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somebodys-nightmare · 1 month ago

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Understanding the Romantic Narrative Arcs in Final Fantasy VII

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

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

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

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

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

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

Romantic Structure/Trope Analysis

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

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

Zack/Aerith: The Long Lost Love Romance

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

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

Act 1: The Beginning

The Hook (Childhood Connection Revealed)

Romance Structure: Introduction / Setup

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

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

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

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

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

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

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

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

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

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

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

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

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

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

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

Midpoint Crisis / Trials and Temptations

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

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

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

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

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

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

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

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

Second Plot Point / The Fall

Romance Structure: The Fall

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

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

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

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

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

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

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

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

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

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

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

The Climax / Declaration

Romance Structure: Declaration

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

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

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

The Resolution / Denouement

Romance Structure: Denouement / HEA

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

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

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

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

Act 1: The Beginning

The Hook (Unrequited Feelings Introduced)

Romance Structure: Introduction / Setup

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

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

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

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

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

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

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

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

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

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

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

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

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

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

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

Midpoint Crisis / Trials and Temptations

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

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

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

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

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

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

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

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

Second Plot Point / The Fall

Romance Structure: The Fall

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

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

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

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

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

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

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

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

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

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

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

The Climax / Declaration

Romance Structure: Declaration

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

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

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

The Resolution / Denouement

Romance Structure: Denouement / HEA

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

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

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

Zack/Aerith: Long Lost Love/Tragic Love Arc

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

Act 1: The Beginning

The Hook

Romance Structure: Introduction / Setup

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

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

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

The Inciting Incident

Romance Structure: The Call to Adventure

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

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

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

First Plot Point

Romance Structure: Refusal of the Call / First Obstacle

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

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

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

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

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

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

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

Midpoint Crisis / Trials and Temptations

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

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

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

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

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

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

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

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

Act 3: The End

The Crisis / Dark Moment

Romance Structure: The Break-Up / Darkest Hour

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

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

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

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

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

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

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

The Climax / Declaration

Romance Structure: Declaration

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

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

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

The Resolution / Denouement

Romance Structure: Denouement / HEA

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

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

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

Final Thoughts: The Love Triangle is a Narrative Illusion

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You can ship your fanon without doing all that.

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

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

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

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

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

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heartofbusan · 3 months ago

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Finally.

As we hit the halfway point of AYS, I've been wondering about the overall story arc. What part of the story is the one that floats over the entire narrative? To me, it is also the story that is the most sensory one, the one thing about AYS that touches me and sets my mind off of these tangents.

I'll give you a clue:

It's them. Their interactions.

The way jikook as a pair kicked off this journey was a contentious one. We all remember the first episode and the talk they had. There are many reasons, from the editing to the self censoring jikook do in front of the camera that have led to #TheCarScene making the audience feel either uncomfortable or made them sit at the edge of their seat. Hanging off of every word (and translation). There is both a lot happening and not enough. But not many can say that scene left them unmoved. I like that! That means that the audience is engaged! It pulls us in. Especially those of us who love to observe human communication. Yet, now we long to move on from the discomfort that interaction sparked. We long for catharsis. To feel that the conversation they had isn't just hanging there balancing them on a precipice, but that it will be OK for them in the end.

Jungkook’s "Finally" went a long way to guide us to such a resolution, but to me, his relieved exclaim is just the beginning. This, to me, is what the entire show portends to be about.

How does that 'Finally' look like throughout the 8 episodes? How will we look back on that 'Finally' once we've seen them all?

Like I said, we're at the halfway point (already 😭), episode 4, and where is that on-screen relationship building towards? What kind of 'beats' does the story NEED to hit in order to come to a satisfying conclusion within the shows narrative? How does the show earn that 'Finally'?

Sure, Are You Sure is a 'travel-vlog-mukbang-buddy-cop-show', but it's also the story of two seemingly estranged best friends/lovers who've been incredibly busy and who've taken it upon themselves to carve out time to be at ease together. If we look at their busy schedules as being in the way of them being THEM, then the most important goal of AYS is to get them back to that state.

Are You Sure is jikook's safe heaven.

If we were to look at all episodes as a way to work towards that hypothetical goal (Jikook back on the same wavelength) then the story beats per episode look a little like this.

Ep. 1: Two friends embark on road-trip, they've missed eo and want to do fun things together. Lot's of eating.

Ep. 2: Even short term illness can't keep them from sightseeing and eating, more warming up together: spanking in bed edition

Ep. 3: Surprise guest! Cut the camera's: the duo take a pause on domesticity and play games as a trio.

Ep. 4: The duo is the core of the story, pick up where they left off: re-kindling. They make beautiful moments together.

Ep. 5: I expect another conversation about their desire to spend meaningful time together 'Deep talk phase 01'. New location?

Ep. 6: New location but treasured memories pop-up from their first Tokyo trip. What does the future for this duo look like (the military service talk?) aka 'Deep talk phase 02'.

Ep. 7: Level-up: fun snow time activities?!

Ep. 8: More deep talk, 'Phase 03' that cements this duo as utterly and completely besotted with eo. They either talk about their joint enlistment or about traveling after MS...maybe both.

How do you think the next episodes will play out if we think of each episode as building towards a satisfying conclusion?

#jikook #jimin #park jimin #jungkook #kookmin #are you sure

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starreyblueberry · 2 months ago

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Timmy Turners fate in the new series is one of the most anticipated/theorized aspects of the new show right now. We have multiple easter eggs towards him being a possible character in the new show, and due to the creator saying that Timmys kids could possibly be Cosmo and Wandas next godkids, I don't think Timmy has kids yet (aka the channel chaser ending might be on its way, but not happened just yet.) He is arguably going to either be a huge hit or miss, everyone has different ideas, fates, what he should be, what would be the best conclusion to his character. The lines between real genuine trauma and gags in the old show are blurry, as well as core aspects of his personality. It’s so hard to actually write him as an adult for the new show purely cause what exactly are you going to take from the show that MATTERS. Will you take the lovingness of his parents from season one? or the neglectful spiteful parents they become from season 4. Will you take the horrible grades as him actuallly being bad at school, or crocker failing him on purpose. Will chole even be his best friend? Or is it back to AJ and Chester? Or will his only friends be cosmo and wanda?

We’re Cosmo and Wanda parents to Timmy, or just godparents.

Its already proven that timmys magic somewhat stayed (aka Peris existence, Dale being a millionare, hell even dimsdale/fairy world being intact) If they will acklowdge that? The school mascot being Timmy turner adjacent, past fairy’s seeming to have remembered Timmy (The tooth fairy having a little card of Timmy, Jorgen hanging out w cosmo and Wanda more CAUSE of Timmy’s adventures etc). He’s somehow a crutal part of almost every piece of the show and he’s not even there. I fully believe they’re gonna explain why a lot of Timmy’s wishes have stayed (in my opinion so many of his changes have made the world in general a better place, and he has saved the universe so often undoing his shit would kinda change the whole fabric of space and time, thus making his magic stay, memories are more… iffy.)

I know a huge thing is also the family dynamic, the fact Timmy is their favourite, hell the HALL OF TIMMY!!! The fact they keep a picture of his room in their house, the fact that they reference him sometimes within conversations with hazel. Never actually spoken his name but implied that’s their Timmy (aside from one time) That the reason the world is right now the reason this problem or circumstance or blessing is happening is because of Timmy Turner.

The amount of pure power Timmy has over the show is something crazy, and I do trust the new writers to give us an ending that will satisfy us. He’s been so connected to many people’s childhoods, showing found family at its core. He’s snarky, loud, smart, kind, and more. People want to see him happy, people want to see him with his family. Who you count as his family is up to you. It’s already been semi-confirmed it’s gonna be connected to the channel chasers ending since most of the general audience has said they wished the show ended during that time ( I have my own opions about it but I digress.) It would be super cool if they did their own take, aka any unconventional Timmy future that we haven’t seen as a concept in the OG show. I know many people are rooting for too remember, for them to be united, and I really wish it happens. We also have to remember this is hazels story too, and we’ll be seeing the end of Timmy’s story rather then the middle of it. A special about him would be amazing though, especially if he’s either the hero, or the villain. Idk!!One day I’ll make a full post about every possible future Timmy and my preferences towards which ones, but for now I’ll stick with my analysis of the OG show.

All I know is that Timmy changed Cosmo, Wandas, and Peris life almost more then any other Godkid, and I like to think the show respects the impact he had. Not only as their godkid, but as their first kid to consider true family.

#fairly oddparents #fop #timmy turner #fairly odd parents #cosmo #wanda #peri fairly oddparents #fairly odd parents a new wish #fopanw #blues favs

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liquidorcard · 1 month ago

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Lily's Harley Quinn Show video is Garbage (and here's why)

We all know Lily's media hottakes are BAD. But, I feel like critics have mostly focused on her hottakes on media she hates. I've personally become more interested in what media she actually LIKES . . . Because her rational is often times even more nuts.

Well, this video made me mad enough that I'm gunna write a post about it now. Prepare your assholes for the death rattle of this DC fanboy losing his shit:

youtube

To be clear, I like this show, for some of the same reasons Lily does even. . . But that's not going to stop me from taking the piss.

(I encourage you all to watch the video in full beforehand so you can get the context of the quotes I'm pulling. Timestamps will be included though.

I just told people to watch your stupid video Lily-- can't cry copyright here.)

-0:19: TWENTY SECONDS IN, STEVEN UNIVERSE IS REFERENCED. GG LILLIAN.

-0:36: BITCHING ABOUT HOW VICTIMIZED SHE IS. 30 SECONDS IN.

-0:55: "I dare say it's the best thing to come out of the Batman franchise in a long time."

It seems like the last thing Lily watched/played/read in "the Batman franchise" was The Dark Knight. You dare boldly, Lily. Ironically I feel like she would at least like the Lego Batman movie, if not all the other good shit that's come out since 2011. Also, this is one of the first of many times she calls the entire fucking DC Universe "The Batman Franchise."

-1:00: "If you're watching this show for at all you're watching it for the romantic arc between Harley and Ivy. Don't lie."

I know this is a joke. I'm not an idiot, but. If you're familiar with Lily's general media consumption, you'll be well aware she watches shit a lot of the time for the ships and the ships ALONE. I feel like this really highlights how she views media in general in a way that's rather revealing. This video is two years old, and I wouldn't be surprised if Lily's opinion has soured a bit given the direction the show goes after this video was released. Put a pin in this comment. 📌

-1:15: "I mean it's a post-joker Harley Quinn show what else are they going to do.

Put a pin in that comment.📌

-2:00: Lily goes on to summarize the plot of the show . . . Completely ignoring all the plot beats that have nothing to do with the romance.

Put a pin in that one too.📌

-3:30: Lily indicates she identifies with Ivy.

Another pin.📌

-4:10: Lily starts talking about how near the end of the second season, Harley has now confessed her feelings to Ivy, but Ivy turns her down because she's going to get married to Kite Man (enjoy the insanity of that sentence if you haven't seen the show.)

Though I don't think she's nessesarily making any real poor points here yet, I want to point out that she really flattens the complexity of the emotions going on here. The problem is that Ivy and Harley's relationship has reached a level of intimacy where they really can't just go back to being friends. Ivy is happily in a relationship with Kite Man at this point, he's been a much more stable and reliable partner to Ivy. Though it's implied her feelings for Harley go a lot deeper. During Joker's confrontation of Harley, Lily frames it as a "go get 'er" pep talk like it's a fucking 80s rom com. He's trying more to get Harley to emotionally resolve things with her-- regardless of outcome. Ivy did say no once already. The audience expects she isn't going to say no a second time since that wouldn't be a narratively satisfying conclusion, but in the real world equivalent, she could have. The Joker wasn't telling Harley to harass Ivy until she gives in.

-5:16: Not really a mark against Lily's video persay, but in a season that aired after Lily made this video the prospect of Harley and Ivy breaking up is explored. Lily must have been seething, lol.

-5:28: "I love a good fluffy romance. I'm so fucking done with people's obsession with the nasty stuff [Flashes Catra and Adora on screen.]"

Honestly this comment has me wondering if Lily decided to check her phone or just skip through scenes where Harley and Ivy weren't being lovey-dovey. I don't know what fucking show she apparently watched (foreshadowing is a narrative tool wh--.)

-5:48: "Poison Ivy has always had the same problem a lot of female characters in DC comics have had in despite being an actual doctor they always just put her in a skin tight leotard [ . . . ] About the only notable exception to that was in The Batman [the 2005 show] where she was a teenager [classical Lily goonery inserted here.]"

Ignoring the goon comment, in isolation I don't have a grievance with this comment persay. As a generalization, it's more or less true about Ivy. She's unfortunately one of the lesser well-used characters in the various DC canons as a whole. However, Lily is going to start implying she's more familiar with DC in general, especially the comics, than she really is. I have strong reason to doubt Lily would know Ivy canonically has a doctorate in botanical sciences if this show didn't call so much attention to it. You'll see why in a moment.

Also the 2005 Batman show is far from the only iteration to reimagine Ivy as a teen. I like that show's take on Ivy too, but that's not a fucking unique spin on the character.

-6:57: "Clayface was always a random D-list monster like Carnage, but here he's reimagined as a struggling actor."

In a show that had the balls to feature Queen of Fables, she's calling Clayface a fucking "d-lister." Nevermind Carnage. But no Lily, Clayface has been a struggling actor since his first appearance in Detective Comics No.40. It's literally the first thing in his bio on his fucking wiki page.

-7:09: "There's one episode where [Clayface] assumes the identity of Stephanie to get into Riddler's college [ . . . ] Seriously I'm convinced he's been moonlighting as Stephanie a lot. The other girls on campus call her 'Steph.' She's been there for a while. This is Clayface's secret identity and you can't convince me otherwise."

LILY THAT'S NOT SUBTEXT THAT'S THE FUCKING JOKE. IT'S TEXT. IT'S CANON. YES. CLAYFACE HAS BEEN FUCKING AROUND ON RIDDLER'S CAMPUS THIS WHOLE TIME. CONFIRMED IN THE SHOW. LILY. LILLLYYYYYY.

Worth pointing out too, she'd totally call Clayface's Stephanie character transphobic if she hated the show.

-9:00: "The writers though 'okay, what do we use to fill our quota of the sad misguided villian this arc-- oh I know fucking BATMAN!'"

Lily what the fuck are you doing when you sit down to watch a show for your channel? Are you playing Candycrush the whole time? Are you screaming at Mikaila that often you miss like . . . Almost everything!? What are you doin' sweaty!?

Lilian, Bruce is not the primary antagonist of the 3rd season . . . IVY IS. Or really, Harley and Ivy's emotional dysfunction is the antagonist of basically this whole series, and it's Ivy's turn to be the main driver of conflict. The person destroying Gotham is Ivy. Not Batman, IVY.

Bruce and Selina's relationship is supposed to be a conceptual foil to Harley and Ivy's. Bruce is having an emotional breakdown the entire series has more or less been building up to.

-9:15: [In reference to Batman getting sent to prison] "I want him to get some nice and comfortable therapy."

. . . Lily is that what you think happens in prison?

-9:35: Lily is talking about the Joker's step-dad arc, and this is as good a time as any to stop for a sec to talk about how Lily doesn't seem to get what The Harley Show is doing with the characters.

The thing that makes the show an exceptionally brilliant take on the DC universe is that virtually all the characters (with some exceptions, that were tweaked for the better mostly) are actually faithful to their comic book/generally established characterization. To an impressive degree, down to even just minor details. You can tell the people who made this show are genuine fans of DC comics. Their personalities and character arcs are exaggerated for comedic effect, with specific interesting angles teased out to draw focus to them. Some elements of their personality are recontextualized to create a more engaging dynamic, but regardless. Even most of the plot elements are at least loose adaptations of storylines from the comic, or other DC media. It's really impressive how the show both works as a functional take on the DC universe by itself, and as a parody of it. Lily demonstrates she's totally oblivious to this multiple times in the video, but her section on the Joker best exemplifies this.

The Joker has taken over and/or become mayor of Gotham multiple times in the comics. Lily thinks for some god forsaken reason in the 70 something years Batman comics have been printed, nobody's thought of that. THEY HAVE. The gag with the second time Joker takes over Gotham IN THIS FUCKING SHOW ALONE is . . . He's actually a really good mayor. Gotham is a perpetual capitalist nightmare shithole of a city. The most insane, radical anarchist thing for The Joker to do is . . . Be a socialist who actually gives a shit about the small folk. That's the joke, Lily. That's the joke. That's the mother fucking JOKE. THE FUNNY HAHA, THERE IT IS LILY. I FUCKING EXPLAINED IT TO YOU.

And Lilian. The Joker being at his most normal and stable while he has a family. Is. A. Direct. Parody. Of. One. Of. The. Most. FAMOUS. BATMAN STORIES. EVER. WRITTEN.

SHE IS LITERALLY FUCKING SHOWING THE EPISODE WHERE THEY DIRECTLY VISUALLY REFERENCE THE KILLING JOKE ON SCREEN. LILY YOU'RE GOING TO GIVE ME A FUCKING HERNIA.

-10:10: Lily calls Sam Raimi a "douchebag."

Fuck right off.

-10:25: "It's a return to wacky hijinks that uses to define The Joker back when he was a gangster in funny makeup."

NO IT ISN'T LILY.

-11:00: Lily bitches about Harley Quinn for the 7 minutes in the remaining runtime.

Okay, the play-by-play is over, I'm going to address this section all at once because it will be quicker and more comprehensive if I do. This is the point where all the aformentioned pins come in.

Though I'm going to have to be ignoring some bullshit Lily says here in order to stay focused, I will mention first, Lily doesn't seem to realize Batfleck and Nolan's Batman were MASSIVE departures from the comics and don't pull much from the storylines. I don't think that's nessesarily a bad thing, even though I'm not the biggest fan of either of those interpretations, but for the record-- no. Those adaptations have almost nothing to do with Year one, The Dark Night Returns, The Killing Joke, or The Long Halloween outside of superficial elements. Lily just googled "famous Batman comics" and picked the four she probably vaguely heard of before. Again, she didn't even recognize the in-your-face impossible to miss Killing Joke parody episode she used as footage for this video. SHE'S JUST PRETENDING SHE'S READ COMICS SHE HASN'T.

Now to the point:

Lily's rational for not liking Harley's portrayal in the Harley Quinn show is honest to god brain damage. I'm not even sure how hard I need to go into explaining this because . . . It's pointing at the text itself and calling it a flaw. Harley's entire journey as a person is TRYING TO DISCOVER WHO SHE IS outside of the toxic codependency she had with the Joker. Her arc is both a meta commentary on the nature of the character conceptually and her journey to redefine herself. THIS ISN'T FUCKING SUBTLE. THIS IS STATED IN THE SHOW. Harley's identity crisis over whether or not she's even a villan anymore STARTS IN SEASON 3. Harley's lack of inhibition is what DRIVES THE PLOT IN SEASON 2. Harley's struggles to emancipat herself IS THE PLOT OF THE FIRST FUCKING EPISODE. This is also honestly the ONLY DC property I can think of that actually bothers to do something with the fact that Harley is a psychologist. Almost on that basis alone, it's one of the most refreshing takes on the character. That actually means something when I say it, because I've actually read a fucking comic in my life. LILY WHAT FUCKING DIMENSION DO YOU SLIP INTO ANY TIME YOU SIT DOWN TO WATCH A SHOW.

That question is rhetorical-- Lily tells on herself several times throughout this video. Remember those pins? Go read em again. Lily identifies with Ivy, so Lily decided Ivy is the "real" main character-- and wants Harley to be Ivy's loving kissy huggy gf. She genuinely thinks the show is actively making a mistake anytime her smut ship fanfic is interrupted. Lily wants porn. LILY YEARNS FOR THE PORN, ALWAYS. Every single fucking time.

She's decided Ivy has done nothing wrong to create tension in the relationship. She has deemed the character flaws Harley has that creates tension in the relationship a mistake in the writing.

Because Lily has not actually read a comic, but probably has seen Batman: The Animated Series-- she's missed all of the other references and spoofs in the show except for the ones involving Harley. That was the show she was originally created in.

Case-fucking-closed. Water is wet, the sky is blue, and Lily Orchard is talking out of her ass.

Kill my parents and call me the world's greatest detective, I guess.

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petrichorium · 1 year ago

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satoru tries to keep it from you, as if your reach in the court isn’t threaded more firmly even than his own. as if the royal guards do not prefer your company to his, as if you’re such a fool you wouldn’t notice how he’s come to bed long after you’ve gone to sleep every day for the past week—he tells you it’s dull financial advising, you know it’s because he’s been busy torturing a man. an assassin, you’ve been told; a poisoner who hadn’t even made it out of the kitchen before being caught.

you also know he’s back earlier tonight because he’s executed another man—the one who hired the hit, one of his own cousins. ordinarily such a thing would be dealt with swiftly, except that the food found dosed had been not your husband’s but yours, and your king does not take kindly to threats against you. the maids had told you all of that days ago; it’s the guards that tell you he assembled the court without you, hours past sunset, and made a display of cutting down his own kin for your sake. ruthless, they tell you, savage, lest there be any doubt in his affections for you.

he comes back to your shared bedchamber without a drop of crimson on his clothes, but the satisfied air about him and the heavy drum of bloodlust you can see in his eye tell you that your information is correct. still, you greet him casually and don’t bring up your discontent as he removes his blindfold and makes himself comfortable on the bed, unabashedly peering at you while you sit at your vanity pretending to ready yourself for sleep. he’s silent with his staring, and you are silent as well, busy ruminating on how you’re feeling until you come to the conclusion that the only action of his which has sparked your ire is that he has chosen not to share them with you—no, you’re not bothered by his barbaric display, but rather that he did it without informing you. with your opinion found, you are ready to initiate the conversation.

“so?” you begin casually, gaze flitting up to meet his eye through the mirror. “are the conspirators dead, then?”

at first he gives no response, but when you turn in your seat to face him he rises to stand and strides over to you. lacing his fingers with yours, he pulls you to your feet—holds you close, leans down to press his forehead to yours.

“can’t get anything past you, hm? not with your brain.”

“well, are they?”

“yes. of course. they’ve hardly earned the title of conspirators frankly, not with that pitiful display.”

“mm.” you purse your lips and pull away, turning your back on him. “lovely to know that you’d accept my death if it were at the hands of a competent man.”

he follows you swiftly, eases his arms around your waist and rests his chin in the crook of your neck. his tone is easy, light—amused, perhaps. “i don’t believe i said anything of the sort.”

“i do not find this amusing, my king.” despite your tone, you reach up to thread your fingers through his hair, drawing a contented noise from him which he buries into your nape. “i’m displeased by you.”

“are you, now?” his lips quirk against your skin, and he shifts, his whole body moving so that he can trace kisses along your jaw. “i’ll simply have to please you, my queen.”

“satoru.” the name makes him pause. you tighten your hold on his hair, pull him to rest against your shoulder again in an attempt to halt him. “you killed your kin for me and attempted to hide it. did you truly think i wouldn’t find out?”

“not this quickly,” he grumbles, petulant, entirely unsuitable for a king who had just slit the throat of his own cousin before an audience.

“people chatter, especially when you require the attendance of the entire court. but since we are being honest, i knew of the whole ordeal the moment it happened—i do believe i was made aware of the poisoning before you were, my husband. so tell me, why did you torture a man for a week and choose not to inform your wife? why did you so courteously invite my companions to witness this execution but neglect to extend that invitation to me?”

he doesn’t speak for a moment. his breath comes hot against your neck, not quite a sigh but certainly a deep breath—then he turns his face into your hand, leaves a fleeting kiss against your palm, and lifts his head.

“they need to learn, hm? how would they have learned if i’d let this go?” his eyes are manic, the closest you’ve seen to what they’d been that night—yet the moment they meet yours they soften, reverence seeping in. he stands to his full height behind you, hand coming beneath your chin to tilt your face upward so that he can loom over you and press a kiss to your brow; he’s gentle with you, but the steel at the core of his tone is more than palpable. “i won’t show mercy, certainly not when it comes to those who wish to harm you. you cannot ask me to be forgiving with such things.”

you realize with those words that he believes you’re balking at the brutality, that he thinks you timid and soft. he thinks you don’t know what he does to maintain his power, as if you’re not intimately aware of the monster he’s had to become—as if you hadn’t come face-to-face with it, with his blade.

you think you probably shouldn’t be as endeared as you are. you certainly shouldn’t turn around, wrap your arms around his neck, and tug him down into a real kiss to reward his actions, yet you still do. it’s addicting how quickly he melts to your affections; you know how intimidating his size must be to so many but it’s impossible for you to fear it when he’d drop to his knees for you at a single word.

when you pull away he doesn’t let go—he whines at you, a wordless protest, and buries his head into your shoulder to nip at your skin.

“i’m not angry with you for refusing mercy,” you mutter to him, “i’m angry with you for lying to me. i am your queen, your partner. you will not do this again, you will tell me the next time you intend to cut down a man in my name.”

he pulls back and opens his mouth, eyes wide, but you cut him off by lunging upward to peck at the corner of his lips.

“it’s in your best interest to comply, husband. you cannot hide things from me.”

“i know, wife.” his sigh is love-struck. “i’m a fool to have tried.”

usurper!gojo masterlist

#gojo x reader #gojo x y/n #gojo x you #gojo satoru x reader #gojo satoru x y/n #gojo satoru x you #jjk x reader #jjk x y/n #jjk x you #mine.🌧#char.🌧 gojo #usurper!gojo

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jackwhiteprophetic · 4 months ago

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Idk if I've said this before but Buck's season 4 arc is so fucking interesting and the way they CHOSE to have it essentially "completed" in the finale by Eddie is so intentional and beautiful AAAAAAA

So basically we open with Buck in therapy, this leads to his parents coming and Buck begins and such, where Eddie is consistently there for Buck to go to, and we have the iconic "I know you did", where we as the audience see how much Eddie understands this side of Buck, and how Eddie gives Buck the space to talk and to be angry and process without pushing him to be anything else (which contrasts to Maddie this season, though I love Maddie and I don't think the effects of her childhood on her have been given enough time in the show).

And he doesn't properly finish this self sacrificing thing here, when his mum says "you're doing what you were born to do" this is exemplified, and Buck is affirmed in his purpose being the saviour.

And then we have a kind of cyclical arc with the shooting, where Buck has to confront again how he feels like he's a shitty replacement for something, and that he's reckless and he immediately reverts to his learned perspective of "I shouldn't be here and someone else should and I now I have to make sure that it's only me that gets hurt" that he picked up in his childhood, even when not knowing about Daniel. But this time Eddie stops him, and he tells him that he's not expendable, and that he has a family who need him, and that he has a permanent place in their life.

Which is literally all Buck has ever wanted.

ALSO the conversation with Bobby in 4x14 is so interesting because it feels like there's something missing, when Bobby only reprimands Buck for being reckless and is so nearly at the point, which is that Buck does not value his life and he needs fucking help, but he MISSES it, and the audience sees that, and the scene feels incomplete, and this is simply because they wanted to save that line for Eddie. ANYONE in that episode could have pointed it out, have been given that line, because it was obvious to the audience what Buck was doing. And the writers very deliberately let our frustration at the other characters for missing it build, so that the will conversation was massively highlighted and very narratively satisfying and conclusive.

It has been SO intentional and I am obsessed with it so much

#911 abc #9-1-1 #eddie diaz #9 1 1 #buddie #evan buckley #jwpyyy #911 show #911 season 4 #analysis ones #faves

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pharawee · 6 months ago

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Back in May I bought Khemjira's Rescue on meb, happy that there finally was an official English translation because I love horror and actually liked the first pilot teaser for Spirit Reborn - even though it wasn't well received.

I now know why the teaser wasn't well received (the official version has since been deleted and there's only some re-uploads left) and I agree. Khemjira isn't really a classic QL where the story centres around two people falling in love. It's a horror novel first (and the novel's content warning is very open about this). Much of the romance only happens in the bonus chapters. It's also steeped in Isan folklore and Theravadin Buddhist teachings and virtues, with heavy and uncompromising themes of karma, rebirth, right action and non-attachment (which I really appreciate but might not be everyone's cup of tea because it completely ignores concepts of justice and revenge).

The novel itself is translated really well with only a few editorial slip-ups but tons of footnotes to explain potentially unfamiliar concepts and give translations for the recited khatha. The bonus chapters are plentiful and rewarding if you're into romance and the usual level of BL novel spiciness, but even without them the narrative flows really well and comes to a satisfying conclusion. I really liked the novel - it might be my favourite right after I Feel You Linger in the Air - so I was slightly apprehensive when Mandee announced that they had acquired the rights for a new adaptation.

I don't know the actors at all so I only have the novel to go by, but all in all I'm really happy with Mandee's pilot teaser. It's so close to the novel that even seemingly short filler scenes are recognisably taken from moments in the story. And while I still think Keng Harit is a bit too young as Por Kru Parun, he manages to capture his commanding and alluring presence very well.

My only worry now is that they'll downplay the religious themes in order to elevate the romance between, well, basically everyone. I couldn't even blame them though, because most of the audience will be expecting romance, and the series probably wouldn't be very well received if both couples remained chaste until the very end. I don't think Khemjira's Rescue even qualifies as slow-burn for reasons I'll explain a bit later (and behind a spoiler warning).

But first, a bit more about the main characters because I've seen some confusion about their names etc. I'll keep these as spoiler-free as Mandee's pilot teaser was so if you've watched that then you're all set.

Khemjira is cursed, as are all male descendants of his family, doomed to die before their 20th birthday (the series changes it to 21). His mother gave him a traditionally female name to confuse the curse but to no avail: as he grows older he's more and more troubled by the heavy and malevolent presence of spirits. These are kept at bay by an amulet given to to him by a venerable Por Kru (a practicioner of Buddhist white magic) but when that's no longer enough, his friend Jhet introduces him to his teacher Por Kru Parun who lives in a small Isan village. Despite the burden of bad karma, Khem is a good person who always tries his best even when he feels like giving up.

Por Kru Parun (the series calls him Karan) is a respected practicioner of Buddhist white magic. He lives in a traditional wooden house outside of a small Isan village and protects his community from spiritual harm. He learned from his grandfather (who was himself a respected Por Kru) and also spent many years ordained as a monk. Because he lives by the precepts (which go beyond the five precepts of laypeople) he seems detached and aloof, often wearing dark sunglasses so others won't get charmed by him. His real (nick)name is Peem but he only starts using it with Khem once the two get romantically involved.

Jhettana and Charnvit (aka Jhet and Charn) are Khem's best friends. Khem meets Jhet during freshman orientation when Jhet senses the malevolent spirits around him. It's also Jhet who suggests visiting his teacher Por Kru Parun in his home province. They do this during a university excursion. This is how they meet Charn who's part of the student trip and very suspicious about what they're doing. Charn is extremely polite, addressing everyone as Khun. He wears glasses to aid his bad vision. Both Jhet and Charn are extremely protective of Khem, choosing to become Parun's students in order to help save him. They're also the secondary couple with a surprising past connection.

These two boys are Thong and Ake, Parun's spirit servants. They're the ghosts of 12-year-old twins that already served Parun's grandfather. They also have a surprising role to play in things to come.

SOME SPOILERS FOR THE MIDDLE OF THE NOVEL

As for why the romance can only happen after Khemjira's curse has been lifted: as practitioners of white magic, Parun and his students Jhet and Charn have to adhere to the precepts. These include abstinence from unchastity, so they should remain non-attached to thoughts of sexual and romantic nature. If one of these precepts is broken, all of them are considered broken (which makes it impossible to practice white magic) - Khemjira's rescue would fail if any of them got involved romantically. Parun knows that he's mindful enough to remain non-attached until the curse has been dealt with. He also knows that he can't expect the same of Khem so he refuses to take him as his student (which is fortunate because that way we get to read about Khem's pining).

And beyond the horror and the romance, there's also a third element that heavily features in the story: rebirth. All of the characters' fates are interwoven through several past lives, and I'm really curious how Mandee will decide to tackle this added layer of complexity and identity. In The Sign, Idolfactory used the same actors througout every past life (while 1000 Years Old used different actors with the same identifying birth mark). In Khemjira's Rescue the past identities of some of the characters are incredibly important and I'd hate to see them getting erased by using the same actors to better fit with BL marketing. It was so rewarding to find out that Jhet and Charn were starcrossed lesbian lovers in a past life and I'd love it if they kept that reveal for the series as well.

Oh, and also? Yes, there's going to be at least one naga. 🙌

END OF SPOILERS

Ultimately, if Mandee truly commits to playing the long game and doesn't simplify the story in order to appeal to marketing opportunities, this could end up being one of the best Thai BL series to come. From what I saw, the actors can definitely pull it off, and the fact that the 11 minute long trailer focuses so much on novel-accuracy is very promising already. Just don't have Parun and Khem get it on too early. Sometimes you have to keep it in your pants for a bit in order to save the day. 🙏

#khemjira #khemjira the series #khemjira's rescue #keng harit #namping napatsakorn #thai bl novels #jane watches stuff #if you loved the ifylita novel and aren't fazed by horror you'll love this too #some of the themes are quite heavy though #(probably not as much if you're familiar with buddhist teachings)

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evi-anxiety · 10 days ago

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Why Allura's Death Was Unsatisfying

You know, I think the reason Allura's death was so unsatisfying was that there was no buildup or closure to it.

I've been thinking about. Major character death isn't new to audiences, and it can be done well. It's sad, yes, and not wanted by most means, but it's possible to have it written in a way where it not only

makes sense, but

delivers closure to both the character and the story

So how do stories do this? I've found the biggest way is through buildup.

We as the audience already know, or at the very least have a feeling, that this character is going to die. Maybe they are destined to die by prophecy, or have some sort of illness that has no cure. Whatever it is, we have the suspicion that this character might not make it to the end.

Another thing is that when a character dies, it serves to wrap their character development and personal arcs. They have grown to be the most ideal version of themselves within the confines of the show, and now they're moving on.

This is satisfying to the audience. It makes sense.

Allura's death has neither of these things.

There was no buildup to her death. For a majority of the show, fans expected Voltron to end with all of the seven main characters alive, because there was no need to expect otherwise. The writers did not give us a sign that someone might possibly sure. So when Allura dies at the end of the show, it's sudden, and it feels almost abrupt in a way.

It didn't wrap up her character arc. Now there's a lot of controversy on whether or not characters even acted remotely like themselves in Season 8, and I'm not going to get into that. It was clear though, that Allura still had a lot growing and learning to do, what we were meant to interpret after the show's ending. She also never really got the chance to be a leader or avenge her nation the way she wanted to. Sure, she defeated the Galra Empire, but she still needed to rebuild Altean civilization and fix what the Galra had destroyed for the entire universe. She doesn't get to do any of that.

In conclusion, Allura would have been better off as a character had she not died, OR, they should have written Allura's arc differently in a way that it would make sense for her to die. She simply had too much to look forward to after the events of the show that nothing of her personal arc got tied up with her death.

Free my poor girl she did nothing wrong.

#voltron #essay #in this essay i will #tedtalk #vld #voltron legendary defender #allura voltron #voltron allura #discourse #vld allura #allura vld #princess allura #hot take #voltron season 8

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shaunashipman · 4 months ago

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Tommy isn't coming back. I'm a BT shipper but we would have seen something by now. They're not hiding him, he ain't there.

are you looking for me to agree with you? reassure you that no, he's definitely coming back? to give up, stop shipping them, come back to the "good side"? cause I'm assuming you're actually a buddie just trying to stir shit up.

I need you to say it with me: lou is not a main. he will not be on set most of the time. not seeing him ain't proof of anything. we also haven't seen angela or jlh do you think that means something? *gasp* athena and maddie have run off together and we can finally get chimbobby!

the show ended with them in a good place, tommy was brought in by the showrunner who is continuing as the showrunner, and was not shoehorned in to give buck a "satisfying ending" because they're probably cancelled. there's no reason for him not to come back.

and if they've broken up between seasons that will make it the 2nd season in a row he starts like that, and I know (since you're clearly actually a buddie) that you think that's good, that that's just another sign that obviously he's harbouring secret feelings for his bestie, but the general audience will be bored and disgruntled that buck is literally doing the same thing, starting this season the same way as last.

in conclusion, if you want to play with me, bring some actual evidence, not the absence of, because I don't make my "predictions" based on what cast members post, I make it on what we've officially been told and by the rules of storytelling. until tim or oliver actually comes out and says the words "tommy/lou isn't coming back" I'm going to continue to assume he will, because it's what makes sense with the story being told.

#cleo gets mail #anonymous #911 #bucktommy #anti buddie #to be safe

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positivexcellence · 5 months ago

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‘Walker’: Jared Padalecki & Anna Fricke On Finding Closure In Series Finale Despite Premature Cancellation

If it were up to series star Jared Padalecki and showrunner Anna Fricke, Walker would be continuing its run on The CW. But, if it had to end, they’re glad to send it off with the Season 4 finale on Wednesday night.

“I’m heartbroken. I love the show. I love the cast and the crew. I am and will be eternally grateful for the four years we had with each other and the friendships and relationships that I made. But right now, It’s tough,” Padalecki told Deadline of ending the show’s run. “I know it’ll be around for people to watch and rewatch. So I’m grateful for that, but I’m certainly gonna miss it.”

Walker was officially canceled in May, and Fricke said they were unaware of the fate of the show when writing the finale. As “there’s always a risk in network television,” she explained that she tried to bring enough stories to a satisfying conclusion while leaving threads to explore in a potential Season 5.

This season, Walker struggled with an empty nest as Stella (Violet Brinson) and August (Kale Culley) began to branch out on their own. After four seasons of trying to find a work-life balance, he finally takes a step back from his Ranger duties to spend some extended time with his family and informs newly minted Lt. Cassie Perez that he’ll be taking a leave of absence.

“It really was about getting the family to a good place. They are on to their next chapter,” Fricke said. “That moment when the family drives off together, the kids and Walker and Geri, feels like some sort of closure in a way. In a perfect world, [it would have] gone on and there would be more stories and more complications, but they do seem like they’re in a good place.”

Padalecki gives kudos to the writers for where they leave Walker, because “that’s how I feel right now,” he says.

“I’ve had this job for 20 years. There’s never been a week of new television where I haven’t been No. 1 on the call sheet of an hour long show. I’m still grieving, and I probably will for a while. But I feel really excited to spend more time with my wife, our children…the rest of my family, my friends. So I’m happy for Walker, I think,” he said. “I’m bummed that he’s not on the next job, because I know he loves being a dog with a bone and getting his work done, but I’m so happy he gets to take this break and reset and spend time with his loved ones.”

As the cancellation decision loomed, Fricke revealed the network gave her the opportunity to make changes to the final episode to give audiences more closure, but she opted not to.

“It didn’t sit well with me to try to wrap up the whole series with one revised scene,” she explained. “It seemed too rushed and too hurried, and it would have felt tacked on. So we opted to leave the finale as it was.”

However, she did take the network up on their offer to air an extended version of the episode, which allowed for a few more scenes that she thinks viewers will appreciate, including a rare scene with the entire Walker family.

“It was the last family scene that everyone was in together,” she remembered. “It took forever to get it because everyone was emotional…it wasn’t a pivotal scene, or anything like that. It was just a fun energy with all of them there, which was always my favorite thing. So I’m really glad that that made it back in.”

Coincidentally, Padalecki also remembered that scene fondly, telling Deadline “it just felt like a nice goodbye both on camera and off….I’m excited for that, because you feel the love that we all have for each other.”

At least, Fricke jokes, nobody was kidnapped or on the brink of death when the credits rolled. Instead, the things left up to the viewers’ imagination are largely positive, like Walker’s eventual proposal to Geri (Odette Annable).

In the episode, there’s one quick shot of Walker admiring the engagement ring inside its box before tucking it into his pocket and meeting his family outside. She says that to include the actual proposal would have felt “too soon.”

“Walker said this to Emily in a flashback. She said, ‘What will you do if I’m gone?’ And he said, ‘Marry Geri and work at Sidestep.’ And that was always kind of a joke for what the end of the series would be,” she said. “But in my mind, I didn’t want to get all the way to a proposal…I don’t think they’re there yet.”

If there’s one thing Fricke is most disappointed she won’t get to explore, it’s James Van Der Beek’s arc as Walker’s new neighbor — a full circle moment for the showrunner, whose first TV job was on Dawson’s Creek.

In the final moments of the episode, Van Der Beek pulls up to the house as Walker and his family are headed on their vacation and, even though the moment is fleeting, it hints at a deliciously dramatic storyline for Season 5.

“It was gonna be a cool. We had big plans for Season 5,” Fricke said. “Well, maybe there’ll be a movie.”

Well, whatever iteration of Walker may or may not come next, Fricke adds that she has plenty of ideas to explore.

“Even from the first whisper of maybe this is the end, the producers were all talking about, ‘How do we keep this going? What do we spin off? What do we do?'” she said. “I think these are great characters and a great world and I absolutely love working with the crew in Austin. So we definitely think about it a lot.”

When asked if she could divulge any of her ideas, she teased: “We always wanted to do the Hawk’s Shadow story. I would really follow any of these characters. I really always wanted to see more out of any of them. I would follow any of them anywhere, to be honest.”

deadline

#jared padalecki #walker #anna fricke

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paintingpuff · 9 months ago

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Netflix ATLA and the Air Nomad Genocide

I've started watching NATLA, and though I'm not really enjoying it, I've found it really interesting to compare its writing decisions to the show as a way to break both down and see how their parts tick. Since NATLA is trying to be more faithful than some other adaptations, the changes it does make stand out more and reveal the mechanics of the storytelling.

While I overall think a lot of NATLA's changes--even the minute ones--made the story execution weaker, the more complicated and interesting change of theirs is the intro, showing the day the Fire Nation ambushed the Air Nomads.

Pacing Criticisms

Cards on the table, I think that putting this sequence at the very beginning was a mistake. Watching Aang's emergence from the iceberg in NATLA made me realize how much the original cartoon imbues its beginning with mystery that makes for a much more active viewing experience. Aang doesn't know much about the present, Katara and Sokka don't know much about Aang's origins, and in their back and forth of information, we the audience organically learn both. Watching Katara and Aang piece together how long he's been frozen in ice was more satisfying and natural than Grangran deducing everything immediately when Aang showed up.

But Sherlock Grangran was kind of the only decision the writers could do, because if they tried the build up the cartoon did, it would just feel tedious to the audience, because we already know everything from the start. They kind of wrote themselves into a corner there.

But let's ignore that problem. We could imagine in another draft that this sequence of the Fire Nation attack shows up as a flashback, kind of like what happened in ATLA with The Storm.

That then begs the question: How does this sequence’s inclusion change the audience's experience, and is it for better or worse?

Facing Vs. Hiding the Horrors

Both series portray very dark and horrific situations, but the way they try to evoke horror from the audience are very different approaches, and for me raises a question I've been asking myself for a while: When wanting to display discomforting violence, is it more effective to imply/hide it, or to show it in detail? Somewhere in between?

(I specify discomforting violence, as opposed to violence meant to be catharsis or spectacle.)

There are arguments for both. Explicit violence can create a visceral, physical reaction to an audience member (especially the squeamish ones), though for some it can come across as gratuitous and even exploitative.

Whereas hiding the violence can horrify the audience by leaving a lot to the imagination (insert that quote about fear of the unknown from Hack Penmanship Lovecraft), or give the sense that the events are so awful that even the camera has to look away. Some also say this gives the characters more dignity, though others think this softens the emotional reaction almost as a form of self censoring (there's a reason kid's media often tries to show horrific stuff off screen, such as the original ATLA).

Ultimately I've come to the conclusion that the former approach works for some stories, whereas the latter works better for others, all of it based on a ton of factors.

So I don't think NATLA's choice to delve into more detail about the Air Nomad genocide is an illogical decision. I wasn't sure about it when I heard it, but I thought that maybe I'm just attached to ATLA's off screen approach, so I kept myself open.

And dialogue issues aside, I don't think the scene is that poorly done. But it did ultimately solidify for me that ATLA's narrative is stronger without an explicit depiction of the Air Nomad genocide.

The Grief of Never Knowing

The image of Gyatso’s skeleton from ATLA has haunted me ever since I saw it as a kid. It was an emotional gut punch in a very well done episode, but this particular screenshot has stuck with me, and that is because of the Fire Nation soldiers. A lot of people have pointed this out, but there are a lot of bodies here, and it implies that Gyatso managed to not only kill these soldiers, but do it when they were strengthened by the comet. That image is very discomforting--Gyatso is always seen from Aang’s perspective, and thus we only see him as the gentle old mentor and friend, one who cheats at games and throws pies he meticulously baked.

It also puts into Aang’s position and the grief he has to face. From his perspective, he was gone only a few days as 100 years passed. He never gets to see the interim, and thus neither do the audience. He is left with the same implications as we are, and has to face the realities of grieving the fact that sometimes you’re not there when they leave.

An excellent point from @endless-nightshift here is how one of ATLA’s core themes is coping with the aftermaths of atrocities and war, analyzing their long-lasting affects rather than just the initial shock of violence--something I had never consciously realized but once said out loud makes a lot click into place for me. There is a reason the show starts a full century into the war rather than just a few years.

François Truffaut once said that “there is no such thing as an anti-war film,” because the medium of film is inherently better at elevating and glorifying what it shows rather than deriding or deconstructing it. While I don’t think it’s impossible to do the latter, the extended action sequence that is the intro to NATLA causes that sentiment to echo in my mind as I watch, rather than invest me into the story.

The implied atrocities of ATLA draws me in to empathize with the wounded characters and world, whereas the explicit action of NATLA pushes me away.

…and that’s where I was planning to end this analysis, but there is one thing NATLA’s intro adds into the canon that I think is actually genius--if they take advantage of it in the future.

The Air Nomads are Joy

When I first saw the addition of the Comet Festival, I saw it as a purely mechanical decision to have all the Air Nomads in one place for the attack, as well as to make the act even more scummy. However, the more I thought about it the more I realized how it could tie into one of my favorite themes of ATLA: the Air Nomads (and especially Aang) as the joy and hope of the world.

(I saw an old tumblr post about this theme that inspired this section. I wish I could link it but I can’t find it anymore, I’m very sorry and if anyone can help me find it tysm)

There is a recurring motif of associating the Air Nomads with humor and fun. Iroh mentions their good humor; Gyatso baking pies just to prank the other masters with it; Roku’s first airbending flashback being him using it to mess with his friend. This is a core tenet to Aang’s character as well. The first line he has in the show is inviting Katara to go penguin sledding with him. Half the stops he makes in Season 1 is purely to have fun. He excites Kyoshi island with an airbending party trick. The humor in ATLA’s tone isn’t just there because it’s targeted towards kids, but is the bedrock of the series’ themes.

(On a personal note, the humor is also what got me and my family into the show. We saw the intro sequence with Aang crashing into the statue and it made my mom laugh so hard that we watched the whole series, and years later we’ve rewatched it dozens of times and own all the DVDs)

Joy and fun and hope were the first things to die when the Fire Nation attacked, and part of Aang’s job is returning that to a world that has been scarred by decades of war. You may already be seeing where I’m going in regards to the Comet Festival.

A core conflict in the cartoon finale is Aang wanting to keep to the principles of the Air Nomads while still finding a way to stop the war (side note: I think the resolution and Aang’s decision to spare Ozai was a good one, I just think the execution was a little janky). Beyond the surface level conflict of who wins in the battle between Aang and Ozai, there is the additional tension of who will win ideologically. The return of the Avatar State is an interesting development in this dynamic, having Aang suddenly physically winning the fight, but spiritually losing up until the last moment. In the end, it is a triumph where Aang manages to find a third option to win both conflicts, despite them seeming diametrically opposed. It is about defeating Ozai and the Imperial Fire Nation by wholeheartedly rejecting their ideology of violence and might-makes-right.

But now I see a really cool opportunity for NATLA with what they’ve established in the intro sequence: What if Aang reclaimed the symbol of Sozin’s Comet for his people? That day of the Fire Nation attack, centuries of the Comet Festival were wiped over in history, with people now naming that event as Sozin’s Comet and the beginning of the war. Wouldn’t it be poetic for Aang to mark the ending of the war by wiping away that stain done to his culture, taking it back from the Fire Nation in what ways he can? To turn a tool for genocide into an event of joy and fun once more.

I’m reminded of moments from the cartoon like Suki commenting how beautiful the comet looks. It would just tie everything up beautifully, and I really really hope the NATLA writers--if Netflix does give them enough seasons to get there--take advantage of this.

So, to sum up what I think of NATLA so far: I think a lot of its changes have made the story weaker, but I don’t want them to stop trying changes. If I wanted a 1:1 copy of the cartoon, I’d just watch ATLA--it’s also on Netflix, after all. With more work, I can see the writers making changes that accentuate and build on the beauty of the original.

(Note: These are the thoughts I’ve accrued from just watching the first episode. I plan to watch more, but it does exhaust me at the moment. Still, I hope I can do more of these kinds of analyses, it’s a really fun writing exercise for me)

#puff analysis #puff talks #media analysis #atla analysis #atla netflix #atla live action #natla critical #yes the hack penmanship joke is from cj the x #go check out their stuff

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