#and it also recontextualizes not just the line itself but also The Relationship

[bestworstcase]

Your post re: Salem's attitudes towards magic got me thinking about "Why spend our lives trying to redeem these humans, when we can replace them with what they could never be?" from Lost Fable again. I'm finding it a little difficult to blame people for believing she thinks the current crop of humans are just inferior when the only subject on offer in that sentence is "these humans." Of course when you stop to think for two seconds why Salem says or does anything she does it makes total sense that her hangup is with the gods, but that just makes me wonder even more why write the script like that? How unreliable is the direct dialogue in Jinn's vision supposed to be taken vs. her narration? (The simplest read of that episode seems to be of course the narration is biased per the question asked, but otherwise it's a frame narrative for the flashbacks which may or may not be more objective portrayals of events. The fact that the characters are also physically witnessing these scenes means they can't be 100% objective I think, but still leaves open the question of what's skewed and by how much.)

Unreliable or not, it's just a surprisingly absolute statement to put in her mouth considering how often we're invited to question her motivations everywhere else.

i do take the dialogue in the lost fable to be accurate to what the characters said, perhaps with some smudginess if what we’re seeing is ozpin’s memories exactly – in which case the dialogue in scenes he wasn’t present for is suspect because it’s what he imagines was said based on what salem told him, and the rest is probably closely accurate paraphrase because no one could be expected to remember the exact wording of conversations from several thousand years ago! but even then i would expect the parts he was there for to be reliable enough. 

so much rides on the lost fable and specifically this one line that it would be beyond cheap for the resolution to be “she didn’t say that at all, actually.”

the first time i watched the lost fable, i did intuitively interpret that line as salem alluding to the gods – so i think there’s probably some degree of her statement reading as ambiguous or not ambiguous depending upon how one habitually uses the word “redeem.” specifically: how precise one is about the verb requiring an indirect object. 

to ‘redeem’ something means to take some action to settle a debt, or redress a wrongdoing, which—inherently—implies the presence of a creditor or wronged party. in some contexts, the implied creditor is only an abstraction (think “the city’s robust public transportation is its only redeeming quality”—redemption is used here in a figurative sense to mean that the one making the statement dislikes everything but the city’s transit system); and in casual speech it’s fairly common to leave off the indirect object if it isn’t necessary to identify the wronged party (think the common phrasing of “so-and-so redeems themself”).

but while it isn’t incorrect to drop the indirect object, necessarily, there always is an indirect object; it isn’t possible to redeem a debt or a wrong that doesn’t exist, nor to have a debt without a creditor or a wrong without someone wronged. (as an aside, this is why redemption arc discourse tends to always be arguments about forgiveness—redemption does, inherently, definitionally, necessitate forgiveness—and this is also why i’m pedantic about differentiating ‘redemption arc’ vs ‘atonement arc’ vs ‘villain-to-hero arc’ and dislike the popular usage of redemption arc as an umbrella term.)

anyway, in simpler terms: when salem says “redeem these humans,” the apparent meaning of the next clause depends on whether or not one is predisposed to hear that phrase as a clipping and mentally append the implied indirect object, which makes her complete statement “why spend our lives trying to redeem these humans [from my sin in the eyes of the gods] when we could replace them with what they could never be?”

<- and then the question becomes, which “them” is she referring to? “these humans” or the gods who will judge whether redemption has been earned? her elision of the gods is entirely within the realm of common vernacular, and salem is a character who regularly circumlocutes (and earlier in the lost fable itself we have ozma’s quizzical “what are you saying?” signaling that salem’s speech is cryptic or confusing – because ozma doesn’t understand her; this is an intended trait versus the writers fumbling), and she says this in a moment of emotional distress (which she mostly bottles up, but while ozma is explaining all of this to her she’s leaning on the desk with her arms folded, listening intently – this is the same posture she has when she’s huddled in the shadows making herself miserable with conjurations of her children in 8.4).

so there’s quite a bit of weight here on the side of, “salem just discovered that her partner has been manipulating her into serving the gods she abhors throughout their entire relationship, she’s deeply shaken, she isn’t awesome at clearly articulating her thoughts in general; is it really surprising that she might misspeak to the tune of saying ‘them’ in reference to an (elided but necessarily implied) antecedent of ‘the gods’”

it (clearly) isn’t going to occur to most viewers as an obvious interpretation of the line, but i think it’s well within the bounds of what is reasonable for the narrative to later reveal that salem really meant this, particularly given how deliberate and how clear the storytelling themes are. definitely a risk, because some section of the audience is undoubtedly going to feel lied to and cry retcon, but rwby takes creative risks all the time.

and then there’s the ‘fairyales of remnant’ piece of it – the anthology is very much in dialogue with the lost fable across the board (on this see also ‘the two brothers’ presaging the thematic treatment of the brothers in v9, and ozpin’s paired commentaries on ‘the infinite man’ + ‘the girl in the tower’ being discussions of truth, propaganda, and forgiveness). so why does ‘the shallow sea’ begin like this:

Long ago, before the fish had scales, before the birds had feathers, and before the turtles had shells, when our god still walked and crawled and slithered the earth, there were only Humans and animals. (And Grimm. There have always been Grimm. There will always be Grimm. But those creatures don’t figure in this story, so just put them out of your mind, if you can.)

and end like this, after a story about the god of animals leading their chosen people to transform by submersion in magical waters, to the horror of those humans who refuse to change: 

From that moment on, there have been animals, Humans, and Faunus. And the descendants of the Humans who turned away from our god’s great gift have always carried envy in their hearts. To this day, they resent us for reminding them of what they are not and what they never can be.

humans and animals (and grimm) -> animals and humans and faunus, and the last line – the mythic explanation for human hatred of faunus – is a nearly direct repetition of the last thing salem says in the lost fable?

now obviously not everyone can be expected to read ancillary material like the fairytale anthology, and that’s why the shell game with the implied indirect object matters; but it is interesting that ‘the shallow sea’ is stated to be a very old oral tradition (one which “contains deep truths,” no less) and that it repeats that line in a context that is quite plainly not about genocide – but rather cultural pride in the face of intense, often violent, persecution. 

this story also 1. explicitly belongs to a closed tradition, and 2. is (obviously) one ozma knows despite there being no indication that he’s ever reincarnated as a faunus. which – together with the story’s age – adds up to at least the implication that it is possible he heard this story from salem, because the reasons she might be conversant in ancient faunus oral traditions are. well. obvious. 

…and if that’s so, then ‘the shallow sea’ as written in the fairytale anthology completely recontextualizes salem’s last statement in the lost fable as salem quoting from a faunus creation myth both she and ozma knew in order to express her rejection of the brothers’ mandate, which would 1. neatly explain why ozma seems to have understood exactly what she meant even though none of the lost fable witnesses picked up on it, and 2. provide an elegant and very simple opportunity to ease the general audience into this revelation by having a character in vacuo retell this myth, using that same closing line. you don’t even need to mention salem directly – the turn of phrase is memorable enough that a lot of viewers will go “…why does that sound eerily familiar” and that plants a seed for later. (or if you’re going for more of a sudden record scratch moment, salem is the one declaiming.)

from a character standpoint, it also makes a lot of sense for salem to respond to ozma in this way – his liking for stories is, one presumes, not a new thing that developed after the ozlem kingdom’s collapsed, and he also clearly isn’t just cynically using fairytales to deceive and manipulate – else he wouldn’t have apologized to the kids by referencing ‘the girl who fell through the world’ and comparing himself to alyx. stories are just important to him and part of how he communicates.

so if salem heard everything his god told him and then said “no, none of that matters, why spend our lives trying to redeem these humans when we could [paraphrases the conclusion of a story where the hateful envious people who refuse to change are simply sent home and not allowed to live in the harsh but free new world with the people who chose to embrace change]” – she made an effort to say what she meant in his language, and what she meant was either 1. figuratively associating the brothers with the envious humans who were sent home and “these humans” with the faunus who were now free to determine their own fates, or 2. “okay yeah these humans aren’t great, have you considered more faunus as a solution” (<- this would be extremely funny if it turns out the shallow sea is a more literal story than i think it is, but i think it’s much less likely).

more broadly, to the question of why the line is written that way – i can only speculate based on what i would be thinking in the writer’s shoes, and the overall structure of the narrative around salem – but i imagine the absoluteness is sort of the point. it’s meant to be a really shocking and frightening thing to hear coming out of her mouth, while also being, if you pause to think very precisely about what she said, quite plausible as a verbal stumble – the alternative antecedent of “the gods” for “them” is implied and eliding the indirect object of “redeem” is common vernacular – and then there’s this other possibility hinted in an ancillary text that she might have actually been quoting a story as a verbal shorthand both she and ozma understood. 

there’s a narrative expectation that the viewer will be right there with the kids making the same snap judgment about what salem meant – because i think the kids all absolutely did take this at face value as a statement of genocidal intent. the story itself is structured like a nesting doll such that each new revelation appears at a glance to be the whole story, but isn’t and in fact has large gaps and details that don’t add up which become glaringly obvious as soon as you reach the next layer and look back, but if you’re paying careful attention as you go it’s also quite possible to piece together the missing pieces. 

delivering information this way trains the audience (…mostly) to expect that the information we’re given is incomplete and maybe not wholly accurate. the advantage here is that even if the vast majority of the audience is completely blindsided by a specific reveal, for most viewers that’s going to feel really exciting – this happened in v9 with the lore reveals about the brothers, massive overnight reversal in the mainstream fandom views of darkness with the general mood being that it was cool – as opposed to feeling tricked or lied to by a “retcon.”

and that builds up a certain kind of trust, that the story is a puzzle but it isn’t going to cheat. it’s also a bit of a challenge or an invitation for the audience to try to figure out what’s coming, like a mystery.

with salem, i’d bet that one line in the lost fable is supposed to seem weirder and weirder the more you think about it, because… why doesn’t it track with anything she says before that point in the lost fable? why does the story begin with salem waxing poetic about humanity’s virtues? why does the narrative make such a big deal out of nobody knowing what salem wants AFTER the main characters witnessed a seemingly open-and-shut declaration of her “true” intention?

at the same time, the amount of explanation required to argue for an alternate interpretation – even if it’s really not complex or a reach – compared to the ease of just taking the statement exactly at face value, in and of itself is both a misdirection (most of the audience will take the path of least resistance, and hopefully enjoy the journey the story takes them on while leading them to the eventual right answer) and sort of the thesis with respect to the storytelling themes. salem thinks coolsville sucks!

but i am also very willing to consider (because of my own intuitive reaction to the line) that the writers perhaps did not mean for it to seem quite as unambiguous as the general audience and most of the fandom ended up taking it, because if you’re spending a lot of time immersed in a specifically theological context regarding redemption (which the writers probably would’ve been, given the importance of the religious narrative in the lost fable and in relation to this line in particular) – and if you’re also in the habit of being very precise and careful about how you phrase things (which is true of how rwby is written in general) – and if you’re writing what might be the most critical episode in a complicated puzzle box story, whose fulcrum is a red herring that is also meant to provide a clue to anyone who thinks to look at it more closely and with an open mind — then yeah i can see a scenario where the writers may have felt that the specific wording of salem’s statement was more ambiguous than it actually is. in which case the echo in ‘the shallow sea’ might have been a bit of an effort to correct course by giving the subset of fans invested enough to read the fairytales (<- the cohort most likely to be keen to unravel the puzzle) an additional hint. who knows.

[mae-i-scribble]

I'm doing a very slow reread of orv with some friends, but since I can't talk about my spoilerous rambles with them too much I have decided to make a post here to get my thoughts out. Up to chapter 25, I've been surprised by the amount of little hints we're already getting for larger plot points and the things that are recontextualized now that I'm looking with hindsight rather than experiencing it for the first time, which really speaks to how phenomenally written orv is on a fundamental level. By the time we get to the 3rd scenario, we've had Dokja mention his mother once, when he briefly worries over her safety. Then we get this line:

"I looked around at the people. The first scenario was original sin. Thus, none of the people here were innocent. That made it more disgusting. Those who trampled on someone else to survive, who couldn’t even bear responsibility for their own life."

Of course it's firstly talking about the lack of morality in this world, when faced with the truth that between the major and minor groups of Gumho station, one fact makes them equal: they are all murderers. The use of the phrase "the original sin" caught my eye because when looking at Dokja's life, murder is his original sin- the murder of his father. That is what sparks the events leading up to this point. It is the true original sin of this world. However, that being followed by "That made it more disgusting...who couldn't even bear responsibility for their own life," is rather hypocritical in that regard. We have no way of knowing exactly how much of that night Dokja remembers at this point of the story, so there are 2 ways to interpret this in regards to his father's murder. 1) Dokja does not remember that he murdered his father, but remembers that his mother had taken responsibility for her crime and served her sentence. In regards to here the people of the minor are far inferior because they cannot adapt the way Sookyung did to their crime. 2) Dokja does remember that he murdered his father, and this disgust is equally leveled at himself, because he knows his mother is innocent but that she took responsibility from Dokja. Thus Dokja of back then is just like these people, unable to take responsibility for his crime.

Then, later on, we see the text, and Dokja specifically, focus on this particular pairing in the minor group.

"The people started to move. All in all, they were people who had already killed. “M-Mother!” “Dayoung, come here! Do this! Just like what you did on the subway with Mother!” Children and mothers."

Then in Chapter 25 we have:

"I honestly admired that the mother and child survived the bloody fight. If she had that much strength, they might be able to survive without going with us."

The English translation doesn't exactly lend itself to identifying the gender of the child, and I am miserably monolingual so I'm not sure if the original text specifies Dayoung's gender, but for thematic reasons I'm choosing to imagine them as a mother/son paring. In that regard, Dokja choosing to notice them out of everyone else, when he's an extremely apathetic person in these early chapters who doesn't care much for those not directly related to him or the story/his survival is very notable. I can't help but think he sees himself in that, as both the son of a murderer and a murderer himself. It's also notable that when complimenting the pair, he only focuses on the mother's strength. Which like. The subconscious projection is so real. To Dokja the child didn't do anything it seems, it's only because of the mother's strength that they will be able to live on. I'm sure I will be back to add more info on this as I trudge through the novel because Dokja and Sookyung's relationship makes me mentally ill all the time but for now I shall simply lay down and ponder(tm)

[fairytale-poll]

ROUND 2A, MATCH 6 OUT OF 8!

Propaganda Under the Cut:

Queen Cinderella Charming:

She's kind, she's funny, she learns to use a sword, and she's related to Snow White, Sleeping Beauty, and Red Riding Hood. She helps the protagonists any chance she gets and even hosts their mother and step-father's wedding. She never gives up and  never lets her fear stop her. Absolute queen (literally) &lt;3

While she isn't hugely relevant in the story itself, she is always down to help out the protagonists where she can. When they need one of her slippers, she sneaks it into their bag without them noticing. She calls them family. She loves her daughter too, and is a badass mom.

When the main characters need her glass slipper for a spell, she snuggled it into their bag, and she has a daughter named Hope &lt;3

I think she’s a minor character in the first book, but she’d really nice and stuff!

Because I LOVE HER!! also she has a daughter called Hope who got kidnapped by rumplestiltskin at one point but that is besides the point. She is a strong independent woman and we love those she was NOT about to sit around doing nothing and i love her for that

Vote Land of Stories Cinderella because she's the best!!!

Elegance "Ella" Coach:

Ella fights for labor reform! I just reread the book intentionally so I could make propaganda for her but now my head is empty only LOVE FOR ELLA. She has two (gay) fairy godfathers, she worked in a sweatshop where her mother died, she has a well-developed with her prince, Dash Charming. The glass slippers are a very important motif even though she doesn’t actually get a pair herself because she was a secret fairy godparent case because the fairy godparent organization had become corrupt and wasn’t helping needy children, only the rich. It’s a sequel to Grounded which is a Rapunzel story, but Disenchanted stands alone in the same world and it’s my most favorite of the two!! She’s so kind and helps institute kingdom wide labor reform and ahhhhhhhh

Former child laborer who wants to use her family's newfound privilege to fight for workers' rights. Brave, smart, and compassionate, although she can also be reckless, because she's just a kid and she deserves BETTER. Actually has a good relationship to her step-family, who are badass and Black like her, and there's this really touching moment at the end that recontextualizes things a lot and it's very sweet and cool worldbuilding. Her fairy godmother is two gay contractors who overthrow their boss for being complicit in a corporate espionage/coup scheme. She has a nice and believable relationship with her prince, who is a fucking dork that learns to be less of a privileged idiot and would absolutely put his ass on the line for her in return. She's just so GOOD and Disenchanted is UNDERRATED, everyone go read it.

Her goal is to improve workers rights, directly inspired by the 19th century textile industry, right down to child labor and workers getting locked in factories. Her mother died working in a sweatshop. She struggles with her working class upbringing and her new upper class status after her father's invention made them rich. Not afraid of breaking the law. She's so cool and her book is so good.

[heretherebedork]

Curious to know your feels about the 1000 Years Old finale. You didn't post much about it. Maybe that's a commentary in and of itself LOL.

Part of the answer is that I struggle with watching things out of my usual schedule and had a very busy weekend so I'm just getting around to actually watching the finale episode after knowing all kinds of spoilers. I am actively writing this response as I watch the episode. So enjoy my live thoughts on your ask.

And, so far, my entire reaction is that they crammed way too much here in the end. They needed to spread this out more than they did and I get parts of it, I like having the soulmates reveal only at the very end...

But there's a lot of plot and seriousness that they just didn't touch on enough and that I think including in the rest of the show would have improved it greatly as well as helping with the pacing struggling most people had.

If more of the Janja plot had been genuinely spread through the show and more of these serious moments and the understanding of their agreement and relationship had started earlier I might care more about this. But I don't care about Janja at all! I just don't! I wasn't given reasons to care until the very end and that's not enough for me.

Also, having Yoh not fight for any of it really did disappoint me but the director of this show, as seen in multiple other shows they've done, seems to have a thing for one very passive character in the main relationship who will just Allow Things To Happen To Them without ever fighting back. And I never like that, frankly.

Yes, they dropped a few hints here and there but it just isn't enough to tie it all together in this show itself.

It's not a bad finale, it's not the worst, but the end of the show feels so rushed compared to the rest and us not getting all the fluffy times together only to be shown a single scene at the end of a long happy life instead of the time together that I want to see.

I like domesticity, not the end of domesticity.

I get why people liked this ending. I see how people who rewatch things, especially, will enjoy the recontextualization of the show.

But for me? It made everything feel rushed and the rest of the show feel almost empty and slightly worse in comparison. Either we needed more plot or less episodes for this to work.

(Every time I see Somchai I am sad we did not get Somchai and Shin. Every single time. Come on. You crammed this much into the final episode, you could have given me more of them somewhere else!)

Also, I love his random bodyguards, whoever they are. Love them.

Also, this year long time skip is stupid.

Seriously, I am deeply frustrated by Yoh literally finding out they're soulmates and then just... completely abandoning Pun and leaving entirely. It's not interesting to see him just give up and it makes him the most passive character ever. Which we also had in I Will Knock You and, frankly, in 2gether. That's just The Style.

JANJA LITERALLY TOLD YOH SHE WAS GIVING HIM PUN BECAUSE PUN WILL NEVER LOVE ANYONE ELSE. Whatever, at least the confession and whole thing is done and now they can be soulmates together.

9 minutes of happy ending is not enough. Absolutely not enough. Yes, it was cute. Yes, it was a happy ending. But it's just not enough and it leaves me wanting more and wishing that the show were paced differently.

(Still sad we couldn't get any more Somchai and Shin, we deserved more.)

Edit Okay, I didn't mention this originally but I actually hate that the soulmate/reincarnation line takes away the power of Yoh's gift to Pun being his first birthday present. It really bothers me because that moment was one of the my favorite moments and the finale just made it not matter at all and turned it into something much less important and takes away a lot of the importance away of Pun wearing the cross and it BOTHERS ME A LOT.

[fiercestpurpose]

The more I think about ICDIWABH the weirder it is. I’m gonna be talking a lot about Taylor Swift as a brand and a celebrity here. That’s because I think it’s relevant, but rest assured that I know that she is also a real person with real actual feelings. In discussing the brand that she has carefully cultivated and works to maintain I am not implying that any of her feelings are fake or anything. I’m just speaking about a specific aspect of Taylor Swift.

Lots of celebrities have a thing where they cultivate a relationship with their fans. Taylor Swift is a bit more extreme than most, since closeness with her fans has consistently been a part of her brand. So when she comes out on tour and tells us that it’s great to see us, we believe her! We’ve built up this relationship with each other and it’s important to her brand that we maintain the idea of this relationship existing.

ICDIWABH shatters that illusion. It violates the contract we’ve formed where we mutually agree that we care about each other and we are all having the time of our lives at her shows. On the other hand, it also functions to deepen our connection with her, as she is sharing her “real” thoughts despite the fact that they go against the branding. This reinforces that we are allowed intimate access to her because we’re her friends and she chooses to share herself with us.

So the song itself is already walking this weird line. But then the lyric video is the lyrics about how miserable she is during the tour superimposed over images from the tour. The video is cut to make the tour look sexy and fun, because of course it is, because it’s in her interest to sell the tour as sexy and fun. And so the lyrics about her treating the tour as her job (instead of something that is actually fun for her) are being placed over this image of the tour as really fun. It’s a song about how the tour is work instead of being fun for her, but the song is fun, and the video is portraying the tour as fun, turning around and spinning this song that undercuts the branding into part of the branding.

There are also parts in the video that specifically cut to moments onstage when Taylor was looking sad or smiling or winking. And some of these are probably staged moments, like moments when she looks sad because she is performing a sad song (for example, “my tears ricochet”) and the performance of that requires her to perform an emotion other than joy. Given the lyrics of the song, these moments are being recontextualized as her actual feelings coming through instead of being part of the act. So using those moments, which are part of the act, as representative of her not performing the act, in a song that is about not performing the act but is being actively made into part of the act.

The levels of branding here are really dizzying to me. The song and especially the lyric video are layering meanings on top of each other quite thickly. It’s impossible to speculate where the real feelings of the artist lie in all this, which is why I haven’t tried. What is interesting to me is the presentation of certain feelings as real or performative and how those are renegotiated several times by the tour/the song/the video.

[cherry-berry-candy]

How do we feel about TEoD?

so, overall my feelings are... mixed. some of the problems i had last episode seemed to be confirmed, there were some themes i wasn't expecting (pleasantly surprised), and there were some themes i wasn't expecting (unpleasantly shocked)

soooo time for another cut and a lot of thoughts (including a lot of complaints, be prepared) (also, nyx did a lot of writing for this oops)

TRUMAN SHOW

(i promise this isn't our main gripe lol)

okay, first thing's first, elephant in the room- tv show theory wasn't confirmed. well... not necessarily confirmed, but still very possible. the TARDIS crew not-quite-literally (or was it literally...) watch previous episodes on a television screen, and mrs flood is mrs flood. or, is she? we'll get back to her.

so, we know people have said that this is more than likely not the end of the current story- we should wait to see where the second block of 8 episodes go! usually we'd agree with this, but we take issue with something for this particular theory. we're going to explain why we think this season is worse off without a confirmation for this particular thing- assuming it's accurate.

take mrs flood for a moment, in isolation. she does some odd unexplained things- saying ominous stuff, knowing things you wouldn't expect her to, speaking to and looking to camera, etc. that we don't fully understand her now is fine- there's a bit of mystery to chew on, and it doesn't take away from the enjoyment of the episode, unless we assume that the explanation won't be sufficient.

the tv show theory explains a lot more than this, though. yes it recontextualizes in-universe events, but it also recontextualizes the experience of watching the show itself. the relationship between the doctor and ruby growing so fast, the anachronistic music in Rogue, the musical number in The Devil's Chord, the choice to not show hardly any moments before or after adventures, and more.

before getting an explanation of these things, i feel these things are distracting. this doesn't feel, to us, like the type of thing that should be a long game. obviously, there's plenty more than enough for us to pick up on to give the impression of tv show theory being real. but, for anyone not digging into this, hoping, praying for an explanation for the oddities, like we have been- this is just a series of strange choices.

even for me, someone who is all aboard still- this is a full season of show! maybe "full" is an odd word for it being so short, but there is some intention of a contained arc in these 8 episodes. so, in some sense, it should be taken as its own. and on its own- these choices are unexplained. even if they get explained later, i think this season is forever weaker for it.

Thoughts from TLoRS

(and how they were affected by TEoD)

we made a post following TLoRS with some issues we had, that might be resolved by the end of TEoD. so here's how those panned out, in our eyes

im going to skip over anything that's just "well, tv show theory isn't confirmed yet, so this is still weird! ¯\_(ツ)_/¯" to avoid redundancy.

some characters- in particular, rose noble, ibrahim, and carla- didn't do anything this episode. just like they did nothing last episode. so why were they here lol. carla being in this episode being seen getting turned to dust im alright with. but what's the point of the other two? why did carla need to come to UNIT? it seems like the reason rose was here was to bring carla in- especially since she just stands around, even when everyone else is firing at the TARDIS. she only gets one line upon waking up. and i don't think carla contributed nearly enough to TLoRS to justify either of them being around for this story. ibrahim doesn't seem to have a reason, even outside of that. lol.

one could argue that carla was brought to UNIT so mrs flood could have an excuse to be alone with cherry (oh hey. nice name sagkjsjakdg). but like... why did that need to happen? like, okay, mrs flood needed to spout some ominous stuff to camera, but she couldve done that to carla, no? or just done it to cherry with carla just... in the other room? especially with mrs flood's only role in this episode being to ~be mysterious~. a little of our feelings on this is flavored by That One RTD Interview, but... it just feels pointless to do it this way! maybe it'll be clearer later why we needed to have mrs flood be ominous to cherry specifically, specfically without carla around but... idk.

the thing with the radio reading "15:08" and "service not available" before susan's speech (immediately following Carla saying "go and get her!") still don't mean anything, yet. i guess. we saw it flicker a bit more, and see that 24 minutes passed (there were still nearly 36 minutes left in TLoRS when we saw the radio that episode. wonder what's up with that) but otherwise nothing.

the themes around sutekh actually did sell me on him being here! the idea that the doctor has been bringing death wherever he goes is a great one to explore this way! the reveal is still the reveal, but i was happy with the them explored here, and ill get more into that later down the road in the next section

FINALLY, THOUGHTS ON THE EPISODE ITSELF

(still ft. some broader season thoughts, but more focused on this specific episode)

can we stop writing kate to be just. fully stupid. please. im tired of her just firing at gods like it's going to do something. im fine with her being morally funky because UNIT but oh my god.

the "there will be birds" line is cringe and out of nowhere and lame. LMAO like. i don't think i could put it in any way that's smart. it's jarring for her to say such a flowery line before she dies and it's odd and it's cringe and it's lame

satisfying susan (triad) explanation. neat

god we love 15. "ruby roo"? "melanie b"? absolutely lovely

the doctor closing the door behind him on all the death he's caused? mwah. chef's kiss

not going to think about the DNA data existing in 2046. it doesn't matter. not thinking about it

"i traveled to all those worlds. i thought it was fun." what a great parallel to the archeologist from Pyramid of Mars that the narrative once defended. someone smarter than me could say more, but im too busy complaining. oops

didn't watch the tales of the tardis, but from the outfits it seems like they slotted it chronologically in the middle of this episode. neat!

"cultural appropriation" is a response that tickles me, and is also appreciated. glad the acknowledgement is made. that said, i saw some people still taking issue with the portrayal here so... maybe that growth isn't all the way done yet.

the doctor not acknowledging that the 4th doctor was him is so interesting. it also recontextualizes him calling 14 rose's uncle a bit- he really is trying to separate from who he used to be. maybe this also adds to him still not visiting susan. this also plays into the theory that he was straight up lying about having healed from 14's experiences- this too could have been him trying to separate!

if you can't tell, im saying all this as i rewatch the episode. not much to comment on where we're at, so a good time to bring up- the effects struggled in this episode, just a bit. the greenscreening of the og tardis in the time window was a little rough, and the makeup is (imo) noticeably worse. or rather, noticably noticable. maybe it just shined in the lighting of TLoRS? it was odd.

feel like "silence can reign" instead of quoting "silence can fall" is a potential missed opportunity? this one doesn't matter really, i think i'm just surprised

also i was reaaaally think this was going to be a "ruby is a devilspawn" moment, it almost feels like it was teased? idk, maybe i just was theorybrained. lol

oh okay. the tardis just has a laser beam in it. alright. sure i guess

this face is so fucking funny to me LMAO

okay i actually don't really. understand what's happening in the vortex here. like what is the cause and effect. idc that it's supernatural i just don't understand what the supernatural thing is. maybe that's a me problem.

the corniness of them all silently stepping outside... okay

okay other people brought it up before but. what about all the identical-looking susans across the modern day 😭like are they just gonna live their lives and no one's gonna think about it?

wait how did they. how did they get the data on ruby's mother. why didn't they just do whatever that process was before.

just some girl! okay, sure! i like the idea that she wasn't actually special, there were just weird circumstances that caused everything-

"we invest things with significance" awww that's kinda sweet actually :)

...

okay but hold on. what was the snow all about though. why could ruby create snow around her. and why did the memory keep changing. and what made the 66.7 meters relevant to her mother and to 73 Yards. and also...

this season has done a lot with myths and stories and such, but usually there's something... more to it. as there has been in other episodes like this in previous eras, too! in space babies, the spaceship creates something from stories. in 73 Yards, the mythology of fairy rings is implied to be based on a true story, in some sense. but here, a story just... became fantastical. for no reason other than being a story. and only specifically for ruby sunday. half the story or not, this is incredibly unsatisfying for a finale, lol

the pointing thing is. lame. the pointing doesn't make more sense in hindsight. it makes less. who the hell dramatically turns around and points at a sign to unofficially name their child. 😭

i really like the doctor projecting his issues onto ruby. like i don't because don't traumatize her just because you've dealt with it LOL but i do like it because Character Flaw

HEY WHY DOES THE DOCTOR LOOK INTO CAMERA HERE.

wow, the doctor... basically kicks ruby out of the tardis. dude you suck so much ass 😭

"my real mum" your WHAT? what do you mean your "real mum" who the hell has been raising you this whole time? russell. russellllll. come on dude 😭

kinda weird ruby never mentioning the possibility of having a dad just... went away here. is that intentional? idk. i don't really get why or how it would be, so i guess it's just retroactively weird that she never wondered about her dad until now.

hi mrs flood! who are you!! people are pointing to missy vibes (the umbrella!), the outfit similarity to romana at... one point? i don't know classic who aslkgaklgd there are a couple other characters people have pointed out, as well as the "clever boy" reference. kind of reminds me of rogue being a seeming amalgamation of some other characters, like river, jack harkness, and the master. hmmmm

well! there it all is! our disorganized thoughts. too tired to make a conclusion though LOL so im just. putting this all out there lmao

[regarding-stories]

Hard to pull: Good Ret-Cons

Ah. The Ret-Con, Retroactive Continuity. At its best, a satisfying twist that recontextualizes everything. At its worst, a stupid rug pull.

When we think about it, it's often meant to introduce something that wasn't established before. But it's hard to distinguish from a late plot twist at times, because so often these go hand in hand.

Let's look at one of the most famous examples: Darth Vader is Luke's father. (Duh duh dunn! Kidding.)

As far as I know, this turn of events wasn't planned for when giving us "Star Wars: A New Hope". But it's ever-so-satisfying. Audiences in 1980 were apparently lapping it up, and there's the funny Simpsons scene where Homer spoils it for all those movie-goers standing in line back in the day. (Long lines for watching Star Wars being a thing back then.)

One of the key prerequisites for a good ret-con that it fits with established facts, mostly in not contradicting them. This is most often achieved by painting in a corner we haven't seen yet. But we know that this impactful plot twist came with a price, because it seems to contradict things Obiwan had been talking about so far.

This got resolved by Obiwan giving the somewhat unconvincing speech about "from a certain point of view." We learn that Obiwan has been hiding things from Luke which gives new nuance to their formerly perfect student-teacher relationship.

And apparently they liked ret-conning so much, they threw in Luke and Leia being siblings next - also impactful, but that makes their budding romance in the first installment, well, weird, retroactively potentially incestuous.

That's the recontextualization at full force. When we see those scenes with the kiss for good luck or Leia using Luke to get back at Han, they seem different to us, with us knowing something that the characters didn't know back then - nor the actors, since it hadn't been established.

Ret-cons work backwards in time, after all. They change the past and make us see it in a new light.

Fallout 2

Now, this might be a spoiler for some, but this game got released in 1998, so I guess we cleared the statute of limitations.

In Fallout 1, we learn that people hid in vaults to survive the nuclear holocaust. We also learn about the problems they had. Quite a few in fact, the broken water purification chip with no spare part being one thing.

In Fallout 2 it is "revealed" to us that for the most part, the vaults were experiments, and we get a lot more weirdness thrown at us. It's impactful because by this point we've seen a fair share of vaults, we think we know what they are for, and now the rug is pulled underneath us.

Here we see it again - if you manage to fit in with previous facts as well as you can, you can use a ret-con to make an impactful plot twist. This is put to good use in Fallout 2 to paint the picture of a Deep State government in league with Vault-Tec and Poseidon to do whatever they want, with zero concern for the population itself.

If you play Fallout 1 after 2 the whole story seems to basically fit into this new mold, that's how good it was in terms of ret-conning.

But ret-cons are dangerous and tempting, and they keep breeding more ret-cons. The Fallout 2 ret-con already put in question how humanity did survive. Was it stroke of luck? Being so resilient? And since the baddies were confined to an oil rig, how would they have remade the world in the first place? Part of this is covered by the Garden of Eden Creation Kit (G.E.C.K.). So now there's a magical means (come on, it's a suitcase-sized chemistry kit) to make a limited nice-to-live area.

But the seeds of sequel ret-conning were sown. Of course you need sequels to ret-con, else it's just a plot twist.

The Why of Ret-Cons

Lore, backstory, ret-cons... they typically serve one thing. You want to move the pieces into place to tell yet another story. Ret-cons are needed where you encounter problems with either established facts ("We need this to be somewhat different to work") or you want to establish new facts (better, but leads to "Why did nobody know or mention this?"). So you either change established facts or you add to them. The latter is typically more convincing and better-received.

If you change facts you need audience buy-in. What you're doing gives the audience something that makes it worth it, because you're changing something about how the world works. So you're effectively taking something away from the audience, or at least that part of the audience that cares about consistency and world-building.

In both cases, there's a question of pay-off - which is also true for plot twists. I mean, it's okay to make us gasp and give us a temporary emotional high. But ideally the ret-cons and/or plot twists give us something in the story from that point onward as well. Don't just yank us around, give us developments based on plot twists.

The new facts about Darth Vader, Luke, and Leia gives us new dramatic developments and conflict. Conflict with Han. Darth Vader provoking Luke into an angry outburst. This is the real payoff - this return to a consistent narrative unfolding from this point forward.

It's not just about undermining expectations or changing facts. If that was satisfying by itself, "The Last Jedi" (Episode VIII) would be more well-received and not considered the hot piece of garbage it is. It constantly destroys setups from Episode VII, quite intentionally, and it constantly throws plot twists at us. I was watching it on two separate long distance flights. It took me that long because every five minutes I went "This can't get worse!" and then it did. And I switched it off a few times.

Some people like that. I don't. It was really painful to watch, this lack of continuity. Continuity is a rewarding thing, so are setup-and-payoff relationships. There is a cost to pay with ret-cons, and your ret-con has to pay it - it has to better than continuity. It has to result in a better story. I think Star Wars succeeded here - by which I mean the original trilogy.

The Sequel Problem

Establishing new facts in sequels is best done honoring continuity. As I said, you best paint in corners where you don't touch the original, or follow developments implied in the original (but not played out). This often means new characters (like a change of management), new locales, new challenges.

All of this ideally abides by continuity. Ret-cons happen when you can't make your new facts mesh with the old facts - changing the past. This can be jarring. But as I said, if you manage to cast a new light on old facts, like the above examples, which qualify as plot twists (or, in case of Fallout, "lore twists"), this is usually received much better.

Tolkien did one of the former kind, though.

"The Hobbit", as far as I know, grew from a series of stories told to his kids when they were young. It's effectively a children's tale, and it has this feel of going in installments to this day when you read it.

When writing "The Lord of the Rings", Tolkien based not only a whole world-spanning conflict on that innocuous magical ring, he also reused Gollum as a major character into the whole thing. Gollum is woven into the story at several times, including his capture by the dark forces.

In order to make this work, Tolkien revised "The Hobbit". The version you might know is probably the revised edition, with a Gollum that meshes with the "Lord of the Rings" books. But the Gollum scene was rewritten, and other things adjusted to mesh with the world-building of those books to begin with.

So in order to pull of his major work, Tolkien revised his earlier work. This is a plain ret-con that changes things. To readers of "The Hobbit" it's also a sequel plot twist - "Wait, that magical ring is that important??" You wouldn't know from "The Hobbit" alone, after all.

In spite of changing facts, this change has been very well received, because the payoff is so huge. Yes, this might change what earlier readers had in their heads when reading the book. But "The Lord of the Rings" is so good, so enthralling, so captivating, it seems like people didn't mind. It's one of the series of books that created an entire genre and had enormous impact on authors and story-telling after, and also gaming.

Yes, Tolkien had to tamper with "the facts." But it's still considered worth it, so it's a ret-con with the stamp of approval from history.

A Straight-Forward Example Of What Not To Do

The longer you wait to change a fact, the more resistance from your audience you will meet. You're basically upsetting the foundation built over years or decades.

Nothing made this more apparent than "Doctor Who".

"Doctor Who" has been on screens since the 1960s (though with a considerable gap, mostly in the 90s). So fitting things into the continuity of a show based on time travel is always a challenge, especially since nobody planned forward for this.

Hell, they didn't even keep the original tapes. (Well done, BBC...)

So anytime you fit something in there, something else might break. Luckily enough, Whovians are tolerant of this kind. A lot of "Doctor Who" episodes don't really have a lot of continuity within the episode and resolve by "plot magic," after all. (Or so it felt to me, binging them.)

And while changes to the character in its many reincarnations have been controversial - like the 6th Doctor being such a dick during his run (redeemed later) or how the 11th Doctor became almost the center of the Universe, basically - there were things you didn't mess with.

Until the 13th Doctor.

It's one thing if you need to cram more reincarnations in to make the series continue in spite of "established fact." (This life extension happening during the tenure of the show-runner for the 11th and 12th doctors.) It's a whole another thing when you completely uproot the character's backstory.

Until the 13th Doctor it has always been clear that the story starts with the 1st Doctor. This is how the character remembers itself. This is what we saw on the screen (if we had access to the first episodes). Already ret-cons took place to establish some other behind-the-scenes facts (thanks, 11th Doctor and Clara, the Impossible Girl). But every Who writer left this fact intact.

Not the showrunner and writers of the 13th Doctor. They weren't satisfied with hollowing out the character until it was barely recognizable (see a really long but good explanation here). They wanted it to be impactful, they wanted major plot twists, and they certainly had a tendency to be unpleasantly preachy instead of entertaining or consistent.

So they established a Doctor before the Doctor, and this Doctor had been not a Time Lord, but a very powerful being that was horribly mistreated as child (actually tortured and experimented on) and from whom the power of reincarnation was stolen for the Time Lords.

I do hope that the main backlash for this lore change was not the fact that she was a woman of color. I really do. But frankly, "Doctor Who" had already been taking a nosedive in terms of writing, popularity was waning, the 13th Doctor herselfy already had been a poorly written, arrogant, judgemental character. And then they went to change one of the core facts of the setting after more than 50 years.

Fans were apparently not convinced that the payoff of all this was worth the destruction in terms of lore. The show lost viewers over time and against previous precedent, the showrunner didn't get to do another reincarnation of the Doctor. In a huge attempt of fan service, the original showrunner and David Tennant (technically, the 10th and most popular Doctor of the new run) were brought back to salvage this flagship show. (Not that the BBC always treated it like one.)

There was a sort of one-upman-ship going on here, you could say. Already under the Moffat era (the showrunner of the 11th and 12th Doctors), ret-cons and plot twists were way too common and used to invest us into a particular plot arc or season. But this one was too much, too far, and clashing with a central established fact of the Who-verse. Because people love their continuity of Doctors.

When Moffat inserted Clara Oswin everywhere into the time stream, he still paid homage to keeping this lineage intact, at best adding an unseen bit. But when you drop a setting-altering bomb that changes one of the facts that most fans care about after decades, you better be prepared to blow up in your face instead.

Frankly, I had high hopes for the 13th Doctor. A woman doctor seemed exciting. The flood of bad writing and plots and controversy that followed does not invalidate the idea, but it did burn it quite a bit.

Kinda convincing, kinda flat

Add too many ret-cons, and original ideas get undermined or become flat or unconvincing. Let's revisit the Fallout Universe, but let's look back at the Fallout TV Series.

In Fallout 1, the vaults were the means for humanity to survive. Playing that game you got the strong impression that everyone in there hailed from a Vault that opened at some point.

Fallout 2 already undermined this idea by the ret-con we mentioned above. The reasons why the Vaults were plagued with so many problems wasn't incompetence but malice and intent - the people in them were often used as lab rats, a fact that has been used for humor and weirdness in every Fallout game since.

Now, this setting "fact" was never that convincing. At least for the direct nuclear attacks, no power in the world can destroy every town, village, etc, especially in countries with huge surface area like, let's say the US, Canada, China, or Russia. (Though the fate of everything but the US has never been a real concerns of Fallout canon.) This is by the way especially true of China where huge swathes of the population are located in areas separate from each other by mountains and hills of all sizes.

I'm unclear on what the origin of most of the survivors in the later games was, but since we're already more than two centuries into the future, it tends to come up less and less. Also, due to the sheer size of the games in the 3D era you're not likely to keep track of lore the same. Fallout 1 and 2 were more focused experiences with good chances you saw most anything in it.

So, when the TV series "revealed" that most "plain folk" resented the Vault Dwellers because they were the rich folks sealed away while they descend from the outside, I balked. But I also looked it up, and yeah, it makes kind of sense. Most would be the descendants of humans that, by whatever means, survived fallout and nuclear winter with even less to go with than a Vault that experimented on you. Also, from the intro of the first game it was clear you had to pay for the privilege of being allowed into a Vault.

So, this actually works so far.

But this is just the tip of the ret-con iceberg taking place here, the writers moving one piece into place for the show's central reveal.

It was Vault-Tec all along. They sabotaged peace talks, they even wanted the bombs to fall, to make over society in their image. Instead of being a company relying on fear-mongering to extract money, they wanted to perpetuate themselves as the new humanity. Lip service was paid to the whole experiment idea by inciting the other companies to come on board and allowing them to do whatever they want. They also sabotaged clean, perpetual energy that would have ended the Resource Wars.

You could say, as a ret-con, that this kinda works. It adds facts. It adds a secret framework of privileged Vaults for the upper crust to survive as is. The ultimate dream of all villains: I, unchanged, in a world that completely is mine to shape. (Muahahaha.)

It doesn't necessarily contradict established facts. Vault-Tec was already part of the Deep State and a horribly corrupt company that didn't care about "the people." Vaults were already a privilege, experiments, and at times, a trap. And one sequel ret-con begets another. Fallout 4 already introduced working cryo technology.

But is it convincing?

Yes, the series has a message critical of capitalism, but it styles capitalism in a heavy-handed way, money being the root of all evils. You could argue this is the case, certainly, but it's the manner of delivery. Capitalism in the Fallout TV series is a cartoon villain, a cardboard cut-out.

The contradictions start to pile up, too. Vault 33 (where Lucy starts) is hidden so badly, it should have been raided by the Master (villain of Fallout 1) long ago. All the locations are right where the first game happened. This thing is nigh-impossible to miss. Then, for two centuries, everybody missed the existence of master Vaults that monitored the other Vaults - in a Universe that relies on a much more analog, visible technology than ours (partially to withstand the EMP effect of the blasts).

In fact, all of it hinges on the conspiracy being practically perfect until the point in time it is revealed. But when Norm enters Vault 31, he finds an incompetent Robobrain ... I mean Roomba-Brain (a former vice president) in charge. The whole plan seems to be full of holes and the usual Fallout Universe incompetence (corporations were always portrayed as hotbeds of graft, laziness, and maliciousness) is immediately restored. So, falls apart in minutes, was secret for more than 200 years...? (Also, Coop uncovered the conspiracy easily two centuries before.)

Depending on how you liked the series (I did not), you can be on the fence about this, definitely, or ignore it even for the most part. It kind of works, you know...? But it also flattens everything into one big bad, making it more cartoon-ish, more one-sided. The nigh-perfect conspiracy. The plot (and lore) holes. And again, how late the ret-con comes in the series.

The TV series is generally not afraid of establishing new facts (yet another Brotherhood of Steel chapter in yet another sequel popping out of the woodwork) or just changing the lore for dramatic impact (the fall of Shady Sands). Moving the pieces into place wasn't subtle, it literally comes with the force of yet another nuke.

It's this bulldozering of the lore I dislike the most. Fallout's big bads from the past kept getting more and more unconvincing as time moved on. Fallout 2 already established a Deep State hiding behind the whole Vault business - the Enclave. In "Fallout: New Vegas" Mr House (presented as sentient computer version of himself) was at least only one faction influencing that world, not a central big bad. In Fallout 4, the Institute perpetuated itself in secret for 200 years. And now Vault-Tec was the big bad all along.

It gets stale and flatter each time it is rehashed. And it effectively flattened the lore progression we see from Fallout 1 to Fallout 2 to Fallout: New Vegas. In that strand of continuity, the world expanded, went from tiny "points of light" to city states and proto-nations to warring nations. This was the potential future of the Fallout setting, a gradual emerging of a new, sometimes familiar, sometimes alien world. A different world influenced by the past but setting out to shape its own future.

But the writing of the TV series, while fulfilling the technical aspects of a ret-con, just drags all of this down because it's oh-so-dramatic. That's why I would argue on the side of it not being a good ret-con, though somewhat decently execute, but a cheap one. Your mileage may absolutely vary.

Less Sequels Please

In the end, continuity and ret-cons are issues most sequels have to tackle in some shape and form, and the popularity of plot twists and sudden reveals doesn't improve the situation. But at this point, ret-conning has been overdone and I could do with some continuity instead...

Or less damn sequels and more original works! Fallout 1 by itself is a weird masterpiece. We are apparently unwilling to let these go and create another, new one. For each good sequel there are quite a few bad, trying to minimize risk and smothering creativity. And in the end, often doing their fictional universes, if they "exist," no favor.

We looked at notable exceptions like "The Empire Strikes Back" but in general, I could do with some fresh ideas.

[likeadevils]

A friend of mine is listening to speak now for the first time today(!!!). What do you think she should know beforehand?

oh this is such a wonderful question oh my god um.

i think speak now is one of the rare albums where knowing who it’s about can actively ruin songs. if your friend is curious after listening then go ahead and tell them, but i think listening to it and applying it to your life and building your own storylines out of it is essential to your enjoyment.

the one thing about her personal life that’s important to know is that she wrote it when she was a teenager; one who was being simultaneously infantilized and forced to grow up even more so then the average teenager. she was running a company and dating men in their thirties while simultaneously not being allowed to shake her hips too much on stage and singing songs every night that she wrote when she was 14. and that’s a through line on the album, the push and pull between wanting to grow up faster than is healthy and stay innocent longer than she was able.

another through-line that’s fun to look out for is memory. it’s littered all throughout her career, but in speak now she’s on this interesting precipice. on her next album, memory will be something hurtful and deceptive, but on speak now it’s almost exclusively comforting. the melancholy comes from how one can’t get back to something once it’s gone, but there’s triumph in how time turns flames to embers— once things are gone you’ll remember the positives and forget the things that hurt. and she’ll recontextualize the present moment as a memory all the time, obviously in mine, which she wrote after a first date with someone, but also in sparks fly, and mean, and the story of us. it’s such an important theme that she ends the original album with “we will be remembered”

the other big theme is light— specifically how things will flicker and burn out fast, but every once in a while she’ll find something that shines. my personal favorite is the city lights on the water in mine, how you’re looking at a reflection of a real thing rather than the thing itself, and the reflection causes the image to flicker and break, much like how the song is a daydream about a relationship that would go on to fall apart rather than a real event. there’s a reason fireworks became such an iconic imagery associated with the album, it’s just such an interesting and important through line that ties the whole thing together.

i think that’s about all that i’d want to tell a first time listener, but you know your buddy better than me! have such a fun time

[57sfinest]

Are there any changes made in the Final Cut that you dislike? Conversely, are there any that you really like?

it's hard for me to answer this given that i wasn't playing before the final cut was released, but two things come to mind.

1) controversially, i do really like jean's final cut voice. i think he comes across as more tired and depressed and exasperated with harry's shit. it fits the tone of how he's speaking to harry better, and it also covers up the "genuine compassion" the skills tell you he occasionally still feels towards harry, which makes a lot of sense for where they're at in their relationship. the ONE THING i miss about the old voice is specifically the line read of "look at me, i'm g-bevy" because i LOVE the singsong-y way he says it in the original.

2) ig technically this is jamais vu update but if this counts... also controversially... i don't like that you can make kim tell you a secret. the scene itself is very funny (i think about "lieutenant eyebrow" a lot it's so funny), and i don't mind that it exists- in an ideal world it would just be recontextualized. i just feel like kim should be able to say no to harry sometimes. it's more consistent with who he is and how deep into his friendship with harry he is, which is to say, not very deep. it's not like there's no precedent for a passed check yielding no/worse results, either. i think you should be able to do the check and pass it and even so kim should refuse to give you one.

[jgroffdaily]

Excerpts:

That story is from the new documentary Spring Awakening: Those You’ve Known, which chronicles the rehearsal process for an unlikely reunion of the Broadway musical’s original cast for a 15th anniversary concert and finds them revisiting what it was like to mount the surprise Tony-winning phenomenon.

It premieres Tuesday on HBO. I’ve seen it, and cried and cried and cried. Yes, I was even moved by the vagina anecdote.

The undeniably memorable moment was teased in an early report about what happens in the documentary. Michele, who starred as repressed teenager Wendla, and co-star Jonathan Groff, who played the lead and her romantic interest Melchior, were discussing the swift intimacy with which they formed a friendship. At the time, Groff was in the closet, even to his closest friends and confidants. Michele was madly in love with him. Obviously. It is Jonathan Groff. Get in line, Lea.

The thing is, in the documentary it’s an organic, relevant story, part of a beautiful sequence in which the two stars are candid about their relationship and what it was like for a confused boy from Lancaster, PA, to come to terms with his sexuality while cannon-blasting to Broadway stardom, and then how she saw her role as his support system.

She’s incredibly charming and funny while she tells it, but also so compassionate and empathetic to what Groff was going through. Believe it or not, the Lea Michele’s “whole vagina” story is a poignant moment.

Spring Awakening: Those You’ve Known is somewhat revelatory in the way it uses the emotional reunion of these stars to reconsider and recontextualize.

With Michele, it’s a reminder of how magnetic and effortlessly humorous she is. There’s a lot of self-awareness there about her personality, a surprise given that the controversy surrounding her past behavior would suggest otherwise. It also makes a case for redemption. Any time she is singing or performing in the concert, you’re spellbound. Variations on marveled whispers of “she’s just so damned talented…” bubbled from just about every conversation I overheard from the crowd who was at the early screening I attended. Groff erupts in tears the second she begins singing the opening song “Mama Who Bore Me” at the first rehearsal.

But there wouldn’t be any inclination to crave that comeback if the documentary itself weren’t so successful in its nimble cross-stitch of heartbreak and inspiration when it comes to nostalgia. This is a musical that tackles teenage sex and hormones, mental health, abuse, homosexuality, suicide, and abortion, but it’s also about being seen and validated for who you are and how you feel at a volatile time coming of age.

To watch Groff and the cast grapple with what it meant to them to play those themes 15 years ago—and then to do so again now with the passage of time and the ensuing wisdom of life experience—is fascinating, and heartrending. I remember being in college and seeing the show multiple times when it first opened, being blown away by it—like Groff, closeted and in New York trying to figure things out, maybe not even sure why it meant so much.

But it wasn’t until watching the cast perform in the documentary and talk about these things that I realized just how formative the original production, its score, and these characters may actually have been.

[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.

[kaypeace21]

Lets talk about how these spotify songs confirm byler’s endgame.

Will’s songs

Don’t you forget about me: illustrates Will’s feelings after Mike says they won’t be together for the rest of their lives (but have to get gfs). Love’s “strange” (stranger things). And Will fears change will pull them apart- and as it rains he hopes Mike won’t forget about him/ and questions if Mike will ‘ever love him’. And Mike in the rain (instead of “walking on by?”) calls his name.

“Tell me your troubles and doubts.Giving me everything inside and out and Love’s strange so real in the dark. Think of the tender things that we were working on…Slow change may pull us apart.Don’t you, forget about me.Don’t, don’t, don’t, don’t.Don’t you, forget about me.Will you stand above me?Look my way, never love me?Rain keeps falling, rain keeps falling.Down, down, down.Will you recognize me?Call my name or walk on by? rain keeps falling, rain keeps falling. “

“Don’t you try and pretend. It’s my feeling we’ll win in the end.I won’t harm you or touch your defenses-Vanity and security.Don’t you forget about meI’ll be alone, dancing you know it baby .Going to take you apart.I’ll put us back together at heart, baby Don’t you, forget about me.”

( Will physically took them ‘apart’ -from the photo. But in the end it’s also Mike who fears Will will forget about him too. And Will doesn’t harm Mike by picking at his insecurities - like lack of ‘security' in their relationship. But just says the truth that it’s “not possible” to replace him (after he moves). And of course deep down they know they’ll be together in the end. )

upsidedown: Just Will saying he loves Mike and he turns Will ‘insideout” (like the previous song) and “upsidedown”. And he loves him but he’s “crazy’ (cough ‘crazy together’) to think Mike is all his. But no matter what he’ll always love Mike.

“I said, “Upside down, you’re turning me.You’re giving love instinctively.Boy, you turn me inside out .And ‘round and 'round-Upside down…Instinctively, you give to me the love that I need.I cherish the moments with you… no one makes me feel like you do…I know you got charm and appeal.You always play the field.I’m crazy to think you’re all mine.As long as the sun continues to shine.There’s a place in my heart for you, that’s the bottom line.”

here i go again: Will saying he’s “not going to fall in love” ever (like he said in s3) cause he doesn’t want to waste time on Mike. But he keeps backpedalling on the idea and desiring to love Mike for ‘the rest of his days’. Like how Will said he thought they’d never get gfs but play games for the rest of their lives.

“ (verse 3)And here I go again on my own.Goin’ down the only road I’ve ever known…Like a drifter, I was born to walk alone.And I’ve made up my mind.I ain’t wasting no more time . (verse 4)Just another heart in need of rescue- waiting on love’s sweet charity.I’m gonna hold on for the rest of my days'Cause I know what it means to walk along the lonely street of dreams (verse 5) And here I go again on my own .Goin’ down the only road I’ve ever known.Like a drifter, I was born to walk alone.And I’ve made up my mind I ain’t wasting no more time.BUT here I go again.Here I go again.Here I go again.Ooh baby, ooh yeah.”

Take my breath away: This excerpt speaks for itself that byler is real/endgame after Will moves/s4 and 5. XD

Mike’s songs

Will’s canon Spotify playlist. He ALSO has the song “I’m still standing” by Elton John (who is gay)? Aka cause Mike has a ‘romantic comeback’ with Will XD

I’m still standing’ is a guy bragging about a breakup and now feeling like a kid -lol Mike saying he feels like a 7 y old after the breakup . And moving on -lol it’s mileven).   The album is from “to be continued...” I MEAN, C’mon. That’s , very on the nose for s4 byler happening after mileven XD

‘Your blood, like winter, freezes just like ice” (when El broke up with Mike , “cold as ice” played).”I got a taste of love in a simple way.And if you need to know why I’m still standing.You just fade away.Don’t you know I’m still standing better than I ever did?Looking like a true survivor, feeling like a little kid.And I’m still standing after all this time.Picking up the pieces of my life without you on my mind.”

‘Baby I lied’, also reminds me of the byler fight where Mike insults Will/talks about El and then says to Will “ But, we’re not kids anymore. I mean, what did you think, REALLY?  That we’d never get girlfriends? Sit in my basement and play games for the rest of our lives?” Causing Will to storm off crying- thinking Mike doesn’t even imagine Will being there for the rest of his life (in favor of a girlfriend).And then Mike (although already knowing of his feelings for Will) realizing that it wasn’t a temporary crush/phase- but that he was in love with Will. And only realizing he can’t live without him when Will left. Making it sink it to Mike that he was lying to Will during their fight.

“Did I say that I’d be okay if you said good-bye? And did I promise you I could take it if we were through? And forget about these feelings inside? Baby I lied when I told you I could walk away .Baby I lied…And did I ever tell myself I could always find someone else? Did I say if you left today it’d be no surprise? Did I ever leave any doubt I could hold up if you walked out? I know I told you that I could survive. Baby I lied…And now that I can see you walking out of my life . Saying good-bye, I realize….”

also ‘Love is a battlefield’ (could be recontextualized/interpreted through a que*r lens  given the time period-typical hom*phobia) . Love would be considered a ‘battlefield’. ( The song could be. about 2 people refusing to state their feelings/ holding back from doing anything romantic. Despite both people in the song secretly knowing the other secretly reciprocates mutual romantic feelings)  . But they fear pursuing anything cause society says their love would be ‘wrong’. It also reminds me of s3 byler fight . Both ‘standing’ secretly in ‘heartache’. One character in the song(Mike) being mean to the singer who’s angry and wants to go home (Will). Then after that (Mike/song character) begs the singer (Will) to stay but then is mean to the singer again . So in response (Will/singer) gets annoyed and then asks ‘am I in your way? or am I the ‘best thing’ you have?(s2 byler ref). And the singer could internally question if they made a move on the Mike (/song character) would they be rejected? And like that singer ,Will, also throws Mike’s words in his face by saying he actually did think they’d be together for the rest of their lives without girlfriends (cause he may suspects Mike is full of shit?). The singer pretty much says-when it becomes impossible to ignore your romantic feelings for me - you’ll realize you’ll need me ! The song also emphasizes they’re “young” (kids) and Will/the singer  questions if their love will get  “old” , but quickly decides their love can’t get ‘old’ or die (despite Mike’s lies stating the contrary) * Also saying “no promises” could be a ref to show it’s the opposite of mileven who have the promise line.*Seems like the song is from Will’s pov. 

“We are young.(Heartache to heartache) We stand. No promises(No demands)…We are strong. No one can tell us we’re wrong. Searching our hearts for so long. Both of us knowing, love is a battlefield. You’re begging me to go. Then making me stay. Why do you hurt me so bad? It would help me to know : Do I stand in your way?Or am I the ‘best thing’ you have?When I’m losing control.Will you turn me away? And when all this gets old,will it still feel the same?There’s no way this will die. But if we get much closer.I could lose control.And if your heart surrenders-you’ll need me to hold.”

‘Kiss off’ could also be seen through a queer lens aka Mike trying to deny he’s gay but realizing at the end of s3 it’s not a phase. And hopefully learning to accept it in s4.

“I need someone, a person to talk to. Someone who’d care to love. Could it be you?could it be you?Situation gets rough. Then I start to panic. It’s not enough!it’s just a habit! Hey, kid your sick. Well, darling this is it! You can all just kiss off into the air!Behind my back I can see them stare.They’ll hurt me bad . But I won’t mind. They’ll hurt me bad, they do it all the time.” 

El’s songs

 The power of Love is the 1st song that shows El desire to learn about love despite it scaring her and not really understanding her relationship with Mike. (it’s a very heteronormative idea- “I’m your man /i’m your women” so we’ll fall in love). It also shows her more questionable behavior like spying on Mike. (The later songs illustrate mileven falling apart.)

“Even though there may be times it seems I'm far away. Never wonder where I am'.Cause I am always by your side.'Cause I am your lady.And you are my man...We're heading for something.Somewhere I've never been.Sometimes I am frightened.But I'm ready to learn of the Power Of Love.”

  (The second song)Another one bites the dust is about a dysfunctional romantic relationship.

Girls just want to have fun illustrates El’s annoyance with both Hopper controlling her, and Mike (like Hopper trying to control her) and keep her away from the outside world. And just preferring hanging out with Max and not having a romantic relationship.

“ (verse 2)My father yells, "What you gonna do with your life?".Oh daddy dear, you know you're still number one.But girls, they wanna have fun... (verse 4) Some boys take a beautiful girl and hide her away from the rest of the world.I want to be the one to walks in the sun.Oh girls, they wanna have fun.Oh girls just wanna have.That's all they really want. Some fun.”

Don’t tell me lies - (El in s4) saying they’re whole relationship is a lie and she was ‘naive’ to think otherwise.But now she knows her Mike will be with someone else and their relationship was always based on a lie. And she’s ok on her own. “Every move you made before was never meant for real.Over my naivety is this how I should feel?...they'll never ever be another one.Don't tell me lies.Don't tell me lies.Looking back I realize it's always been this way.We must note what has gone and never turn away...Broken loose from indecision.Now I'm alright on my own...I guess I'm alright on my own.”

 I feel like i’ve talked the lying aspect to death but it’s an important element to their relationship.

Mike while apologizing to El at the grocery store never apologizes for lying -despite it being the cause of the breakup . He never apologized for lying cause the love is the lie- like Max said “boyfriends lie ALL THE TIME”. And it’s why the camera panned to Will when Lucas asked why Mike lied to her. And he never answers El’s question of ‘why do you lie?!’ (he just looks up silent and guilt ridden).  In s2, Mike says “i never gave up on you (to El). “ When moments earlier he says to Max “it took her just like it took Bob.” HE’S LYING AGAIN . He thought she was d*ad.Plus he also fought with Hopper in s2 (’about El’) in Will’s room too. He wasn’t actually calling Hopper the liar he was calling himself “a stupid disgusting liar”out of self hate . That scene was foreshadowing his lying to El in s3 (about his feelings for her). He blamed Hopper for his feelings for Will cause he told himself it wouldn’t have escalated if El had been around to ‘fix him’ . “I BLAME YOU! NOTHING ABOUT THIS IS OK! NOTHING ABOUT THIS IS OK. YOU STUPID DISGUSTING liar, liar, liar, liar”.starts crying.

In s3, mike (in Will’s room) did not reciprocate El’s kiss/ or say ‘i love you ‘ back  and had his eyes open while the same exact song plays that robin came out to: called ‘the first i love you’. These are the only times the song plays in s3. The ‘first i love you’ also sounds like ‘the first lie’ - that song played when jancy said they were just friends. it sounds the same cause jancy lied about it not being romantic while mileven lied by saying it was.  

Ugh- why are the tags not working? I guess , please, reblog if the tags continue to act up or else no one will see this.XD

[ocean-stuck]

A very long ??? post (+ some Arthur stuff)

Thinking ‘bout the scant information we have on ???, and what that might tell us about what it is plotwise and thematically.

So. ??? has exactly 3 appearances in the entire series. The Ghost flashback, the opening of Freaking Out, and...

well, you know.

These are all pretty brief, and they don’t really give any insight into its motivation (if it’s even sapient enough to have one), but its mechanics are readily apparent and there is the faintest scrap of backstory implied in Future, more on that later.

For now, let’s talk possession.

??? seems to gravitate toward the emotionally distressed. Envy may or may not be a preferred one, given Arthur’s mental state in the Ghost flashback and the association of green with envy (with the release of nearly every video, I’d spot at least a few not-very-sharp-eyed casuals who dismissed the green of Arthur’s possession as symbolic and failed to realize ??? existed at all; Future is the only one where this hasn’t happened, since at this point it’s literally impossible to miss). More notably, it also appears drawn to interpersonal distress, to people whose relationships are deteriorating. Both of its (sapient) targets, Arthur and Mystery, are at points of social turmoil when it enters them, and both, for varying reasons, opted to bottle their issues rather than discuss them.

(Also, this bat no one cares about. Presumably non-sapient stuff is easier by nature. I mean, it commands that hand just fine.)

This also speaks to how ??? manages to overwhelm Mystery so easily, compared to Arthur who lasted long enough for Mystery to forcibly excise it and was aware throughout, despite the former being an ancient and powerful nine-tailed kitsune and the latter a normal human. Arthur is lonely from being the third wheel and not wanting to hurt anyone’s feelings by talking about it. Mystery is bleeding out, has just watched his ex-partner possibly die (or so he believes) at the hands of his ward, who herself has just been seriously injured by said ex, and in trying and failing to prevent that same nightmare scenario has left the guys unattended, who last he saw one was trying to murder the other. Like not to invalidate Arthur but there’s a bit of a gap in severity here.

(image by artsy)

That still leaves some questions, though. How did it reach Mystery from such a long distance? Last we saw it, it was loitering outside the cavern. It could’ve followed Shiro, if not for the fact that it’d’ve had to keep pace with a high speed car chase while moving entirely on foot (hand?). Why is it still attached to the hand at all when it could surely find some random animal with less awkward means of locomotion? What was it doing at the cavern in the first place?

I’ve seen people speculate that remaining in the arm lets it remain connected to Arthur via his prosthesis, and while there’s definitely something fucky about that thing this seems strange to me as an explanation. The prosthesis consistently sparks yellow, Arthur’s own color, rather than green, with the only exception being while in direct contact with Lewis (pink). Speaking of, the prosthesis seems drawn to Lewis when active, which would be odd if ??? was trying to do harm through it since...what could it possibly do to a near-invulnerable ghost with power over fire and lifelike illusions using the body of a relatively fit but still normal human?

It could be that Mystery sealed it in the arm to prevent it from doing further harm, and this binding slipped as he became physically and emotionally vulnerable, while also giving ??? a magical line to Mystery for it to exploit. It’d answer the distance question as well.

I think there’s more, though.

I’ll save myself a paragraph or two and just plug this edit of a certain Future shot for the nth time.

Each stream seems to correspond to some form of harm done to a person significant to Mystery. We know or can intuit half of them (though this doesn’t seem to be the first time Vivi/Mushi or Shiro have been seriously harmed); the others, while not explained, match the rest of the cast’s secondary colors (which itself raises questions)...except green, which isn’t linked to any of the major characters except ???.

Has there been some deeper history between ??? and Mystery (haha rhyme) that we haven’t been let on until now?

Loved ones appear to be connected in essence as well as emotionally, at least when supernatural beings are involved. This essence can be drawn on and tracked.

Shiro uses this to locate people, though still has to physically travel in order to reach them. But ??? is a different sort of entity; it may be that it has more direct access to Mystery’s soul as an incorporeal being.

After all, one can affect someone at a distance with their essence on hand.

(??? being familiar with Mystery would also recontextualize this little surprised reaction it has to Shiro; it knows who she is, rather than just being wary of her as a stronger entity.)

This possibly points to a deliberateness to its actions in the Ghost flashback, to what happened being more than happenstance. But there’s still too little information to discern why, if so. Revenge for something? Power? Possessiveness? Was possessing Mystery the endgame the whole time? If so...now what? Why did it still linger around the cavern after the fact when everyone except Lewis had gtfo’d?

There’s not really anything to go on vis a vis motivations, so I’m not really gonna pursue this line further.

Some Funky Fresh Thematic Stuff

If Ghost can be said to be a cautionary tale about failing to communicate one’s emotional needs, ??? could be thought of as the interpersonal havoc that results from letting such issues stew too long.

Arthur keeps quiet about his loneliness and ends up vulnerable to ???. Mystery intervenes to prevent ??? from doing further harm, but by then the damage is done. What was once a typical relationship hurdle has become a full-blown traumatic event that creates a rift between the gang, particularly between Arthur and Mystery and between everyone and Lewis.

Furthermore, sealing ??? doesn’t stop things from collapsing, only prolongs it. Lewis is hurt and pissed and literally comes back with a vengeance. Shiro, one of Mystery’s failed pacts, is drawn into it trying to force him into whatever relationship they used to have. The mistakes of the past catch up, and Mystery’s loved ones nearly eat each other alive.

And at the end of it...??? is back.

I think if the gang wants to make it out of this one, it’ll take them confronting their pains and the ways they’ve failed each other in order to reconcile. By extension, I think saving Mystery is gonna be an everyone deal (including Shiro, who seems to be slowly waking up to her mistake when Vivi vibe checks her), though I think one in particular is likely to shine.

Arthur, the least assuming one of the main cast, the last person to have fallen under ???’s spell, who inadvertently enabled the plot through his insecurity, and also the one who’s bent backwards the hardest trying to fix what’s been broken since.

It’s like...poetic or something.

Also, I want an excuse for Arthur to do electric magic.

[madmaddoxfuryroad]

HSMTMTS: Season 3 thoughts

So I’ve been ruminating a lot about this show today (like every other day) and I got to thinking about what they might do for season 3. Less so plot-wise (I mean season 2 is just over halfway through), but more about what musical they might do, what the cast might be, and how that could tie into the individual characters and their arcs (some more so than others, but c’est la vie).

In trying to figure out what musical they might do, I started first with the obvious: what does Disney own? I don’t think they would return to the HSM franchise (until the final season, but thoughts on that for another day), so anything related to that and other DCOMs I counted out. I also eliminated all Disney animated/princess films. I love them, don’t get me wrong, but seeing as this season they are doing BATB, I don’t think they would immediately go into another animated-film-adapted-for-broadway right after that. So at that point I wasn’t quite sure where to go. Mary Poppins was really the only other thing that came to mind and while I love the film and broadway show I just don’t think it fits the cast well slash even has enough parts to really showcase them. You have Mary and Bert. And then I guess Mr. and Mrs. Banks? Then the kids are a whole other issue. It just felt messy. So I just started thinking about broadway shows that I like, I mean if they wanted to, Disney has the money and could pay for the rights to use most shows. Then everything fell into place.

Into the Woods. I am 100% positive I am letting my bias for this show cloud my judgement, but if you stick with me, I think I can persuade you (or not, your mind is your own and I respect that). First off, Disney owns it. At least I think they do. They made the movie (RIP), so I am going to safely assume they have the rights at this point. Next, yes it contains fairytale elements, which might make you feel it’s a little too close to BATB, but it is such a deconstruction of fairytales and their tropes that I almost feel like it is an amazing follow up to a more traditional fairytale. It introduces conflict and the real world into these fantasy scenarios, which I feel goes really well with high school in general and growing up, expectations being shattered, and learning to alter your world view (I really love this play). Plus, I think it would be exciting to see this cast do a more broadway-type show. Obviously BATB is a broadway show, but I think there is a lot of reliance on knowing the film and less on the play itself. And not going to lie after Julia Lester’s rendition of “Home” last week (which I have not STOPPED listening to) it would be amazing to hear these teens tackle more broadway-style music. Which, takes me to my final point: the cast. What I love so much about Into the Woods is how it is very much an ensemble cast. Yes some roles are bigger than others, but if you have a named character, odds are it’s a fairly good role. And the whole HSMTMTS cast is so talented, I like the idea of them picking a show where it does not feel like anyone is sidelined with their part. Now the only thing left to do is cast it…

FULL disclosure. I ran into an issue early on that I ended up thinking Ashlyn was perfect for every female role and Seb was perfect for every male role. But I was eventually able to push through and cast it (in my humble opinion) pretty well. So I am just going to go off in the order that I cast them, because I think it will help explain my thought process.

THE CAST

Cinderella - Nini. Once I got over my need to hear Julia/Ashlyn sing “No One Is Alone” (loophole to this coming later), this felt like a pretty natural fit and was one of the easiest to cast. For one, I just think Olivia’s vocal range pairs very well with Cinderella’s and she could do beautifully with her songs like “On the Steps Of The Palace”. But what really got me was the way she parallels the character so perfectly. Cinderella is a character who always dreams of more but isn’t quite sure what that “more” is. And because she isn’t *quite* sure what she wants, the character is often seen grappling with indecision (see: “On The Steps Of The Palace”). Most of Act I is her being stagnant and letting the Prince take the active role. Finally in Act II she starts to get a better sense of who she is, who she wants to be, and what she doesn’t want. So this felt like it tied in really nicely with Nini’s journey and would be a great role for her, especially when…

Cinderella’s Prince - Ricky. Yes, yes I know. Ricky and Nini playing love interests? Groundbreaking. But stay with me. For one, I just like the idea of Ricky not getting the lead male role, and this part is perfect for him, regardless. The whole relationship between Cinderella and her Prince mirrors Nini and Ricky remarkably well. The way the Prince sees Cinderella as this perfect maiden who, if he could just be with her, would be the only thing he would ever want/need. But of course this isn’t realistic and isn’t how relationships work, which they both come to terms with by the end of Act II. Their break-up/parting ways scene might be my favorite in the entire play and I think it would be so great for Ricky and Nini to get to perform. In part because the conclusion of the scene is basically them both admitting that they will always love the idea of the other, even though they don’t actually work as a couple. (**I am operating on the assumption that they will have broken up in season 2 and are still broken up, but never really dealt with it). Honestly I recommend just watching the scene I will link it here (it goes from about 2:12:35-2:15:00). Plus, I could totally see there being an episode where they are trying to rehearse this scene, but it just isn’t working so Miss Jenn has both of them improv it or rewrite the lines to something that might feel more comfortable or personal. And I just see that being a really beautiful moment for the two and a chance for growth and closure. I could go on about this dynamic, but I will move on to my final point: “Agony”. First, while it is mostly a comedic song, you can take just the first verse of the song and recontextualize it really nicely as a Ricky pining kind of song, which I absolutely dig (not quitting on my Rina endgame, and you can’t make me) I mean: “If I should lose her, how shall I regain the heart she has won from me? Agony, beyond power of speech, when the one thing you want is the only thing out of your reach”. And BONUS I think we could also get a full-on version of “Agony” in all its absurdist glory with…

Rapunzel’s Prince - EJ. Well, sort of. Technically, no. BUT for the purposes of “Agony”, yes. At this point EJ will have graduated, but I don’t think he will be written out of the show, so it remains to be seen exactly what his place will be. I just think these two 100% need a song together and this is 100% that song. I could see it being something as simple as EJ is helping out with the show, the unnamed kid playing Rapunzel’s Prince is out, so they have EJ fill in. Or they have to have him go on for that kid last minute during the performance. It’s a quick, easily explainable thing that would have SUCH a great payoff.

Jack - Big Red. This was certainly one of the easier ones to cast, but my first thought was of course Seb. Jack is just a boy whose best friend is his cow and Seb radiates that energy. But I needed him for something else. Enter Big Red, the perfect Jack. For one, Big Red has a lot of that starry eyed wonderment that Jack has, that none of the other characters do. There is a purity and innocence to the way Jack sees a lot of things. That pairs nicely with Big Red. And it also opens the door for him to grow and mature more as a character. By the end of the show, Jack is in a place where is needs to transition more to adulthood and with Big Red being a senior by season 3, I think there is a lot of potential here. Also, with Big Red as Jack, I really like the character he is often paired with in scenes, but I will hold back until I get to them.

Witch - Kourtney. Yes. It is her time. One can debate over which character is the “main character” of Into the Woods, but for me it’s the Witch. And Kourtney deserves this. Did I heavily consider Ashlyn for this as well? You know I did. But I grow more and more confident in the casting of Kourtney the more I think about it. First thing’s first: the Witch belts, and I mean BELTS. Dara is such a powerhouse vocally that she would crush every moment of that; I have total faith. But the Witch also has such quiet and tender moments that people don’t think about as much, but are so necessary for the character to be effective and I think she also has that on lock. We have not seen a ton of it (so I would be eager to get more) but when she did her version of “Beauty and the Beast” she was able to find soft but strong moments in the song, and it was so lovely. Then, from a more thematic POV, the Witch is characterized as “the voice of reason”. While everyone else is running around in their fairytale dream world, she is always the one there dolling out the reality checks. And if that ain’t Kourtney. Basically, I think it is her time to get the lead and she would be amazing in this role.

Baker - Seb. Finally settled on a role for him. But really, how could it be anything else? I have felt since the first time we heard him sing (in Truth, Justice, and Songs in our Key, I think) that he was severely underused. The Baker is essentially the male lead, and he has earned it. I don’t think there’s much more that needs to be said here.

Baker’s Wife - Ashlyn. Here’s the thing: could someone else be cast as Baker’s Wife? Yes. And I am sure they would do a fine job. But the thing about this role is that you often don’t realize how fantastic it is until you see someone really great playing it. There’s heart, humor, tragedy, and so much more all wrapped into this character and I would far and away trust Julia/Ashlyn with this above all others. And Baker’s Wife gets to sing a short reprise of “No One Is Alone” so I get to win both ways. No matter how I try to cast it or rearrange characters, I keep coming back to the fact that Ashlyn is just hands down the correct choice. Plus she is one of the better options when it comes to having chemistry with Seb. And I’m not even talking about romantic chemistry, just more about the camaraderie of it, and being able to really see them as a team worth rooting for. They both have an inherent sweetness that makes you care for them, which is crucial for the show. AND this would be another opportunity for Julia Lester to flex her acting after playing VERY different roles in HSM and BATB. Basically, I don’t know when it happened, but I think I am a Julia Lester stan and I only want what is best for her and I think this is it. 

Little Red - Gina. “Didn’t see that one coming did you?” -Pietro Maximoff. And honestly same. There’s always that tough moment in casting when you’ve done the more obvious ones and then you feel sort of stuck with cast choices that weren’t really your choice. But this one really grew on me. Hopefully, I can do it justice. And I will be the first to admit Gina deserves her time to shine because I do think she is amazing. It just isn’t her time yet. It also doesn’t help that Into the Woods is one of the LEAST dance-centered shows and dance it where she really puts all others to shame. So this is where we landed. But it works. I promise. Little Red as a character is pretty naïve, but covers it up with over the top confidence. That feels pretty Gina. I love where her character has gone and all the growth she is displayed in trying to be more vulnerable. But there is still a part of me that does miss mean girl Gina and I think Little Red is a great way to get that energy without backtracking the character development. I don’t think she would be the stereotypical “bratty” Little Red, but I think she could still do something great with it. Also very similar to Jack, Little Red is one of the more innocent characters that has to grow up and face a lot of harsh realities over the course of the play. And I have no doubt Gina would nail that aspect of it, too. And speaking of Jack, Little Red has a number of scenes interacting with him and you know what that means: Gina and Big Red bonding time! I really like the idea of these roles bringing the two closer as friends. And I already head-canon that they would have a ton of fun playing with the fact that they are now Big Red and Little Red (especially since he is on the shorter side and she is on the taller side). Basically I see this as a way for them to build up a really good rapport. I am also pretty convinced that Big Red is a secret Rina shipper, and this would only add to that. And finally even though this is not a dance-heavy show at all, one place where they could add a dance is during “Hello Little Girl”. Now I will be the first to admit that this song is dicey at best, particularly for Disney. But even a scene working on the dance with just the instrumental, no lyrics, could be great. I see it as a partner dance with the wolf (I don’t know dance terms, so maybe this is super vague). And oh, wouldn’t you know it? Cinderella’s Prince is often double-cast as the wolf! (WHAT ARE THE CHANCES) Meaning the Wolf would also be good ol’ Richard Bowen. And I like the idea of getting Rina scenes of them trying to work on the dance, but Ricky is super bad a leading, and they just have fun trying to figure it out. It’s also nice that it is absolutely not a romantic dance so the two wouldn’t feel any added pressure and could just have fun with one another, and that really is when Rina is at its best (not that I would say no to a scene where Gina has to teach Ricky the BATB waltz, but I digress).

Narrator/Mysterious Man - Carlos. By process of elimination, you probably could have guessed who was next. And I know this one also feels like a weird choice but I do kind of love it. First you have the narrator, which is another one of those roles that is only as memorable as the actor playing it, which I think is right up Carlos’ alley. He is always trying to put his unique stamp on things and be memorable and he would take the narrator in a very enjoyable direction. There’s also the matter that I see Carlos as something of an assistant director with Miss Jenn, which makes him a third-party observer of the shows inherently, so it is almost a little meta that he would also end up being the narrator. Then there’s is the mysterious man. I love the idea of Carlos getting to play two very different characters, but I love it even more because the mysterious man is the father of the baker which makes for a lot of sweet moments between the two of them. Yes it might be a little weird for Seblos to be playing father and son, but there is such a vulnerability and tenderness in the moments between the two characters, particularly during “No More” that I can get over it. Because I think they are one of the few pairings on this show that could really pull that off. I just think this character would be a great way to exhibit the range of Carlos.

**BONUS ALTERNATE CASTING**

I really, really love this idea and could not fault them if this was the direction they went, but I ultimately decided against it, mostly because I felt too strongly about another character having the role BUT:

Baker’s Husband - Carlos. I just really love the idea of Seblos getting to be front and center, with their dynamic as the focal point of the show. And honestly Carlos would also do an amazing job as this character. I mean, Seb and Carlos singing “It Takes Two”? How sweet is that? This would also be a great way for the development of their relationship to get a little bit more attention, instead of a side story here and there. There is a lot that could be done with this from a story perspective and I would be here for it.

Unfortunately, then that leaves me unsure of where to put Ashlyn. She could be Jack’s mother, but that feels like such a waste of her. I mean, she would do well and she does have the lead this year, so it’s not SO terrible her having a more minor character, but it just doesn’t feel right. And I really just feel so strongly that she would be the best option for Baker’s Wife out of everyone. And it opens the door to develop the Seb and Ashlyn friendship more, which I am always here for. 

Anyway. Those are my thoughts. If you made it this far: wow and thank you!

[andhumanslovedstories]

Recent country songs that have made me literally gay gasp as a gay woman, in order of how much they make me want to write an essay on gender and queerness

HONORARY MENTION BUT JUST BECAUSE I THINK THIS IS TECHNICALLY AMERICANA NOT COUNTRY (but genre is fake) AND THIS SONG ISN’T RECENT (2014 and I’ve been listening to it faithfully since then) BUT I ONLY RECENTLY LEARNED IT’S A COVER AND THAT’S MADE ME RECONTEXTUALIZE IT: “Murder in the City” by Brandi Carlile, a cover of The Avett Brothers where she changed the words “make sure my sister knows I loved her/make sure my mother knows the same” to “make sure my wife knows that I love her/make sure my daughter knows the same” which fucking. fucking gets me. Especially since the first time that I heard this song, I assumed it was from a man’s point of view because of that line, and then I learned that Brandi Carlile is a lesbian and I was caught up in my foolish heteronormitivity, and then I learned it was a cover and thought oh okay I guess the song is originally from a man’s pov and it’s cool she covered, and then I learned she changed those lines to make a song that already feels deeply personal to her to explicitly include her love for a woman and the family they’ve made together. And that’s just. It’s all just a lot. 

3) “Fooled Around and Fell in Love” by Miranda Lambert featuring Maren Morris, Elle King, Ashley McBryde, Tenille Townes and Caylee Hammack, because the first time it came up on my spotify, I saw the title and was like “hey dope I like this song” and then I heard the first line was still “I must have been through about a million girls” and I realized none of the words or pronouns were getting changed and I was getting the song I’ve always wanted and deserved: a high production value, high energy, big girl group tribute to being a lesbian fuckboy who Fooled Around And, oops can you believe it, Fell in Love. 

2) “If She Ever Leaves Me” by The Highwomen, sung by Brandi Carlile who is, as mentioned, lesbian, but since I’m apparently still chugging my comp het juice, I was still trying to figure out if this song--a classic “hey buddy keep walking, she’s my girl and she’s not interested” song with an interesting element of the singer being aware the relationship might not last anyway--was gonna be explicitly queer. And then there’s the line, “That's too much cologne, she likes perfume,” and I was like OH HOHOHOHOHOHOHO!!! 

This is immediately followed by the lines “I’ve loved her in secret/I’ve loved her out loud” which is also deliciously queer in this context, with this singer and that juxtaposition, but the line that really fucking got me is my favorite of the song: “If she ever leaves, it's gonna be for a woman with more time.” This is two women in a complicated relationship. This isn’t just a “keep walking, cowboy” song, it’s a song that uses that framework to suggest a whole ass “Finishing the Hat”** relationship, and that’s so interesting to me. Like a song that isn’t just explicitly about two women in love but one that conveys very quickly a rich history between the two of them. And in a genre where the line “Kiss lots of boys, kiss lots of girls if that’s something you’re into” was revolutionary representation.

(Fun fact, “Follow Your Arrow” was partially written by Brandy Clarke, another country lesbian! Another fun fact, so is basically every other good country song. Brandy Clark, please write a big lesbian country anthem, I know it will immediately kill me on impact.) 

To quote one youtube comment, “”lesbians how we feeling??” and to answer by quoting some others, “As a closeted baby gay in the 90s, who was into country, this song would have changed my life”, “I just teared up.  So many happy tears, as a gay woman raised on country music,  this is something that's definitely been needed.  Thank you Brandi. Thank you highwomen”, “This song means more than I can say in a youtube comment”, and “Lesbians needed this song :)”

It’s me. I’m lesbians. 

**ANOTHER HONORARY MENTION EXCEPT IT ISN’T RECENT AND IT ISN’T COUNTRY SO I GUESS THIS IS JUST A MENTION, BUT I AM INTERESTED IN THIS SONG--“Finishing the Hat” by Kelli O’Hara. A very good Sondheim joint, that’s about making art, the costs of its obsessive and exclusive nature and the incomparable pleasure of putting something into the world that wasn’t there before. It’s such a traditionally male narrative that I’m thrilled to find a wonderful female cover of it. I’m not even fussed about her changing the gender from the lover who won’t wait for the artist (except that the shift from “woman” to “one man” sounds so clunky) because there’s value turning this song into a lament of the men who won’t love artistic women. But I do also wish she’d also recorded a version that kept the original gender so it would be gay. OKAY BROADWAY TANGENT OVER, BACK TO COUNTRY. 

1) “Highwomen” by The Highwomen, ft. Yola and Sheryl Crow. I can’t even express the full body chills the first time I heard this. Like repeated, multiple chills renewed at every verse of the song. This really closely parallels my experience with “Fooled Around and Fell in Love” up there, because when I started it I was like “oh dope I know what this cover will be” and then the lyrics started and I was like “OH MY GOD I DIDN’T.” In the case of “Fooled Around” it’s because I was amazed that they kept the original words. In the case of “Highwomen” I fucking transcended because they changed them. 

So I grew up on Johnny Cash, obsessed with a couple of his albums but largely with a CD I had of his greatest hits. (Ask me how many times I listened to the shoeshine boy song. Hundreds. Johnny Cash told me to get rhythm and I got it.) And my FAVORITE was “Highwayman” from the country supergroup he was in, The Highwaymen. The concept of the song is that each of the four men sing a verse about a man from the past and how he died. It’s very good. The line “They buried me in that grey tomb that knows no sound” used to scare the shit out of me. I didn’t expect to have a song that targets so specifically my fear of being buried alive in wet concrete. 

(If you haven’t heard the song, by the way, listen to this version to properly appreciate it as a piece of music. If you have, watch the fucking music video holy shit this is a work of art oh my GOD.) 

So I was predisposed to love this cover before I even heard it. But then I heard it. And they rewrote the song to be about historical women. And it’s like. There’s layers here okay. 

Neither the Highwaymen nor the Highwomen are signing about famous people. This isn’t a Great Man tour of history, it’s about dam builders and sailors and preachers and mothers and Freedom Riders and also Johnny Cash who flies a starship across the universe, as you do. 

In the 1986 version, it’s a song about the continuity of life--the repeated idea is “I am still alive, I’m still here, I come back again and again in different forms.” The highwayman is all the men in the song. He reincarnates. The song is past, present, future. The title is singular, masculine. The same soul, expressed through multiple voices, multiple lives. 

In the 2019 version, the title is plural, feminine. Highwomen. This song is about women. Each verse asserts the same motif as the 1986 version--“I may not have survived but I am still alive”--but there is no implication of reincarnation. Each woman is her own woman. This version has a final verse that the previous versions lacks. The singers harmonize. It’s not a song where one voice replaces  another, the story of this One Man progressing through time. It ends in a chorus of women saying “We are still alive.” 

We are The Highwomen Singing stories still untold We carry the sons you can only hold We are the daughters of the silent generations You sent our hearts to die alone in foreign nations They may return to us as tiny drops of rain But we will still remain

And we'll come back again and again and again And again and again We'll come back again and again and again And again and again 

Another fun fact! The first time I heard them sing “We are the daughters of the silent generations” I died! But luckily I came back again and again and again.  

This is a song about the continuity of history. It asserts that women’s historical lives matter and that they continue to matter, long after they died. This is a song about legacy as well, the legacy of nameless women who worked to protect the ones they loved and make the world better. They don’t die by chance. They are all hunted down by political violence, by racism, by misogyny, for stepping outside their prescribed roles. But, as Yola (who btw fucking CRUSHES THE VOCALS ARE YOU KIDDING ME?????? HOLY SHIT MA’AM) sings as a murdered Freedom Rider, she’d take that ride again. And at the end of the song, she joins the chorus but does not disappear into it. Her voice rises up out of crowd. And the crowd calls itself “we”. These women are united but not subsumed into being One Woman. This is about Women. 

And then, outside the song itself, there’s the history of this song about history. It’s originally by Jimmy Webb and was covered by Glenn Campbell. This cover inspired the name of the supergroup that covered it, the group with Willie Nelson, Kris Kristofferson, Waylon Jennings, and my man Johnny Cash. And it’s like holy shit! What an amazing group to collaborate! Hot damn! 

Then, it’s 2019 and here’s The Highwomen with Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires. The name is obviously riffing on The Highwaymen. Shires set out to form the group in direct response to the lack of female country artists on the radio and at festivals. And they name themselves after a country supergroup, and they put out this song, a song connected to massive names in country music, and they center all of this on women and womanhood and the right of women to be counted in history and to make history and to talk about the ways we have mistreated and marginalized women, in a group that started because one woman was like hey! we’re mistreating and marginalizing women! 

I just think this is neat! I think there’s a lot here we could unpack! But this post is 100 times longer than I was planning and work starts in a bit so uh I’m gonna go get dressed and listen to The Highwomen on repeat for the next hour, “Heaven is a Honky Tonk” is another fucking bop that improves on the original, it would be dope if they’d collab with Rhiannon Giddens, okay byyyyyyyye 

[fuanteinasekai]

Tanuma Kaname and the Anime Problem

A sweet—and significant—moment in the middle of “Unchanging Form” that redefined Natsume and Tanuma’s relationship. Anime version: not found.

A BRAZEN THEFT

There’s a moment in “The Time-Eater” when a de-aged, amnesiac Natsume is sitting alone in Tanuma’s house, watching Sensei totter off in search of a cure. His friends observe him with concern. Taki comments to Tanuma that while Natsume’s transformation is difficult to believe, his “un-childlike, wooden” expression is still recognizable. After a brief acknowledgment from Tanuma, she rambles on that it’s good Sensei found their help, but wonders what will happen to Natsume if he can’t turn back. Then she sees Tanuma’s face, and her tone changes abruptly: she apologizes to him, saying she’s sure Sensei will fix the problem, there’s just not much they can do themselves.

There’s little ambiguity in this sequence: the change in Taki’s tone is visually apparent in the style of speech bubbles—from the soft curves of “normal” speech to the more angular lines of emphatic speech. And the use of a “…” speech bubble makes it clear that Tanuma is responding with silence, not just listening from the outside. Even Taki’s body language supports this reading, her fist awkwardly balled up as if to say “oh crap, I screwed up.”

The effect is to create a contrast. Though Taki had shown concern at an earlier point in the story, she now demonstrates an ability to emotionally detach enough to speculate about undesirable results—she’s the kind yet tactless bookish friend. Tanuma, on the other hand, is too hurt by the thought to speak. The implication is that Tanuma is more invested in Natsume as someone he can emotionally relate to—not just a friend to take care of or have fun with, but a mental equal to share life with.

This theme continues, sometimes subtly, throughout the story. Whether it’s gently checking on a frightened Natsume while Taki giggles about how fun it was to chase him, or single-handedly dealing with Natsume’s fear of being hated by his caretakers, manga-Tanuma consistently demonstrates a higher level of attention and emotional intimacy. He’s even the one to beg Natsume to “come back,” a symbolically important role. The implied intimacy is not one-sided—Tanuma is the only character Natsume is unambiguously shown to regain memories of.

Yet when the anime adapted this scene, the dynamic is reversed. The visual staging and the progression of Taki’s tone of voice are changed to imply that she is, absurdly, apologizing to herself rather than Tanuma. The anime’s framing centers her and her stolen emotions, though it fails to do so for Tanuma later when it’s actually supposed to. Instead of reacting sadly to Taki’s rambling, Tanuma is shown observing with a blank expression at unrelated moments, looking as if he doesn’t understand why she’s upset.

The dialog remains exactly the same, simply recontextualized, and Tanuma is still shown reacting, merely at a different point; so it doesn’t save a millisecond of time or even art. The only practical reason for this change is to change the implication. In other words, the anime reversed the characterization of the manga in order to make the girl more sensitive than the boy. This continues throughout the episode: if a moment belongs to Taki, it’s Taki’s; if a moment belongs to Tanuma, he either shares it with Taki or gives it up entirely.

This is not an insignificant quibble. Taki and Tanuma’s personality differences and the way they relate to Natsume inform their roles in the broader story and the way their relationships with Natsume evolve. The anime erased one of the single most important aspects of this story.

Anime vs. Manga. [Remember that Japanese reads right to left.] The corruption of Taki’s “I screwed up” fist into an “I’m a delicate bird” fist is almost hilariously manipulative. Taki is feminine, but she’s anything but delicate—it’s one of her most admirable traits. And I could go on about the use of white space and merging shadows on the bottom left, but honestly the staging isn’t subtle. Natsume is talking to Tanuma, and Taki is watching. Any such implications preserved in the anime are so brief and unnoticeable as to be not worth crediting.

Prior to this episode, I had given the anime the benefit of the doubt, assuming that the numerous emotional scenes they cut from Tanuma repertoire were simply too long to fit. But there’s no such excuse here. Either (1) Taki’s lack of feminine intuition and Tanuma’s lack of masculine stoicism were unacceptable, or (2) the boy being more sensitive than the girl was too suggestive of queerness. Whether out of their own discomfort or to placate the audience, the anime has deliberately adapted the manga in a way that downplays Tanuma’s sensitivity and his emotional significance to Natsume. And while the above examples are among the most difficult to explain away, they are far from alone.

There’s a reason I’m bringing this up.

The popularity and availability of the anime mean that most people who’ve read the manga have also watched the anime—perhaps even seen the anime first—which means that their understanding of characterization and development is likely influenced by it. But Midorikawa-sensei isn’t using the anime to guide her writing, she’s using her own. (Little could be more obviously devil-may-care than making a story’s last minute reveal revolve around the color of something we’ve already seen. Have fun with that, anime!) And that means viewers (and readers) are being misled not only about what function characters play in the narrative, but also where the story is going.

DISTORTED LENS

For a look at the way a cynical, targeted heteronormative adaptation can influence characterization, themes, and even perception of the source material itself, there’s no better example than “The Other Side of the Glass,” a.k.a. the Omibashira Arc.

At first glance, the anime appears to have made a perfectly reasonable adaptation of the manga. When boiled down to plot points, it looks the same. And it’s still romantic enough, on Tanuma’s part, to make people uncomfortable (hat tip to the “fan” in the Crunchyroll comments complaining that Tanuma wasn’t Taki). Yet in reality, it’s a complete mess, with (in addition to a new cringe-inducing fake boy/girl scene) nearly the entire mansion sequence rewritten to change both the themes and characterization, spinning the emotional focus off its axis.

When I first read the manga, I was struck by two impressions: One, that it was much more delicate than the anime, with a painful, slow interplay between Tanuma and Natsume that spirals into emotional collapse for both. Two, that it was somehow also sloppy and inconsistent. At first I couldn’t put my finger on why, but then I realized, it was this:

Tanuma, looking supremely ungrateful, as Natori hands him the talisman stone.

What I perceived as “sloppiness” was actually the dissonance between the anime characterization and the manga. Because I had seen the anime first, I had subconsciously projected its version of the characters onto the manga, and thus found it jarring when, for example, the normally sweet manga-Tanuma continued to act petty and angry toward Natori long after the more assertive anime-Tanuma had shyly introduced himself.

Hmmmmm.

The anime’s replacement of manga themes with their own was too surgically precise to be unintentional. Once I recognized what they were doing, I started making accurate predictions about what else they would change. This is, without a doubt, a story revised to meet the anime’s priorities.

It would be impossible to list everything the anime changed without essentially transcribing the entire manga, so instead I will focus on three of the most important scenes.

Right to left, again!

First is the scene I mentioned above. This is where Natori apologizes to Natsume for not being able to get him out quickly, but also where Natori and Natsume treat Tanuma like a child—or worse, an object. Natori suggests splitting up and Natsume agrees, immediately charging Sensei with “following” Tanuma like he’s a wandering child, then with finding the exit. Tanuma is never addressed directly. Both Natori and Tanuma notice Natsume is in an agitated mental state, but it’s Tanuma who steps in and tries to provide emotional support, gently suggesting that they take a break. Natsume brushes him off, inadvertently rejecting Tanuma himself, and pretends to be okay. But in the next frame he’s mentally chiding himself not to “leave his heart unguarded” and “get led astray,” suggesting he’s afraid that his emotions for Tanuma will distract him and lead to disaster. Tanuma calls after him, but Natori interrupts with the talisman stone, snidely throwing his earlier rescue in Tanuma’s face: “Take this. It’s a protection stone. Since you’re no match for an ayakashi when it matters, are you?” Tanuma accepts with cold politeness, then gives up.

This is plainly intended to help set the groundwork for Tanuma’s emotional collapse. And it’s likely setting up his recklessness in dealing with Omibashira. The scene as a whole is a microcosm for the relationship issues that led to this point. Natsume relies on distance to maintain his equilibrium, pushing Tanuma away to “protect” him and calm his own mind, but also effectively rejecting Tanuma’s affection in the process. Though Tanuma tries to do something he’s actually good at, his rejection leads him to behave more recklessly so that he can be useful anyway—and perhaps earn Natsume’s respect. For his part, Natori is everything Tanuma thinks Natsume would prefer him to be: powerful, self-assured, with movie star looks. Perhaps worse, he speaks the judgmental opinions Tanuma is afraid Natsume holds, dismissing Tanuma as weak and useless. Natori takes Natsume’s side in pushing Tanuma away because it aligns with his cynicism: he, too, believes ordinary people must be rejected to be protected. That to make them “treasures” is to make himself “weak.”

In the anime, this becomes a scene where Natori does all the planning, where Natsume never pushes Tanuma away, where Tanuma insists on helping ineptly and Natsume is open about his fears. Instead of cruelly dismissive, Natori is silly with jokes about “not making a lady work.” Instead of distant and avoidant, explicitly trying to bottle up his emotions, Natsume is openly emotional, saying “If anything were to happen to you...” He’s far too articulate.

Thematic change #1: Instead of being emotionally repressed and struggling to adapt, Natsume becomes the Generic Hero, nobly worried about his foolish best friend who doesn’t know his own limits.

Second is this scene between Tanuma and Sensei. Here Tanuma fishes for validation from Sensei, pestering him incessantly about “that ‘Natori' guy” and “that ‘Reiko' girl.” He asks whether Natori can sense presences like they can, but Sensei brushes him off because sight is more important. He calls Natori “high pressure” but Sensei defends Natori, saying it’s a habit from having so many enemies. He’s about to interrogate Sensei about exorcists when Sensei finally snaps, saying “Don’t ask me, ask Natsume!” It’s a cruel, if not exactly intentional, reminder that Natsume never told Tanuma about Reiko or Natori or exorcists in general in the first place—yet another step closer to emotional collapse. Tanuma’s whole tone is clearly one of insecurity, digging for evidence that he’s better than Natori at something, however petty. Tanuma never lets go of this. Even at the end of the story, he’s making backhanded comments:

祓い屋って…やっぱり資格とか必要なんですか？ An “exorcist”.... Do you really need “qualifications” or whatever, after all?

This patent insecurity, framing Natori as a literal rival, evaporates in the anime adaptation. His exchange with Sensei about Natori is bastardized to make his opinion positive, with a laughably transparent “I think that ‘Natori’ exorcist might actually be a good person.” Instead of fishing for validation, Tanuma interrogates Sensei about how Natsume really felt about his involvement. As if he got involved out of bad judgment. As if it were not, instead, the emotional desperation of someone repeatedly shut out, repeatedly in the dark, finally having an opportunity to do something without being able to see Natsume tense up and try to escape. This reinvented scene is capped off with a wholly new comment from Sensei: “Someone weak like you will get eaten [in this world].”

Considering this scene was meant to be an illustration of Tanuma’s insecurities and his ineffective attempt to quell them, it’s almost comically cruel that the anime chooses to not only canonize Tanuma’s uselessness as a central theme, but to make their voice Sensei, the only character in the manga to give Tanuma any agency. Not only was Sensei the one who involved Tanuma in the first place (a fact the anime makes no attempt to explain), he’s also the one who trusted Tanuma with the task of freeing Natsume. The anime vaguely implies that Sensei and Tanuma worked up a plan together, but the manga was clear: Sensei more or less gives Tanuma a mask and kimono, slaps him on the back and says “you’re on your own.” Tanuma stumbled around interviewing dangerous yōkai by himself long enough to work up a sweat. The sake bottle gambit was all his.

(Though the above is mildly exaggerated for humor, it’s still more accurate than the anime.)

This scene doesn’t just miss the point, it flips it. Tanuma having good judgment is one of his central character traits. Natsume even says so in the same chapter, describing Tanuma as 思慮深い and 慎重, meaning that he is meticulously thoughtful, careful, and responsible. The problem, here, is not his lack of judgment. It’s that his judgment is overwhelmed by his emotions toward Natsume. Natsume, in his inexperience and emotional immaturity, has used the Natori-esque technique of outright avoiding people during yōkai problems. This leaves Tanuma with no outlet for his love and desire to support Natsume, a suppression and repression that eventually builds to the point of desperation. Natsume getting stuck in a bottle where Tanuma could not see or hear him was a crack in a wall that was already under a lot of pressure. As Tanuma says, blushing, at the end of the manga:

姿見えないから勢いで超キザなこと言った気がする… I have a feeling I got carried away when I couldn’t see you, and said something super-cheesy...

Thematic change #2: Instead of behaving uncharacteristically out of emotional vulnerability and insecurity, Tanuma is merely weak and foolish.

Third, we have the climax: Natsume’s emotional collapse when Tanuma finally gets hurt. Here, it’s the little details that really matter, like manga Natori showing up and utterly failing to acknowledge the collapsed boy at Natsume’s knees until Natsume falls apart. Anime Natori gets Sensei’s lines, reassuring Natsume as if he actually values Tanuma. Or the moment when Natori finally admits that Tanuma is important, which the anime gives soft-focus to emotionally center Natori instead of Natsume’s emotional needs. Or even the moment just afterward when Natsume—his and Omibashira’s eyes now open—regains his strength.

The manga has:

ぐずぐずするな夏目　あれを封じんとこいつもお前も帰れんぞ Sensei: Don’t dawdle, Natsume. Neither [you nor Tanuma] are going home if you don’t seal that guy. ああ　そうだな Natsume: Right!

The anime completely rewrites this:

夏目 無理なら私が行くぞ Sensei: If you’re not up to it, I'll go. いや 俺が行く 俺が行きます Natsume: No, I’m going [to Sensei]. I’m going [to Natori].

Thereby making Sensei strangely soft, and Tanuma an emotional drain Natsume has to shake off, instead of someone Sensei recognizes as a motivator.

Again the anime misses the point of the original manga. Or, perhaps more likely, dislikes the point. Natori is not, as they would have it, here to be the knight in shining armor, saving the silly boys and wisely imposing emotional advice. Natori is usually wrong about emotions, and this has always been so.

Though he means well and tries his hardest to be a good mentor, it’s Natori who offered to take Natsume away from the Fujiwaras, and gave him a nightmare about it. It’s Natori who told Natsume he had to “choose a side” between yōkai and humans, directly contributing to the child god’s rejection of Natsume. It’s Natori who, on finally being told of the Book of Friends, said he’d rather just burn it. When they first met, Sensei described him as “full of hate” for yokai, and there’s no reason to believe he’s improved. Yorishima’s accusation that he’s becoming more like Matoba is in his second most recent appearance (as of the end of 2018).

This should be no surprise: he’s only 22 and on top of that lacks even 15/16-year-old Natsume’s experience with healthy emotional relationships. From a strictly logical perspective, he has no basis to be wise.

Furthermore, his given name 周一 (Shūichi) literally means “circuit one” or “lap one.” Though it’s typically used for a first-born son, here it has another meaning: Natori is the first version of Natsume himself. He was the powerful “good kid” (as Hiiragi called him, and as he called Natsume) who was turned bitter, isolated, and cynical by yokai trouble and emotional neglect. His attitude and his life reflect the direction Natsume was heading at the beginning of the series, when he says “I’d rather talk to [a yōkai exterminator] than to yōkai.” Natori is the little boy who “just wants to live alone,” all grown up and living alone.

In other words, Natori is what Natsume could have become without the unconditional love and acceptance of the Fujiwaras, and of Nishimura and Kitamoto; without the protective buffer of Nyanko-Sensei, and without the emotional pull of Tanuma. Perhaps without the cautionary tale of Taki: his inverted mirror in ability, desire for sight, and family life. (And gender.)

(Similarly, Reiko is the “avoided path” whose tragically short and lonely life is redeemed by the growth her “Book of Friends” forcibly imparts on her grandson—and she, too, makes an appearance here through Sensei.)

In fact, this is supported by, of all things, Natori’s paper bag mask. Besides being funny, it hides a bit of subtext. The marks are meaningless alone, but taken with the shape of the bag you get 肉. This is the word niku, meaning “meat,” but more importantly “flesh” as contrasted with “spirit.” Natori’s life, and his path, are preservative for the corporeal body, but spiritually sterile.

Natori is here not to be a hero, but to admit he is wrong and Tanuma is right.  He is still Natsume’s best source for advice on human magic, and still the protective older brother figure, but he is utterly lacking in the kind of relationship experience that Natsume needs advice on. The best he can do is to say “it might be terribly difficult, but you need [what I threw away].”

This isn’t just a moment of realization for Natori—it’s a dramatic reversal. The boy he was so foolishly, cruelly dismissive of, believing him to be nothing but an intrusive, “reckless” child, is actually a desperately devoted key to Natsume’s happiness. In a sense, we’ve known this all along. The standard Japanese word for “necessary” [that Natori uses] is 必要 (hitsuyō), and it contains the same kanji as Tanuma’s given name 要 (Kaname). There’s good reason: Kaname literally means “the most important person or piece.” He is the lynchpin of Natsume’s emotional growth.

We see this just three stories earlier in “The Long Road Home” when Tanuma confronts Natsume for lying about his parents' photo, thereby setting his visit to his childhood home in motion. This visit makes Natsume feel “lighter” and helps him let go of the past so he can recognize the Fujiwaras as his (new) true home. Tanuma’s role is so important he gets an entire third of the arc. In other words, Tanuma is the anchor who steadies Natsume so he can have stronger relationships with ordinary people.

In downplaying Natori’s cynicism, the anime also erases the reversal, and with it the sense that Natori has been convinced of the impossible by Natsume’s loving (if unintentional) description of Tanuma’s devotion. This opens up the scene for a broader interpretation that's about ordinary relationships in general instead of Tanuma specifically.

Thematic change #3: From Natori the avatar of emotionally barren power conceding to Tanuma the avatar of love, to Natori the charming if a bit silly hero saving Tanuma from driving Natsume away.

These are not the only losses, though they are the largest thematic issues. The anime suffers continuously from a Natsume who is far too aware and open about his emotions, and a Tanuma who doesn’t get interrupted or sabotaged. The groundwork for their respective breakdowns is poor.

The result is a two-parter that satisfies as many fans as possible, at the cost of Tanuma’s (and Natori’s) symbolic role. Anime Natori is fluffed up for his fans, and anime Tanuma is sweet enough to satisfy his fans without threatening those who would be uncomfortable with his fundamental centrality. In other words, it’s a cynical, heteronormative adaptation that assumes there is no long-term purpose to Tanuma’s role—an assumption they may come to regret.

力になりたいと頑張ってもやはり出来ない・かなわないということはあって、前向きに行動をとればとる程それにぶちあたってしまう田沼。話したいけれど話すと、そいうジレンマに田沼がおちいるとだんだんわかってきた夏目。それを見て、それ見たことか！と言いたいけれどそうとも言ってしまえない不思議な可能性に、口から出る言葉が変わっていってしまう名取。と、それぞれの立場のズレあいが描けてとても楽しかったです。普段描けないような夏目の表情が描けた先生ナツメもワクワクしながら描けました。あらためて夏目は表情とぼしい奴だなと実感しました。

Tanuma, who wants to help, but can’t no matter how hard he tries. Who, having things he cannot handle, finds that the more positively he takes action, the more he runs into that problem.

Natsume, who wants to talk, but is gradually coming to understand it leads Tanuma into that dilemma.

Natori, who wants to say “See, I told you so!” but finds himself unable, a curious possibility escaping his mouth instead.

I enjoyed drawing the meeting of these incongruous positions. I was also excited about drawing expressions on Sensei-Natsume that I normally can’t. I felt a renewed sense that Natsume was a guy with few expressions.

In Part 2, I’ll be talking about the textual basis for canonical Tanuma-Natsume soulmates, and how this is downplayed by the anime.