their relationship at all.

Let’s consider the context before this scene happens. Denzel and Marlene have been kidnapped by the Remnants; Tifa was nearly killed in a fight with another. This is Cloud at his lowest point. It’s his worst fears come to pass. His guilt over Aerith’s death is directly addressed at this moment in the film because it is not so much about his feelings for Aerith as it is about how Cloud fears the failures of his past (one of the biggest being her death) would continue into the present. If it was just about Aerith, we could have seen Cloud asking for her forgiveness at any other time in the film. It occurs when it does because this when his guilt over Aerith’s death intersects with his actual conflict, his fear that he’ll fail the the ones he loves. She appears when he’s at the Forgotten City where he goes to save the children. The same location where he had failed two year before.

This connection is made explicit when Cloud has flashes of Zack and Aerith’s deaths before he saves Denzel and Tifa from Bahamut. Again, Cloud’s dwelling on the past is directly related to his fears of being unable to protect his present.

Aerith is a feminine figure who is associated with flowers. That combined with the players’ memory of her and her relationship with Cloud in the OG, I can see how their scenes can be construed as romantic, but I really do not think that it is the creators’ intent to portray any romantic longing on Cloud’s part.

If they wanted to suggest that Cloud was still in love with Aerith or even leave his romantic interest ambiguous, there is no way in hell they would have had Cloud living with Tifa and two kids prior to the film’s events. To say nothing of opening the film by showing the pain his absence brings.

A romantic reading of Cloud’s guilt over Aerith’s death would suggest that he entered into a relationship with Tifa and started raising two children with her while still holding a torch for Aerith and hoping for a way to be reunited with her. The implication would be that Tifa is his second choice, and he is settling. Now, is this a dynamic that occurs in real life? Absolutely. Is this something that is often depicted in some films and television? Sure - in fact this very premise is at the core of one my favorite films of the last decade - 45 Years — and spoiler alert — the guy does not come off well in this situation. But once again, Cloud is not a real person, and Final Fantasy VII: Advent Children is not a John Cassavettes film or an Ingmar Bergman chamber drama. It is a 2-hour long straight to DVD sequel for a video game made for teens. This kind of messy, if realistic, relationship dynamic is not what this particular work is trying to explore.

(one of these is a good film!)

By the end of Advent Children, Cloud is once again the idealized version of himself. A hero that the audience is supposed to like and admire. We are supposed to think that his actions in the first half of the movie (wallowing in his guilt and abandoning his family) were bad. These are the flaws that he must overcome through the course of the film, and by the end he does. If he really had been settling and treating his Seventh Heaven family as a second choice prior to the events of the film, that too would obviously be a character flaw that needs to be addressed before the end of the film. It isn’t because this is a dynamic that only exists in certain people’s imaginations.

If the creators wanted to leave the Cloud & Aerith relationship open to a romantic interpretation, they didn’t have to write themselves into such a corner. They wouldn’t have to change the final film much at all, merely adjust the chronology a bit. Instead of Cloud already living as a family with Tifa, Marlene and Denzel prior to the beginning of the film, you would show them on the precipice of becoming a family, but with Cloud being unable to take the final step without getting over his feelings for Aerith first. This would leave space for him to love both women without coming off as an opportunistic jerk.

This is essentially the dynamic with Locke/Rachel/Celes in FFVI. Locke is unable to move on with Celes or anyone else until he finally finds closure with Rachel. It’s a lovely scene that does not diminish his relationships with either woman. He loved Rachel. He will love Celes. What the game does not have him do is enter into a relationship into Celes first and then when the party arrives at the Phoenix Cave, have him suddenly remember ‘Oh shit, I’ve gotta deal with my baggage with Rachel before I can really move on.’ That would not paint him in a particularly positive light.

Speaking of other Final Fantasies, let’s take a look another sequel in the series set two years after the events of the original work, one that is clearly the story of its protagonist searching for their lost love. And guess what? Final Fantasy X-2 does not begin with Yuna shacked up and raising two kids with another dude. And it certainly doesn’t begin with his perspective of the whole situation when Yuna decides to search for Tidus.

Square Enix knows how to write these kind of stories when they want to, and it’s clearly not their intent for Cloud and Aerith. Again, the biggest obstacle in the way of a Cloud/Aerith endgame isn’t space and time or death, it’s the existence of Tifa Lockhart.

A reasonable question to ask would be, if SE is not trying to ignite debate over the love triangle, why make Cloud’s relationship with Aerith a part of Advent Children at all? Why invite that sort of confusion? Well, the answer here, like the answer in the OG, is that Aerith’s role in the sequel is much more than her relationship with Cloud.

In the OG, it wasn’t Cloud and the gang who managed to stop Sephiroth and Meteor in the end, it was Aerith from the Lifestream. In a two-hour long film, you do not have the time to set up a completely new villain who can believably end the world, and since you pretty much have to include Sephiroth, the main antagonist can really only be him. No one else in the party has been established to have any magical Cetra powers, and again, since that’s not something that can be effectively established in a two-hour long film, and since Aerith needs to appear somehow, it again needs to be her who will save the day.

Given the time constraints, this external conflict has to be connected with Cloud’s internal conflict. In the OG, Cloud’s emotional arc is in resolved in the Lifestream, and then we spend a few more hours hunting down the Huge Materia/remembering what Holy is before resolving the external conflict of stopping Meteor. In Advent Children, we do not have that luxury of time. These turning points have to be one and same. It is only after Aerith is “introduced” in the film when Cloud asks her for forgiveness that she is able to help in the fight against the Remnants. Thus the turning point for Cloud’s character arc and the external conflict are the same. It’s understandably economical storytelling, though I wouldn’t call it particularly good storytelling.

As much as Cloud feels guilt over both Zack and Aerith’s deaths, it’s only Aerith who can play this dual role in the film. Zack can appear to help resolve Cloud’s emotional arc, but since he has no special Cetra powers or anything, there’s little he can do to help in Cloud’s fight against the Remnants. More time would need to be spent contriving a reason why Cloud is able to defeat the Remnants now when he wasn’t before or explaining why Aerith can suddenly help from the Lifestream when she had been absent before. (I still don’t think the film does a particularly good job of explaining this part, but that is a conversation for another time).

Another reason why Zack could not play this role is because at the time of AC’s original release, all we knew of Cloud and Zack’s relationship was contained in an optional flashback at the Shinra mansion after Cloud returns from the Lifestream. If it was Zack who suddenly showed up at Cloud’s lowest point, most viewers, even many who played the original game, would probably have been confused, and the moment would have fallen flat. On the other hand, even the most casual fan would have been aware of Aerith and her connection to Cloud, with her death scene being among the most well-known gaming moments of all time. Moreover, Aerith’s death is directly connected to Sephiroth, who is once again the threat in AC, whereas Zack was killed by Shinra goons. Aerith serves multiple purposes in a way that Zack just cannot.

Despite all this, though Aerith is more important to the film as a whole, many efforts are made to suggest that Zack and Aerith are equally important to Cloud. One of the first scenes in the film is Cloud moping around Zack’s grave (And unlike the scene with Aerith in the Forgotten City, it isn’t directly connected with Cloud’s present storyline in any way). We have the aforementioned scene where Cloud has flashes of both Aerith’s and Zack’s deaths when he saves Tifa and Denzel. Cloud has a scene where he’s standing back to back with Zack, mirroring his scene with in the Forgotten City with Aerith, before the climax of his fight with Sephiroth. In the Lifestream, after Cloud “dies,” it’s both Aerith and Zack who are there to send him back. Before the film ends, Cloud sees both Aerith and Zack leaving the church.

Now, were all these Zack appearances a way to promote the upcoming spin-off game that he’s going to lead? Of course. But the creators surely would have known that having Zack play such a similar role in Cloud’s arc would make Cloud’s relationship with Aerith feel less special and thus complicating a romantic interpretation of said relationship. If they wanted to encourage a romantic reading of Cloud’s lingering feelings for Aerith, they would have given Zack his own distinct role in the film. Or rather, they wouldn’t have put Zack in the film at all, and they certainly wouldn’t have him lead his own game, but we’ll get to the Zack of it all later.

The funny thing is, in a way, Zack is portrayed as being more special to Cloud. Zack only exists in the film to interact with Cloud and encourage him. Meanwhile. Aerith also has brief interactions with Kadaj, the Geostigma children and even Tifa before the film’s end. Aerith is there to save the whole world. Zack is there just for Cloud. If it’s Cloud’s relationship with Aerith that’s meant to be romantic, shouldn’t it be the other way around?

Let’s take a look at Tifa Lockhart. What role did she have to play in the FF7 sequel film? If, like some, you believed FF7 to be the Cloud/Aerith/Sephiroth show, then Tifa could have easily had a Barret-sized cameo in Advent Children. And honestly, she’s just a great martial artist. She has no special powers that would make her indispensable in a fight against Sephiroth. You certainly would not expect her to be the 2nd billed character in the film. Though of course, if you actually played through the Original Game with your eyes open, you would realize that Tifa Lockhart is instrumental to any story about Cloud Strife.

Unlike Aerith’s appearances, almost none of the suggestive scenes and dynamics between Cloud and Tifa had to be included in the film. As in, they serve no other plot related purpose and could have easily been cut from the final film if the creators weren’t trying to encourage a romantic interpretation of their relationship.

It feels inevitable now, but no one was expecting Cloud and Tifa to be living together and raising two kids. In the general consciousness, FF7 is Cloud and Sephiroth and their big swords and Aerith’s death. At the time, in the eyes of most fans and casual observers, Cloud and Tifa being together wasn’t a necessary part of the FF7 equation the way say, an epic fight between Cloud and Sephiroth would be. In fact, I don’t think even the biggest Cloti fans at the time would have imagined Cloud and Tifa living together would be their canon outcome in the sequel film.

Now can two platonic friends live together and raise two children together? Absolutely, but again Cloud and Tifa are not real people. They are fictional characters. A reasonable person (let’s use the legal definition of the term) who does not have brainworms from arguing over one of the dumbest debates on the Internet for 23 years would probably assume that two characters who were shown to be attracted to each other in the OG and who are now living together and raising two kids are in a romantic relationship. This is a reasonable assumption to make, and if SE wanted to leave Cloud’s romantic inclinations ambiguous, they simply would not be depicting Cloud and Tifa’s relationship in this manner. Cloud’s disrupted peace could have been a number of different things. He could have been a wandering mercenary, he could have been searching for a way to be reunited with Aerith. It didn’t have to be the family he formed with Tifa, but, then again, if you were actually paying attention to the story the OG was trying to tell, of course he would be living with Tifa.

Let’s also look at the scene where Cloud finds Tifa in the church after her fight with Loz. All the plot related information (who attacked her, Marlene being taken) is conveyed in the brief conversation they have before Cloud falls unconscious from Geostigma. What purpose do all the lingering shots of Cloud and Tifa in the flower bed in a Yin-Yang/non-sexual 69ing position serve if not to be suggestive of the type of relationship they have? It’s beautifully rendered but ultimately irrelevant to both the external and internal conflicts of the film.

Likewise, there is no reason why Cloud and Tifa needed to wake up in their children’s bedroom. No reason to show Cloud waking up with Tifa next to him in a way that almost makes you think they were in the same bed. And there is absolutely no reason whatsoever for a close-up of Tifa’s hand with the Wolf Ring on her ring finger while she is admonishing Cloud during what sounds like a domestic argument (This ring again comes into focus when Tifa leads Denzel to Cloud at the church at the end - there are dozens of ways this scene could have been rendered, but this is the one that was chosen.) If it wasn’t SE’s intent to emphasize the family dynamic and the intimate nature of Cloud and Tifa’s relationship, these scenes would not exist.

Let’s also take a look at Denzel, the only new character in the AC (give or take the Remnants). Again, given the film’s brief runtime, the fact that they’re not only adding a new character but giving him more screen time than almost every other AVALANCHE member must mean that he’s pretty important. While Denzel does have an arc of his own, especially in ACC, he is intricately connected to Cloud and Tifa and solidifies the family unit that they’ve been forming in Edge. Marlene still has Barret, but with the addition of Denzel, the family becomes something more real albeit even more tenuous given his Geostigma diagnosis. Without Denzel in the picture, it’s a bit easier to interpret Cloud’s distance from Tifa as romantic pining for another woman, but now it just seems absurd. The stakes are so much higher. Cloud and Tifa are at a completely different stage in their lives from the versions of these characters we met early on in the OG who were entangled in a frivolous love triangle. And yet some people are still stuck trying to fit these characters into a childish dynamic that died at the end of disc one along with a certain someone.

All this is there in the film, at least the director’s cut, if you really squint. But since SE preferred to spend its time on countless action sequences that have aged as well as whole milk in lieu of spending a few minutes showing Cloud’s family life before he got Geostigma to establish the emotional stakes, or a beat or two more on his reconciliation with Tifa and the kids, people may be understandably confused about Cloud’s arc. Has Cloud just been a moping around in misery for the two years post-OG? The answer is no, though that can only really be found in the accompanying novellas, specifically Case of Tifa.

Concerning the novellas, which we apparently must read to understand said DVD sequel

I really don’t know how you can read through CoT and still think there is anything ambiguous about the nature of Cloud and Tifa’s relationship. The “Because I have you this time,” Cloud telling Tifa he’ll remind her how to be strong when they’re alone, Cloud confidently agreeing when Marlene adds him to their family. Not to mention Barret and Cid’s brief conversation about Cloud and Tifa’s relationship in Case of Barret, after which Cid comments that “women wear the pants,” which Barret then follows by asking Cid about Shera. Again, a reasonable person would assume the couple in question are in a romantic relationship, and if this wasn’t the intent, these lines would not be present. Especially not in a novella about someone else.

Some try to argue that CoT just shows how incompatible Cloud and Tifa are because it features a few low points in their relationship. I don’t think that’s Nojima’s intent. Even if it was, it certainly wouldn’t be to prove that Cloud loves Aerith. This isn’t how you tell that story. Why waste all that time disproving a negative rather than proving a positive? We didn’t spend hours in FF8 watching Rinoa’s relationship with Seifer fall apart to understand how much better off she is with Squall. If Cloud and Aerith is meant to be a love story, then tell their love story. Why tell the story of how Cloud is incompatible with someone else?

Part of the confusion may be because CoT doesn’t tell a complete story in and of itself. The first half of the story (before Cloud has to deliver flowers to the Forgotten City) acts as a sort of epilogue to the OG, while the second half of the story is something of a prologue to Advent Children (or honestly its missing Act One). And to state the obvious, conflict is inherent to any story worth telling. It can’t just be all fluff, that’s what the fanfiction is for.

Tifa’s conflict is her fear that the fragile little family they’ve built in Edge is going to fall apart. Thus we see her fret about Cloud’s distance, the way this affects Marlene, and Denzel’s sickness. There are certainly some low moments here --- Tifa telling Cloud to drink in his room, asking if he loves her -- all ways for the threat to seem more real, the outcome more uncertain, yet there’s only one way this conflict can be resolved. One direction to which their relationship can move.

Again, by the end of this story, both characters are supposed to be the best versions of themselves, to find their “happy” endings so to speak. Tifa could certainly find happiness outside of a relationship with Cloud. She could decide that they’ve given it a shot, but they’re better off as friends. She’s grateful for this experience and she’s learned from this, but now she’s ready to make a life for herself on her own. It would be a fine character arc, though not something the Final Fantasy series has been wont to do. However, that’s obviously not the case here as there’s no indication whatsoever that Tifa considers this as an option for herself. Nojima hasn’t written this off ramp into her journey. For Tifa, they’ll either become a real family or they won’t. Since this is a story that is going to have a happy ending, so of course they will, even if there are a lot of bumps along the way.

Unfortunately, with the Compilation being the unwieldy beast that this is, this whole arc has to be pieced together across a number of different works:

Tifa asking herself if they’re a real family in CoT

Her greatest fear seemingly come to life when Cloud leaves at the end of CoT/beginning of AC

Tifa explicitly asking Cloud if the reason they can’t help each other is because they’re not a real family during their argument in AC. Notably, even though Cloud is at his lowest point, he doesn’t confirm her fear. Instead he says he that he can’t help anyone, not even his family. Instead, he indirectly confirms that yes he does think they’re a family, even if is a frustrating moment still in that he’s too scared to try to save it.

The ending of AC where we see a new photo of Cloud smiling surrounded by Tifa and the kids and the rest of the AVALANCHE, next to the earlier photo we had seen of the four of them where he was wearing a more dour expression.

The ending of The Kids Are All Right, where Cloud, Tifa, Denzel and Marlene meet with Evan, Kyrie and Vits - and Cloud offers, unsolicited, that even if they’re not related by blood, they’re a family.

The ending of DVD extra ‘Reminiscence of FFVII’ where Cloud takes the day off and asks Tifa to close the bar so they can spend time together as a family as Tifa had wanted to do early in CoT

Cloud fears he’ll fail his family. Tifa fears it’ll fall apart. Cloud retreats into himself, pushing others away. Tifa neglects herself, not being able to say what she needs to say. In Advent Children, Tifa finally voices her frustrations. It’s then that Cloud finally confronts his fears. Like in the OG, Cloud and Tifa’s conflicts and character arcs are two sides of the same coin, and it’s only by communicating with each other are they able to resolve it. Though with the Compilation being an inferior work, it’s much less satisfying this time around. Such is the problem when you’re writing towards a preordained outcome (Cloud and Sephiroth duking it once again) rather than letting the story develop organically.

Some may ask, why mention Aerith so much (Cloud growing distant after delivering flowers to the Forgotten City, Cloud finding Denzel at Aerith’s church) if they weren’t trying to perpetuate the LTD? Well, as explained above, Aerith had to be in Advent Children, and since CoT is the only place where we get any insight into Cloud’s psyche, it’s here where Nojima expands on that guilt.

Again, this is a story that requires conflict, and what better conflict than the specter of a love rival? Notably, despite us having access to Tifa’s thoughts and fears, she never explicitly associates Cloud’s behavior with him pining after Aerith. Though it’s fair to say this fear is implied, if unwarranted.

If Cloud had actually been pining after Aerith this whole time, we would not be seeing it all unfold through Tifa’s perspective. You can depict a romance without drawing attention to the injured third party. We’re seeing all of this from Tifa’s POV, because it’s about Tifa’s insecurities, not the great tragic romance between Cloud and Aerith. Honestly, another reason we see this from Tifa’s perspective is because it’s dramatically more interesting. Because she’s insecure, she (and we the reader) wonder if there’s something else going on. Meanwhile, from Cloud’s perspective it would be straightforward and redundant, given what we see in AC. He’s guilty over Aerith’s death and thinks he doesn’t deserve to be happy.

Not to mention, the first time we encounter Aerith in CoT, Tifa is the one breaking down at her grave while Cloud is the one comforting her. Are we supposed to believe that he just forgot he was in love with Aerith until he had to deliver flowers to the Forgotten City?

And Aerith doesn’t just serve as a romantic obstacle. She’s also a symbol of guilt and redemption for both Cloud and Tifa. Neither think they have the right to be happy after all that’s happened (Aerith’s death being a big part of this), and through Denzel, who Cloud finds at Aerith’s church, they both see a chance to atone.

I do want to address Case of Lifestream: White because it’s only time in the entire Compilation where I’ve asked myself — what are they trying to achieve here? Now, I’d rather drink bleach than start debating the translation of ‘koibito’ again, but I did think it was a strange choice to specify the romantic nature of Aerith’s love for Cloud. I suppose it could be a reference her obvious attraction to Cloud in the OG, though calling it love feels like a stretch.

But nothing else in CoLW really gives me pause. It might be a bit jarring to see how much of it is Aerith’s thoughts of Cloud, but it makes sense when you consider the context in which it’s meant to be consumed. Unlike Case of Tifa or Case of Denzel, CoLW isn’t meant to be read on its own. It’s a few scant paragraphs in direct conversation with Case of Lifestream: Black. In CoLB, Sephiroth talks about his plan to return and end the world or whatever, and how Cloud is instrumental to his plan. Each segment of CoLW mirrors the corresponding segment of CoLB. Thus, CoLW has to be about Aerith’s plan to stop Sephiroth and the role Cloud must play in that. In both of these stories, Cloud is the only named character. It doesn’t mean that thoughts of Cloud consume all of Aerith’s afterlife. Case of Lifestream is only a tiny sliver of the story, a halfassed way to explain why in Advent Children the world is ending again and why Cloud has to be at the center of it all.

Notably, there is absolutely nothing in CoLW about Cloud’s feelings for Aerith. Even if it’s just speculation on her part as we see Sephiroth speculate about Cloud’s reactions in CoLB. Aerith can see what’s going on in the real world, but she says nothing about Cloud’s actions. If Cloud is really pining after her, trying to find a way to be reunited with her, wouldn’t this be the ideal story to show such devotion?

But it’s not there, because not only does it not happen, but because this story is not about Aerith’s relationship with Cloud. It is about how Aerith needs to see and warn Cloud in order to stop Sephiroth. By the end of Advent Children, that goal is fulfilled. Cloud gets his forgiveness. Aerith gets to see him again and helps him stop Sephiroth. There’s no suggestion that either party wants more. We finally have the closure that the OG lacked, and at no point does it confirm that Cloud reciprocated Aerith’s romantic feelings, even though there were plenty of opportunities to do so.

I don’t really know what else people were expecting. Advent Children isn’t a romantic drama. There’s not going to be a moment where Cloud explicitly tells Tifa, ‘I’ve never loved Aerith. It’s only been you all along.” This is just simply not the kind of story it is.

Though one late scene practically serves this function. When Cloud “dies” and Aerith finds him in the Lifestream, if there were any lingering romantic feelings between the two of them, this would be a beautiful bittersweet reunion. Maybe something about how as much as they want to be together, it’s not his time yet. Instead, it’s almost played off as a joke. Cloud calls her ‘Mother’, and Zack is at Aerith’s side, joking about how Cloud has no place there. This would be the perfect opportunity to address the romantic connection between Cloud and Aerith, but instead, the film elides this completely. Instead, it’s a cute afterlife moment between Aerith and Zack, and functionally allows Cloud to go back to where he belongs, to Tifa and the kids. Whatever Cloud’s feelings for Aerith were before, it’s transformed into something else.

Crisis Core -- or how Aerith finally gets her love story

The other relevant part of the Compilation is Crisis Core, which I will now touch on briefly (or at least brief for me). In the OG, Zack Fair was more plot device than character. We knew he was important to Cloud — enough that Cloud would mistake Zack’s memories for his own -- we knew he was important to Aerith — enough that she is initially drawn to Cloud due to his similarities to Zack — yet the nature of these relationships is more ambiguous. Especially his relationship with Aerith. From the little we learn of their relationship, it could have been completely one-sided on her part, and Zack a total cad. At least that’s the implication she leaves us with in Gongaga. We get the sense that she might not be the most reliable narrator on this point (why bring up an ex so often, unsolicited, if it wasn’t anything serious?) but the OG never confirms this either way.

Crisis Core clears this up completely. Not only is Zack portrayed as the Capital H Hero of his own game, but his relationships with Cloud and Aerith are two of the most important in the game. In fact, they are the basis for his heroic sacrifice at the game’s end: he dies trying to save Cloud’s life; he dies trying to return to Aerith.

Zack’s relationship with Aerith is a major subplot of the game. Not only that, but the details of said relationship completely recontextualizes what we know about the Aerith we see in the OG. Many of Aerith’s most iconic traits (wearing pink, selling flowers) are a direct product of this relationship, and more importantly, so many of the hallmarks of her early relationship with Cloud (him falling through her church, one date as a reward, a conversation in the playground) are a direct echo of her relationship with Zack.

A casual fling this was not. Aerith’s relationship with Zack made a deep impact on the character we see in the OG and clearly colored her interactions with Cloud throughout.

Crisis Core is telling Zack’s story, and Tifa is a fairly minor supporting character, yet it still finds the time to expand upon Cloud and Tifa’s relationship. Through their interactions with Zack, we learn just how much they were on each others’ minds during this time, and how they were both too shy to own up to these feelings. We also get a brief expansion on the moment Cloud finds Tifa injured in the reactor.

Meanwhile, given the point we are in the story’s chronology, Cloud and Aerith are completely oblivious of each other’s existence.

One may try to argue that none of this matters since all of this is in the past. While this argument might hold water if we arguing about real lives in the real world, FF7 is a work of fiction. Its creators decided that these would be events we would see, and that Zack would be the lens through which we’d see them. Crisis Core is not the totality of these characters’ lives prior to the event of the OG. Rather, it consists of moments that enhance and expand upon our understanding of the original work. We learn the full extent of Hojo’s experimentation and the Jenova project; we learn that Sephiroth was actually a fairly normal guy before he was driven insane when he uncovers the circumstances of his birth. We learn that Aerith was a completely different person before she met Zack, and their relationship had a profound impact on her character.

A prequel is not made to contradict the original work, but what it can do is recontexualize the story we already know and add a layer of nuance that may have not been obvious before. Thus, Sephiroth is transformed from a scary villain into a tragic figure who could have been a hero were it not for Hojo’s experiments. Aerith’s behavior too invites reinterpretation. What once seemed flirty and perhaps overtly forward now looks like the tragic attempts of a woman trying to recapture a lost love.

If Cloud and Aerith were meant to be the official couple of the Compilation of FF7, you absolutely would not be spending so much time depicting two relationships that will be moot by the time we get to the original work. You especially would not depict Zack and Aerith’s relationship in a way that makes Aerith’s relationship with Cloud look like a copy of the moments she had with her ex.

Additionally, with Zack’s relationship with Angeal, we can see, that within the universe of FF7, a protagonist being devastated over the death of a beloved comrade isn’t something that’s inherently romantic. Neither is it romantic for said dead comrade to lend a helping hand from the beyond.

SE would also expect some people to play Crisis Core before the OG. If Cloud and Aerith are the intended endgame couple, then SE would be asking the player to root for a guy to pursue the girlfriend of the man who gave his life for him. The same man who died trying to reunite with her. This is to say nothing of Cloud’s treatment of Tifa in this scenario. How could this possibly be the intent  for their most popular protagonist in the most popular entry of their most popular franchise?

What Crisis Core instead offers is something for fans of Aerith who may be disappointed that she was robbed of a great romance by her death. Well, she now gets that epic, tragic romance. Only it’s with Zack, not Cloud.

If SE intended for Cloud and Aerith to be the official couple of FF7, neither Zack nor Tifa would exist. They would not spend so much time developing Zack and Tifa into the multi-dimensional characters they are, only to be treated as nothing more than collateral damage in the wake of Cloud and Aerith’s great love. No, this is a Final Fantasy. SE want their main characters to have something of a happy ending after all of the tribulations they face. Cloud and Tifa find theirs in life. Zack and Aerith, as the ending of AC suggests, find theirs in death.

Cloud and Aerith’s relationship isn’t a threat to the Zack/Aerith and Cloud/Tifa endgame, nor is it a mere obstacle. Rather, it’s a relationship that actually deepens and strengthens the other two. Aerith is explicitly searching for her first love in Cloud, revealing just how deep her feelings for Zack ran. Cloud gets to live out his heroic SOLDIER fantasy with Aerith, a fantasy he created just to impress Tifa.

There are moments between Cloud and Aerith that may seem romantic when taken on its own, but viewed within the context of the whole narrative, ultimately reveal that they aren’t quite right for each other, and in each other, they’re actually searching for someone else.

This quadrangular dynamic reminds me a bit of one of my favorite classic films, The Philadelphia Story. (Spoilers for a film that came out in 1940 ahead) — The single most romantic scene in the film is between Jimmy Stewart’s and Katherine Hepburn’s characters, yet they’re not the ones who end up together. Even as their passions run, as the music swells, and we want them to end up together, we realize that they’re not quite right for each other. We know that it won’t work out.

More relevantly, we know this is true due to the existence of Cary Grant’s and Ruth Hussey’s characters, who are shown to carry a torch for Hepburn and Stewart, respectively. Grant and Hussey are well-developed and sympathetic characters. With the film being the top grossing film of the year, and made during the Code era, it’s about as “clean” of a narrative as you can get. There’s no way Grant and Hussey would be given such prominent roles just to be left heartbroken and in the cold by the film’s end.

Hepburn’s character (Tracy) pretty much sums it herself after some hijinks lead to a last minute proposal from Stewart’s character (Mike):

Mike: Will you marry me, Tracy?                      

Tracy: No, Mike. Thanks, but hmm-mm. Nope.

Mike: l've never asked a girl to marry me. l've avoided it. But you've got me all confused now. Why not?

Tracy: Because l don't think Liz [Hussey’s character] would like it...and l'm not sure you would...and l'm even a little doubtful about myself. But l am beholden to you, Mike. l'm most beholden.

Despite the fact that the film spends more time developing Hepburn and Stewart’s relationship than theirs with their endgame partners, it’s still such a satisfying ending. That’s because, even at the peak of their romance, we can see how Stewart needs someone like Hussey to ground his passionate impulses, and how Hepburn needs Grant, someone who won’t put her on a pedestal like everyone else. Hepburn and Stewart’s is a relationship that might feel right in the moment, but doesn’t quite work in the light of day.

I don’t think Cloud and Aerith share a moment that is nearly as romantic in FF7, but the same principle applies. What may seem romantic in the moment actually reveals how they’re right for someone else.

Even if Aerith lives and Cloud decides to pursue a relationship with her, it’s not going to be all puppies and roses ahead for them. Aerith would need to disentangle her feelings for Zack from her attraction to Cloud, and Cloud would still need to confront his feelings for Tifa, which were his main motivator for nearly half his life, before they can even start to build something real. This is messy work, good fodder for a prestige cable drama or an Oscar-baity indie film, but it has no place in a Final Fantasy. There simply isn’t the time. Not when the question on most players’ minds isn’t ‘Cloud does love?’ but ‘How the hell are they going to stop that madman and his Meteor that’s about to destroy the world?’

With Zerith’s depiction in Crisis Core, there’s a sort of bittersweet poetry in how the two relationships rhyme but can’t actually coexist. It is only because Zack is trying to return to Midgar to see Aerith that Cloud is able to reunite with Tifa, and the OG begins in earnest. In another world, Zack and Aerith would be the hero and heroine who saved the world and lived to tell the tale. They are much more the traditional archetypes - Zack the super-powered warrior who wants to be a Capital-H Hero, and Aerith, the last of her kind who reluctantly accepts her fate. Compared to these two, Cloud and Tifa aren’t nearly so special, nor their goals so lofty and noble. Cloud, after all, was too weak to even get into SOLDIER, and only wanted to be one, not for some greater good, but to impress the girl he liked. Tifa has no special abilities, merely learning martial arts when she grew wise enough to not wait around for a hero. On the surface, Cloud and Tifa are made of frailer stuff, and yet by luck or by fate, they’re the ones who cheat death time and time again, and manage to save the world, whereas the ones who should have the role, are prematurely struck down before they can finish the job. Cloud and Tifa fulfill the roles that they never asked for, that they may not be particularly suited for, in Zack and Aerith’s stead. There’s a burden and a beauty to it. Cloud and Tifa can live because Zack and Aerith did not.

All of this nuance is lost if you think Cloud and Aerith are meant to be the endgame couple. Instead, you have a pair succumbing to their basest desires, regardless of the selfless sacrifices their other potential paramours made for their sake. Zack and Tifa, and their respective relationships with Aerith and Cloud, are flattened into mere romantic obstacles. The heart wants what it wants, some may argue. While that may be true in real life, that is not necessarily the case in a work of fiction, especially not a Final Fantasy. The other canon Final Fantasy couples could certainly have had previous romantic relationships, but unless they have direct relevance to the their character arcs (e.g., Rachel to Locke), the games do not draw attention to them because they would be a distraction from the romance they are trying to tell. They’ve certainly never spent the amount of real estate FF7 spends in depicting Cloud/Tifa and Zack/Aerith’s relationships.

At last…the Remake, and somehow this essay isn’t even close to being over

Finally, we come to the Remake. With the technological advancements made in the last 23 years and the sheer amount of hours they’re devoting to just the Midgar section this time around, you can almost look at the OG as an outline and the Remake as the final draft. With the OG being overly reliant on text to  do its storytelling, and the Remake having subtle facial expressions and a slew of cinematic techniques at its disposal, you might almost consider it an adaptation from a literary medium to a visual one. Our discussions are no longer limited to just what the characters are saying, but what they are doing, and even more importantly, how the game presents those actions. When does the game want us to pay attention? And what does it want us to pay attention to?

Unlike most outlines, which are read by a small handful of execs, SE has 23 years worth of reactions from the general public to gauge what works and what doesn’t work, what caused confusion, and what could be clarified. While FF7 is not a romance, the LTD remains a hot topic among a small but vocal part of the fanbase. It certainly is an area that could do with some clarifying in the Remake.

Since the Remake is not telling a new story, but rather retelling an existing story that has been in the public consciousness for over two decades, certain aspects that were treated as “twists” in the OG no longer have that same element of surprise, and would need to approached differently. For example, in the Midgar section of the OG, Shinra is treated as the main antagonist throughout. It’s only when we get to the top of the Shinra tower that Sephiroth is revealed as the real villain. Anyone with even a passing of knowledge of FF7 would be aware of Sephiroth so trying to play it off like a surprise in the Remake would be terribly anticlimactic. Thus, Sephiroth appears as early as Ch. 2 to haunt Cloud and the player throughout.

Likewise, many players who’ve never even touched the OG are probably aware that Aerith dies, thus her death can no longer be played for shock. While SE would still want the player to grow attached to Aerith so that her death has an emotional impact, there are diminishing returns to misdirecting the player about her fate, at least not in the same way it was done in the OG.

How do these considerations affect the how the LTD is depicted in the Remake? For the two of the biggest twists in the OG to land in the Remake — Aerith’s death and Cloud’s true identity in the Lifestream — the game needs to establish:

Aerith’s attraction to Cloud, specifically due to his similarities to Zack. This never needs to go past an initial attraction for the player to understand that the man whose memory Cloud was “borrowing” is Zack. Aerith’s feelings for Cloud can evolve into something platonic or even maternal by her end without the reveal in the Lifestream losing any impact.

Cloud’s love for Tifa. For the Lifestream sequence to land with an “Ooooh!” rather than a “Huh!?!?”, the Remake will need to establish that Cloud’s feelings for Tifa were strong enough to 1) motivate him to try to join SOLDIER in the first place 2) incentivize him to adopt a false persona because he fears that he isn’t the man she wants him to be 3) call him back to consciousness from Make poisoning twice 4) help him put his mind back together and find his true self. That’s a lot of story riding on one guy’s feelings!

The player’s love for Aerith so that her death will hurt. This can be done by making them invested in Aerith as a character by her own right, but also extends to the relationships she has with the other characters (not only Cloud).

What is not necessary is establishing Cloud’s romantic feelings for Aerith. Now, would their doomed romance make her death hurt even more? Sure, but it could work just as well if Cloud if is losing a dear friend and ally, not a lover. Not to mention, her death also cuts short her relationships with Tifa, Barret, Red XII, etc. Bulking those relationships up prior to her death, would also make her loss more palpable. If anything, establishing Cloud’s romantic feelings for Aerith would actually undermine the game’s other big twist. The game needs you to believe that Cloud’s feelings for Tifa were strong enough to drive his entire hero’s journey. If Cloud is shown falling in love with another woman in the span of weeks if not mere days, then the Lifestream scene would be much harder to swallow.

Cloud wavering between the two women made sense in the OG because the main way for the player to get to know Aerith was through her interactions with Cloud. That is no longer the case in the Remake. Cloud is still the protagonist, and the player character for the vast majority of the game, but there are natural ways for the player to get to know Aerith outside of her dialogue exchanges with Cloud. Unless SE considers the LTD an integral part of FF7’s DNA, then for the sake of story clarity, the LTD doesn’t need to exist.

How then does the Remake clarify things?

I’m not going go through every single change in the Remake — there are far too many of them, and they’ve been documented elsewhere. Most of the changes are expansions or adaptations (what might make sense for super-deformed chibis would look silly for realistic characters, e.g., Cloud rolling barrels in the Church has now become him climbing across the roof support). What is expanded and how it’s adapted can be telling, but what is more interesting are the additions and removals. Not just for what takes place in the scenes themselves, but how their addition or removal changes our understanding of the narrative as a whole vis-a-vis the story we know from the OG.

Notably, one of the features that is not expanded upon, but rather diminished, is player choice. In the OG, the player had a slew of dialogue options to choose from, especially during the Midgar portion of the game. Not only did it determine which character would go on a date with Cloud at the Gold Saucer, but it also made the player identify with Cloud since they’re largely determining his personality during this stage. Despite the technological advances that have made this level of optionality the norm in AAA games, the Remake gives the player far fewer non-gameplay related choices, and only really the illusion of choice as a nod to the OG, but they don’t affect the story of the game in any meaningful way. You get a slightly different conversation depending on the choice, but you have to buy the Flower, Tifa has to make you a drink.

So much of what fueled the LTD in the OG came from this mechanic, which is now largely absent in the Remake. Almost every instance where there was a dialogue branch in the OG has become a single, canon scenario in the Remake that favors Tifa (e.g., having the choice of giving the flower to Tifa or Marlene in the OG, to Cloud giving the flower to Tifa in the Remake). Similarly, for the only meaningful choice you make in the Remake — picking Tifa or Aerith in the sewers — Cloud is now equidistant to both girls, whereas in the OG, his starting point was much closer to Aerith. In the OG, player choice allowed you to largely determine Cloud’s personality, and the girl he favored — and seemingly encouraged you to choose Aerith in many instances. In the Remake, Cloud is now his own character, not who the player wants him to be. And this Cloud, well, he sure seems to have a thing for Tifa.

In fact, one of the first changes in the Remake is the addition of Jessie asking Cloud about his relationship with Tifa, and Cloud’s brief flashback to their childhood together. In the OG, Tifa isn’t mentioned at all during the first reactor mission, and we don’t see her until we get to Sector 7.

Not only does this scene reveal Tifa’s importance to Cloud much earlier on than in the OG, but it sets up a sort of frame of reference that colors Cloud’s subsequent interactions. Even as Jessie kind of flirts with him throughout the reactor mission, even with his chance meeting Aerith in Sector 8, in the back of your mind, you might be thinking — wait what about his relationship with this Tifa character? What if he’s already spoken for?

Think about how this plays out in the OG. Jessie is pretty much a non-entity, and Cloud has his meet-cute with the flower girl before we’re even aware that Tifa exists. It’s hard to get too invested in his interactions with Tifa, when you know he has to meet the flower girl again, and you’re waiting for that moment, because that’s when the game will start in earnest.

After chapter 1 of the Remake, a new player may be asking — who is this Tifa person, and, echoing Jessie’s question, what kind of relationship does she have with Cloud? It’s a question that’s repeated when Barret mentions her before they set the bomb, and again when Barret specifies Seventh Heaven is where Tifa works — and the game zooms in on Cloud’s face — when they arrive in Sector 7.

It’s when we finally meet her at Seventh Heaven in Ch. 3 that we feel, ah now, this game has finally begun.

It’s also interesting how inorganically this question is introduced in the Remake. Up until that moment, the dialogue and Cloud are all business. Then, as they’re waiting for the gate to open, Jessie asks about Tifa completely out of the blue, and Cloud, all of a sudden, is at a lost for words, and has the first of many flashbacks. That this moment is a bit incongruous shows the effort SE made to establish Tifa’s importance to the game and to Cloud early on.

One of the biggest changes in the Remake is the addition of the events in Ch. 3 and 4. Unlike what happens in Ch. 18, Ch. 3 and 4 feel like such a natural extension of the OG’s story that many players may not even realize that SE has added an whole day’s and night’s worth of events to the OG’s story. While not a drastic change, it does reshape our understanding of subsequent events in the story, namely Cloud’s time spent alone with Aerith.

In the OG, we rush from one reactor mission to the next, with no real time to explore Cloud’s character or his relationships with any of the other characters in between. When he crashes through the church, he gets a bit of a breather. We see a different side of him with Aerith. Since we have nothing else to compare it to, many might assume that his relationship with Aerith is special. That she brings something out of him that no one else can.

That is no longer the case in the Remake. While Cloud’s time in Sector 5 with Aerith remains largely unchanged though greatly expanded, it no longer feels  “special.” So many of the beats that seemed exclusive to his relationship with Aerith in the OG, we’ve now already seen play out with both Tifa and the other members of AVALANCHE long before he meets Aerith.

Cloud tells the flowers to listen to Aerith; he’s told Tifa he’s listening if she wants to talk; told Bigg’s he wants to hear the story of Jessie’s dad. Cloud offers to walk Aerith back home; he offered the same to Wedge. Cloud smiles at Aerith; he’s already smiled at Tifa and AVALANCHE a number of times.

Now, I’m under no illusion that SE added these chapters solely to diminish Aerith’s importance to Cloud (other than the obvious goal of making the game longer, I imagine they wanted the player to spend more time in Sector 7 and more time with the other AVALANCHE members so that the collapse of the Pillar and their deaths have more weight), but they certainly must have realized that this would be one effect. If pushing Cloud/Aerith’s romance had been a goal with the Remake, this would be a scenario they would try to avoid. Notably, the other place where time has been added - the night in the Underground Shinra Lab, and the day helping other people out around the slums — are also periods of time when Aerith is absent.

Home Sweet Slums vs. Budding Bodyguard

Since most of the events in Ch. 3 were invented for the Remake, and thus we have nothing in the OG to compare it to (except to say that something is probably better than nothing), I thought it would be more interesting to compare it to Ch. 8. Structurally, they are nearly identical — Cloud doing sidequests around the Sectors with one of the girls as his guide. Extra bits of dialogue the more sidequests you complete, with an optional story event if you do them all. Do Cloud’s relationships with each girl progress the same way in both chapters? Is the Remake just Final Waifu Simulator 2020 or are they distinct, reflecting their respective roles in the story as a whole?

A lot of what the player takes away from these chapters is going to be pretty subjective (Is he annoyed with her or is he playing hard to get), yet the vibes of the two chapters are quite different. This is because in Ch. 3, the player is getting to know Tifa through her relationship with Cloud; in Ch. 8; the player is getting to know Aerith as a character on her own.

What do I mean by this? Let’s take Cloud’s initial introduction into each Sector. In Ch. 3, it’s a straight shot from Seventh Heaven to Stargazer Heights punctuated by a brief conversation where Tifa asks Cloud about the mission he was just on. We don’t learn anything new about Tifa’s character here. Instead we hear Cloud recount the mission we already saw play out in detail in Ch. 1 But it’s through this conversation that we get a glimpse of Cloud and Tifa’s relationship — unlike the reticent jerk he was with Avalanche, this Cloud is much more responsive and even tries to reassure her in his own stilted way. We also know that they have enough of a past together that Tifa can categorize him as “not a people person” — an assessment to which Cloud agrees. Slowly, we’re getting an answer to the question Jessie posed in Ch. 1 — just what kind of relationship does Cloud have with Tifa?

In Ch. 8, Aerith leads Cloud on a roundabout way through Sector 5, and stops, unprompted, to talk about her experiences helping at the restaurant, helping out the doctor, and helping with the orphans at the Leaf House. It’s not so much a conversation as a monologue. Cloud isn’t the one who inquires about these relationships, and more jarringly, he doesn’t respond until Aerith directly asks him a question (interestingly enough, it’s about the flower she gave him…which he then gave to Tifa). Here, the game is allowing the player to learn more about the kind of person Aerith is. Cloud is also learning about Aerith at the same time, but with his non-reaction, either the game itself is indifferent to Cloud’s feelings towards Aerith or it is deliberately trying to portray Cloud’s indifference to Aerith.

The optional story event you can see in each chapter after completing all the side quests is also telling. In Ch. 3, “Alone at Last” is almost explicitly about Cloud and Tifa’s relationship. It’s bookended by two brief scenes between Marle and Cloud — the first in which she lectures him about how he should treat Tifa almost like an overprotective in-law, the second after they return downstairs and Marle awards Cloud with an accessory “imbued with the fervent desire to be by one’s side for eternity” after he makes Tifa smile. In between, Cloud and Tifa chat alone in her room. Tifa finally gets a chance to ask Cloud about his past and they plan a little date to celebrate their reunion. There is also at least the suggestion that Cloud was expecting something else when Tifa asked him to her room.

In Ch. 8’s “The Language of Flowers,” Cloud and Aerith’s relationship is certainly part of the story — unlike earlier in the chapter, Cloud actually asks Aerith about what she’s doing and even supports her by talking to the flowers too, but the other main objective of this much briefer scene is to show Aerith’s relationship with the flowers and of her mysterious Cetra powers (though we don’t know about her ancestry just yet). Like a lot of Aerith’s dialogue, there’s a lot of foreshadowing and foreboding in her words. If anything, it’s almost as if Cloud is playing the Marle role to the flowers, as an audience surrogate to ask Aerith about her relationship with the flowers so that she can explain. Also, there’s no in-game reward that suggests what the scene was really about.

If there’s any confusion about what’s going on here, just compare their titles “Alone At Last” vs. “The Language of Flowers.”

I’ll try not to bring my personal feelings into this, but there’s just something so much more satisfying about the construction of Ch. 3. This is some real storytelling 101 shit, but I think a lot of it due to just how much set up and payoff there is, and how almost all of said payoff deepens our understanding of Cloud and Tifa’s relationship:

Marle: Cloud meets Tifa’s overprotective landlady towards the beginning of the chapter. She is dubious of his character and his relationship with TIfa. This impression does not change the second time they meet even though Tifa herself is there to mediate. It’s only towards the end of the chapter, after all the sidequests are complete, that this tension is resolved. Marle gives Cloud a lecture about how he should be treating Tifa, which he seems to take to heart. And Cloud finally earns Marle’s begrudging approval after he emerges from their rooms with a chipper-looking Tifa in tow.

Their past: For their first in-game interaction, Cloud casually brings up that fact that it’s been “Five years” since they’ve last, which seem to throw Tifa off a bit. As they’re replacing filters, Cloud asks Tifa what she’s been up to in the time since they’ve been apart, and Tifa quickly changes the subject. Tifa tries to ask Cloud about his life “after he left the village,” at the Neighborhood Watch HQ, and this time he’s the one who seems to be avoiding the subject. It’s only after all the Ch. 3 sidequests are complete, and they're alone in her room that Tifa finally gets the chance to ask her question. A question which Cloud still doesn’t entirely answer. This question remains unresolved, and anyone’s played the OG will know that it will remain unresolved for some time yet, as it is THE question of Cloud’s story as a whole.

The lessons: Tifa starts spouting off some lessons for life in the slums as she brings Cloud around the town, though it’s unclear if Cloud is paying attention or taking them to heart. After completing the first sidequest, Cloud repeats one of these sayings back to her, confirming that he’s been listening all along. By the end of the chapter, Cloud is repeating these lessons to himself, even when Tifa isn’t around. These lessons extend beyond this chapter, with Cloud being a real teacher’s pet, asking Tifa “Is this a lesson” in Ch. 10 once they reunite.

The drink: When Cloud first arrives at Seventh Heaven, Tifa plays hostess and asks him if he wants anything, but it seems he’s only interested in his money. After exploring the sector a bit, Tifa again tries to play the role of cheery bartender, offering to make him a cocktail at the bar, but Cloud sees through this facade, and they carry on. Finally, after the day’s work is done, to tide Cloud over while she’s meeting with AVALANCHE, Tifa finally gets the chance to make him a drink. No matter, which dialogue option the player chooses, Tifa and Cloud fall into the roles of flirty bartender and patron quite easily. Who would have thought this was possible from the guy we met in Ch. 1?

This dynamic is largely absent in Ch. 8, except perhaps exploring Aerith’s relationship with the flowers, which “pays off” in the “Language of Flowers” event, but again, that scene is primarily about Aerith’s character rather than her relationship with Cloud. The orphans and the Leaf House are a throughline of the chapter, but they are merely present. There’s no clear progression here as was the case with in Ch. 3. Sure, the kids admire Cloud quite a bit after he saves them, but it’s not like they were dubious of his presence before. They barely paid attention to him. In terms of the impact the kids have on Cloud’s relationship with Aerith, there isn’t much at all. Certainly nothing like the role Marle plays in developing his relationship with Tifa.

The thing is, there are plenty of moments that could have been set ups, only there’s no real follow through. Aerith introduces Cloud around town as her bodyguard, and some people like the Doctor express dubiousness of his ability to do the job, but even after we spend a whole day fighting off monsters, and defeating Rude, there’s no payoff. Not even a throwaway “Wow, great job bodyguarding” comment. Same with the whole “one date” reward. Other than a quick reference on the way to Sector 5, and Aerith threatening to reveal the deal to cajole Cloud into helping her gather flowers, it’s never brought up again, in this chapter, or the rest of the game.

Aerith also makes a big stink about Cloud taking the time to enjoy Elmyra’s cooking. This is after Cloud is excluded from AVALANCHE’s celebration in Seventh Heaven and after he misses out on Jessie’s mom’s “Midgar Special” with Biggs and Wedge. So this could have been have been the set up to Cloud finally getting to experience a nice, domestic moment where he feels like he’s part of a family. And this dinner does happen! Only…the Remake skips over it entirely. Which is quite a strange choice considering that almost every other waking moment of Cloud’s time in Midgar has been depicted in excruciating detail. SE has decided that either whatever happened in this dinner between these three characters is irrelevant to the story they’re trying to tell, or they’ve deliberately excluded this scene from the game so that the player wouldn’t get any wrong ideas from it (e.g., that Cloud is starting to feel at home with Aerith).

Speaking of home, the Odd Jobs in Ch. 3 feel a bit more meaningful outside of just the gameplay-related rewards because they’re a way for Cloud to improve his reputation as he considers building a life for himself in Sector 7. This intent is implicit as Tifa imparts upon him the life lessons for surviving the slums, and then explicit, when Tifa asks him if he’s going to “stick around a little longer” outside of Seventh Heaven and he answers maybe. (It is later confirmed when Cloud and Tifa converse in his room in Ch. 4 after he remembers their promise).

Despite Aerith’s endeavors to extend their time together, there’s no indication that Cloud is planning to put down roots in Sector 5, or even return. Not even after doing all the Odd Jobs. If anything, it’s just the opposite — after 3 Odd Jobs, Aerith, kind of jokingly tells Cloud “don’t think you can rely on me forever.” This is a line that has a deeper meaning for anyone who knows Aerith’s fate in the OG, but Cloud seems totally fine with the outcome. Similarly, at the end of the Chapter 8, Elmyra asks Cloud to leave and never speak to Aerith again — a request to which he readily agrees.

Adding to the different vibes of the Chapters are the musical themes that play in the background. In Ch. 3, it’s the “Main Theme of VII”, followed by “On Our Way” — two tracks that instantly recall the OG. While the Main Theme is a bit melancholy, it's also familiar. It feels like home. In Ch. 8, we have an instrumental version of ‘Hollow’ - the new theme written for the Remake. While, it’s a lovely piece, it’s unfamiliar and honestly as a bit anxiety inducing (as is the intent).

(A quick aside to address the argument that this proves ‘Hollow’ is about Cloud’s feelings for Aerith:

Which of course doesn’t make any damn sense because he hasn’t even lost Aerith at this point the story. Even if you want to argue that there is so timey-wimey stuff going on and the whole purpose of the Remake is to rewrite the timeline so that Cloud doesn’t lose Aerith around — shouldn’t there be evidence of this desire outside of just the background music? Perhaps, in Cloud’s actions during the Chapter which the song plays — shouldn’t he dread being parted from her, shouldn’t he be the one trying to extend their time together? Instead, he’s willing to let her go quite easily.

The more likely explanation as to why “Hollow” plays in Ch. 8 is that since the “Main Theme of FFVII”  already plays in Ch. 3, the other “main theme” written for the Remake is going to play in the other chapter with a pseudo-open world vibe. If you’re going to say “Hollow” is about Cloud’s feelings for Aerith then you’d have to accept that the Main Theme of the entire series is about Cloud’s feelings for Tifa, which would actually make a bit more sense given that is practically Cloud’s entire character arc.)

Both chapters contain a scripted battle that must be completed before the chapter can end. They both contain a shot where Cloud fights side by side with each of the girls.

Here, Cloud and Tifa are both in focus during the entirety of this shot.

Here, the focus pulls away from Cloud the moment Aerith enters the frame.

I doubt the developers expected most players to notice this particular technique, but it reflects the subtle differences in the way these two relationships are portrayed. By the end of Ch. 3, Cloud and Tifa are acting as one unit. By the end of Ch. 8, even when they’re together, Cloud and Aerith are still apart.

A brief (lol) overview of some meaningful changes from the OG

One of the most significant changes in the Sector 7 chapters is how The Promise flashback is depicted. In the OG, Tifa is the one who has to remind Cloud of the Promise, in a rather pushy way, and whether Cloud chooses to join the next mission to fulfill his promise to her or because Barret is giving him a raise feels a bit more ambiguous.

In the Remake, the Promise has it’s own little mini-arc. It’s first brought up at the end of Ch. 3 when Cloud talks to Tifa about her anxieties about the upcoming mission. Tifa subtly references the Promise by mentioning that she’s “in a pitch” — a reference that goes over Cloud’s head. It’s only in Ch. 4, in the middle of a mission with Biggs and Wedge, where Tifa is no where in sight, that a random building fan reminds him of the Nibelheim water tower and the Promise he made to Tifa there. There’s also another brief flashback to that earlier moment in the bar when Tifa mentions she’s in a “pinch.” Again, the placement of this particular flashback at this particular moment feels almost jarring. And the flashback to the scene in the bar — a flashback to a scene we’ve already seen play out in-game — is the only one of its kind in the Remake. SE went out of the way to show that this particular moment is very important to Cloud and the game as whole. It’s when Cloud returns to his room, and Tifa asks him if he’s planning to stay in Midgar, that this mini-arc is finally complete. He brings up the Promise on his own, and makes it explicit that the reason he’s staying is for her. It’s to fulfill his Promise to her, not for money or for AVALANCHE — at this point, he’s not even supposed to be going on the next mission.

The Reactor 5 chapters are greatly expanded, but there aren’t really any substantive changes other than the addition of the rather intimate train roll scene between and Cloud and Tifa, which adds nothing to the story except to establish how horny they are for each other. We know this is the case, of course, because if you go out of your way to make Cloud look like an incompetent idiot and let the timer run out, you can avoid this scene altogether. But even in that alternate scene, Cloud’s concern for Tifa is crystal clear.

Ch. 8 also plays out quite similarly to the OG for the most part, though Cloud’s banter with Aerith on the rooftops doesn’t feel all that special since we’ve already seen him do the same with Tifa, Barret and the rest of AVALANCHE. The rooftops is the first place Cloud laughs in the OG. In the Remake, while Cloud might not have straight out laughed before, he’s certainly smiled quite a bit in the preceding chapters. Also, with the addition of voice acting and realistic facial expressions, that “laughter” in the Remake comes off much more sarcastic than genuine.

It’s also notable that in the Remake, Cloud vocally protests almost every time Aerith tries to extend their time together. In the OG, Cloud says nothing in these moments, which the player could reasonably interpret as assent.

One major change in the Remake is how Aerith learns of Tifa’s existence. In the OG, Cloud mentions that he wants to go back to Tifa’s bar, prompting Aerith to ask him about his relationship with her. In the Remake, Cloud calls Tifa’s name after having a random flashback of Child Tifa as he’s walking along with some kids. Again the insertion of said flashback is a bit jarring, prompting Aerith to understandably ask Cloud about just who this Tifa is. In the OG, this exchange served to show Aerith’s jealousy and her interest in Cloud. In the Remake, it’s all about Cloud’s feelings for Tifa and his inability to articulate them. As for Aerith, I suppose you can still read her reaction as jealous, though simple curiosity is a perfectly reasonable way to read it too. It plays out quite similarly to Aerith asking Cloud about who he gave the flower to. Her follow ups seem indicate that she’s merely curious about who this recipient might be rather than showing that she’s upset/jealous of the fact that said person exists.

For the collapsed tunnel segment, the Remake adds the recurring bit of Aerith and Cloud trying to successfully complete a high-five. While this is certainly a way to show them getting closer, it’s about least intimate way that SE could have done so. Just think about the alternatives — you could have Cloud and Aerith sharing brief tidbits of their lives after each mechanical arm, you could have them trying to reach for each other’s hand. Instead, SE chose an action that is we’ve seen performed between a number of different platonic buddies, and an action that Aerith immediately performs with Tifa upon meeting her. Not to mention, even while they are technically getting closer, Cloud still rejects (or at least tries to) Aerith’s invitations to extend their time together twice — at the fire and at the playground.

One aspect from these two Chapters that does has plenty of set up and a satisfying payoff is Aerith’s interest in Cloud’s SOLDIER background. You have the weirdness of Aerith already knowing that Cloud was in SOLDIER without him mentioning it first, followed by Elmyra’s antipathy towards SOLDIERs in general, not to mention Aerith actively fishing for information about Cloud’s time in SOLDIER. (For players who’ve played Crisis Core, the reason for her behavior is even more obvious, with her “one date” gesture mirroring Zack’s, and her line to Cloud in front of the tunnel a near duplicate of what she says to Zack — at least in the original Japanese).

Finally, at the playground, it’s revealed that the reason for all this weirdness is because Aerith’s first love was also a SOLDIER who was the same rank as Cloud. Unlike in the OG, Cloud does not exhibit any potential jealousy by asking about the nature of her relationship, and Aerith doesn’t try to play it off by dismissing the seriousness. In fact, with the emotional nuance we can now see on her face, we can understand the depth of her feelings even if she cannot articulate them.

This is the first scene in the Remake where Cloud and Aerith have a genuine conversation. Thus, finally, Cloud expresses some hesitation before he leaves her — and as far as he knows, this could be the last time they see each other. You can interpret this hesitation as romantic longing or it could just as easily be Cloud being a bit sad to part from a new friend. Regardless, it’s notable that scene is preceded by one where Aerith is talking about her first love who she clearly isn’t over, and followed by a scene where Cloud sprints across the screen, without a backwards glance at Aerith, after seeing a glimpse of Tifa through a tiny window in a Chocobo cart that’s about a hundred yards away.

The Wall Market segment in the Remake is quite explicitly about Cloud’s desire to save Tifa. In the OG, Aerith has no trouble getting into Corneo’s mansion on her own, so I can see how someone could misinterpret Cloud going through all the effort to dress as a woman to protect Aerith from the Don’s wiles (though of course, you would need to ask, why they trying to infiltrate the mansion in the first place?). In the Remake, Cloud has to go through herculean efforts to even get Aerith in front of the Don. Everyone who is aware of Cloud’s cause, from Sam to Leslie to Johnny to Andrea to Aerith herself, comments on how hard he’s working to save Tifa and how important she must be to him for him to do so. In case there’s any confusion, the Remake also includes a scene where Cloud is prepared to bust into the mansion on his own, leaving Aerith to fend for herself, after Johnny comes with news that Tifa is in trouble.

Both Cloud and Aerith get big dress reveals in the Remake. If you get Aerith’s best dress, Cloud’s reaction can certainly be read as one of attraction, but since the game continues on the same regardless of which dress you get, it’s not meant to mark a shift in Cloud and Aerith’s relationship. Rather, it’s a reward for the player for completing however many side quests in Ch. 8, especially since the Remake incentives the player to get every dress and thus see all of Cloud’s reactions by making it a Trophy and including it in the play log.

A significant and very welcome change from the OG to the Remake is Tifa and Aerith’s relationship dynamic. In the OG, the girls’ first meeting in Corneo’s mansion starts with them fighting over Cloud (by pretending not to fight over Cloud). In the Remake, the sequence of events is reversed so that it starts off with Cloud’s reunion with Tifa (again emphasizing that the whole purpose of the infiltration is because Cloud wants to save Tifa). Then when Aerith wakes, she’s absolutely thrilled to make Tifa’s acquaintance, hardly acknowledging Cloud at all. Tifa is understandably more wary at first, but once they start working together, they become fast friends.

Also interesting is that from the moment Aerith and Tifa meet, almost every instance where Cloud could be shown worrying about Aerith or trying to comfort Aerith is given to Tifa instead. In the OG, it’s Cloud who frets about Aerith getting involved in the plot to question the Don, and regrets getting her mixed up in everything once they land in the sewers. In the Remake, those very same reservations are expressed by Tifa instead. Tifa is the one who saves Aerith when the platform collapses in the sewer. Tifa is the one who emotionally comforts Aerith after they’re separated in the train graveyard. (Cloud might be the one who physically saves her, but he doesn’t even so much give her a second glance to check on her well-being before he runs off to face Eligor. He leaves that job for Tifa). It almost feels like the Remake is going out of its way to avoid any moments between Cloud and Aerith that could be interpreted as romantic. In fact, after Corneo’s mansion, unless you get Aerith’s resolution, there are almost no one-on-one interactions at all between Cloud and Aerith. Such is not the case with Cloud and Tifa. In fact, right after defeating Abzu in the sewers, Cloud runs after Tifa, and asks her if what she’s saying is one of those slum lessons — continuing right where they left off.

Ch. 11 feels like a wink-wink nudge-nudge way to acknowledge the LTD. You have the infamous shot of the two girls on each of Cloud’s arms, and two scenes where Cloud appears as if he’s unable to choose between them when he asks them if they’re okay. Of course, in this same Chapter, you have a scene during the boss fight with the Phantom where Cloud actually pulls Tifa away from Aerith, leaving Aerith to defend herself, for an extended sequence where he tries to keep Tifa safe. This is not something SE would include if their intention is to keep Cloud’s romantic interest ambiguous or if Aerith is meant to be the one he loves. Of course, Ch. 11 is not the first we see of this trio’s dynamic. We start with Ch. 10, which is all about Aerith and Tifa’s friendship. Ch. 11 is a nod to the LTD dynamic in the OG, but it’s just that, a nod, not an indication the Remake is following the same path. Halfway through Ch. 11, the dynamic completely disappears.

Ch. 12 changes things up a bit from the OG. Instead of Cloud and Tifa ascending the pillar together, Cloud goes up first. Seemingly just so that we can have the dramatic slow-mo handgrab scene between the two of them when Tifa decides to run after Cloud — right after Aerith tells her to follow her heart.

The Remake also shows us what happens when Aerith goes to find Marlene at Seventh Heaven — including the moment when Aerith sees the flower she gave Cloud by the bar register, and Aerith is finally able to connect the dots. After seeing Cloud be so cagey about who he gave the flower to, and weird about his relationship with Tifa, and after seeing how Cloud and Tifa act around each other. It finally makes sense. She’s figured it out before they have. It’s a beautiful payoff to all that set up. Any other interpretation of Aerith’s reaction doesn’t make a lick of sense, because if it’s to indict she’s jealous of Tifa, where is all the set up for that? Why did the Remake eliminate all the moments from the OG where she had been noticeably jealous before? Without this, that interpretation makes about as much sense as someone arguing Aerith is smiling because she’s thinking about a great sandwich she had the night before. In case anyone is confused, the scene is preceded by a moment where Aerith tells Tifa to follow her heart before she goes after Cloud, and followed by the moment where Cloud catches Tifa via slow-motion handgrab.

On the pillar itself, there are so many added moments of Cloud showing his concern for Tifa’s physical and emotional well-being. Even when they find Jessie, as sad as Cloud is over Jessie’s death, the game actually spends more time showing us Cloud’s reaction to Tifa crying over Jessie’s death, and Cloud’s inability to comfort her. Since so much of this is physical rather than verbal, this couldn’t have effectively been shown in the OG with its technological limitations.

After the pillar collapses, we start off with a couple of other moments showing Cloud’s concern over Tifa — watching over her as she wakes, his dramatic fist clench while he watches Barret comfort Tifa in a way he cannot. There is also a subtle but important change in the dialogue. In the OG, Tifa is the one who tells Barret that Marlene is safe because she was with Aerith. Cloud is also on his way to Sector 5, but it’s for the explicit purpose of trying to save Aerith, which we know because Tifa asks. In the Remake, Tifa is too emotionally devastated to comfort Barret about Marlene. Cloud, trying to help in the only way he can, is now the one to tell Barret about Marlene. Leading them to Sector 5 is no longer about him trying to help Aerith, but about him reuniting Barret with his daughter. Again, another moment where Cloud shows concern about Aerith in the OG is eliminated from the Remake.

Rather than going straight from Aerith’s house to trying to figure out a way into the Shinra building to find Aerith, the group takes a detour to check out the ruins of Sector 7 and rescue Wedge from Shinra’s underground lab. It’s only upon seeing the evidence of Shinra’s inhumane experimentation firsthand that Cloud articulates to Elmyra the need to rescue Aerith. In the OG, they never sought out Elmyra’s permission, and Tifa explicitly asks to join Cloud on his quest. Rescuing Aerith is framed as primarily Cloud’s goal, Tifa and Barret are just along for the ride.

In the Remake, all three wait until Elymra gives them her blessing, and it’s framed (quite literally) as the group’s collective goal as opposed to just Cloud’s.

In the aptly named Ch. 14 resolutions, each marks the culmination of the character’s arc for the Part 1 of Remake. While their arcs are by no means complete, they do offer a nice preview of what their ultimate resolutions will be.

With the exception of Tifa’s, these resolutions are primarily about the character themselves. Their relationships with Cloud are secondary. Each resolution marks a change in the character themselves, but not necessarily a change in Cloud’s relationship with said character. Barret recommits to AVALANCHE’s mission and his role as a leader despite the deep personal costs. Aerith’s is full of foreshadowing as she accept her fate and impending death and decides to make the most of the time she has left. After trying to put aside her own feelings for the sake of others the whole time, Tifa finally allows herself to feel the full devastation of losing her home for the second time. Like her ultimate resolution in the Lifestream that we’ll see in about 25 years, Cloud is the only person she can share this sentiment with because he was the only person who was there.

Barret does not grow closer to Cloud through his resolution. Cloud has already proved himself to him by helping out on the pillar and reuniting him with Marlene. Barret resolution merely reveals that Barret is now comfortable enough with Cloud to share his past.

Similarly, Cloud starts off Aerith’s resolution with an intent to go rescue her, and ends with that intent still intact. Aerith is more open about her feelings here than before, it being a dream and all, but these feelings aren’t something that developed during this scene.

The only difference is during Tifa’s resolution. Cloud has been unable to emotionally comfort Tifa up until this point. It’s only when Tifa starts crying and rests her head upon his shoulder that he is able to make a change, to make a choice and hug her. Halfway through Tifa’s resolution, the scene shifts its focus to Cloud, his inaction and eventual action. Notably, the only time we have a close-up of any character during all three resolutions (I’ll define close-up here as a shot where a character’s face takes up half or more of the shot), are three shots of Cloud when he’s hugging/trying to hug Tifa. Tifa’s resolution is the only one where Cloud arcs.

What of the whole “You can’t fall in love with me” line in Aerith’s resolution? Why would SE include that if not to foreshadow Cloud falling in love with Aerith? Or indicate that he has already? Well, you can’t just take the dialogue on its own, you how to look at how these lines are framed. Notably, when she says “you can’t fall in love with me,” Aerith is framed at the center of the shot, and almost looks like she’s directly addressing the player. It’s as much a warning for the player as it is for Cloud, which makes sense if you know her fate in the OG.

This is followed directly by her saying “Even if you think you have…it’s not real.” In this shot, it’s back to a standard shot/reverse shot where she is the left third of the frame. She is addressing Cloud here, which, again if you’ve played the OG, is another bit of heavy foreshadowing. The reason Clould would think he might be in love with Aerith is because he’s falsely assuming of the memories of a man who did love Aerith — Zack.

For Cloud’s response (”Do I get a say in all this?”/ “That’s very one-sided” depending on the translation), rather than showing a shot of his face, the Remake shows him with his back turned.

Whatever Cloud’s feelings may be for Aerith, the game seems rather indifferent to them.

What is more telling is the choice to include a bit with Cloud getting jealous over a guy trying to give Tifa flowers in Barret’s resolution. Barret also mentions both Jessie and Aerith in their conversation, but nothing else gets such a reaction from Cloud.

It also should go without saying that if Aerith’s resolution is meant to establish Cloud and Aerith’s romance, there should have been plenty of set-up beforehand and plenty of follow-through afterward. That obviously is not the case, because again, the Remake has gone out of its way to avoid moments where Cloud’s actions towards Aerith could be interpreted romantically.

Case in point, at around this time in the OG, Marlene tells Cloud that she thinks Aerith likes him and the player has the option to have Cloud express his hope that she does. This scene is completely eliminated from the Remake and replaced with a much more appropriate scene of father-daughter affection between Marlene and Barret while Tifa and Cloud are standing together outside.

The method by which they get up the plate is completely different in the Remake. Leslie is the one who helps them this time around, and though his quest to reunite with his fiance directly parallels with the trio’s desire to save Aerith, Leslie himself draws a comparison to earlier when Cloud was trying to rescue Tifa. Finally, when Abzu is defeated again, it is Barret who draws the parallel of their search for Aerith to Leslie’s search for his fiance, making it crystal clear that saving Aerith is a group effort rather than only Cloud’s.

Speaking of Barret, in the OG, he seems to reassess his opinion of Cloud in the Shinra HQ stairs when he sees Cloud working so hard to save Aerith and realizes he might actually care about other people. In the Remake, that reevaluation occurs after you complete all the Ch. 14 sidequests and help a bunch of NPCs. Arguably, this moment occurs even earlier in the Remake for Barret, after the Airbuster, when he realizes that Cloud is more concerned for his and Tifa’s safety than his own.

Overall, the entire Aerith rescue feels so anticlimactic in the Remake. In the OG, Cloud gets his big hero moment in the Shinra Building. He’s the one who runs up to Aerith when the glass shatters and they finally reunite. In the Remake, it’s unclear what the emotional stakes are for Cloud here. At their big reunion, all we get from him is a “Yep.” In fact, when you look at how this scene plays out, Aerith is positioned equally between Cloud and Tifa at the moment of her rescue. Cloud’s answer is again with his back turned to the camera. It’s Tifa who gets her own shot with her response.

Another instance of the Remake being completely indifferent to Cloud’s feelings for Aerith, and actually priotizing Tifa’s relationship with Aerith instead.

It is also Tifa who runs to reunite with Aerith after the group of enemies is defeated. Another moment that could have easily been Cloud’s that the Remake gives to Tifa.

Also completely eliminated in the Remake, is the “I’m your bodyguard. / The deal was for one date” exchange in the jail cells. In the Remake, after Ch. 8, the date isn’t brought up again at all; “the bodyguard” reference only comes up briefly in Ch. 11 and then never again.

In the Remake, the jail scene is replaced by the scene in Aerith’s childhood room. Despite the fact that this is Aerith’s room, it is Tifa’s face that Cloud first sees when he wakes. What purpose does this moment serve other than to showcase Cloud and Tifa’s intimacy and the other characters’ tacit acknowledgment of said intimacy?

(This is the second time where Cloud wakes up and Tifa is the first thing he sees. The other was at Corneo’s mansion. He comes to three times in the Remake, but in Ch. 8, even though Aerith is right in front of him, we start off with a few seconds of Cloud gazing around the church before settling on the person in front of him. Again, while not something that most players would notice, this feels like a deliberate choice.)

Especially since this scene itself is all about Aerith. She begins a sad story about her past, and Cloud, rather than trying to comfort her in any way, asks her to give us some exposition about the Ancients. When the Whispers surround her, even though Cloud is literally right there, it's Tifa who pulls her out of it and comforts her. Another moment that could have been Cloud that was given to Tifa, and honestly, this one feels almost bizarre.

Throughout the entire Shinra HQ episode, Cloud and Aerith haven’t had a single moment alone to themselves. The Drums scenario is completely invented for the Remake. The devs could have contrived a way for Cloud and Aerith to have some one-on-one time here and work through the feelings they expressed during Aerith’s resolution if they wanted. Instead, with the mandatory party configurations during this stage - Cloud & Barret on one side; Tifa & Aerith on the others, with Cloud & Tifa being the respective team leaders communicating over PHS, the Remake minimizes the amount of interaction Cloud and Aerith have with each other in this chapter.

On the rooftop, before Cloud’s solo fight with Rufus, even though Cloud is ostensibly doing all this so that they can bring Aerith to safety, the Remake doesn’t include a single shot that focuses on Aerith’s face and her reaction to his actions. The game has decided, whatever Aerith’s feelings are in this moment, they’re irrelevant to the story they’re trying to tell. Instead we get shots focusing solely on Barret and Tifa. While the Remake couldn’t find any time to develop Cloud and Aerith’s relationship at the Shinra Tower (even though the OG certainly did), it did find time to add a new scene where Tifa saves Cloud from certain death, while referencing their Promise.

A lot of weird shit happens after this, but it’s pretty much all plot and no character. We do get one more moment where Cloud saves Tifa (and Tifa alone) from the Red Whisper even though Aerith is literally right next to her. The Remake isn’t playing coy at all about where Cloud’s preferences lie.

The party order for the Sephiroth battle varies depending on how you fought the Whispers. All the other character entrances (whoever the 3rd party member is, then the 4th and Red) are essentially the exact same shots, with the characters replaced. It’s the first character entrance (which can only be Aerith or  Tifa) that you have two distinct options.

If Aerith is first, the camera pans from Cloud over to Aerith. It then cuts back to Cloud’s reaction, in a separate shot, as Aerith walks to join him (offscreen). It’s only when the player regains control of the characters that Cloud and Aerith ever share the frame.

On the other hand, if Tifa is first, we see Tifa land from Cloud’s POV. Cloud then walks over to join Tifa and they immediately share a frame, facing Sephiroth together.

Again, this is not something SE would expect the player to notice the first or even second time around. Honestly, I doubt anyone would notice at all unless they watched all these variations back to back. That is telling in itself, that SE would go through all this effort (making these scenes unique rather than copy and pasting certainly takes more time and effort) to ensure that the depictions of Cloud’s relationships with these two women are distinct despite the fact that hardly anyone would notice. Even in the very last chapter of the game, they want us to see Cloud and Tifa as a pair and Cloud and Aerith as individuals.

Which isn’t to say that Aerith is being neglected in the Remake. Quite the opposite, in fact, when she has essentially become the main protagonist and the group’s spirtual leader in Ch. 18. Rather, her relationship with Cloud is no longer an essential part of her character. Not to mention, one of the very last shots of the Remake is about Aerith sensing Zack’s presence. Again, not the kind of thing you want to bring up if the game is supposed to show her being in love with Cloud.

What does it all mean????

Phew — now let’s step back and look and how the totality of these changes have reshaped our understanding of the story as a whole. Looking solely at the Midgar section of the OG, and ignoring everything that comes after it, it seems to tell a pretty straightforward story: Cloud is a cold-hearted jerk who doesn’t care about anyone else until he meets Aerith. It is through his relationship with Aerith that he begins to soften up and starts giving a damn about something other than himself. This culminates when he risks it all to rescue Aerith from the clutches of the game’s Big Bad itself, The Shinra Electric Company.

This was honestly the reason why I was dreading the Remake when I learned that it would only cover the Midgar segment. A game that’s merely an expansion of the Midgar section of the OG is probably going to leave a lot of people believing that Cloud & Aerith were the intended couple, and I didn’t want to wait years and perhaps decades for vindication after the Remake’s Lifestream Scene.

I imagine this very scenario is what motivated SE to make so many of these changes. In the OG, they could get away with misdirecting the audience for the first few hours of the game since the rest of the story and the reveals were already completed. The player merely had to pop in the next disc to get the real story. Such is not the case with the Remake. Had the the Remake followed the OG’s beats more closely, many players, including some who’ve never played the OG, would finish the Remake thinking that Cloud and Aerith were the intended couple. It would be years until they got the rest of the story, and at that point, the truth would feel much more like a betrayal. Like they’ve been cruelly strung along.

While they’ve gone out of their way to adapt most elements from the OG into the Remake, they’ve straight up eliminated many scenes that could be interpreted as Cloud’s romantic interest in Aerith. Instead, he seems much more interested in her knowledge as an Ancient than in her romantic affections. This is the path the Remake could be taking. Instead of Cloud being under the illusion of falling in love with Aerith, he’s under the illusion that the answer to his identity dilemma lies in Aerith’s Cetra heritage, when, of course, the answer was with Tifa all along.

Hiding Sephiroth’s existence during the Midgar arc isn’t necessary to telling the story of FF7, thus it’s been eliminated in the Remake. Similarly, pretending that Cloud and Aerith are going to end up together also isn’t necessary and would only confuse the player. Thus the LTD is no longer a part of the Remake.

If Aerith’s impact on Cloud has been diminished, what then is his arc in the Remake? Is it essentially just the same without the catalyst of Aerith? A cold guy at the start who eventually learns to care about others through the course of the game? Kind of, though arguably, this is who Remake!Cloud is all along, not just Cloud at the end of the Remake. Cloud is a guy who pretends to be a selfish jerk, but he deep down he really does care. He just doesn’t show this side of himself around people he’s unfamiliar with. So part of his arc in the Remake is opening up to the others, Barret, AVALANCHE and Aerith included, but these all span a chapter or two at most. They don’t straddle the entire game.

What is the throughline then? What is an area in which he exhibits continuous growth?

It’s Tifa. It’s his desire to fulfill his Promise to Tifa. Not just to protect her physically, but to be there for her emotionally, something that’s much harder to do. There’s the big moments like when he remembers the Promise in Ch. 4., his dramatic fist clench when he can’t stop Tifa from crying in Ch. 12, and in Ch. 13 when he watches Barret comfort Tifa. It’s all the flashbacks he has of her and the times he’s felt like he failed her. It’s the smaller moments where he can sense her nervousness and unease but the only thing he knows how to do is call her name. It’s all those times during battle, where Tifa can probably take care of herself, but Cloud has to save her because he can’t fail her again. All of this culminates in Tifa’s Resolution, where Tifa is in desperate need of comfort, and is specifically seeking Cloud’s comfort, and Cloud has no idea what to do. He hesitates because he’s clueless, because he doesn’t want to fuck it up, but finally, he makes the choice, he takes the risk, and he hugs her….and he kind of fucks it up. He hugs her too hard. Which is a great thing, because this arc isn’t anywhere close to being over. There’s still so much more to come. So many places this relationship will go.

We get a little preview of this when Tifa saves Cloud on the roof. Everything we thought we knew about their relationship has been flipped on its head. Tifa is the one saving Cloud here, near the end of this part of the Remake. Just as she will save Cloud in the Lifestream just before the end of the FF7 story as a whole. What does Tifa mean to Cloud? It’s one of the first questions posed in the Remake, and by the end, it remains unanswered.

Cloud’s character arc throughout the entire FF7 story is about his reconciling with his identity issues. This continues to develop through the Shinra Tower Chapters, but it certainly isn’t going to be resolved in Part 1 of the Remake. His character arc in the Remake — caring more about others/finding a way to finally comfort Tifa — is resolved in Ch. 14, well before rescuing Aerith, which is what makes her rescue feel so anticlimactic. The resolution of this external conflict isn’t tied to the protagonist’s emotional arc. This was not the case in the OG. I’m certainly not complaining about the change, but the Remake probably would have felt more satisfying as a whole if they hewed to the structure of the OG. Instead, it seems that SE has prioritized the clarity of the Remake series as a whole (leaving no doubt about where Cloud’s affections lie) over the effectiveness of the “climax” in the first entry of the Remake.

This is all clear if you only focus on the “story” of the Remake -- i.e., what the characters are saying and doing. If you extend your lens to the presentation of said story, and here I’m talking about who the game chooses to focus on during the scenes, how long they hold on these shots, which characters share the frame, which do not, etc --- it really could not be more obvious.

Does the camera need to linger for over 5 seconds on Cloud staring at the door after wishing Tifa goodnight? Does it need to find Cloud almost every time Tifa says or does anything so that we’re always aware of his watchfulness and the nature of his care? The answer is no until you realize this dynamic is integral to telling the story of Final Fantasy VII.

I don’t see how anyone who compares the Remake to the OG could come away from it thinking that the Remake series is going to reverse all of the work done in the OG and Compilation by having Cloud end up with Aerith.

Just because the ending seems to indicate that the events of the OG might not be set in stone, it doesn’t mean that the Remake will end with Aerith surviving and living happily ever after with Cloud. Even if Aerith does live (which again seems unlikely given the heavy foreshadowing of her death in the Remake), how do you come away from the Remake thinking that Cloud is going to choose Aerith over Tifa when SE has gone out of its way to remove scenes between Cloud and Aerith that could be interpreted as romantic? And gone out of its way to shove Cloud’s feelings for Tifa in the player’s face? The sequels would have to spend an obscene amount of time not only building Cloud and Aerith’s relationship from scratch, but also dismantling Cloud’s relationship with Tifa. It would be an absolute waste of time and resources, and there’s really no way to do so without making the characters look like assholes in the process.

Now could this happen? Sure, in the sense that literally anything could happen in the future. But in terms of outcomes that would make sense based on what’s come before, this particular scenario is about as plausible as Cloud deciding to relinquish his quest to find Sephiroth so that he can pursue his real dream of becoming at sandwich artist at Panera Bread.

It’s over! I promise!

Like you, I too cannot believe the number of words I’ve wasted on this subject. What is there left to say? The LTD doesn’t exist outside of the first disc of the OG. You'll only find evidence of SE perpetuating the LTD if you go into these stories with the assumption that 1) The LTD exists 2) it remains unanswered. But it’s not. We know that Cloud ends up with Tifa.

What the LTD has become is dissecting individual scenes and lines of dialogue, without considering the context of said things, and pretending as if the outcome is unknown and unknowable. If you took this tact to other aspects of FF7’s story, then it would be someone arguing that because there a number of scenes in the OG that seem to suggest that Meteor will successfully destroy the planet, this means that the question of whether or not our heroes save the world in the end is left ambiguous. No one does that because that would be utterly absurd. Individual moments in a story may suggest alternate outcomes to build tension, to keep us on our toes, but that doesn’t change the ending from being the ending. Our heroes stop Meteor. Cloud loves Tifa. Arguments against either should be treated with the same level of credulity (i.e., none).

It’s frustrating that the LTD, and insecurities about whether or not Cloud really loves Tifa, takes up so much oxygen in any discussion about these characters. And it’s a damn shame, because Cloud and Tifa’s relationship is so rich and expansive, and the so-called “LTD” is such a tiny sliver of that relationship, and one of the least interesting aspects. They’re wonderful because they’re just so damn normal. Unlike other Final Fantasy couples, what keeps them apart is not space and time and death, but the most human and painfully relatable emotion of all, fear. Fear that they can’t live up to the other’s expectations; fear that they might say the wrong thing. The fear that keeps them from admitting their feelings at the Water Tower, they’re finally able to overcome 7 years later in the Lifestream. They’re childhood friends but in a way they’re also strangers. Like other FF couples, we’re able to watch their entire relationship grow and unfold before our eyes. But they have such a history too, a history that we unravel with them at the same time. Every moment of their lives that SE has found worth depicting, they’ve been there for each other, even if they didn’t know it at the time. Theirs is a story that begins and ends with each other. Their is the story that makes Final Fantasy VII what it is.

If you’ve made it this far, many thanks for reading. I truly have no idea how to use this platform, so please direct any and all hatemail to my DMs at TLS, which I will then direct to the trash. (In all seriousness, I’d be happy to answer any specific questions you may have, but I feel like I’ve more than said my piece here.)

If there’s one thing you take away from this, I hope it’s to learn to ignore all the ridiculous arguments out there, and just enjoy the story that’s actually being told. It’s a good one.

[iamanartichoke]

I am literally about to cry here that people are wanting to blame Tom...that...I don't even have the words...I'm sad, angry, and disappointed...it feels like people who are so ready to blame him shouldn't be fans... I don't want to say that so strongly though because I know at some point they must have loved him and Loki too...but if they no longer like what Disney/Marvel, and MAYBE Tom (executive producer doesn't necessarily hold much weight) is doing with the character, then maybe they should simply faze out of the fandom, or that section of the fandom, or stick with the older stuff...or at least don't be hating on others who are happy about it....I don't know how to avoid the hate on my dash and it's making me very sad (understatement)

So - for one thing, I’m really sorry that you’re feeling upset; I know what it’s like to see posts on your dash that get to you and send you down a spiral. I really do get it and sympathize. I recommend filtering tags to the best of your ability and unfollowing/blocking people who are posting things that bring you down.

But I feel like this ask is a double-edged sword, smh. I don’t know how to answer it bc I get what you mean but I think there’s two different issues being addressed here - one being that people shouldn’t be blaming Tom personally for his creative role (which I absolutely agree with) and the second being that people shouldn’t be in this fandom space/call themselves fans of Tom/Loki if they’re not happy about the show (which I absolutely do not agree with). 

First of all, yes - I’ve been consistently saying this over the past couple of days: regardless of how you feel about the series, it’s not okay to cross the line into blaming Tom personally if that blame leaves the fandom space and progresses into harassment of actual people (esp. Tom). I am not saying I’ve seen anyone do that, nor do I think anyone I know/am friends with here would do that. I am just saying that when you start assigning personal blame, it has the potential to get sticky so better to just keep your feelings focused on the material itself (whether that be the writing, directing, or acting choices made).  

HOWEVER. I really don’t think it’s fair to say that if people don’t like the show, or what it may do to the character, or Tom’s contributions to it, that they don’t belong in this fandom space anymore and/or shouldn’t participate, or should just stick to “the old stuff.” It’s really not fair at all; that’s exactly the kind of rhetoric that should be avoided bc it implies that the only way to be a “real” fan or a “true” fan is to feel happy, excited, etc about new content and developments, as opposed to feeling disappointed, negative, or upset bc it seems that the canon is going in a direction that no longer aligns with what drew the person to the character in the first place. 

People need to realize that you can be critical of things and still enjoy them. You can also be critical of things bc you don’t enjoy how it’s progressed, but you still care deeply about the original material. You can connect to a character and feel protective of that character and want to engage with that character and still feel like the current canon of that character isn’t your cup of tea. And, yes, you can disagree with Tom’s interpretations and choices when it comes to how he’s portraying Loki (whether it be in his acting choices or his creative contributions or both). You're allowed to think for yourself.  

I really dislike the implication that being a fan = 100% loving everything about it, and being critical = 100% being a hating anti who shouldn’t even be here.

But I see it all the time. 98% of the “positive” posts regarding the show right now include some kind of shade thrown at the other side - ie, “omg stop whining,” or “how can you hate it without even seeing it? Trailers are misleading!” (interesting how that never works the opposite way, though - how can you love it without even seeing it? I digress.) to “Tom’s in control here, this is his Loki, and if you don’t like it then maybe you don’t actually understand the real Loki and should stick to fanfiction or better yet just leave.” 

^^ Obviously I’m paraphrasing, but my point is that the people who are unhappy are clearly and appropriately tagging their disappointment posts, and are not going around hating on anyone who’s excited, and the same cannot be said for the other side. I can only speak for my own experiences but I have seen ‘negativity’ consistently tagged, and kept to posts where the discussion is among like-minded people, and I have also seen the above vagueposting as well as unprompted posts like “lol guess what’s being complained about today” as well as the so-called positive people hopping onto negative posts in order to tell people to shut up and stop complaining before we’ve even seen the finished product. 

So. My point in all of this is - 1) I discourage people from personally blaming Tom bc fandom and social media have created this weird culture where hate campaigns against celebs are launched all the time, and it’s not okay, but 2) that doesn’t mean that the criticism, disappointment, and/or negativity shouldn’t exist at all, or shouldn’t be discussed, and 3) it is not anyone’s right to say who belongs in fandom and who doesn’t because the last time I checked, fandom was for everybody and if we could all just stop being assholes and play nicely with one another like the good lord intended, none of this would even be an issue. 

[dracothedeatheatingcupcake-ao3]

TPWP Introspective

Hey guys!! So, as you noticed, there was no update today either, like I had commented that I may try and do if possible. The reason I didn’t post today, though, is because I remembered that I wrote a little introspective thing about TPWP a few days ago that I wanted to post before the next chapter, if possible. I spent the last hour and a half intermittently touching it up (while also talking to friends, ha). I wrote this after waking up at five in the morning and not being able to go back to sleep, so I was fairly tired and rambley when writing it, ha. 

Anyway, this is pretty long discussion about something that’s bugged me about TPWP for a little while, which is why I’ve made Taka so sexual despite not really thinking he would be like that in canon. In my attempt to write about that, my exhausted self also went into another problem I have with TPWP, which is the fact that neither Taka nor Mondo are really like their canon selves anymore. And while that was a purposeful thing, I never could pinpoint why, and I think I managed to in this post, so there’s that, ha. 

Now, it’s getting late and I’m very tired, so I’ll add my introspective thingy in a read more. It’s about 5k words and goes over a lot about Taka and Mondo’s interpretation in TPWP. 

Hey all! So, I wanted to go over something that’s been bugging me for a while in TPWP, though no one else seems annoyed by it. But I kind of am, so I just wanted to… I don’t know. Discuss it in case anyone else also has problems with it, but just isn’t bringing it up in comments. And the thing that I wanted to talk about is the fact that I’ve made Taka and Mondo so sexual in this story, despite this not really striking me as something Taka, in particular, would be like. In order to discuss all that, though, I have to go through a bunch of other explanations about what my main goal in this story has always been, as a kind of backstory. So, buckle up, my friends. This is a doozy.

 See, while I didn’t have much of an idea when I started writing, the one thing I knew I wanted to play around with was the idea of dismantling Taka and everything that makes him tick. In the game, he is shown as a strict, passionate, highly motivated character, spending so much time studying and trying to better himself that he lost sight of who he is other than that. He doesn’t have friends and confesses to Makoto that he doesn’t even understand how people make friends through connecting over things like television, since he’s so detached from anything other than his goals. The writers even comment on how he is almost mad with his passion and righteousness. 

 That whole persona seems so unattainable to me. I’m someone who seeks ‘perfection,’ right? I’m a perfectionist and it burns me so much to know that no matter what I do, there will always, ALWAYS be faults in the things I create. I put myself and my creations against others and always find myself lacking. It burns me and makes me feel so… I don’t even know. Unhappy.  Upset. Things like that. And I’ve gotten much better with this over the years, right? I accept that my work will not be perfect, and that anything I can create is enough since I created it and I enjoyed creating it. But the feeling is still there. The unhappiness. The discontent. 

 So, when I saw Taka and his madness to become better, I wanted to take that and see if I could deconstruct it. If I could break Taka down to his core, expose all of the secret little things inside of him that he must be hiding to present such a ‘perfect’ front, and turn it on its side. To give Taka reasons for his madness to better himself and then take it apart. Or, in other words, the entire premise I had for this story was to take Taka and break him down. And then, then I would build him back up. Into something less ‘perfect,’ less rules oriented, but a hell of a lot happier. Because in canon… Taka didn’t really strike me as happy. Not based on the things he would say to Makoto in both free time events and the school mode. 

 In order to do that, of course, I had to completely break apart the things that made him so rule oriented in the first place. And to someone who has spent almost their entire life building up this one persona, that sort of thing can be terrifying and uncomfortable. And it can lead to a lot of confusion and scrambling afterwards. 

 Chapter 17 was where I made the biggest break for Taka. I’d been chipping away at him for the first 16 chapters, and then 17 was the one where I took my sledgehammer and went to town. That chapter was the one in which Taka realized just how unhappy and discontent he had been growing up. He’d always stuffed that down and ignored it in order to keep going, forcing himself to ignore his pain so that he could become all that he wanted to be. He wasn’t even conscious of doing this since it was so deeply engrained in him by that point. Like I said in the very first chapter, Taka would run so fast and so fervently from his insecurities growing up that he didn’t even notice that they were occurring within him. Or if he did, he ignored them until it all went away.

 In chapter 17, Taka stopped being able to run. His feelings for Mondo created a huge rift inside him and he didn’t know how to handle it. And then, after his conversion with his father, he realized that he’d been forcing everything down for all of his life, to the point that he didn’t know who he was. He wanted to be an upright, moral individual, but how could he be if he is in love with a man? How can he be when he can feel such impure, base desire for someone, a man especially? And I’m not saying that there is anything wrong with a man loving a man, not at all! Just… it went against the carefully constructed morality Taka, personally, had spent his entire life forcing himself to abide by, and that was a huge blow to him. He couldn’t comprehend it and he just… fell apart. 

 But he didn’t fall apart alone. Mondo was there to catch him as he fell, was there to help gather the pieces, and Taka latched onto that. He didn’t know what was happening or why, but he knew that Mondo was a vital component to all of it. In a way… Mondo was everything to him. 

 The main point is that I wanted to break Taka’s character apart, mostly because I cannot imagine someone being that moral and upright while not being completely miserable (or without actually being completely immoral, like all those people who preach righteousness while actually doing horrible things behind the scenes without care). There’s a sort of misery in enforced righteousness, especially considering how horrible the world can be. I liked Taka and I wanted him to be happy. And I couldn’t, for the life of me, imagine him being the way he was portrayed in the game and also being happy. Maybe that’s just me projecting, but… I don’t know. 

 But deconstructing years of a carefully constructed persona is— like I said— terrifying. And for someone like Taka, whose entire life plan was crafted around a certain image? I can only imagine that would be like jumping off a plane into a black, inky darkness, no idea where you’re going to land. But Taka did that, because the only other option was to continue living with intense unhappiness, lying to himself to keep his sanity. But the problem with lying to yourself is that it gets so much harder once you know the truth. It can be done, of course, but it leads to even more unhappiness and pain and Taka… Taka realized that he didn’t want that. He didn’t want to be in pain anymore. He… he wanted to be happy. Which is an incredibly hard thing to accept when you’ve spent years silently accepting your own unhappiness as a fact of life. 

 As such, everything that has occurred since chapter 17 has been Taka’s attempt at constructing a new personality, in a way. A personality that marries the beliefs and goals he has always had while also combining them with a new sense of happiness and contentment in his life that before now he’s never felt. And this… this is so, so hard for him to do. 

 And it gets harder when his and Mondo’s relationship shifts. When he gets a taste of something he’d previously not allowed himself to ever, ever feel. Which brings us to the questions of why, exactly, I put so much sexual content into this story, despite it not seeming like something Taka would really want to do in canon.

 Because… it’s not about pleasure. Right? It was never about pleasure or desire. It was about Taka allowing himself to feel something that every human feels (or, you know. Not every human. But a lot). It was about making Taka acknowledge that he is feeling these ‘impure,’ ‘sinful’ desires and allowing him to feel it. And, of course, this can be overwhelming. Taka has never allowed himself to feel these sorts of things before, had always pushed them so far down he couldn’t even see them. So far down he could pretend they weren’t there. 

 But they were. They always were. Taka can feel desire and attraction. He can feel them just fine. The whole point of the sexual content was to show Taka that it is okay to feel like that and that it’s not wrong or immoral. That Taka can feel attracted to someone, a man especially, and not feel ashamed. But more than that, it’s about allowing Taka to acknowledge that can be who is he in general without shame. That he doesn’t always have to be ‘perfect’ or infallible. That he can just be… Taka.

 The biggest problem in all of this, however, is the fact that Taka is not the only character in this story. He’s not the only one going through a metamorphosis. Because Mondo? Oh, you can bet your sweet behind I was making Mondo go through his own metamorphosis, too. 

 Because everything I said about Taka up until now? I also feel about Mondo. I view Mondo’s tough guy, biker persona just like I view Taka’s upright, moral one. It’s a facade. Something that is hiding what is truly going on under the surface. It protects their soft, gooey innards, keeping them both safe whilst also providing them a sense of being. Of belonging. 

 But it’s not healthy. Hiding behind a persona, not letting your true emotions show. It’s unhealthy and leads to, you know… pain and unhappiness. And Mondo… Mondo also strikes me as a somewhat unhappy character. His disconnect in the game is less towards other people, however, and more towards himself. Makoto acknowledges many times after speaking with Mondo during free time events that he has a hidden side to him. A softer, ‘cuter’ side that he tries (and fails, ha) to keep hidden. 

 Like with Taka, I wanted to break Mondo’s carefully constructed persona and remove this hidden person inside him. I wanted to bring that person to the surface, finally allowing Mondo to stop feeling like he has to hide behind anger and rage and being ‘strong’. I wanted… I don’t know. To allow Mondo to not feel so ashamed of his weaker side, I guess. 

 This was a lot harder to do than with Taka, though, for a couple reasons. One, I was not writing from Mondo’s perspective in TPWP, which means all of his metamorphosis was being seen through the eyes of another. Which is not always easy to portray, sadly. For another, Mondo has a huge reason to keep his inner self hidden and locked away. Taka’s reason is shame and a desire to prove himself, right? This, in my eyes, is fairly simple to deconstruct. All you have to do is find a way to remove the shame and realize that it’s okay to feel what you feel. And yes, this is challenging, but… it’s not impossible. 

 Mondo, though? What’s keeping Mondo back isn’t just shame and a desire to prove himself. No. What’s holding Mondo back is guilt. Mondo feels guilty for his weakness. He feels guilty that his supposed ‘weakness’ killed his brother. He feels guilty that this same ‘weakness’ is preventing him from telling the truth, from accepting the responsibility for his supposed crime. Mondo, in many ways, hates himself. In this story, at least. And guilt is a much, much harder emotion to deconstruct than shame. There’s also the fact that I made Mondo an abuse survivor, which adds another element into this all that I won’t get into since this whole thing is already much longer than I’d initially intended, oof. 

 Anyway. The point here is that both Taka and Mondo are going through this metamorphosis at the same time. And I did this purposely since I wanted to have them help each other grow. Right? Because I view Taka and Mondo as very similar characters. They both have a need to prove themselves and a sense of inner righteousness that guides them in what they do. They just took opposite paths in their expression of these things. But ultimately, at their core, Taka and Mondo are very similar in my eyes. 

 Honestly, that’s part of why I had them hate one another in the beginning (on top of the fact that they didn’t get along in the game at first either, ha). That was each of them seeing themself in the other, and absolutely hating what they saw. Because they hate themselves. Because they cannot stand the persona they’ve created. Because it’s such a painfully false front that it’s almost offensive to them to see it on another. 

 Chapter ten was my way of letting them acknowledge a sense of self love for the first time. By accepting the other as flawed, but still fundamentally good, it allowed them to see themselves in a somewhat positive light for the first time. To accept that this person they once hated with all of their heart is… not that bad when it comes down to it. And not only are they not that bad, but they’re actually kind of amazing, really. 

 I… hm. I don’t really know where I’m going with this. I am very tired and am kind of just rambling at this point. I guess I just… I wanted to acknowledge that I’ve changed both of these characters a lot from canon, Taka especially. And this change has been expressed in a great way in Taka’s increased sexuality. And that I know this, that I know this isn’t really what canon Taka would act like, but that’s kind of the point. As much as I love Taka as a character, he’s kind of one dimensional. All of the characters in Danganronpa are. I think, in a way, they’re meant to be. But when you spend time with them, during the free time events and the school mode, you begin to see a slightly more well-rounded picture. 

 But it… it still feels a little flat to me. A little hollow. So, in this story, I just… wanted to flesh out these characters that I like and see so much potential in. I wanted to take them, give them tragic backstories, and see if I could find a way to give them balance. To keep them somewhat the same as they once were, to not fully remove their canon aspects, but not have that be their sole, defining characteristic anymore. Taka is still the Ultimate Moral Compass, and Mondo is still the Ultimate Biker Gang Leader. But that’s not all they are. Not by the end of the story. 

 Now, did I succeed in my plan? I… honestly, I don’t know. This entire thing was never something I consciously thought of while writing. It was more… a desire of mine, which might be why I’m having such a hard time describing it here, ha. It’s up to all of you to determine if I succeeded in writing these characters in a way that respects their canon characterization, while also adding a sense of balance within them. 

 Also— not to sound pretentious (though I know I am, oof. I always am when dead tired, sorry)— but in a way, this whole story was a metaphor for self-acceptance and self-love. And allowing yourself to find peace in who and what you are, no matter what. I made Taka and Mondo literary parallels in this story for a reason, giving them similar backstories (Taka was abused by bullies and neglected by his father; Mondo was abused by his father and neglected by his mother. Mondo’s brother died, leaving a hole in his heart; Taka’s mother died, leaving a hole in his heart. Taka watched his grandfather fall from grace and used that as a catalyst to ‘better’ himself, thus hiding all the unpleasant and unsavory aspects about himself; Mondo watched his brother die and used that as a catalyst to ‘better’ himself, thus hiding all the unpleasant and unsavory aspects about himself… etc.) to showcase this metaphor, in a way. 

 And it… it was to show that them helping the other grow symbolizes allowing yourself to grow, too. It symbolizes taking all the harsh and ugly parts of yourself that you hate, seeing it in another person, and realizing you actually love them, really. It symbolizes showing kindness to yourself for your faults, something I personally struggle with. By having Taka and Mondo love one another so fiercely, even without fully knowing why… it symbolizes, in my mind, letting you love yourself. 

 And, like… I know how pretentious this sounds, ha. And I don’t think I really succeeded in portraying all of this, unfortunately. But I just… I don’t know. I love the idea of Taka and Mondo and I wanted to write a story where they love one another unconditionally, while at the same time learning to love themselves too. 

 In many ways, I wish I had made this story take place over the span of a longer amount of time. Three months is just… it’s too quick to do everything I wanted to do in this story. Like I’ve said before, this story was never meant to be so long, word count wise. And a lot of what I wrote about here was not really planned when I started writing. While I wanted to deconstruct Taka, I didn’t really realize how long that would take, oof. Or what it all would entail. I thought three months would be plenty of time in universe, but then more and more things started happening, and by the time I realized it would need more time to progress naturally, I had passed the point of no return, pretty much.

 If I could do this story all over again, I think I’d make it take place over the span of a year instead. I’d start the school year in April, like it’s supposed to be in Japan, and extend the amount of time Taka and Mondo were enemies. I’d have them become friends shortly before summer break and when they come back, have them go through the beginnings of their friendship like I had it in the story, but allowing it more time to progress. Taka and Mondo would still have their fight on Halloween, since that’s kind of an important aspect of that chapter, but they’d have had a longer time to be friends before that occurred. And then, after that, they’d have their physical relationship progress a lot more naturally and less hurriedly, the relationship spanning from perhaps right before winter break begins to the end of the school year in Japan, which is March. It would give them more time to come to terms with everything and accept themselves. 

 Part of me honestly kind of does want to change around TPWP to do this, but it would change a lot of fundamental parts of the story, which would be a lot of work. And if I was planning on publishing this story, I’d definitely do it since I think it would fix a lot of the problems that I have with how this story progresses. Three months is not long enough to completely deconstruct your entire personality, really. A year is a lot better and makes more sense to me. But, as it stands, I… I like TPWP. Is it perfect? No. But… that’s kind of the point? Nothing is perfect and if I allow myself, I’ll keep digging myself into more and more holes with this story, and at some point, I just… have to acknowledge I did the best I could and move on. Also, I do think that having it take place over three months isn’t completely unrealistic. Not with how unhappy both Taka and Mondo already had been. And there are some things that would be unrealistic if it took place over a year, too, so… eh.

 I really don’t know where I’m going with this anymore, dear god. I’m going to go back to my original point real quick and hopefully finish this now hour long, rambling rant I’ve for some reason been going on. Jeez. 

 So. The purpose of the sexual content in this story. It— like a lot of other things in this story— was more meant as kind of like… a metaphor. It’s not about the sex, it’s about self-acceptance. Taka spent so many years denying himself and his sexuality, fearing it and feeling ashamed of it. By allowing himself to be sexual and intimate with Mondo, he’s accepting that aspect of himself and embracing it. But, because he spent so long denying it, he doesn’t quite know when it’s too much. He’s spent his life pushing down his discontent and discomfort to become what other people want him to be, and as such, he doesn’t quite know where his own boundaries lie. 

 And I’m going to be quite honest with y’all: Taka doesn’t enjoy the sexual acts quite as much as he thinks he does. No, I’m not saying that Mondo is taking advantage of Taka, or that Taka hates what they’re doing, not at all! Just… Taka feels uncomfortable with the things he and Mondo are doing, but because he enjoys the sensation and enjoys being close to Mondo, he pushes down the feeling of discontent, like he’s done all of his life. He just… doesn’t know what else to do. He knows he likes being close to Mondo, knows he enjoys the things they do together, but can’t quite put his finger on the fact that he doesn’t really enjoy being sexual. That he only likes the sexual acts because it’s the only way he can be close to Mondo in the way he wants, both physically and— in a way— emotionally. 

 And part of Taka does realize this, right? The deep, deep, hidden part of himself that only comes out at night when everything else is silent. I call this the ‘introspective’ part. But this is a hard part of yourself to access and acknowledge. Especially when you’re young. I, personally, am a very introspective person. It’s why I can write about emotions and feelings decently, and why I am currently writing this little introspective about TPWP. But it was a lot harder for me when I was a teen to realize what that introspection meant. It’s why I didn’t realize I had undiagnosed anxiety until I was eighteen and in college, which was ironically a lot easier for me than high school was. It took me being out of the situation I was in to look at myself and realize exactly why I felt what I felt, even though I knew I felt that stuff much earlier. 

 Taka’s still in his bad situation, though. He’s still struggling with the desire of what he wants and what he’s forcing himself to settle for. And, basically, he doesn’t understand why he’s unhappy at being sexual. He knows on a base level that he is, but he can’t quite place his finger on the why. Which is, as I’ve said, because it’s not really what he wants. He’s settling for having Mondo in whatever way he can because he thinks he has to. But it’s not what he wants, and it’s honestly killing him inside to be so close to his desired outcome, but not have it. He hates that the only way he can have Mondo is in such a shallow, debased way, but he’s forced himself to believe that this is all he will ever have, and that he must be happy with it or else he will lose it, like he’s lost every good thing in his life before that point. And the thought of losing what he and Mondo have is just… it’s too much for him. He’s still figuring himself out, still building his new personality from the ruins of the old, and he kind of needs Mondo to help prop him up as he does this. 

 (Which is, by the way, unhealthy in a relationship. It’s very codependent and can lead to some negative outcomes in its own right. But this rant of mine has been going on for almost two hours, so I’m not going to get into this right now. Just know that I know, and that it’s not intended to be portrayed as a good thing. None of Taka’s coping mechanisms are, which is why they all fail in the end, leaving him discontent. But as of now, Taka kind of needs Mondo, so he’s overlooking the potential negative outcome and is just allowing himself to have Mondo. Make sense?) 

 In the end, the only way for Taka to fully come to terms with everything that is swirling within him is to have Mondo acknowledge the love they share for each other, since he can’t accept everything about himself until Mondo does. He needs Mondo to look at him, look at his flaws, and say ‘I love you no matter what. You are not perfect, but I still love you.’ And while Mondo has done this to some degree, it’s not the love Taka not-so-secretly desires. But, like I said earlier, Mondo is going through his own metamorphosis and isn’t quite at that stage yet. 

 All of this comes to a head in the last three chapters of TPWP. Does everything get resolved by the end? No. Of course not. There’s just not enough time for that. Discovering yourself takes years, really. And you never finish. Even if I had elongated the amount of time this story takes place to a year, there still would be things unresolved when the story ended. 

 That being said, the main problems both Taka and Mondo are going through reach a conclusion. I don’t want to go too much into this to prevent spoilers, but just know that everything I brought up here? Gets some form of acknowledgment in the last chapters and gets some manner of resolution. And everything else was initially intended to be resolved in sequels, which may or may not be written, who knows. But TPWP ends in a way that even without further writing from my part, I firmly believe that all of y’all can see where Mondo and Taka will go from here. That it won’t be easy, but that they will eventually figure themselves out. 

 So… yeah. That insanely long and complicated rant boils down to this: Taka and Mondo being sexual is not really about them being sexual but is about them understanding and accepting their love not just for one another, but for themselves, too. It’s a catalyst. And I didn’t go over Mondo’s views on this all, and I won’t since this has gone on so long (plus I’ve not written Mondo’s perspective on those chapters yet, so even I don’t fully know, though I have ideas), but believe me when I say it’s more than just sex for him, too. That’s one of the reasons why I didn’t really want to categorize this story as explicit at first, since it’s never been about the sex to me. It’s… more than that. 

 I don’t know if any of this made any sense, but I think I’m going to stop now. Maybe I’ll go back when I’m less tired and expand on this (and I’ll let y’all know if I do, writing after this break if I added anything or not) (I added a little to some parts and took out a couple of parts, but mostly this is the same thing I wrote between 5 and 7 am when I couldn’t sleep, ha), but for now, I’ll leave it. 

  ~

And— final thing (that I added after trying to fall back asleep and failing, ha)— maybe I’m being more pretentious about my writing than it deserves. Maybe I’m saying all of this to try and excuse the flaws in my writing, like I always do internally. But… I don’t know. This is legitimately the sort of thing that went through my head whilst writing. I knew I wanted to put these elements in my story, even if I wasn’t consciously thinking about it, but trying to do all of that is just… hard. And I’m limited as a writer, I’ll acknowledge that. My thoughts are too big for my head and trying to write them all down is complicated for me. It’s why this little introspective is so long and rambling. It’s my way of trying to not just get you all to figure out what I mean, but also get myself to understand it. Because, while I know what I mean on an abstract, metaphysical level, I don’t really understand it all myself in a concrete, definable level. And this rambling is me trying to make sense of that. Does… does that make any sense at all? Or is this just gibberish? I don’t know. I think I understand it, but I have no idea if anyone else will. ¯\_(ツ)_/¯ 

 Anyway. I hope this didn’t come across as too pretentious or like I’m trying to show off how ~~intellectual~~ I am. That’s not my intention at all. It’s just… it’s how I think. And it’s how I show myself to the world, in a way. My written work is always so personal to me. I put a lot of myself into my work, sometimes intentionally, but often unintentionally. And I’m not saying I went through any of what I put Mondo or Taka through. In fact, almost none of it relates to my life at all. I was never abused by anyone, nor was I bullied in school. I have a fairly good relationship with my parents and was well liked by my classmates, even when I didn’t really go to class often due to illness. I am not impoverished, nor have I ever really faced high expectations from family or the people around me. I’ve never really had to anguish over my sexuality, since I accepted myself as asexual pretty easily, though I still struggle to be open about it with everyone. And I’ve never lost a loved one.

 So… no. It’s not that I’ve gone through what the characters have gone through. But… the emotions. The feeling. All of that… it’s me. Even if it’s imagined or created, I feel everything that I write and put down. It’s why angst comes more naturally to me, since I’ve felt a lot of negative emotions in my life. And most of it is self-inflicted. Like… I mentioned that I never had high expectations from family, but I did from myself. I expected so, so much from myself, and I still do. And while I was always well liked by my peers, I still felt alienated from them, like I… I don’t know. Didn’t really belong. And I feared that if they ever got to truly know me, THEN they’d hate me, and that was just… I don’t know. Too much for me. The thought that these things could happen. That I could have good things and then, through my own personal failings, lose them. 

 These fears are where I come from when writing. My fear of being hated and isolated. My fear of never being enough. My fear of letting everyone down. My fear of always being alone and losing the people I love. I write about it in my stories and I… I find a way to fix it. To show myself that even if something like that did happen, it… it can get better. You can still be loved even if you are flawed and kind of broken inside. And maybe I don’t believe that I ever will find love, maybe I can’t believe that anyone would look at me like that if they truly got to know me, but it’s still nice to read about it. To see my fears in characters I love and have them be okay in the end. It’s why I always like to have at least somewhat happy endings in my stories. I need to see that it’s okay. That even if the worst-case scenario happened… I’d still be okay. 

 (Also, I know people are going to ask this, but please know that yes, I am okay. I get like this sometimes, where I think a lot about stuff, and it can be overwhelming, which is why I write it down. It’s funny that I’ve never had a diary or journal, since it seems like something that would help me, but writing things down for my personal perusal never made sense to me. It’s why I always post things like this. It’s really personal, but it helps me feel better. Like I’m being understood in some way. So, just… know that I’m doing alright. I just wanted to try and explain something that has been bugging me in this story for a while now that I finally found the words for. And by letting it out into the world, I can remove it from my chest, I suppose. But introspection doesn’t really upset me much. It’s cathartic more than anything. Painful and confusing while going through it but relieving once it’s done. All I ask is to be heard, that’s all. And understood if possible. If you’re willing.)

 (Also also, please know that I wrote this little introspective several days ago while very tired, and I’m over this burst of emotions by now mostly. So, again, I’m really okay. And I’m not pulling a Taka, trying to pretend I’m doing alright when I’m not. I do mean it, ha.)

 (Also also also, but y’all can see where I get my writing style from when looking at this, ha. This is basically my thought process written down, which is why TPWP is written the way it is. I write like I think, which is long, rambling, and emotive. Just a little fun fact. ^-^)

[bestworstcase]

farran re-reads lost lagoon: chapter 1

- there is a vibe here that i really don’t know how to explain. it might just be a juv fic thing where nuance gets flattened on the assumption that younger readers won’t or can’t understand such subtleties but i am immediately remembering that something about the way rapunzel is portrayed in the novels gets my hackles up. tts was evidently limited in how it could flesh out rapunzel’s character, and some of her flaws are glossed over accordingly - but in tts, rapunzel does have flaws, and toxic positivity is one that is repeatedly, if lightly, examined. in lost lagoon it feels like this trait has been dressed up in a party hat and presented to me as her best trait with a rah rah girl power cake to go with it, and it irks me. we’ll see how this holds out through the rest of the story, because in all fairness i have never met a juvfic first chapter whose character establishment i liked. lmao

- to give an example - in tangled and tts, pascal functions as rapunzel’s voice of reason. he encourages her to get out of the tower, and likewise encourages her to be cautious of eugene and check for ‘red flags’ (such as pointy teeth). in tts he regularly displays emotional awareness and sensitivity well beyond what rapunzel can grasp, and makes his doubts known when he feels rapunzel is behaving poorly. here… he’s afraid of heights, for some reason, so rapunzel can look carefree, spirited, and brave while teasing him for having this fear. she even lampshades the fact that it makes no sense for pascal, who grew up in a seventy-foot-high tower, to be afraid of being in a tree perhaps five or six feet off the ground. 

then this is underscored by means of guards rushing up with a ladder to ‘help’ rapunzel down from the tree, followed by her laughing them off and jumping to land ‘as always, on my strong bare feet.’ while it makes sense for rapunzel to think and feel this way, it has a distinctly different energy from rapunzel cracking under pressure in before ever after. in bea i feel like i’m supposed to sympathize with rapunzel’s distress whilst also recognizing the importance of the shoes she has been asked to fill, and of making her ready to fill them; that is… not the impression being crafted here.

- lost lagoon is one hundred percent structured as a coming out romantic novel wherein rapunzel identifies and comes to terms with her identity as a gay woman by cheating on her perfectly nice but unexciting male love interest with another woman, and this is endlessly hilarious to me regardless of anything else. i mean:

Not to mention true love with Eugene—sweet, funny Eugene! […] And yet something wasn’t right. Something was missing.

leila howland said “get fucked, fitzherbert”

- the treatment of friedborg here is a small step up from tts, where ‘haha weird and ugly’ is literally the punchline of every scene she’s in, but nevertheless it is distinctly uncomfortable to have a mute character portrayed as communicating in grunts and pointing. surely corona has some sort of sign language? surely someone could get this poor woman a slate and a piece of chalk, or if fine motor control is an issue that makes writing or signing prohibitively difficult then at the very least a booklet of cards with common words and phrases she could use to convey her meaning? but…no. instead she becomes a device to illustrate how opaque and confusing rapunzel finds palace etiquette to be.

- rapunzel thinking “manners are overrated” is extremely funny. i am not sure it’s supposed to be funny, but it is.

- lost lagoon eugene is suffering the great indignity of being made to learn something. this is one of the first signs that the book is fanfiction, which now that i think of it is also sort of hilarious.

- also: “I’ll join a dishwashing club or participate in a meatloaf-eating competition if that’s what it takes to make your dad accept me.” eugene what

- re: romance novel: “I watched Eugene walk back toward the castle. Why couldn’t I be as happy as he was? I wondered. We had everything anyone could ever want. Was there something wrong with me? It was almost like I didn’t even know I was lonely when I was in the tower, but everything had changed now. I could feel the places inside me that had been empty for so many years and I wanted to fill them all up.”

- amusing as this is i also can’t help but feel… a little irked, that tts rapunzel’s zeal for the outside world and her discovery of it has been transmuted into mere loneliness. rapunzel is a lonely person, absolutely, but i think far more pressing than that loneliness is her longing for newness after a life spent in the tower. moreover, in tts we see that it takes six months for rapunzel to start really chafing within the confines of her new life—in beginnings, which is the canon lost lagoon equivalent, she is still overwhelmed with wonder and delight in all the new things, cassandra included. i suppose what i’m getting at here is i don’t quite buy that the shine wore off this fast. it’s been less than a week.

(i promised myself i would keep bitter snow talk to a minimum for this but i do feel the need to say - benighted happens in a far more compressed amount of time than canon, and there rapunzel does indeed begin to feel overwhelmed and anxious within a single week. but her response to that anxiety is to think “well, i overestimated how easy this would be just a little!” and it isn’t until several more weeks have passed that she begins to feel dissatisfied and unhappy and uncomfortable as a consequence. whereas here, the vibe i am getting is more “manners are dumb, shoes suck, the guards suck, i’m miserable and i don’t know why” which just… it doesn’t feel like rapunzel.)

- rapunzel asks her security detail to give her some space, and when they refuse, she takes note of their sweaty brows, thinks to herself that they must be roasting under their armor—and uses this observation to deftly manipulate them into leaving her alone by suggesting they go dip their feet in a fountain to cool off. “It would make me really happy to see you happy.” 

i would argue that this sort of conscious manipulation is not at all out of character for rapunzel - she learned it from gothel and certainly there are examples of manipulative behavior from her in tts as well - but for it to happen so clearly in the very first chapter of the story casts everything else that happens in a sort of interesting light. for rapunzel to do this suggests a basic grasp of, at least, how people can be made to do things by appealing to their physical needs or comfort—yet she will also struggle to grasp social nuances and as in canon much of her conflict with cass is grounded in rapunzel’s dismissal of or blindness to what cassandra wants or needs from her. manipulativeness and social ignorance is an interesting combination of traits for her to have and it is nice to see the manipulativeness borne out so overtly in the text. again, we’ll have to see how this holds up later in the story because i do not remember it very well.

re: romance novel: the dissatisfaction and loneliness established in chapter one and explicitly not filled by the male love interest are, of course, answered by a fascinating glimpse of the one (1) gnc woman in all of corona. whom rapunzel only glimpses because she is climbing a tree to paint the view out of hopes that it will “fix” how out-of-place she feels. ms. howland you are not subtle, and also, how did she slip this past the disney censors?

[entity9silvergen]

My Oriented Aroace Headcanons From 8 Fandoms

Oriented Aroace is an aspec identity where someone does not experience sexual or romantic attraction but experience other forms of attraction in a way that causes another nonaspec label describing sexuality to feel significant enough to have a place alongside one’s aroace identity. For more information on this term, here is the info page on the oriented aroace subreddit and here is the wiki page on it.

Headcanon is a subbranch of fanon, meaning headcanon is something generally not accepted as canon but some fans choose to believe about the original content. In the queer community, it is common to headcanon characters as queer. Sometimes it’s with good reason, sometimes it’s just because we like the characters, sometimes it’s because we see something of ourselves within the characters. 

Here are some of my oriented aroace headcanons.

1. Sai (Naruto)

This is by far my favorite aroace headcanon but I don’t talk about it much because I don’t want to support the stereotype that aromantics are heartless or that asexuals are traumatized. In Naruto Shippuden, Sai is a character who does not experience emotions after an illegal black ops organization killed his brother and brain washed him. He does, however, recover his emotions and learns to be very in touch with them. In Boruto, he is married to Ino and has a son named Inojin.

I headcanon Sai as pan-oriented aroace, possibly demialterous as well, but he experiences some degree of internalized homophobia and aphobia which leads him to pursue a romantic relationship with Ino. I don’t doubt that he loves her, he definitely does but I don’t think he loves her in the same way that she loves him. I wrote about this for Aromantic Writing Month. I believe that Sai initially started courting Ino because that was what was expected of him. Ino went along with it because she is attracted to him. At some point she probably realized Sai doesn’t quite feel the same way as her but they talked about it and continued their relationship as a allo-aspec qpr.

2. Rook Blonko (Ben 10) 

Rook Blonko is Ben’s (work) partner in Ben 10: Omniverse. He is an alien from the planet Revonnah. When we see his homeplanet, we learn that he is very attractive by Revonnahgander and all the local girls are interested in him but he is bothered by it, only showing affection for one girl named Rayona. They end up dating later in the series. A couple villains show interest in Rook as well and he is usually bothered by it or has mixed feelings with no desire for reciprocation. 

I headcanon him as hetero-angled aroace, specifically gray/ frayromantic and acespike. Gray romanticism means that someone is aromantic but can experience some kind of limited romantic attraction or experiences romantic attraction under specific circumstances. Frayromantic is essentially the opposite of demiromantic. Someone may experience romantic attraction that fades as they get to know the other person. Acespike means that someone is asexual but can sometimes experience spikes of sexual attraction. 

If you have seen the show, you may know where my thoughts are coming from. Rook mostly shows romantic interest in Rayona before they start dating. Once they’re in a relationship, their feelings seem very platonic and their relationship is much like a qpr. This may be because of their age, lack of experience, or their culture but I’d like to imagine that Rayona feels the same way as Rook and they are in a qpr.

The only other character Rook has shown interest in is Isosceles Vreedle. He is briefly attracted her during a battle but doesn’t seem to have any intent on acting on his feelings (presumably because he is in a relationship). He seems to be aware that this is out of character for him, which leads me to believe that he is acespike. 

3. Alain (Pokémon)

Alain is the star of the Mega Evolution specials and Ash’s main rival in the Kalos League. I headcanon him as gay-oriented aroace.

I don’t have much of a reason for this. Headcanons don’t necessarily need reasons but I’m still going to try to explain this one.

He never has any romantic interests in the show, probably because we don’t see much of him and his story is very focused on his Pokémon training. There are many characters who are solely focused on Pokemon training and that doesn’t necessarily mean they’re aroace but with Alain, I can’t really see him ever wanting to settle down or pursue a relationship though and he doesn’t seem like a women’s man. 

His perfect life is retiring young from a decent battle career on a Pokemon ranch where he works as a Pokemon professor, giving out starter pokemon and providing a place for trainers to send their pokemon when their parties are full. He won’t have many visitors but maybe he’ll have a close companion to keep him company and help out with any projects he’s working on.

4. Toph (Avatar: The Last Airbender/ The Legend Of Korra)

Toph is Aang’s earthbending teacher in ATLA, the founder of metalbending in the comics, and Lin and Suyin’s mother in TLOK. I headcanon her as sapphic or trixic-oriented aroace.

Sapphic and trixic are both non-exclusive terms for attraction to women but sapphic is specifically for women and trixic is for non-binary people. Canonically, Toph is a girl but she is very free spirited and independent and I feel like she wouldn’t let something like gender limit her.

In TLOK, Toph does mention that she tried to have relationships with Lin and Suyin’s fathers but it didn’t really work out. I imagine that Toph is sex favorable and likes sex as kind of a fun way to enjoy herself but does not experience sexual attraction nor does she feel a need to have regular partners. Similar goes for romance. She is romance-indifferent but does not like it much.

The lesbian Toph headcanon is a popular one. Not really sure why but Toph seems like a ladies’ woman. She likes to have her fun and she just finds women to be better companions than men in these aspects. She doesn’t get attatched easily though and she’s not really into the commitment. 

5. Korvo (Solar Opposites)

Again, I feel like this plays into a stereotype that I don’t want to support but these are my headcanons and I will do with them as I want. Korvo is an alien who is having a hard time adjusting to living on Earth. We know that his species has no biological sex and do not reproduce sexually but many of them choose genders, enjoy sexual activity, and pursue romantic relationships. I headcanon Korvo as bi-oriented aroace, possibly bi-electio aroace.

I have not seen the most recent season but in season 1, Korvo is mostly uninterested in anything outside of returning the ship. We have seen him in real no romantic contexts but he and Terry are co-parents of sorts. We also see him in a couple of sexual contexts. When he got zapped by a ray that removed his intelligence, he tried humping Terry and when he and Terry tried going to college, he remained on his side of his and Terry’s shared bed when Terry brought home sexual partners.

I don’t think Terry and Korvo are in a relationship or a qpr but am not completely opposed to the idea. My point was just that we know he isn’t repulsed by the idea of doing traditionally romantic or sexual things with someone who is masculine in nature. I think he could also appreciate what a woman brings to the table, as seen when he built a robot to fulfill the role of wife and mother in the house.

I don’t think Korvo is interested in a relationship but he does value the companionship and wouldn’t be unhappy with a partner. He may struggle to maintain a partnership but I don’t think gender would be much of a factor.

6. Todd Chavez (BoJack Horseman)

Todd is BoJack’s off-and-on best friend/ roommate. Canonically, he is asexual and heteroromantic (presumably, all we know for sure is that he is alloromantic). I headcanon him as straight-oriented aroace, specifically heteroqueerpatonic and panplatonic.

I love that Todd is canonically asexual and I appreciate that they showed an asexual character who is not aromantic. But, all of Todd’s relationships have that queerplatonic vibe. When he described the kind of relationship he wanted with Emily, it didn’t sound like a romantic relationship. What he had with Yolanda certainly wasn’t romantic. Maybe it was just the writing but Todd seemed most happy when his relationship resembled a qpr. When he was dating Maude, the lines between romance and friendship were blurry and they seemed very happy, and that included not doing traditionally romantic things like getting married.

I could also see Todd as greyromantic. For him, I feel like having a label isn’t really that big of a deal. Being able to say he was asexual was a big deal for him but he just wants to be himself and find whatever makes him happy. Sex and a traditional romantic relationship don’t really seem to be a part of that.

7. Silver Surfer (Marvel Comics)

Again, this isn’t one I talk about much because I don’t want to support the stereotype that aromantics or asexuals are inhuman or lacking emotion. Before becoming the Silver Surfer, Norrin Radd is in a relationship on his home planet and he does express interest in a few women after becoming the Silver Surfer. I headcanon him as straight-oriented aroace.

Some of it may have to do with Galactus’s interference. Maybe not. The Surfer doesn’t need sex or romance (no one does but you catch my drift) but he doesn’t really want it either. Sometimes it is portrayed from a sense of duty but we don’t really know what he’s feeling. He’s been one of my favorite characters for years so I may just be projecting but it feels right.

He can get lonely. He wants a companion but I don’t think he’d want a romantic one or even a queerplatonic partner. He’d be most happy with a friend and he’d get all the fulfillment he needs from one. A romantic partner might be a bit too much.

8. Gina Linetti (Brooklyn 99)

Gina is Jake’s childhood friend, Captain Holt’s assistant, and Boyle’s... something. I’ve seen a lot of headcanons that she is pansexual but I headcanon her as heteroflexible-oriented aroace.

Gina, like Toph, is just kind of doing her own thing. I feel like she’d be sex favorable and romance indifferent. Sex is fun, relationships are alright, she’s just living her best life. Men are nice, women are too. She’s just living life and rocking with whatever rolls her way.

When she has her daughter, she does want to settle down a bit but not with a man. She loves the kid and steps up to her new responsibility but she doesn’t let it change her. She’s still as wild and free and she doesn’t want or need anyone.

[silyabeeodess]

Thoughts on Frisk, Chara, and the Player

Besides what I’ve covered briefly in the description of a comic a few years back, this is long overdue; however, since I might make something focusing on Chara in the future, I decided to go ahead and put down my two cents on these two characters.  Since this is effectively a long essay, I’ll have everything below the cut:

One of the most longstanding debates among Undertale fans is the morality of these characters and their relation to the Player.  Some see Frisk and Chara as effectively polar embodiments of good and evil following the Pacifist and Genocide routes while others see the Player alone as the individual in control of all choices with the two characters bowing to that control.  The truth might be somewhere in the middle.

Let’s cover the most basic thing first.  The Player is you.  Yes, it’s your decisions that take the story in different directions, but you are not a character. You are not a part of the world of Undertale.  You’re an intruder, an outsider, an anomaly--something that the people in Undertale only seem to have a vague understanding of.  Characters like Flowey will break the 4th wall by calling you out for your actions, but it’s often from the idea that you’re still Chara--even if Chara’s own story played out long before you came in.  Chara will ask for your SOUL, but you personally don’t actually sacrifice anything: Even as far as the game’s story goes with the “Soulless Pacifist” route, the most you lose is the time is takes to reinstall the game and play it as you normally would. You can cheat them out of “your SOUL” easily.  They think you’re Frisk.

Most glaringly, however, is that both Frisk and Chara will fight against some of your decisions.  For Chara, you have them not giving you much of a choice with how you end the Genocide route and declaring that you were never in control, amongst other actions like killing Asgore and Flowey. Most people might not notice Frisk’s refusal beyond the fact that we don’t pick their name like we can Chara’s; however, the point where this becomes most clear is during our interactions with Undyne on a Pacifist Run.  When we try to become Undyne’s friend and she insists on fighting anyway after her house catches fire, we have the choice to fight back.  Doing so though results in a weak attack, which Undyne declares as being the result of a lack of will to hurt her.  That isn’t the Player’s decision, and it effectively forces us to spare her whether we want to or not.  

This relationship parallels what we also see in Deltarune, with the Player there also exhibiting control over Kris, but Kris fighting back.  Kris isn’t an empty vessel or puppet for the Player to manipulate, and the same can be said for Frisk and Chara in Undertale. It’s a form of temporary possession, where we--an otherworldly being--take over a host for as long a period as the game’s designers allow. It means that we can’t pin our actions on either Frisk or Chara.  Let’s go back to that second paragraph though.  The other characters don’t really know this, making Frisk/Chara/Kris suffer as a result.      

From a gameplay perspective, this is an awesome idea to tackle. From a story perspective, meanwhile, things get a little complicated.

Here’s the thing about handling it simply as a story: The Player often has to be ripped out of the equation.  Again, you aren’t a character, and the only way the Player can really be present in the world of Undertale is as an OC or persona based on the independent choices of each creator.  Keeping them out means leaving the choices we would normally make 100% up to Frisk/Chara.  Ergo, stop attacking artists and writers for their portrayals of those two when creators have to give them qualities that are entirely up to each individuals ideas and experiences to try and fill in a bunch of blanks.  Beyond Chara’s backstory giving us some information on who they were, which is mostly told to us through other characters, there is no perfectly in-character portrayal of either of them.  

Which I guess brings us to the part where I try explaining my idea of them.  So let’s start with Chara, since again, they have the most background info.

What are some canon points we can cover with Chara?

Asriel describes them as “not the greatest person,” but still cared for them deeply as his best friend. From the recordings in the True Lab, we see they had a good friendship, even if Chara often took a more leading role.

Also according to Asriel, Chara “hated humanity” and had an unhappy reason for climbing the mountain.

It was Chara’s plan to commit suicide, have Asriel take their SOUL, and try to kill humans to break the barrier.

Chara laughed after poisoning Asgore with buttercups. It’s presumed by Asriel to have been an accident, but we don’t know Chara’s knowledge on the situation.

An extended monologue from Asgore has him describe Frisk and Chara as having��“the same look of hope in their eyes.”

Asgore considered Chara “the future of humans and monsters.”

They refer to themselves as “the demon who comes when people call its name.”

As of the Genocide route, their goal is the complete destruction of Undertale’s world to join the Player and move on to another. They pin the Player’s actions on their newfound “purpose” to attain power.

Narration in the game is different depending on the route, speaking commonly from a 2nd-person POV on Pacifist and Neutral runs, but 1st-person on a Genocide run. This alludes that Chara is always with us during gameplay.

Chara’s dialogue mimics Toriel’s, hinting to a close relationship following the concepts of mimicry being a form of flattery and a child’s desire to be like a positive adult figure in their lives.

So here’s what I think.  Chara’s hatred toward humanity is supported not only by Asriel’s confession, but also in their actions.  If Chara took control as Asriel described after crossing the Barrier to kill humans and take their SOULS, that willingness to commit murder along with their own suicide indicates not only that general disdain, but also a hefty amount of self-loathing simply for being human.  Whatever happened to them prior to entering the Underground, that hatred was likely only nursed further by knowledge and ideas fed to them from monsterkind: Humans hurt monsters too and monsters are supposedly “made of compassion” while “humans don’t need any.” (They may have even been bullied or faced prejudice for being human, even if it wasn’t from the Dreemurrs, just like how Frisk was constantly attacked on-site.)  This likely led to a monster-centric worldview where all of humanity--and even themselves, to a point--was the enemy.  

I imagine the “Mr. Dad Guy” sweater we find was made by Chara rather than Asriel because of the inclusion of “guy” at the end, since this seems like something more of an adopted child would do than a biological one, maybe not entirely comfortable with the idea yet of calling Toriel and Asgore “Mom” and “Dad.”  I truly do think Chara loved their newfound family and never meant to hurt Asgore: The laugh, while it can’t be confirmed, seemed to be a mark of mental instability rather than something of true malice. With the pressure of being called “the future of humans and monsters” as well, they probably felt like they had to be responsible for humanity’s actions as a whole even if they personally did nothing wrong.  From that perspective, their life--and any other human’s--mattered less than a monster’s, because they had to atone for the crimes of others.  Humanity itself had to atone.  This is why they would be so willing to sacrifice themselves and kill for the sake of breaking the Barrier.

So what happens when the monsters Chara placed on a pedestal start breaking their script?  Asriel stopping Chara from committing murder is one thing: That seemed to be one part of the plan that Chara didn’t tell him about, probably because they knew he wouldn’t agree to it. Beyond that though?  What happens when monsters stop showing that legendary compassion?  Asriel started playing with lives and killed for fun as Flowey.  Asgore declared war against humanity and started killing children.  Toriel left her position as queen and couldn’t protect anyone. Not only was their happy family broken, but monsters started acting like the humans they claimed to be better than through their own “weaknesses” and desire to kill.  They were supposed to be above humanity’s choices, above even Chara’s choices. Vengeance isn’t an excuse anymore: It’s all the same, and it feels like the ultimate betrayal.  

They’re all the same.  Monsters, humans, it doesn’t matter.  It’s an ugly world where only the strong and terrible reign, and it deserves to be destroyed.  There’s nothing left.  There’s no good left.  There’s no hope left... 

Unless, maybe, someone new enters the game. Can they rekindle that hope or will they only prove those dark thoughts right?

In comes Frisk, who we really only know as a blank slate.  We don’t know their history or their desires except to leave the Underground one way or another.   We can’t really say much, so this is where it really is entirely up in the air how we portray them.

A personal headcanon of mine is that they were a bit of a little thief, “frisking” things off of others--which is why we can get G even without killing in the game.  A very morally grey character, fitting the multiple routes Undertale’s story can go and Sans description of them “maybe not being a saint” even if they play as a Pacifist.  Maybe they don’t really know what the right choice always is, but they desire to do their best when possible. 

I can’t say much here because, as I’ve said several times now, it’s up to everyone.  Me?  I like a Pacifist Frisk, even if they struggling and suffer before reaching their happy ending.  Some might have them go through a Genocide route on their own or by Chara’s possession. Some have them with guilt-riddled consciences and others treat them as the purest of souls. Some pick different endings.   

So enjoy your interpretations, your characterizations, and your AUs.  You don’t have to agree with my ideas or anyone else’s: Just don’t bash others for theirs.  Undertale’s gameplay opens things to everyone’s personal experience and should be enjoyed as such. 

[godsnaturalenemy]

THE POSITIVE & NEGATIVE; Mun & Muse - Meme

fill out & repost ♥  This meme definitely favors canons more, but I hope OC’s still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. Multi-Muses pick the muse you are the most invested in atm.

My muse is: canon / oc / au / canon-divergent / fandomless

Is your character popular in the fandom? YES / NO / IDK

Is your character considered hot™ in the fandom? YES / NO / IDK (I think he’s considered cute rather than hot? Luffy is cute, he’s handsome but cute!)

Is your character considered strong in the fandom? YES / NO / IDK

Are they underrated? YES / NO / IDK

Were they relevant for the main story? YES / NO 

Were they relevant for the main character? YES / NO / THEY’RE THE PROTAG.

Are they widely known in their world? YES / NO

How’s their reputation? GOOD / BAD / NEUTRAL (depends on who you ask)

How strictly do you follow canon?

I’m trying my best to follow canon and Luffy’s way of thinking, sometimes lack of thereof. He’s got this nice bubbly energy about him that I really vibe with so coming up with silly things isn’t that hard. Though I must say I’m also a sucker for serious Luffy, which he can be when needed. He’s still a fresh muse so I do look forward to see how I’ll develop him further and see what might change!

SELL YOUR MUSE! Aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutuals.

Do you need a ray of sunshine in your life? A friend who would never let you down and is willing to risk his life for you? A friend that keeps his promises and will always lend a hand? If you answered with ‘yes’ on one or all these questions, look no more! Monkey D. Luffy is your man! This beautiful, pure boy who will one day become the King of the Pirates is here to brighten up your day with his gigantic innocent smile and wonderful laugh! You’re up for a real adventure with Luffy! He will take you places, you’ll make many wonderful memories and meet lots of new people, explore lands you’ve never seen before and create everlasting bonds you’ve never imagined possible! Whether you want to or not, the moment he proclaims you as his nakama, your fate is sealed :)

Now the OPPOSITE, list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?).

Pardon? Luffy is interesting no matter how you look at it. He may be irritating to your muse with constant need to get into trouble, or perhaps to the mun his overpoweredness may come as irritating, which is valid. I will be the first to say that I call bullshit on many of Luffy’s victories but at the same time, what do we all expect from a shonen protagonist? So I don’t think he’s uninteresting, perhaps he might just come out as triggering. There are things about Luffy that trigger me, but I never found him uninteresting? Am I answering this wrong?

What inspired you to rp your muse?

Impulse. A few friends recommended taking a new muse to balance my mean bean Vergo. When thinking of who I should take, Luffy barged on doors of my humble home, broke them down and said “From today on, we’re nakama!” I never had a say in this, really.

What keeps your inspiration going?

People! I’ve met many wonderful people here on tumblr (I knew many from my Vergo blog) but met many new ones for the first time! I love throwing ideas and plotting, or just letting the muses drive, but honestly Luffy always has some ideas in his brain to make everything interesting.

Some more personal questions for the mun.

Give your mutuals some insight about the way you are in some matters, which could lead them to get more comfortable with you or perhaps not.

Do you think you do your character justice? YES / NO

Do you frequently write headcanons? YES / NO (on some later date I will!)

Do you sometimes write drabbles? YES / NO (again I will!)

Do you think a lot about your muse during the day? YES / NO (Vergo doesn’t let me)

Are you confident in your portrayal? YES / NO

Are you confident in your writing? YES / NO (always, no one can knock my confidence down)

Are you a sensitive person? YES / NO

Do you accept criticism well about your portrayal?

I do, but only when it’s genuine and given with good intentions. Obviously, I don’t know what mun and muse think of my portrayal unless they tell me: is there something that might trigger them, is there something they think is over the top? I am interested in such things and other opinions, but at the end of the day it’s my portrayal so I call the shots :P

Do you like questions, which help you explore your character?

Absolutely! It’s always nice to explore questions I might not think of or just see what interests people in my portrayal. It’s fun and gives me chance to dive deeper into the character which is always good.

If someone disagrees to a headcanon of yours, do you want to know why?

I mean yes and no? I won’t change my headcanon but I’m always interested to know why specifically they disagree. Discussing is fun if it’s done civilly, but at the end it’s my headcanon and we’re all allowed to have our own opinions. 

If someone disagrees with your portrayal, how would you take it?

I don’t pay mind to it? We all take muses to portray them how we want to, not how anyone else wants us to portray them. If someone is unhappy with my portrayal they’re free to unfollow, no hard feelings and no offence taken from my side. 

If someone really hates your character, how do you take it?

It’s all cool. Not everyone is going to love every character, and while Luffy is popular, there are some things that make his character that may irritate someone. Sometimes we end up loving a specific character thanks to the mun rping them, so if someone dislikes or hates Luffy maybe I can change their view on him? Sounds kinda arrogant but it did happen with Vergo so yolo! If they still hate him that’s cool, we are all entitled to our opinions.

Are you okay with people pointing out your grammatical errors?

Naturally! English is not my first language, it’s my third as a matter of fact, so mistakes may happen! Even though most times I notice the mistake myself as well and end up cursing because I haven’t seen it in time XD

Do you think you are easy going as a mun?

I think I am! I’m really open to talking with people, plotting, joking, throwing some hcs and ideas around or just chatting about anything really! I’m an extrovert so I love meeting new folks and getting to know them and their characters. I’m a joker at heart and those who have talked to me or know me better can confirm that lol

That’s about it, congrats for filling out!

➸  Tagged by : @godlivesonthemoon​ (thank you Miho!)

➸ Tagging: @biggest-mom​ (enjoy Kittu asjdaskd) and whoever might be interested! 

[unwiltingblossom]

Hey there. Sasusaku may know me, but Zutara probably doesn’t. I’m not in the ATLA fandom, but I have observed enough to notice something that intrigues me about Zutara, aside from the fact I’d totally board the ship if I were foolish enough to watch a show knowing I was going to fail (actually, consider me proto-Zutara I guess because I think I liked it in the movie. Maybe I liked Kataang. Maybe I liked both. Can’t remember. moving on.)

I think it’s interesting that somewhat unintentionally Sasusaku and Zutara illustrate pretty clearly the difference between Japanese fandom and western fandom, in a way that Sasusaku already shows to a lesser degree.

There’s a bunch of fundamental differences in these two ships, I’m aware, but at their core, I feel they’re much the same. Call it ‘same energy’, if you will. Yet in one story they end up together and the writer keeps adding more things to insist that they are, and in the other one they end up apart and the writers keep trying to delegitimize the pair more and more.

In Sasusaku’s case, not only do they marry and have a child, the writer has stated that he always intended them to be together, and given various interviews and novels and mini comics for them.

In Zutara’s case, the writers seem to contradict themselves claiming they didn’t plan it, and that while it’s interesting, they mock anyone who actually thinks it would be a good idea or would happen, claiming their relationship would be unhealthy and unhappy.

Now this is interesting, because there are parallels with how fandom reacted to Sasusaku (and if ATLA ever got released in Japan I’d be curious how the fandom reacted to Zutara). In Japan, Sasusaku has always been one of the, if not the, top ships. Mostly what beats it out is slash, because fujoshi are gonna fujosh. Fans love it, went crazy for its ending, and loved all the scenes it got leading up, joking about them getting married and such offscreen.

In the west, however, while Sasusaku is still super popular, it gets a LOT of pushback. People like to insult it, insist it’s abusive and horrible, claim that Sasuke and Sakura could never be happy, and that anyone who honestly thinks they should be together should never get into a relationship for their own safety, because they’re romanticizing abusive relationships and will be hurt.

Sure sounds familiar, right?

Well, I’ll do you one better. Because you’ll see often the complaint that “I wish Sakura had just been strong and realized she didn’t need a man, becoming an independent etc” or “This is really harmful to Sakura’s character, because it forces her to abandon the things she loves and live subservient to Sasuke as some wife”

These are, almost without exception, lies. What they’re almost always saying is actually “I wish she would have grown up past Sasuke and married instead (Naruto/Lee/Kakashi/Sai/a girl), but if she couldn’t do that, then at LEAST she should have been alone!” they just cut off the first part because it reveals their bias.

And frankly, there’s a lot of parallel between Narusaku, who had a childhood crush on Sakura because a part of him thought she’d give him the recognition he needed and becomes the sage of six paths hero who saves the world from war in the end, and...well. Kataang. Which basically seems to have been a puppy crush on the first girl he met, that he nurtured into love over years as he became the Avatar hero who saved the world from war in the end. Both have a brother/sister or mother/kid relationship with the female in question through their quest (Sakura treats Naruto much like an annoying little brother and Naruto + Minato both recognize Sakura as ‘like his mother’, and Katara has a very motherly relationship with Aang most of the time until they start kissing)

Most importantly, I feel there’s a lot of parallels to be found in Sasusaku and Zutara.

Sasusaku runs on a baseline of Sasuke being extremely hostile and cold to everyone, refusing to let anyone in, and Sakura reaching out to him and through his defenses over and over despite this. She is the first person that he admits the reason for his behavior to -before Naruto or anyone else, he begins to explain to her that his brother killed everyone - and they have a mutual respect. Sasuke acknowledges her skills and smarts, and considers her to be the one light in his life, the ‘spring breeze’ and ‘the one who filled his lonely existence with love’. Despite this, he betrays her and everyone else, choosing his revenge over his happiness, but even through the many years of isolation and hatred, his response to Sakura always has a softness that isn’t there for anyone else. He saves her when he doesn’t need to, he listens to and responds to her before anyone else, and he even offers to let her go with him on his quest. Yes, it’s because she’s a healer who can replace Karin, but do you really think he couldn’t have used Naruto at his side, the other one the village rejected and turned against, who might want revenge? Juugo and Suigetsu aren’t healers, but he keeps them anyway because they’re useful. Sakura is the only person in the Leaf he offers to join him.

Anyway. Although they’re enemies most of the story, her love for him endures and she keeps trying to reach out to him. Every once in a while he responds, catching her when she falls, caring about her harm. The eventual nexus of their relationship is after his final battle with Naruto - which he puts her to sleep during, because she jumped in the way and almost got killed last time, and he doesn’t want her to do so this time - is her kneeling over him laying on his back, healing him, crying. He apologizes until she finally accepts his apology, and canonically this is the moment he realizes he loves her (though it’s much longer before he acts on this in a real way).

I won’t presume to fully summarize Zutara, because I am but an observer. However, I do know that they begin as enemies, that she is able to break through his cold shell with her kindness and compassion, so that he opens up to her about things he either never does to anyone else, or doesn’t to anyone else for a long time. I do know that he betrays her trust, and that they don’t truly mend fences for a long time because of their antagonistic relationship and betrayed trust. I also know that one of their later moments involves a scene where Zuko is on his back and she’s kneeling over him in tears, and he thanks her.

Plenty of details are different, but there’s all sorts of similar themes, notes, and visual parallels. Zuko’s appearance during later episodes looks very similar to Sasuke’s appearance after his duckbutt hair stage, Sakura’s color scheme is usually red and Sasuke’s is blue, and of course Katara is blue while Zuko is red. Sakura is a healer (I can’t think of anything water related, no), and Sasuke uses fire (when it’s not illusions or lightning). You can definitely make a convincing argument to say these relationships are pretty close to the same thing portrayed in different media with a different story shaping their behavior.

So then, why is it that one of them ended up together and has a happy family life and is considered to be the ‘good end’, while the other one didn’t end up together and is considered to be the ‘bad end’ were they to get together?

Why also did Kataang get together and become the ‘perfect’ couple that everyone should have seen coming and agree with, but Narusaku was nothing more than jokes to tease the audience with occasionally and was completely sunk multiple times in canon before they both married other people?

Well...I think it’s a difference of cultural sensibilities directly affecting the outcome of the same story.

In the west, essentially, the woman is the ‘prize’ for the hero at the end of the journey. If he finishes his homework and saves the day, his reward is the woman he’s been pining after for ages. It doesn’t matter whether she openly wants him or not, there will be little ‘checkpoints’ through the story where you see that secretly she does want him as he gets better and ‘more heroic’, so anything he does in trying to woo her is ‘acceptable effort’, essentially. And more importantly, the person who has love needs to ‘deserve’ that love. The heroine has to get with a ‘good’ person like the hero because the antihero isn’t ‘good enough’ for her. He’s the ‘bad boy’ that she flirts with but then grows out of so she can marry the nice guy instead. And it’s this to an extreme. If she marries the ‘bad boy’, then she’s consigning herself to a lifetime of abuse or unhappiness, because she can’t be happy with someone who isn’t as good as her. This is tripled if they have an antagonistic relationship, like if they’re at war with each other and have been enemies. (this doesn’t work in reverse. A bad girl can marry a good guy if she sufficiently redeems herself and goes good, because men can’t be abused in this cultural standard) Instead, the antihero generally ends up with a woman of similar morals if he marries - another bad girl turned good, another rogue figure, something like that. That’s because it’s what he deserves and in turn what she deserves.

Weirdly enough, it works in reverse for attractiveness - hot women marry down, but not hot men. But that’s neither here nor there right now. The point is, you can see how on this scale the ending NEEDS to be by western standards Kataang, Maiko, Narusaku, Sasukarin. The tarnished and dark man MUST marry the tarnished woman of ‘inferior morals’, while the good and pure hero MUST marry the heroine, because she must be his prize for his heroism and success, and  he is the only one worthy of her goodness, therefore the only one who can make her happy.

In Japan, it’s just not really like that. The hero doesn’t need to get the girl in the end as his reward, and in fact it’s often the girl who gets the man she’s always wanted by the end of the story. This is because ‘patience and dedication’ is seen as more praiseworthy and deserving of reward. Because the heroine stuck with the love she had even when that person wasn’t ‘deserving’ of it yet, her love should blossom and be returned to her. Much more focus is on enduring and quietly continuing onward in spite of difficulty, basically. Orihime must get Ichigo because she loved him from the beginning. Same with Naru and Keitaro, Hinata and Naruto, Sakura and Sasuke, Juvia and Grey. They ‘make their love choose them’ instead. In fact, who the man wants is sometimes just played off as a joke, such as in Black Clover where Asta is determined to marry a nun while there’s a princess not-so-secretly swooning over him. It’s not hard to guess how that story is going to end.

Anyway, because the qualifications of what makes an ‘acceptable romance target’ differs in  Japan, worrying about whether the girl is ‘good enough’ or the man is ‘good enough’ for the romance is less important, only whether they’re dedicated or patient enough.

It’s not saying one is better than the other, whether using the man as the prize or the woman as the prize is the correct way of writing it - and there are exceptions, plenty of Naruto’s couples are written just because they go well together, there’s western stories where the girl gets the bad boy after he’s redeemed himself and it’s fine - but the differences are there to be seen.

And, weirdly enough, I think is what ultimately determined the different endings between Naruto and Avatar: The Last Airbender.

[swiftzeldas]

does it bother you that It utilizes the bury your gays trope?

hi! thanks for asking this, because you’ve given me the opportunity to do my favorite thing in the world, which is analyze my favorite media

short answer: a little, but not really

long answer, under the cut. please keep in mind that this is just MY interpretation and if you WERE bothered or hurt by the portrayal of gay people in the IT movies i’m not saying you’re wrong, you’re perfectly within your rights to feel that way and i get where you’re coming from. remember that this is just, like, my opinion, man

so firstly i want to say that i’m not a book purist by any means, films and books are different mediums and changes have to be made to make a book work as a movie, so i don’t get too ruffled by changes, but one thing i’ve never liked is when a film version changes who lives or dies. i’ve never liked that Haldir dies in the LOTR movies and i refuse to see the film version of My Sister’s Keeper because they changed which sister dies in the end, thereby changing the meaning of the ENTIRE STORY. so….i don’t like when movies change which character dies. i think someone needs to die in that scene in IT, and i actually think (you’re free to disagree) that that is a solid conclusion for eddie’s story arc. the only other character it could make sense to kill off at that point in the story is MAYBE bill, and that just wasn’t gonna happen 

anyway, my next point is that whether or not this was the right decision (and i don’t think it was fwiw) eddie isn’t canonically gay in any version of this story. richie is, in It Ch2, but eddie is still left up to interpretation. it’s hard for me to view a version of this story where i DON’T interpret eddie as gay, but the fact remains that the subtext in the novel was unintentional by Stephen King, and Andy Muschietti chose, in the films, to leave it ambiguous. like i said, it’s pretty clear TO ME that eddie is gay, but many, many people have read It and had different interpretations. so on that note i’m not even sure this QUALIFIES as bury your gays.

i do think eddie is the most blatantly queer-coded character in the book, fwiw, for a multitude of reasons. i’m surprised richie is the character they chose to make Canonically Gay - though i wonder if it’s bc richie would feel less stereotypical?

like….do i WISH richie and eddie could be together? yeah, i do! at the same time, though, i see a lot of people thumping on about how richie is the only character to get an unhappy ending and i have a lot of problems with that. i mean, are we gonna pretend the rest of the losers didn’t love eddie?? bullshit. they did. they’re all grieving for him, and for stan, who’s still dead btw people seem to forget about that? 

i think people tie richie’s eventual happiness too much to eddie. it’s true that richie’s adult life has been largely unhappy, but his childhood wasn’t. he dealt with bullying, yes, he dealt with a killer clown, but of the Losers, he and stan probably had the happiest home lives. (in the book i think richie’s dad is like, a nice dentist or something like that.) i think people are undermining the amount of happiness truly accepting oneself can bring, and richie has reached that point by the end of It Ch2. and then i hear people complaining that richie can never find happiness now because eddie, his soulmate, is dead? to which i say….let’s be realistic here. again, i wish eddie and richie could be together but to say that a 40-year-old man’s soulmate is the person he had a crush on when he was 13, and the only way he can be happy is if he can be with him….i think that’s not only unrealistic but also damaging. there’s a whole world out there, kids, and it’s not going to end if you don’t get to marry your first crush. richie will be okay - and hell, eddie would be FURIOUS with him if he put his whole life on hold just because he’s dead.

i’ve also seen arguments that richie would just be depressed and want to die after the events of It Ch2, including and mostly because of eddie’s death, and i just don’t think that’s true either. i think right after eddie died there’s probably a moment in richie’s head that’s like “oh my god i wanna die i wanna lie down right here and die with him” but, like, fleeting. richie’s entire THING is how badly he wants to live. his fight with bill in the first movie is because bill keeps putting the Losers in danger and richie is like FUCK YOU BILL I DON’T WANNA DIE. he tries to leave derry in ch2 because this is too dangerous and he doesn’t want to die. richie simply does not want to die. i would feel FAR more cheated and wronged if richie died than eddie. 

which, btw, brings me to why i think eddie’s death was an adequate way to end his arc which i know is probably the MOST controversial thing i would ever say so skip this paragraph if you don’t wanna hear about that. it’s not that i’m not sad that eddie dies, i AM, it’s TERRIBLY sad, but all the same, didn’t eddie have a terribly sad life? he grew up under the thumb of this overbearing mother who convinced him he was weak and sickly, and grew up to marry a woman much like her. (btw - based on the book i don’t think eddie’s wife myra is actually the awful abuser a lot of people portray her as, though the movie’s portrayal contributes to that. i think myra is a very anxious, needy woman who married a man who made those traits worse, whose own anxious and hypochondriac tendencies were worsened by being married to her. they’re just very very wrong for each other and that doesn’t make myra a villain.) i think eddie’s ending was him finally proving to himself just how brave he really is, that he’s not weak or too sensitive, or any of the things he’s always been told he is. eddie dies a hero’s death and for his character, for his arc, that’s fitting. in the book, he’s not even particularly upset. Not bad, he would begin. This is not bad at all (King 1086). i don’t mean to say there was no hope for eddie. not at all. he could have lived, he could have gotten out of his marriage and channeled his newfound courage and bravery into living a new life….but if he has to die, and i think someone should in this story, that’s the way to go. hero. 

on the whole, i thought what IT Ch2 did in terms of sexuality was….really great. anybody who follows me knows that horror is my favorite genre, but i have always understood that it’s not a genre that is particularly friendly towards any marginalized group, whether that’s by race, gender, or sexuality. i felt SEEN by It Ch2, and i felt like these stories mattered to the filmmakers. at the end of the day, richie lived, and he’s going to KEEP ON living, and that’s important

[kurainburdened]

I’m realizing a lot of people followed me without playing AA, something I hadn’t considered when I first started this blog so heres some info for those who want to read up on Maya Fey.

But I also compiled ALOT of my HCs so if you haven’t been following me for a year  there’s a lot about how I characterize Maya. 

But if you have been following me for like a year or even 6 months I can’t imagine there’s a lot of new info here lol

Note: Im really ADHD and organizing my thoughts in a cohesive way is really hard for me so IDK if this is at all comprehensible. I did my best

Recap

[ important info for those who have not played AA ]

Information about her Family, Village and Traditions

The fey family has been blessed with the power to channel spirits. A power said to have been given to them due to how their ancestors were servants to the gods. The Main Families oldest daughter is the one that will head the family as the Kurain Master and lead their village. The younger siblings will become subservient to the Kurain master, a position that causes a lot of resentment. This means assassinations and uprisings aren’t entirely unheard of in their family.

In fact, most of the village is shown to be pretty uncaring towards Maya. When shes being dragged away for murder, they either watch on in disinterest or gossip among themselves. No one seems to be even a little bit upset or worried.

The only one who seems to show any kind of concern or faith in Mayas innocence is her Aunt Morgan, who raised her like a mother. This is ironic because Morgan is the one who set her up for murder. Something both Maya and Mia take as something very shocking

The Kurain Master holds quite a bit of political power as politicians all wish to have favor with her in order to gain access to her powers. In fact, even when in hiding, the previous Kurain master, Mayas mother, was kept under heavy surveillance, and files were kept on where she was and what she was doing.

The kurain village is a matriarchy, one where men are not allowed to live. Even in mariage, husbands must live separate from their wives. Because of this its stated in canon that this leads to many unhappy marriage that all end in divorce. Also, because of this rule, the men who visit for business purposes are given quite a mixed treatment. Because of the lack of men in their village, some see it as one of their few opportunities to make an impression and finally get married. Others see men and immediately assume them to be scum.

Traditionally the Kurain Master is never allowed to leave the mountain, and many of the women in the village are very sheltered. Pearly, Mayas younger cousin was raised to believe that there wasn’t even a world outside their village, and that the forest bordering it stretched on forever. Maya had to be told by her older sister about the ocean. Throughout the games there are proven to be extremely unknowledgable about very basic things. Pearly doesn’t know what a watch is. In the games Maya has no idea how to turn on a computer and in the anime she doesn’t know what the internet is.

Family History and Meeting Phoenix

Mayas mother, Misty, was tasked by the police in channeling a victim of a high profile case. In the end, the channeled victim gave the police a false lead to protect someone, which caused Misty to be branded a fake. This information was leaked to the public and soon Mayas family became a laughing stock.

Her Aunt Morgan raised Maya after her Mom disappeared and Mia left. Though this was with the ultimate goal of one day killing Maya, in order to make her own daughter the next Master.

Mia, Mayas older sister became obsessed with finding out who leaked this info and passed down the burden of Kurain Master to Maya. Years later Mia is a successful lawyer and even had an apprentice named Phoenix Wright. Then, on the day Maya and Phoenix were supposed to meet up with Mia, Mia was murdered. Maya arrived first on the scene followed by Phoenix. She was promptly accused of her murder which Phoenix got her acquitted for.

Other cases about Maya Fey

Maya is also kidnapped by an assassin in order to prompt Phoenix to defend a a killer. During this time she is starved over a period of three days to prompt Phoenix to close the case as fast as possible

When her mom finally reappears its because she has found out that there is a murder plot created by Mayas Aunt, and handed down to one of her cousins. Wanting to have the chance to save her daughter but not wanting to reveal her identity, she appears before Maya as a popular childrens author instead. In the end her mother is stabbed right before Mayas eyes, after which Maya had to hide from her killers on an isolated part of a snowy mountain.

Important Info

[ information important to how I characterize Maya ]

Her sister and how she affected her

During her sisters time in LA, due to her quick rise as a prominent lawyer, her ability to think outside of the box and her likable personality, Mia became a well known name between lawyers and police alike . Even among the police who are known to be hate defense attorneys, she was beloved.

Once she passed away, Phoenix mostly keeps Maya around due to her ability to bring back her sister.

Maya hears time and time again from those around her just how amazing her sister was. Because of this Maya feels a lot of pressure to replace her sister, feeling guilt that she could’ve easily been the one killed that day, leaving her sister to live in her place. She works tirelessly to be useful to the ones Mia left behind, most specifically Phoenix who’s debut case was defending Maya in court. She views him as a little brother who she needs to take care of.

During the final case of the first game, Maya has spent a lot of time with Phoenix and hasn’t been meditating enough. Because of this her powers start to leave her.This comes as a big hit to her. Maya has felt that she, herself, is useless and that her only real use is the fact that she can channel her sister. She goes to many lengths to try and be useful to Phoenix. At one point when Phoenix lets slip to a murderer that he has incriminating evidence, the murderer attempts to taser Phoenix, at which point Maya leaps in front of him and takes the hit. In the end Phoenix still gets tasered anyway. When she wakes up she begins to cry, stating how shes useless for being unable to protect him and even saying she wishes she never woke up. Maya has a lot of self hatred for being unable to reach the standards she feels her sister set.

Maya takes very active roles in getting Phoenix cases, to the point that there is not a single case in the trilogy that has not been sought out by Maya (not including the ones that Phoenix had a personal stake in and even some of those maya forced him into)

Morgan and how she affected her

I portray Morgan as someone who was kind of strict but someone very important to Maya. Morgan is someone who was the eldest sister but due to Misty’s, (her younger sister and Mayas mother)  abundance of power, the title of Master went to her instead. This caused a lot of anger and resentment towards Misty and by extension Maya. But as she raised Maya, it wasn’t all bad. There were softer moments. Small shows of kindness that Maya latched onto as proof that her Aunt loved her. I also hc that some of the most intimate moments Maya had with her Aunt is when Morgan was teaching Maya about their history and what it meant to be Master. Maya felt bad for her Aunt because she could see how passionate Morgan was about being Master, and this got passed down to Maya. Even after her Aunt tries to get her killed, that passion still remains all the way to when she’s an adult. In fact, she still loves her Aunt desperately and tries to make excuses for her and her actions.

Also because Morgan had no plans to allow Maya to live very long she did not properly educate or prepare her for being Kurain Master. Because of this I hc that after the trilogy Maya makes a point to get an education in order to properly lead her village and also make changes to the traditions in place that have bred so much hatred and murderous intent.

I think something that people really miss about Maya is that she is actually VERY serious about her position as Kurain Master and is very much willing to concentrate and put in hard work when necessary. For goodness sake the girl spends how many hours meditating. In fact she excitedly signs up to sit on a block of ice to meditate.

I also hc that Maya was supposed to learn how to use the sword because one of the family heirlooms passed down was a sword and a statue of her ancestor is also seen with a sword. So I like to think she tries to pick this up later.

De Killer and what this case says about her

When Maya is kidnapped by the assassin Maya is able to create a way to communicate with Phoenix and give him information that allows him to find her. When the assassin moves her, she figures out a way to leave behind evidence in a way that her kidnapper wouldn’t notice but she knows her friends will. She also leaves behind a letter, comforting Phoenix and her younger cousin, and even actively encouraging him to throw his case. Ensuring him that this is what she wants and that ‘she wouldn’t forgive him’ if he saved her because she knows Phoenix wouldn’t be able to live with himself if he went against his morals as a lawyer.

This speaks heights to how self sacrificing Maya is. She is an eighteen year old girl, slowly being starved to death by an assassin and yet her first thoughts are to comfort the adult trying to save her. Yet she isn’t trying to be a martyr either. She actively tries to get herself saved too if she can. But she lets Phoenix know that if he has to choose, choose his client. Because she knows how it would effect him. In spite of everything that happens she’s still trying to take care of Phoenix. 

Trust and Loyalty

During the last case of the third game, there’s a character called Godot who was in a relationship with her sister Mia. He was in a coma for several years and when he awakes he finds out Mia was killed. He blames himself for not being there to save her, so when he finds out about a murder plot against Maya he takes this as an opportunity for redemption.  In the end Mayas mother is possessed by a spirit that wants to kill Maya and Godot is forced to kill Mayas mother right in front of her. Godot admits to Maya later that he honestly didn’t care much about protecting her and was acting only out of selfish need for a feeling of redemption. That if he truly wanted to protect her he would’ve just told her from the start that someone wanted to kill her instead of creating an equally secret plot to protect her. To which Maya vehemently protests against. Sayig she believed in Godot and that he is a good person who wanted to save her too. That he should give himself more credit. This is just a long set up to explain that once Maya trusts someone she is EXTREMELY loyal to them. Maya even lies in court to protect Godot.

Which goes into another point which is that, Maya is ABSOLUTELY willing to break rules, the law and lie in court. She is only a certain amount of law abiding because the two closest people to her are lawyers.

(i felt like this was a lot of explaining so you can read the explanation below or skip it and watch this video of the cut scene im describing and then get to my thoughts )

PL vs AA is a game in which, during trials, the defendants are in an iron maiden suspended several feet in the air above a pit of fire. If found guilty there are sentenced to death and are immediately plunged into it. 

One of her friends, Espella, is about to be subject to a guilty sentence, and after declaring “this just isnt right” she makes a leap onto the iron maiden, gets it open and orders her to jump onto a nearby chandelier. Meanwhile guards are desperately trying to come in and recapture espella. During this confusion Maya is accidentally caught and shoved into the iron maiden and plunged into the fire. 

Phoenix believes Maya has been killed for a good part of the game and Maya wakes up in a strange land unaware of how to find Phoenix again 

I talk about this scene a lot but I feel like it really highlights just how brave Maya is. Because for a lot of the game you see Maya pushing Phoenix into the line of fire. If there’s a show of danger, for example when El Tigre seems like he’s about to go on a violent rampage Maya hides behind Nick. 

But when it really counts Maya is more than willing to put her life on the line to save other people. Not even for just her friends, but if it just means saving the life of someone innocent. 

Vulnerability in front of others

During PL vs AA, there is of course, a reunited scene between Maya and Phoenix later in the game that many fans found lackluster. Once they see each other, Maya belts out a YOOOOOOO NIIIICK before carrying on as usual. Ive seen countless people redo the scene as something more emotional- more crying more hugging. But honestly I think this was just more in character for Maya.

Maya’s always been the type to put up a strong front if she can. And later on you do get a brief scene of Maya tearing up and saying “I thought I’d never see you again” before she quickly moves on. She’s just not the type to run crying into phoenixes arms and try to bottle up those ‘sappy’ emotions unless she cant do it anymore. She’ll laugh off serious moments if physically possible. 

In other scenes you can see her being very sensitive with other people and their feelings, such as when adrien andrews begins hyperventilating and shes the first one at her side telling ‘take a deep breath and just breath. it’s going to be ok’ 

[five-wow]

mashfanficchick replied to your post “somewhat unkind rachel thoughts: we know she‘s a good liar and can be...”

Yup. That’s pretty much how I’ve always seen it. (I always figured that Grace truly was an accident, but not an unhappy one on either side.) I will say that, after everything with Charlie, I feel like it does Danny’s character a disservice to have him keep going back to Rachel without admitting that it’s a problem. Like, if he ever admitted that he knew she was bad for him, that their whole relationship has been based on a series of her lies, but he loves her anyway, that would be…bad, granted, but less pathetic than that he keeps going back, time after time, seemingly without recognizing that all she does is lie to him. Because (other than believing Steve might one day learn to be careful) Danny’s not one for serious denial. So why does he ignore his and Rachel’s history?                            

@mashfanficchick Yes, absolutely! H50 is not very good at seriously adressing things going on in the personal lives of their characters (for more than a single episode, at least), which would be fine, except for how they keep throwing these HUGE piles of shit at them and then those often just get swept under the carpet, which feels very odd and honestly, like you said, does a disservice to the characters. Danny and his relationship with Rachel are the perfect example of this problem.

Why has Danny forgiven her? HAS he forgiven her at all? Has he stood still for just one second by what Rachel did to him, and the huge impact that has to have had on him (and Charlie and by extension Grace), and whether he actually wants to or even can accept Rachel back in his life as a permanent romantic life partner that he trusts and does not feel a constant lingering resentment towards? None of that is even just alluded to in season 9 (it’s a serious case of retconning, I think), except in the way Steve seems to be a little wary, but then Steve and Danny don’t even get time to talk about that, it’s just kind of there on the sidelines in the background while Steve is still sometimes being smirky about it all. 

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space-ace--ravenclaw-demigod replied to your post “somewhat unkind rachel thoughts: we know she‘s a good liar and can be...”

From the little we've seen of Stan I always thought that he was very hurt but as a rich businessman,(and watching shows like Scandal) his business side does better if he has a wife and family, so that could have been part they played...yeah behind closed doors their love life is shit but they live in splendor so that's the only good take away...he's got to keep his business going so he doesn't have time to really date so that was why he stayed...or at least that's part of how I reasoned it . Also really random but I can’t help but wonder about Charlie’s last name. When he was born, because of Rachel’s lies he would be registered as Edwards, but after the mess that eventually unfolds…I can’t imagine the headache of getting legally changed. And that’s only asking the legal ‘what ifs’ not even going to the 'moral’ what ifs…and just…poor Charlie…I feel like Grace more or less parents him more than Rachel because she’s older now and understands things better and tries to shield and protect her brother from all the things. Because as strong as we know Danny’s relationship is with Grace…i’ve…I’ve never gotten the same with Grace and Rachel. We’ve been given images of Rachel being portrayed as the “caring mother” but I personally never really felt it. This isn’t just the McDanno shipper in me but like…Steve has a much stronger relationship with Grace than Rachel does.

@space-ace--ravenclaw-demigod That’s definitely also a possible interpretation of Stan! It would make sense, in a way, that if Rachel is using him, he’d be using her, too. That would at least explain how their marriage lasted so miraculously long after everything - they were both very hesitant to call it off. (I would feel extremely bad for Grace and Charlie if all of this were true, though. That’s not the kind of household you’d want to grow up in, my gosh.)

Charlie’s last name would definitely be an issue, yes! I thought they did get it changed fairly quickly (possibly through Governor magic), but I’m not entirely sure if that’s actual hard canon or just something I’m assuming/have absorbed from fandom spaces.

And I’ve never really had problems with Rachel as a mother, personally (on a day to day scale - obviously she does some Bad Things in trying to take both kids from Danny in various ways). Grace and Charlie seem like happy children for the most part, and I kind of almost don’t think Danny would have liked her if she didn’t at least have some skills in that regard? Like, their marriage would have dissolved even quicker if Danny didn’t think she was good with Grace, because we all know Grace was his whole entire world. Also, to be completely fair to Rachel, we just don’t see her a lot, and when we do, she’s more often talking to Danny than doing any active mothering. On the other hand that does of course also mean that there’s a lot of room for interpretation there!

[echoheart0324]

*chugs drink and slams hand on table* I never thought I’d go to such a crazy extent, but I got sick of hearing people talk about Blaine in a negative light, so I guess I’m gonna have to pour my whole soul into this, and this might as well be my final big post before I disappear into the void.

I kinda got tired of people saying we know nothing about Blaine, which is kinda true to some extent. However, if you dig around for details and tiny actions, there might be small hints pointing at what might’ve happened. AKA I got a bit carried away about Blaine, since y’all keep pointing out his actions are shady and evil, so I’ll do the exact opposite and attempt to fill in the gaps (or widen them, I dunno. I’ve just been craving to analyze something for ages.).

Anyways this is gonna be kinda long (and a bit repetitive, cuz this is speculation mixed in with my rambling, featuring analysis at it’s finest) and really up to how you interpret his words/actions/how you exactly look at these translations, so all of this is just a very thin stretch (ready to snap or break at a moment’s notice). Who knows, I might be off the mark completely and he may be a villain after all (in which then you can all stab me if you want), but I wanted to at least provide this before my (possible) hiatus day:

()()()

Possible Backstory/Background/Personality Traits/Whatever Else Falls into this Category:

By the look of it, Blaine is well-educated and loves his studies (most likely in the science department if the Dream Eaters are anything to go by, along with his love for books). The name Brain also means ‘noble/son of the judge’ possibly hinting at a high and wealthy status as well. His speech patterns are laid-back and casual, which kinda contradicts his name meaning, but he can also be quite serious and observant (as seen with his explanation about the Player character linking to Strelitzia somehow, his comparison of Skuld to Lady Ava, thoughtfully choosing the Spirits as their first task to help them out in the long run, and figuring out Ephemera as the leader type) if he desires to. His impatience (with Lauriam's arrival and the meeting dragging on) could prove that he's not used to waiting around for things either, though it’s minor and nothing too overboard.

Now this is where the lines start blurring, since the details are kinda all over the place. When Ephemera, Skuld, and Ven are all talking about having friends, Blaine interrupts with, "Friends. Cool." I'm still not sure what the intention was, but he had a smile on his face when saying this, but he never brings up the topic of “friends” ever again. He also reacted quite positively to Ephemera’s teasing aimed at Skuld (while Ven didn’t react at all), which could indicate this type of friendship is familiar to him, but his smile quickly turned into a frown when the topic of lying popped into play. It's a reach for sure, but I don't think Blaine had a good relationship with his friends in the very end. To prove this, Blaine's trust issue with Ava stems off of his morals of honesty, which his friends might've lacked based off his reaction and harsh choice of words. He also seems to avoid a lot of contact with the other leaders, instead focusing on his books and purposely isolating himself as the outsider.

Y'know...maybe Blaine can recognize the leader-spirit in Ephemera because he used to be a leader of something himself (especially judging by how he picked out their first task by himself). Maybe a leader of a party/his friend group? A handful of his personality traits seems suited to such position, such as how blunt he can be, his honesty, his observative behavior, his support (”I trust you’ll lead us down the right path.” -to Ephemera), and quick-decision making backed up with reasonable evidence. Adding onto this, his blunt speech and his quick decision-making might indicate that he's used to serious discussions, and after watching the custcenes a few times, Blaine never seems to argue back at the others’ decisions. He disagrees with the others often, yes, but a heated argument never occurs, since Blaine either decides to go along and accept that he’s not gonna get his way (though unhappy) or the others outnumber him/he gets what he wants. Not once have we seen him angry (I mean maybe we have? It’s kinda really hard to tell with the lack of eyes. He just sorta opens his mouth when he’s upset, but the same sprite is also used when he’s surprised, so??? Let my boy get more original expressive sprites please???). Whatever led to the downfall of his group, might be linked to this (or Blaine’s just a really nice guy. Or both. Both work too), so a heavy verbal argument may have been the key.

This could be why Blaine seems to be pushing Ephemera to the position of their leader, since Blaine regrets (to a certain degree) whatever he couldn't accomplish and wants to guide him on the right path to prevent a similar downfall or the same mistakes he made.

Though it's odd that Blaine was alright with PvP, since it's "just a competition", so I assume there's a competitive nature to him as well, and he received no relative trauma to Keyblade wielders clashing with each other. He also seems to respects privacy to a certain degree (based on his "let's not pry" about Lauriam) and some of his members may have turned to him for comfort, if his friendly brother-like behavior is anything to go by. (No seriously, who says, “You guys are going on a scavenger hunt,” if they’re an incredibly serious person??? Pfft...)

Quick Summary: Anyways, to throw this out there and sum it up, I believe Blaine may have once been a leader of a (hard)core party. His teasing nature shows that he did once have close friends to bond with, but things went downhill, based on his more serious side of his personality and fair distance from the others. The downfall of his leadership/party probably doesn't relate to Keyblade wielders turning their blade against each other, but maybe something more verbally and misunderstandings stacking on top of each other (with lying being involved somehow), where they say things they can't take back. Though based on his position of becoming a Dandelion, I’m assuming the party disbanded early on, since most people became Lux-thirsty once the war came around. Due to his lack of reaction to PvP, I assume he never saw Keyblade wielders fight for Lux in Daybreak Town often, so he must’ve just spending his days inside and reading/running experiments.

()()()

So why are Blaine’s eyes hidden from view on his sprite, but present clearly on his official artwork? After pondering for a bit, I decided to dig in a little deeper to see what I can find. Some sources I found stated that gray eyes could symbolize in for “leadership”, so that could squeeze in for above. On the other hand, the covering of his eyes could symbolize a secret he’s hiding from the other leaders. Note that Blaine has spoken nothing of his personal life, unlike the others. Ven says he’s always been a loner, Lauriam talks about his sister and his relationship with her, Skuld states she and Ephemera were once in the same party. Why is this such a big deal exactly??? There seems to be a connection to having a point where each leader seemed to be alone:

Ephemera: Was the one who left (both Skuld and Player).

Skuld: Was the one who got left behind (by Ephemera).

Ven: Was always alone, so left since the beginning.

Blaine: ???

Lauriam: ??? (I don’t want to jump to conclusions just yet, but I’m going to say...maybe he was the one got left behind...?)

Strelitzia: Had friends, but they constantly left and kept being replaced. Based off of what Elrena says, it seems like she sorta isolated herself, so maybe was the one who left?

Also, Skuld and Strelitzia both seem to have friends who are alive, at least by canon confirmation. After all, Skuld talked about her Dandelion friends a few times, right before she left the Player in KH X. Meanwhile, Strelitzia says things about her friends during her introduction.

Anyways, if this is anything to go by Blaine could fall into one of these categories (the one who left or the one who was left), but it’s kinda difficult to tell since Ven throws things off. Either that, or nothing bad ever happened to his friends, so maybe he never had a lonely period in his life.

()()()

*puts up glasses* So what was all the background dump about? Well, honestly, I just wanted to ramble about Blaine, but *shoves that aside* we’re also here to discuss his innocence and why I think Blaine wouldn’t have the heart to kill Strelitzia:

(Er...skip this “point”, or at least just read what I highlighted in bold and move on. This isn’t even a point, I just got pissed off of the lack of evidence and love for my boy.) Blaine being “just plain old suspicious” is an excuse way too tired out for everyone’s sake. This is why I tried to fill in some gaps with the background details above as well to at least provide some insight into his actions/words. None of his character traits can be seen as evil exactly. Honestly, he portrays a type of kid that’s tired out and wants nothing more but to mind his own personal matters. The gaps I filled in seem like stretches, I understand that, but we all thought the same for Lauriam as well when he was first ushered on stage. Blaine’s been one of our main suspects for ages and his introduction was barely even brushed upon by the fandom when the story update launched. (On a personal note, I think I stumbled upon maybe 3 or 4 pieces of fanart of him on launch day??? I got interested in him to some extent, but my love for him that y’all see today, just came crashing down naturally over time) I saw more people bashing him, cuz “fucking damn it, it’s another dude, but he’s a cowboy” was all that stretched on for miles. Either that or “is that Ienzo cosplaying Ardyn???”. Those were dark times...very dark times indeed. *cough* Back on track, anyways Blaine’s been quite the unnoticed character compared to the other leaders (especially when compared to the other three that came after him), so why make him the killer when he never hit off for the JP and NA fanbase? Nomura heavily values his twists, especially with KHUX, so there’d be nothing of interest if the murderer was just a generic evil-looking cowboy that’s not even that popular with the fans in the first place. Blaine’s also a lot less developed than the other leaders, since he was unfortunately shoved to the side for the sake of filler right after he joined the cast. To a casual (yet devoted, based on how far they shoved aside filler hell) player, Blaine’s just a random kiddo that has no development, motives, and personality (unless you’re highly bored and decide to go on a analysis spree like I am right now). In all honesty, Nomura seems to be pushing us to believe Blaine did it, since he refuses to give Blaine the development he so desperately needs, to give him the ominous and sketchy vibes to make him an easy culprit.

I’m aware that the latest story update shows Blaine as a smart-ass, seeing how he was able to connect Strelitzia and “the person she’s interested in”���s supposed fate so easily. This puts the spotlight of suspicion on him, correct? Well, I’ve read my fair share of speculation posts for the past few days and everyone just naturally assumes it’s Gula that did the dirty work. I already posted an ask earlier on this topic and I’m not in the proper position to argue such a point all day, but I also don’t think Blaine could possibly be Gula either, or that Gula committed the murder himself. 

*plops onto chair* So while I clean off Blaine’s plate, I’ll clean off Gula’s too...so I realize that y’all naturally assume it’s him due to the rather convenient timing and his ominous quote after defeating him in battle. If you do believe in this theory, may I ask you: “Then why didn’t Gula attack Skuld and/or Player (evidence is provided below)? Also, how would you explain the sudden change in sprite?” If you pause right before Gula steps outta the shadows to fully reveal himself, we have his blacked-out silhouette, which heavily differs from ‘Darkness’ + the sprite we saw at the warehouse when Strelitzia was killed. I also doubt that Gula would change outta his robes at that exact moment, minutes before Strelitzia’s arrival (since we now have confirmation that their talk occurred before Strelitzia came along a little bit later), especially since we see him again in the same outfit at the war (when everyone’s getting prepared to fight). Lord Gula also questioned if they came inside the warehouse to search for Ava, since they’re skipping out on collecting Lux, clearly aware of the Dandelions. *cough*

Anyways, as I was saying about Blaine, I believe he’s genuinely trying to help Lauriam find Strelitzia. His morals stand that he despises lying with a whole passion, still holding up as he doesn’t seem to hesitate to speak his thoughts to the others, so I doubt he’d lie to cover up his tracks.

Though, on the other side, there’s one thing that’s holding me back to say he’s innocent completely:

To contradict myself, there was someone that pointed out that Blaine called the Foretellers’ Chambers, the Master’s room instead, having a similar tone to ‘Darkness’ calling the Master of the Masters, just ‘Master’. I dunno either...I just hope he’s innocent, but that’s just wistful thinking at this point.

In all honesty, I was going to go into full depth into how Blaine could be innocent, but the lack of information surrounding Blaine makes things a lot more difficult than it should be, and I kinda grew tired of trying to piece together things for hours. Maybe one day I’ll make a Part 2, but I just wanted to dish this out there, before KHUX updates and does the opposite of what I just said.

Feel free to add on, I’m just tired and rambling at this point!

[tnbc-thoughtsandheadcanons]

Sally & Dr. Finklestein

Out all the years I’ve spent being in The Nightmare Before Christmas fandom, I still am so conflicted about their relationship.

So, for those who ARE involved in the fandom...there are two popular ways to portray the Doctor and Sally’s relationship: either father and daughter or husband and wife. I’ve seen both of these in fanfictions, drawings, and backstories/headcanons from fellow TNBC fans. They are both wonderful headcanons and theories. I think they’re great ways to look at the movie.

Personally, I’ve always been in a mix with these two??? I’ve constantly changed my headcanon from dad/daughter to husband/wife about 3 times now. I find myself conflicted on deciding which of them is closer to canon. You can really argue about it all you want but, ultimately, it’s up to the fan to decide for themselves.

Let’s discuss!

The first (and obvious) thing to note about the Doctor and Sally is their...complex interactions. What we see first in the film is the Doctor dragging Sally away from the Halloween celebration, saying that she isn’t “ready for so much excitement”, in which Sally argues that she IS. She eventually solves this by pulling her stitch and causing him to fall over in his wheelchair, running off and hiding in the graveyard.

We repeatedly witness this in the film - Sally striving to leave her home(and possibly the Doctor). She slips deadly nightshade in his tea, into his soup, and sneaks off while he’s working. She says this is because she’s “restless”, and we see that she only leaves for Jack. All three times she abandons the Doctor, it’s for him - to go out and celebrate Halloween, to go and give him a gift, and to try and help save Jack in time.

It’s also important to note that the Doctor calls her pretty unfavorable words, such as ”treacherous”, “foolish”, and “wretched”. He does, however, also refer to her as “dear”, and there ARE moments where he talks to her softly and appears understanding. It’s clear that the Doctor doesn’t outright hate her - but Sally’s attitude to him is pretty distant and constantly rebellious. She’d rather be out risking her life for Jack rather than staying in her room to please the Doctor.

Because of Sally’s lack of compromise, the Doctor decides to replace her at the end of the movie with a practical look-a-like to himself. The moment we see him WITH that creation, he appears much more happier than he was before and even calls her his “precious Jewel”. This is a big comparison to him when he’s with Sally.

So...what does all of this mean?

From what I can gather, the Doctor’s purpose for Sally is never truly revealed(it’s impossible to find within the story). But whatever he had meant to create her for - either wife or daughter - Sally clearly didn’t want the role, or she did really poorly accomplishing it. She got into the habit of spiking his food and repeatedly sneaking out. The Doctor wants to enforce whatever he had meant for her, insisting that she’d stay at home with him and not outside with the others.

Sally’s unhappiness with Finklestein can be caused from how he treats her at home. She has bars on her window, a gigantic lock on her door(that can only be removed from the outside, nonetheless), and the Doctor’s ceaseless grasp on her. His strict rule of forcing her in her room must’ve suffocated Sally to the point where she BECAME restless. She longed for the outside world because it wasn’t allowed to her. And what is in the outside world? Jack. He was her whole purpose of leaving Finklestein.

But what about the Doctor’s end? Why does he want to keep her home so badly? Well...we don’t get enough closure on this to know. But his replacement for SALLY was a DUPLICATE of himself...this reveals that Finklestein just wanted to share his similarities with someone. He hints that his “conversations” with Sally weren’t “worth having”, and he convinces himself that the perfect replacement for her would be someone EXACTLY like him. Someone he could relate to - someone that WASN’T distant. A carbon copy of himself, if you will.

After all these complex factors of their relationship...it really makes you wonder. Why would the Doctor appear so affectionate for Sally’s replacement if he hadn’t MEANT for that role to be hers in the first place? Why would he desperately keep trying to get her so close to him if he knew already that she wanted nothing to do with him? Why was he hanging on so tight to her for so long?

Of course, there are plenty of other hints in the movie that he looks more to Sally as a daughter of his own. The whole charade of “keeping her in her room until she behaves” is good proof of this. But deciding WHICH role he intended for her is difficult to decide with all these open-ended interactions with them. They act so much like a father and daughter...but the reason why the Doctor did what he did leans more towards “romantic” more than anything.

The Doctor and Sally’s relationship is, at best, unrequited. The Doctor wants Sally to stay with him, but she would rather be with Jack. He made her drift away by how much he clung to her. There’s really not enough closure on either end to decide if Finklestein and Sally are more father/daughter or husband/wife. It’s really up to the fans - there’s just not enough information to see which is canon.

What are your thoughts on this? Do you guys see them as a thing or just family? Please let me know. I’d love some more input.