#if you find the art: great! if you find the og text post I AM YOUR SERVANT FOREVER

[temunitu]

does ANYONE remember an artist making art of rottmnt leo working at run of the mill and getting into job shenanigans with senior hueso but SPECIFICALLY the entire prompt was from that one popular tumblr post/thread where op keeps getting into more and more ridiculous job situations. the boss suggested that they claim to be a family business even though they look nothing alike. loud rnb music playing during op’s shift late at night and boss says the neighbors were complaining.

i have bits and pieces stuck in my head but i cannot for the life of me remember the actual post OR the comic someone made of leo and hueso ughhh

[your--isgayrights]

Seeing your answered ask about metas makes me want to share this list someone made about ORV’s literary references: https://twitter.com/Jomeimei421/status/1806147303004336632

I think this same person also said something about ORV being a blend of low-brow fiction and high-brow literature and I agree. I would like to see a legitimate academic paper referencing or breaking down ORV, and now that I think about it, maybe this has already happened and I just don’t know how to find something like that.

This list is honestly such a great resource, thanks for sharing :)))) <3333

I would add the samguk yusa and samguk sagi to this list tho, even though the references might count as 'myths' or an oral tradition that's the nature of the older historical texts. I think I have a couple breakdowns of the references to the Samguk yusa, a post about ljh's name and the historical ancestors referenced, and some stuff about JttW.

In the concept of high brow and low brow, I agree that ORV is very good at being like very respectful of anything that is a 'story' and I think good at portraying the sort of 'character' that some genres or reading types represent. I think one of my posts is definitely about how the KDJ relationship with his mom is very representative of the sort of evolution of webnovel culture out of classical literature and trauma literature scenes in the sort of 'professional,' established Korean publishing. Also as a Naruto guy I really respect the JttW arc for being like 'hey all middle grade action stories and shounen a little bit comes from JttW tbh.' I also think the premise of ORV is great as sort of the natural conclusion to like American gods or Rick Riordan type justifications for all religions being true bc people believe them: ok, then here's also one man's favorite anime boy being real because he believes in him and he's actually going to punch God now. Oh also a literary reference I guess is that metatron and etc are from the Talmud rabbinic scriptures. Though I think myths about him are mostly from kabbala / oral tradition (which stems from Judaism but even now there are Jewish people who think it's very wrong to call them Jewish beliefs. Part of that is probably that in more modern history kabbala has partially been developed and sort of appropriated by non-jewish people in a way that is kind of similar to orientalizing / mysticizing the more 'normal' Judaic beliefs practiced by wider Jewish communities ((think tiktokkers who are like I Am a Witch doinG Qabala but actually she's basically just writing creepypasta in her brain about things other people actually believe in that she knows nothing about)). At the same time, there is kabbala that naturally developed from people Jewish faith in the same way orphism or other 'occult' beliefs developed out of governmentally/societally enforced/accepted Greek and Roman religions throughout history. Fun fact: Sefer ha-bahir is apparently an influential text in the development of og kabbala and apparently literally describes the idea of transmigration so that is fun.)

Ok besides the historical stuff the media on the list I'm actually exposed to is just Han Kang and then Naruto (I watched some of one piece in middle school but retained very little of it tbh I just know who some of the guys are. Actually I just had a dream where I complimented a guy's one piece shirt and then he asked me if I liked the anime and I had to be like oh... No).

I did some research on YSA's reading 'taste' though and I think it's very fitting because they're realistic books with "literary value" that are like very relevant to society but obscure enough that you wouldn't make up reading them just to impress someone, unlike Han Myungoh claiming 'art of war' is his fave book (that's another lit reference in there somewhere I think? I just remember finding it fitting... It's the type of fit for business men who want to seem macho and smart but actually don't enjoy reading at all... I would say if they said three kingdoms was their favorite I would at least believe they read it or saw an adaptation but like art of war just isn't really a Story it's more like self help? Like there are stories but they're showing 'lessons' about war lol.)

[sorensolsikke]

[introduction post

bottom text]

hola, my name is soren – after that owl from the zack snyder animation movie which was probably an allegory of nazis??? – i am seventeen, hungarian, queer and audhd. i am also an alterhuman, and i have a fursona. if you are ready for the deeper shrek-like onion layers of my personality, you can find me curled up like an angry snake on the bottom of the post.

✧･ﾟ: *✧･ﾟ:*✧･ﾟ: *｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆✧･ﾟ: *✧･ﾟ:*｡･:*:･ﾟ★,｡･:*:･ﾟ☆

here i am, delivering my beloved labels, only for you<3

i am pansexual, poly (but right now in a closed and comitted relationship) and genderfluid. here's a link where i explain my gender, if you are interested, and my pronouns page. anyways, please choose to use any pronouns you find suitable for me, including my neo/xenopronouns: ze/zem, sol/sols, wave/waves, abys/abyss, drae/dragos, pup/pups, bee/bees (i don't demand anyone to use them, i just like to think about myself by these).

i am a dragonkin with golden retriver hearttype, otherlinks other than cheetah and barn owl are yet to be discovered!! lately, i realized i don't like to be called nonhuman, therian or otherlink. I prefer being called alterhuman, -kin, and otherhearted, because even tho i feel disconnected from humanity itself, i'd like to embrace my own human side the same way i do with my animalistic one. here's a link for further explanation.

i am a burnt out highschooler, studying biology, can't wait to study my special interest [psychology] in a university. i make art, but usually would rather not post about it.

plus because i really love typology, my mbti is infj-t, melancholic-sanguine, enneagram is 4w5 sx/so with a strong 2, big five is RLOAI.

i like to mess around on my account, i have lots of reblogs, some og posts and i may vanish sometimes for a couple of days. this blog isn't for creating content, but for my own entertainment. my tag for original posts is #soren's hoard of words

DNI if you are a general shit of a person towards anyone who didn't hurt you or others, so if you are intolerant. DNI with mostly nsfw content. other than that, i would be happy if you interacted with me or my posts!!✨🤍✨🤍

tw: sh, healing from depression

i've spent the last couple of years with recovering from depression, different types of self harm, and generally trying not to kill myself. i have spent two weeks in a psychiatry, and i have been on therapy for five years now. i am proud that finally i can say i am doing great!! for more loredrops, stay in tuneee

(i am no fictionkin as alterhuman, but i like to collect these guys. if it's offensive towards anyone, please educate me)

[insanehobbit]

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

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

The LTD remains unresolved

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FF7 OG or The dumbest thought experiment in the world

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

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

They ask you for your notes.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What a mess.

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

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

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

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

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

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

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

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

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

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

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

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

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

(a very real scene from a very good game)

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

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

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

A somewhat more serious character analysis of the OG

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(one of these is a good film!)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mike: Will you marry me, Tracy?                      

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How then does the Remake clarify things?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Home Sweet Slums vs. Budding Bodyguard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What does it all mean????

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It’s over! I promise!

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

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

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

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

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

[sketching-shark]

I think we should start a protection squad (although they don’t need it because they can protect themselves) for Sun Wukong and Guanyin

“Begone monkie kid fandom trying to down grade these really interesting characters with interesting personality’s and backstory ( the both of them like seriously Guanyin backstory is so cool) to a villain wile trying to justify your angsty backstory (that are no where near as cool as monkey who fights gods and Person who has 1000 arms and heads to help people in need) for the actual villain”

So who wants to join

Me:*raises my hand*

Ps: sorry if I got Guanyin backstory wrong am not an expert on it.

Haha okay so some critiques on the jttw & associated media western fandom & fandom in general coming up, so please skip this upcoming text wall if you don't want to encounter my undoubtedly ~devastating~ words (i.e. don't like don't read as people love to say, & if I have to be inundated with images of my notp every time I go into the sun wukong tag then I imagine people can be chill with me expressing my opinions & giving people fair warning that I WILL be critiquing common fandom trends, but no need for you to see that if you don’t want to. Cool? Cool.)

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PFFFFFTTT oh man there are many times when I feel like signing up for such a protection squad...when it comes to the current western jttw & Sun Wukong fandom I do feel like I'm often swinging at a rapid pace between "well it's fandom & people are allowed to make the stories they want" & "I am once again begging my fellow monkie kid enthusiasts (& sometimes creators) to do more research into the og classic/show it more respect so you can avoid any potentially offensive/off-the-mark misunderstandings of the status & cultural context of the characters in their country of origin (I promise it's super interesting & I can provide you with links to free pdf copies of the entire Yu translation, i.e. the best one ever created, so feel free to ask!) & maybe also stop constantly stripping away all the nuance of Sun Wukong's character for the sake of either making him an entire asshole so your little meow meow can look completely innocent in comparison and/or making the monkey king's entire life & character revolve around said meow meow."

Like I get that fandom's supposed to be a kind of anything-goes environment, but one thing that honestly seems to be true of a lot of fandoms--and the western one for Sun Wukong & co. is certainly not immune from this--is that there often seems to be a kind of monoculturalization at work in what stories are created & what character interpretations are made popular. Across a multitude of fandoms, you frequently see basically nothing but the exact same tropes being made popular & even being insisted on for the canonical work (especially hasty redemption arcs & enemies to lovers these days), the exact same one-dimensional character types that characters from an original work keep getting shoved into, the exact same story beats, etc. And I get it to an extent, as fandom is generally a space where people just make art and fic for fun & without thinking too hard about it & without any pressure. 

This seems to, however, often unfortunately lead to the mentality that it’s your god-given right to do literally whatever you want with literally any cultural figure without even the slightest bit of thought put into their cultural, historical, and even religious context, even (and sometimes especially) when it comes to figures that are really important in a culture outside your own. For such figures--even if you first encounter them in a children’s cartoon--you should be a little more careful with what you do with them than you would with your usual Saturday morning line-up. It of course has to be acknowledged that there exists a whole pile of absolutely ridiculous & cursed pieces of media that are based on Journey to the West & that were produced in mainland China, but for your own education if nothing else I consider it good practice for those of us (myself certainly included) who aren’t part of the culture that produced JTTW to put more thought into how we might want to portray these characters so that at the very least (to pull some things I’ve seen from the jttw western fandom) we’re not turning a goddess of mercy into an evil figure for the sake of Angst(TM), or relegating other important literary figures into the positions of offensive stereotypes, or making broad claims about the source text & original characterizations of various figures that are blatantly untrue, or mocking heavenly deities because of what’s actually your misunderstanding of how immortality works according to Daoist beliefs. Yet while a lot of this is often due to people not even trying to understand the context these figures are coming from, I do want to acknowledge that the journey (lol reference) to understand even a fraction of the original cultural context can be a daunting one, especially since, as I’ve mentioned before, it can be really hard & even next to impossible to find good, accessible, & legitimate explanations in English of how, for example, the relationship between Sun Wukong and the Six-Eared Macaque is commonly interpreted in China & according to the Buddhist beliefs that define the original work. 

That is to say, I do think it’s an unfortunate, if unavoidable, part of any introduction of an original text into a culture foreign to its own for there to be sometimes a significant amount of misinterpretation, mistranslations, and false assumptions. There is, however, a big difference between learning from your honest mistakes, & doubling down on them while dismissing all criticism of your misinterpretation into that abstract category of “fandom drama.” The latter attitude is kind of shitty at best and horrifically entitled at worst. 

Plus, as I’ve discovered, there is a great deal of interest and joy to be drawn from keeping yourself open to learning aspects of these texts & figures that you weren’t aware of! I can say from my own experience that I’ve always really enjoyed & appreciated it when individuals on this site who come from a Chinese background--and who know much more about the cultural context of JTTW than me--have taken the time to explain its various aspects. It often leaves me feeling like woooooaaaahhhhhHHH!!!! as to how amazingly full of nuanced meaning JTTW is like dang no wonder it’s one of China’s Four Great Classical Novels. 

And I guess that right there is the heart of a lot of my own personal frustration and disappointment with the ways that fandoms often approach a literary work or other piece of media...like don’t get me wrong, a lot of the original works a fandom may grow around are just straight-up goofy & everyone’s aware of it & has fun with it, yet the trend of approaching what are often nuanced and multi-layered works in terms of how well they fit and/or can be shoved into pretty cliche ideas of Redemption Arc or Enemies to Lovers or Hero Actually Bad, Villain Actually Good etc...well, it just seems to cheapen and even erase even the possibility of understanding the wonderful complexity or even endearing simplicity that made these works so beloved in the first place. Again, I feel like I need to make it clear that I’m not saying fandom should be a space where people are constantly trying to one-up each other with their hot takes in literary analysis, but it would be nice and even beneficial to allow room for commentary that strives to approach these works in a multi-faceted way, analysis & interpretations that go against the popular fandom beliefs, & criticism of the work or even of fandom trends (yes it is in fact possible to legitimately love something but still be critical of its aspects) instead of immediately attacking people who try to engage in such as just being haters who don’t want anyone to have fun ever (X_X).   

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Anyway, I know I didn’t cover even half of the stuff you brought up in the first place anon, but I don’t want any interested parties to this post to suffer too long through my text wall lol. I was asked to try my hand at illustrating Guanyin, but as with you I’m nowhere near as informed as I should be about her, so I want to do more research on her history and religious importance before I attempt a portrait. I’ll try my best, and do plan to pair that illustration with my own outsider’s attempt to summarize her character. From what little I do know I am in full agreement that her backstory is so incredibly amazing...just the fact that she literally eschewed the bliss of Nirvana to help all beings reach it, and even split herself into pieces in the attempt to do so (with Buddha granting her eleven heads and a thousand arms as a result)...man, I can see why she’s such a beloved & respected deity. 

----

 As for what western fandom commonly does with everyone’s favorite god-fighting primate...I can talk about this at length if there’s interest, but for this post I’ll just say that I guess one lesson from all of this is that for all the centuries that have passed since Journey to the West was first completed, literally no one drawing inspiration from the original tale in the west (lol) has come even slightly close to being able to equal or even capture half the extent of the nuance, complexity, religious, historical, and cultural aspects, and humor that define Wu Cheng'en's story of an overpowered monkey who defied even Buddha.

So thank the heavens we'll always have the original.

[tellytuber]

12 shows of 2019

I recently started what will most likely be my top shows of 2020 when I realized I never posted my 2019 list! Better 7 months late than never. Without further adieu:

The new (and sometimes old) series and seasons that made my year. 

Buffy the Vampire Slayer: A random S3-7 rewatch inspired me to play around with my own rip-off story that I became very obsessed with.

Dirk Gently’s Holistic Detective Agency [BBC America]: An extremely fun weird beautiful ride that deserved at least 1 or 2 more seasons.

90 Day Fiancé (the franchise) [TLC]: Trash tv at its finest. For added fun and generational whiplash, concurrently watch the pioneer of voyeuristic reality tv: Michael Apted’s Up series.

Better Things (S3) [FX]: It started great and gets better and better every year. Like Pamela Adlon herself. 

Workin’ Moms (S2) [CBC/Netflix]: This season reinvented the meet-cute, smartly swapped main/side characters, and delivered a wallop of a season finale that perfectly bookended the premiere. 

Claws (S3) [TNT]: The season that finally delivered on its premise in the weirdest, bloodiest, and most fabulous ways.

Silicon Valley (final season) [HBO]: A solid ending for a solid comedy that brought me a lot of joy over the years.

The Other Two [Comedy Central]: The freshest funniest new thing! Quirky. Delightful. Relatable. And just enough emotion and love without crossing into saccharine. Also, it introduced me to Josh Segarra, who I am now in love with.

Barry (ronny/lily) [HBO]: This. Episode. 

Legion (final season) [FX]: From the psychedelic premiere alone, I knew this was going to land on my list again. As much of a visual and auditory work of art as ever, this final bow tightened up the story enough to be a satisfying ending. Also, this ship.

Succession (S2) [HBO]: L to the OG. Boar on the floor. Holly Hunter. Cherry Jones. Stefan Strauss. Gerri and Roman. Brian Cox in every scene. Jeremy Strong’s face. No other show feels like a tight coil in your stomach waiting for the pin to drop while you laugh at filthy insults.

On Becoming a God in Central Florida [Showtime]: This bizarre murky pastel colored 90′s-set dark dramedy immediately hooked me in with its oddness. By the time Dunst’s Krystal took a bird-induced surreal odyssey through Floridian suburbia I was absolutely in love.

Lodge 49 [AMC]: A gem. Influenced by two of my most beloved series: Cheers and Peep Show, I was bound to love this. But it is a masterpiece all on its own. So funny and so sad. It manages to oscillate between silliness and philosophy. It is literary in both text and image. So deeply human in its study of the journey to find meaning in contemporary life. Such a unique meditative show didn’t stand a chance, but the cancellation hurt like the devil nonetheless. (Even more so when not long after AMC premiered a slightly similar show with bigger names and a flashier premise.) Go watch seasons 1 & 2 on Hulu!

[barachiki]

Questions and Answers

I cherry picked a massively long survey for some questions I felt like answering.  Join in if you want to.  I had fun. 

What is your name? 

Let’s stick with Barachiki. 

How old are you?

Mid thirties. Soon to be mid-to-late thirties.

Which part of the world are you from?

Western Canada.

When did you join Tumblr?

Looking back, I think the original blog I had was started in April of 2012.  I remember because I had been lurking for months on various tumblr pages and sending anon comments to blogs I liked, and then I wanted to participate in some of the challenges being thrown down by finalproblem so I started one.

What is your favourite fruit?

Probably bananas. 

Who is your favourite Beatle?

Now this is a tricky question! I like them all in different ways! But going by number of post-Beatles records I own, I’d have to say Paul, just don’t tell my teenage self who was a total John fan.

Coffee or Tea?

Tea.  I totally love tea.  I actually made a special blend of strawberry and blackcurrant Earl Grey tea as the wedding favours for my guests. But the wedding itself was postponed so I just get to drink it all!

Have you ever won anything?

When I still lived in my hometown, I drove to the next city over, about an hour away with my mom to see the opening of a new bookstore.  I entered a draw and was called later saying I had won the grand prize, but they didn’t tell me what it was.  I had already gone home though, so there was this big confusion and it took two weeks, but I finally got my prize.  It was a single book called the Field Guide to Horses. It is still on my bookshelf.

What’s your current Netflix go-to? 

My wife and I are going through the Studio Ghibli movies, but if not that then the Great Canadian Baking Show.

Favourite Movie?

I have a not-so-secret love of Christmas movies, and the one I have seen the most is the Cary Grant version of the Bishop’s Wife.  I LOVE that movie.  

First CD you ever received?

Well let’s get this right. The first TAPE I received was Weird Al’s Dare to be Stupid.  The first CD I ever got was Barenaked Ladies Maybe You Should Drive.  The first RECORD I ever received was probably my special edition of David Bowie’s Ziggy Stardust.

Have you ever been in a fight?

No, but I have been punched in the face 3 times: Once in a mosh pit, once in a video game store, and once at a graduation ceremony.  All times were accidents, but I did end up on the floor for each of them, one of them led to a concussion.

Extrovert or Introvert?

I am such an introvert. I always want to find a way to go home, even when I’m already home, if that makes sense. It will make sense to the introverts.

The biggest mistake you’ve made.

Not going to art school.  I took an English Major with Psychology minor because I figured people would expect me to go into academics.  My friend went to the fine arts program and I was super jealous all through university.  

Greatest achievement personally.

I’m going to stay vague, but I did a big favour for a member of my family about eleven years ago, which was hard for me, but it had amazing results and I’m super proud of it.

Pet peeve?

Lots of them. But the one off the top of my head I can think of is one I mentioned before: When restaurants say the dish is called Mac & Cheese, but the Mac isn’t macaroni, it is penne or some other noodle.  It happens far to often and we should not stand for it!

Any Tattoos?

I have the words “Lorem Ipsum” tattooed on my left arm. “Lorem Ipsum” is a graphic design term for ‘placeholder text’ or that random latin gibberish you see sometimes before the real text is ready.  I joke with my designer friends  that one day I’ll cover up the tattoo with something else, because this is just a placeholder (I won’t, but it still just funny to say). I also have a bee and a bunch of lilacs on my right ankle.

Would you often call yourself a moody person?

Look, I’m bipolar, we’re OG moody.

Favorite Musical?

I’m going to have to say Little Shop of Horrors, the Rick Moranis movie version, not the play.  I had the VHS of that movie and watched it endlessly. I haven’t seen it in probably 10 years but I am certain I know all the words still.

What is your most expensive piece of clothing?

Clearly my wedding dress, which I haven’t worn since my wedding was postponed.

List one of your quirks

This photoshopping for this blog is a pretty big quirk, if you ask me. Other than that, I can’t whistle when exhaling.  Only inhaling.  

Last time you pulled an all-nighter?

I have chronic insomnia, so that happens all the time.  University had a lot of all-nighters on purpose though.  But one time, I had a paper for my Medieval Death Literature class due and it was supposed to be 20 pages long. So I was up for three days writing this paper, and when I got to class, there was a note on the door saying that class was cancelled, the prof was giving us an extension, and that the paper only had to be 9 pages.  I ended up going home for sleep, then editing out all the half-nonsense garbage that I wrote. I got an A.

[tclinemarr]

— && guests may mistake me as ( normani ), but really i am ( taline mar + cis female + she/her ) and my DOB is ( 12/26/1996 ). i am a ( dance teacher ) and would like to stay in suite ( 309 ). i won’t be much of a bother because i am ( idealistic & charismatic ), but i can also be ( domineering & scatter-brained ) at times. personally, i like to ( listen to podcasts, shop online & solve crossword puzzles ) when i have the time to relax, and my favorite snack is ( flamin’ hot cheetos ) to have in my suite. thank you for checking in! ( nessa, est, 21 ).

tw: mentions of anxiety. 

hello, my babies! okay, i swear, this is the last muse i’m bringing in for y’all. the muse with fiona just didn’t click as i hoped it would so i decided to bring back a favorite muse of mine, taline! you’re a real og if you remember when i first played her. anyways, i literally can’t think of how to do an intro post, wowie, but below will have some info about her! if you wanna know more about her you can check out her pinterest board here or her full bio here! i’m always down to plot, so lmk if you’d like to plot and we can work something out! 

as of right now, she is keeping herself focused on herself and uses her job as a dance teacher as a form of every day therapy. she’s been living in chicago for about two to three years so far. in her spare time, she helps tutor kids after school and likes to shop online. taline swears those are the only things keeping her sane.

let’s get a few things out of the way: taline is both distant and clingy at the same time. she doesn’t let a crap ton of people close to her but once she does, she can be draining. she texts about random things that she thinks her friends will enjoy. she asks how they are all the time. she wants to hang out and watch movies and cuddle a lot. she wants to cook for them and buy them things. she wants to share her favorite books with them. she wants to witness their shocked faces during the plot twists of her favorite movies. it isn’t uncommon for her to have to be told that someone needs a break from her for a few days. she tries not to take those times personally but the majority of the time after being pushed away for a breather, taline is unsure of what to do with herself and gets fretful and does massive amounts of work and dancing.

taline is frequently told that she could be a politician due to her diplomatic presence and strong-willed mindset. even so, she has much interest in politics as a profession, and takes it as a compliment and revels in the fact that people think so highly of her.

hardened by the unwanted advances and crass comments people would throw at her when she was younger, the brown-eyed beauty has perfected the art of appearing intimidating and serious. but the reality is that she has a fantastic sense of humor that can be cracked into by treating her the way everyone else didn’t – like a human being and not an object. 

taline fits very well into the “femme fatale” trope and often receives comparisons to michaela pratt from htgawm for both her sophisticated sense of style and bold personality. somewhat of an uptight perfectionist, she has always followed the rules and is her own worst critic.

despite her demeanor, the young woman is extremely caring and always wants the people she cares about to be comfortable and happy. when she’s very close to a person, she can be very emotional expressive towards them. she doesn’t mind expressing her feelings and thoughts with someone she’s extremely close to. in fact, she finds it therapeutic. of course, this is something that comes over time when you’re her friend. she doesn’t get close to people very easily.

everything that she does is very methodical and thought out. she’s not afraid to flaunt her intelligence, nor is she afraid to intimidate people by shoving her systematic way of life in their face if it benefits her. taline is a very cut-throat type of person when it comes down to it, but it’s because she believes she deserves the best and will do anything to get it. 

due to her own arrogance and intelligence, taline has an opinion on everything and a tendency to share those opinions when it’s not necessarily appropriate, which gets her in trouble frequently.

she no longer speaks to her father due to the fact that the pressure he put her under caused her to suffer from anxiety attacks. she’s currently looking for a good therapist since she’s still dealing with the impact of his words and the expectations he set for her. 

she moved to chicago a few months after dropping out of the graduate program at vanderbilt university. she wanted a clean slate since she was always surrounded by the same people for the past few years. chicago seemed like a good idea to her and it would be an easy escape from hearing her father’s nagging. 

currently, she is living at the malnati while teaching at the small dance studio she works at. she posts on youtube every other week and has recently gotten on the tiktok bandwagon. she moved to chicago because it reminded her a little bit of indianapolis and she needed a new place of scenery to reinvent herself. at the moment, there is no family in the picture as taline has been estranged from hers since she was twenty one for choosing to pursue her own dreams instead of trying to fit into the neat little box they’d carved for her. that has left a pretty big void in her life that she chose to ignore and then fill with dance.

to help her make a little money on the side, she has an onlyfans account. she enjoys showing herself off in lingerie. taline at night vs. taline during the day is such a difference that it will blow your mind.

plotting

at first glance, there isn’t very much to taline. she’s the girl who is impeccably dressed with a wide grin on her face and a childlike kindness that makes her embrace everyone she meets with open arms. she goes to great lengths to make sure that is all that people see; that she is recognized as the ex-rich girl who lucked into her own brand of success with her youtube channel. she genuinely adores people from all walks of life and takes great joy in getting to know them. honestly, taline is a combination of a really reliable friend and someone who frequently just disappears off the face for months at a time when she's focusing on her work. she's surprisingly introverted for the job she has and can be something of a hermit, but if a friend needs her she'll dust herself off and come out of her hole. she's an interesting person to have around and has stories for days, but can be a little self-involved and work-obsessed. she's also not great at talking about her feelings unless she's pissed off. she's a lot of fun, though, and loves to party. 

i can see taline having a lot of friends but many of them not being particularly good ones. she's a very charismatic and outgoing person but also withdrawn in the sense that a lot of her friendships are very surface level. it takes a lot for her to decide to let someone get much closer but when she does, she's a good friend who will look out for the other person. she just has a tendency to put herself first because she doesn't feel like anyone else will do it for her, so she needs to do it herself. she also grew up feeling pretty lonely and i think part of the reason why she'd have so many superficial friends.

in conclusion: taline is someone with a kind heart who would give the shirt right off her back for anyone she deems a friend. she’s open-minded, loving, and incredibly forgiving when she wants to be. she definitely has her faults. she can be vain and self-involved and a little unreliable as she’s incredibly disorganized. it tends to be made up for with her genuinely good nature, how eager she is to please and how prone she is to spoiling her friends. overall, she's a good friend to have around when she decides to attach herself to you! 

on the flip side, taline loves a good debate, and honestly, loves a good fight. she's full of opinions and refuses to believe that she could be wrong. losing an argument or debate is not in her vocab. she is argumentative and also quite moral/righteous. with that being said, there will also be people she rubs the wrong way. being a strong character and a person not afraid of confrontation, taline frequently ends up in situations where she antagonizes others. when she believes in something, she's very adamant about it and she will fight for it, even if she's not always in the right. she's very passionate and very outspoken and she tends to step on people's toes more often than not. she's also stubborn and doesn't easily see her own mistakes, so she's been known to keep holding onto her opinion even when it's been obviously wrong. get into a heavy conversation with her at your own peril, xo.

despite having a lot of acquaintances, i would like for her to have a circle of tight friends, people she is incredibly close with that she trusts implicitly. some she's known for a long time and some that maybe are newer but they feel its like they've known each other forever. just give this girl her pals, please!

she has plans to open her own studio in the near future, so anyone who be interested in aiding to her dream or who wants lessons or even just a place to practice could befriend her.

she is a hopeless romantic, through and through. she is something of a serial monogamist where she wants to be in a relationship because they help ease some of the insecurities she’s been battling with since she was disowned by her family. she tends to put all of that yearning for their approval into relationships with other people. she’s bisexual, and she’s interested in people who can make her laugh and feel comfortable. she likes the idea of having a partner in her life but she's also so independent and in her own world, so she hasn't ever been particularly good at dating. if we’re being honest, the only serious relationship she has ever been in was with moira sanchez back in college, and she’s still mending a broken heart from that.

she's very protective over her own feelings but equally tends to jump into things too fast and then back the hell out all of a sudden. if she does choose to be in a relationship, i think she’s quite picky with who she decides to do that with because she had a childhood of not receiving the love she needed and i think that shows in her approach to romantic relationships (ouch). i can't see her having loads of hookups since she does tend to project onto someone who shows her attention or affection. she falls hard for people, especially people she starts sleeping with. fwb or fuck buddy relationships often become complicated for her or they evolve into something that ultimately ends. she’s unlucky in love, to put it simple.

wanted plots

left brain, right brain. taline’s other half. the two couldn’t be more different regarding their behavior and interests, but they somehow make it work. they don’t fight often, either, even if they aren’t the same in the slightest. the one thing they have in common is how much they adore the other’s existence.

two best gal friends. -- like a troublesome trio. the three are always seen with at least one another. you can call them charlie’s angels, destiny’s child, or phoebe, rachel, and monica from friends. something that resembles the friendships of the bold type and someone great.

now we got bad blood. -- taline doesn’t have many enemies, but there is always someone out there in the world that will get on her nerves. this person makes her want to gouge her eyes out with a fork. right off the bat, these two bumped heads, arguing about petty things like favorite tv shows and favorite foods. perhaps it’s because they’re both natural born leaders and can’t seem to reach an agreement, or perhaps it’s because they remind each other a little too much of themselves. either way, nobody understands their dislike of one another. 

the art of intimacy. -- she has never been one to indulge in senseless intimacy. actions where touches were detached from feelings. it’s not her -- that’s not taline. but sometimes, the feelings of fingertips on her skin, and the taste of lips, mixed with the rich moans and pleas for more, drives her to break her own rules. she can study them. learn notes about the way of intimacy and sex when you remove the feelings. true, she’s terrible at removing that and she proves time and time again that she can’t separate lust and love. maybe it wont end in disaster? maybe it’ll provide just the right muse.

almost lover. -- they probably had a thing at one point and she got too attached, they broke her heart, and she just can’t let it go.

[aegir-emblem]

What about 5, 21, and 24 for the writing asks?

5 was “What character that you’re writing do you most identify with?”

That’s hard!! Oh my god!! AHHHH!!

I’m assuming this question applies to characters from original stories, so I won’t go on a complete tirade on my LOTR elf OC, Nerremyn, because he is my spirit animal and I love him so fucking much-

(BTW if people want to hear about him, I will talk about him forever, just ask!)

But it would probably have to be one of my recent bois, Gido Darra, a main character of my ongoing original work, “Space Dust”, which can be found HERE on Tumblr, and HERE on AO3!!!

I’m writing that story as a gift for one of my best friends, she is not a writer nor an artist, but she comes up with ship dynamics she wishes she could see... This time I’m bringing something to life for her!!

But Gido is the brand of sweet where you can’t tell if he’s oblivious and like that with everyone, or if he actually knows exactly what he’s doing and vaguely flirting on purpose. He cares deeply for his closest friend, and while he may drag him out of his comfort zone, he would never ever let something bad happen to him. He’s fiercely loyal to a point that it’s almost annoying, but he smiles through it all and doesn’t seem to care how excessive he is.

Gido just has a lot of love to give and isn’t afraid to encourage his bestie, but it’s such natural for him to be supportive that he doesn’t realise that his behaviour is considered “odd”. 

Personally, I relate a lot to that perspective, just because I’ve... never seen a problem with gushing over your friends? Or strangers, for that matter? I always tell my friends how much I love them, I never hesitate to send supportive texts to my friends or to people’s inboxes here on Tumblr or Twitter. I don’t see the point in NOT telling someone how much you appreciate them, or to have a nice day.

It just seems so strange to me that people will follow and not interact, or just - not tell their friends and mutuals how much you care for them? Point is, I find a lot of kinship in my boi Gido in the sense that he just... doesn’t care. If he thinks something kind should be said, or even could be said, or just feels like it, he will. And me too!

21 was “what other medium would your story work well as?” 

Again, referencing to my ongoing project, Space Dust... I think it would work well as a web comic. I have action every couple chapters, but some chapters are genuinely just the two of them sitting and having a conversation that advances the plot or develops the characters’ relationships. Because of those slow scenes, I don’t think it would work as a show or movie.

My other ongoing OG story, one that I am not actively posting (but open to talk about!! I mention it briefly on THIS post), would be a great TV show. I feel like the pacing is really good, but the tenderness between my characters would be amazing to capture on screen. Also, the amount of costume production that could go into it would provide a lot of neat jobs for designers and artists!! (Elves, dragons, so much high fantasy...)

And my fanfic oneshots? I don’t even know, man, I would love to see fan art of them though!! (AO3)

24 is the last one!! Sorry for such a long post!! “Would you say your writing has changed over time?”

DEFINITELY. As I mentioned on the last ask post, I only started posting my work online in March when quarantine started, and I can SEE how much my writing has improved since then!! I’ve been a part of two charity projects revolving around my writing, and seeing my audience on AO3 and my followers here on Tumblr grow so much has given me such joy.

My technical writing was always something I prided myself in, but that was mostly for schoolwork in which it was purely analytical work. My creative writing was S H I T before I started posting online, and it’s amazing how you can SEE my progress working chronologically from my AO3. It’s astounding, and every day I try to make it even better than the last.

[fyrapartnersearch]

Let's Save the World

Greetings from Earth! First time poster to this blog and stoked to meet some new partners. My name is Chris and I’m a male nurse (Yo, you’re going to get some medically accurate roleplay) in his late twenties. I have a lovely wife and two stupidly handsome animals (Pictures of the animals available on request) but manage to maintain a pretty active roleplay life due to the fact that I work nights. The Basics: I tell everyone that I’m a professional. I try to reply 1-3 times a week and the length of posts depends on amount of characters in play. If I’m going to take longer, I always try to let you know. I’m willing to write male and female characters and focus on M/F as the male and F/F. M/M just isn’t my thing, sorry y'all. My limits include pedophilia, rape, and animal abuse. Anything else can be discussed. I prefer e-mail for writing (Chrisx104@gmail.com) but have Discord for plotting (NurseBatman#3674). If we get along really well, you can convince me into discord roleplay. The text limit just drives me nuts. I do use faceclaims pretty aggressively. Is there anything else? Central time zone?

Onto the roleplay stuff. I’ll start with originals and then dive into fandoms. I put extra *s by the lines that I will literally lose my mind if you approach me about. Searching hard! -The Social Media Age****** A m/f line that I’ve given a little thought to, looking for someone to write a young woman that is pretty much making her living being an instagram model/fitness person, etc. I think the proper term is *Influencer*. Meets and starts dating a successful guy with no presence online, the two falling for each other but at odds over their differing attitudes towards the world. -This American Life Something set in the 1970s, focusing on a roadtrip. A group of teenagers leave their small town behind to head out west. I love this time period. Can be supernatural, supernatural lite (think Twin Peaks weirdness) or totally natural. -Stranger Things inspired A group of four to six friends enjoy their last summer together in a remote town as strangeness begins to unfurl. I’d be willing to set this in the present but think it would be way more fun in the 70s or 80s. I have an idea for one of the kids having lost a sibling in a strange way when they were young and possibly some sort of cult in town.

Fandoms!

-Star Wars**

I'd really love to write Obi-Wan during the interim between the prequels and the OG trilogy. Hit me with some sort of love interest that he can go off and be adventuring with while Luke is super young.

-Preacher Seriously. Love this show, love this comic. Would happily write Jesse or Cassidy against Tulip. Just definitely looking for a Tulip

-Harry Potterverse

I'd love to write a pair of aurors, something original. I'm think, basically, magic buddy cop thrillride? That's literally all my brain has and it sounds awesome.

-The Boys Would love to write Hughie against Starlight! Currently working my way through the season that just dropped. -Marvel -I will love you forever if you write an Elektra against my Daredevil. They are toxic and in love and I love it. Whether it be the comics or the Netflix series, I don’t care. Someone please write me an Elektra. Netflix did a good job of portraying this one -Alternatively, I’d also be happy to write against a Black Widow, either with Daredevil. They were a mainstay OTP in the comics in the 90s and I’d love to write against Scarlet’s Black Widow. -Has anyone seen the trailer for the neverendingly delayed New Mutants movie? I would love to write something based on that horror aspect of the mutant universe.* -I’d love to write an older MCU Peter Parker (like college) running across a MCU version of Black Cat. Or just a Spiderman roleplay in general. I’ve always wanted to write Peter but have never gotten the chance! I have a ton of ideas for this, plus faceclaims for a few of the villains. Would also be willing to play him against Zendaya’s MJ, Spidergwen, or Silk (Deepcut)**************************** (I so badly want to write Peter) -One of the pairings that was done for a time in the comics was Star Lord against Kitty Pryde and it was actually a lot of fun. If anyone would want to do a MCU version of this, I would so *DOWN* to play Quill, Xmen hijinks a plenty in space -If you write Jessica Jones, I’d be willing to write almost anyone against her (NOT KILGRAVE). Just let me know. I’d be super down to write Luke Cage or maybe Matt Murdock. I do a mean John Constantine, which, let’s face it, is a cross company illustration of the two most terrible people together -Hawkguys! I would love to either write Clint against Kate Bishop (This would be a slightly skewed MCU vibe) or Kate against America Chavez. I would really love to do either of these lines. Or a poly version if someone is willing! -I’d love to write Logan as an active member of the MCU Avengers, possibly as a partner in crime/wetworks/murder with Black Widow. Those two could cause some mayhem. -Honestly, any X-men relationship could be sold to me. Just try it. I would love to find a Kitty for Piotr, a Rogue for Remy, or almost anyone for Kurt.

-DC I’d love to write Batman against Catwoman, please. Or John Constantine against literally almost anyone

-Hannibal I’ve been dying to do a sort of season 4 for a while now, focused on Clarice Starlings interaction with Will Graham and later Hannibal Lecter. Just need to find someone willing to create an original style Clarice. -Resident Evil I’d like to write Leon against Claire Redfield or Jill Valentine in an original outbreak or a new one. I know this is an old school fandom but I’m a diehard fan. -Star Trek Okay, so first up, I am not the most well versed Trekkie in the world. Never watched any of the TV shows but am a massive fan of the trio of rebooted films and would love to give Kirk or Bones a try against Uhura, Dr. Eve, or maybe a female Vulcan OC? Hit me with ideas! -The Matrix Another obscure fandom. Maybe just an original crew, set during the movies, after, or an AU where they’re the only survivors of Zion? Im not sure but I could plot something out!

-Uncharted I’d love to write Chloe Frazier against Nadine Ross, continuing their adventures. I’m pretty wide open on what we can do with this one. RANDOM CRACK SHIPS! Caught in a Web: I would love to write an iteration (Daniel Craig or an original) of James Bond/007 against a non superhero version of Natasha Romanoff/Black Widow. Spy vs spy shenanigans as two people working for different governments. Totally impossibly but putting it just in case: Did anyone see all that Wonder Woman/Lara Croft art that was floating around the internet earlier this year? I would love to dive into that. I’d prefer to write Lara but I’m definitely not picky. If you made it this far, you’re a hero and I owe you a beer. Hope to hear from some great writers! Let’s create something *EPIC*

[wings-of-a-storm]

(1/2) I don’t think it’s fair to compare your feelings for the OG at this point in the story to your feelings for the remakes at the same point. Obviously with the OG, the only knowledge we had was what we had seen so far, and we had no idea what was to come. It was all so new to us, just like it was to the characters. It’s different with the remakes. I know each version is making things their own, but the general outline of the story is the same. And that outline is seared into our brains, so

Hi there, anon! I’ve seen a lot of concerns like this going around fandom and figured one would come my way at some point. It’s healthy to address though so I will do my best to. (I’ve divided things into categories so that I can try and express myself better.)

Skam in any form is great:

I felt this real kernel of sadness when I saw you say Skam og will ultimately lose when comparing remakes. Skam is an incredible show with its own incredible strengths, and you need never fear that that will be taken away by other people preferring this or that in other versions. It’s true that remakes have the advantage of building on Skam’s core material and changing things up with the benefit of hindsight or just different cultural contexts, but they are all so good in their own ways.

Skam had an amazing third season. Skam Italia had an amazing second season. Skam France is having an amazing third season.

I adore that each version of Skam comes with its own cinematography, mise-en-scène, music style, and above all: varied character personalities. Even though you know the basic premise (that core foundation of Skam’s Evak season), you’re still always kept on the edge of your seat because you never quite know how a character will behave when their personal contexts are all so different. Their inner demons manifest differently; their home life situations manifest differently; they have different ways of expressing themselves, of dealing with other people, of viewing the world depending on what type of school peers surround them; of viewing the country they live in, etc. All that is what makes watching different versions of the same base concept so interesting and enlightening each time.

Neither is better or worse, just different.

The mine field of Skam comparisons:

I need to quickly take this opportunity to discuss the mine field that is Skam comparisons – it feels like an inevitable part of this conversation.

Okay so: I think it is natural for human beings to compare things in order to make sense of their world. Every day we come across new concepts and stimuli, which we subconsciously group into pre-conceived categories in order to try and begin understanding them. There’s just too much to take in otherwise and we’d never be able to make sense of things. There’s a whole anthropological/psychological concept based on it called ‘Categorisation’ (but my uni days were long ago and lord knows where that text is in my room anymore).

So I do understand that some people feel uncomfortable with Skam comparisons, but sometimes they are a subconscious method of making sense of new stimuli. On this blog, I will make comparisons because that is how I process things. :)

Skam’s cuddling in bed scene:

Skam’s cuddling scene is iconic. The framing is something I will clutch to my chest until the day my heart stops beating. The first time I watched that scene, I loved it. I was moved. I was so riveted by the philosophical conversations they had with one another (I never wanted them to stop talking!). I liked seeing how they were together. I found their gentle kissing to be so sweet and affectionate.

I also started to worry a little because Even had a very sombre, ominous expression at one point when all was quiet and Isak couldn’t see. That expression was classic foreshadowing and I was wary of it. That sort of expression shouldn’t have been there in such a sweet scene; it was so jarring and out of place. Because of it, I knew it wouldn’t all be rainbows if Even was dealing with something that he wasn’t verbalising (be it the messy situation with Sonja or not).

In other words, Skam’s cuddling scene was a scene that achieved much more than just the heart-warming sweetness of a new couple infatuated by one another: it had layering which set multiple threads up and didn’t necessarily provide a complete emotional catharsis for its characters. It was brilliant writing that will always stand up on its own.

Rewatching Skam knowing all the twists = watching Skam France

As Evak’s story unfolded, we were eventually exposed to all of Even’s secrets and all the hard lessons Isak had to learn on his own journey. That meant that once the season was done, we were able to do something really cool: we could rewatch it armed with new knowledge.

Old scenes could be re-framed into something new, into something even more heavily nuanced: I rewatched Skam knowing that Even saw Isak on the first day of school (and how that changes things); I watched knowing Even has bipolar disorder; I watched knowing (Trigger Warning) that he has suicidal thoughts sometimes and once tried to act on them; I watched knowing how the misinformed and unhealthy views Isak had on mental illness was going to wreak havoc on his own life.

It meant I got to enjoy Skam armed with all the necessary information, just like I am watching Skam France now with that information as context (which isn’t necessarily accurate since we haven’t seen the entire season yet and are just using the base concept of Skam, but you get what I mean).

So yes, in that way, I can ’ fairly’ compare Skam’s cuddling scene with France’s cuddling scene. I know what Even was going through in that early stage of Evak’s relationship, just as I know that Eliott seems to be in a similar situation.

It will always come back down to this: Isak, Even, Lucas, and Eliott are different people, living in different countries, surrounded by different peers, with different cultural norms and behaviours. Evak have a very different relationship to Elu. That’s okay! One is not better than the other; they are just different and resonate differently to different people. (It’s also dependant on the way the showrunners choose to portray that storyline, which I will talk about in the next section).

What I was trying to express in my post about my initial reaction to Skam France’s cuddling scene was an acknowledgement that each couple is different and has brought out different reactions from me. Evak were in love but a little more cautious/reserved (which I’ve heard fits the Norwegian culture as well as their personalities); Nicotino were in love and very warm (which fits the Italian culture); Elu are in love and going full bloody throttle.

I, myself, am an Evak: I need that caution and reserve until I feel sure of things. I can’t handle the huge fireworks type of passion where you throw all of yourself into it and expose yourself that deeply, that quickly; that sort of intensity is an enemy of my anxiety disorder where I need control over everything. And that is why Elu’s cuddling scene brought out such a strong reaction in me: their emotional intensity is everything I fear in my own life.

Skam og and Skam France have a different style of storytelling that is no better or worse than each other:

When I said I felt fear when I watched Elu’s cuddling scene, it was with Elu as the context, not Evak. I find Elu’s sort of intensity dangerous for anyone to experience; that type of happiness cannot continue on that trajectory without some sort of force knocking it down – be it even just the smallest disappointment of an argument, for example. When you feel that intensely, the come down of it – by its very nature – is more intense. And knowing France’s M.O so far, that is exactly their point with filming the scene this way. They want us to jump off the love cliff with Elu so that the fall is as brutal as possible.

It wasn’t Skam’s style to turn the amplifier up to level 11 and I am glad for that. Their style was so laid back and raw and deceptive with its simplicity. It worked so well with the natural reservation of their culture (not being as touchy-feeling with peers, for example). There is a real power to subtlety and Skam perfected it.

Skam and France just use different storytelling methods is all. Naturally, the more overt in your face with emotions type of storytelling will bring out more intense first impressions. It doesn’t make France better or worse than Skam though.

We’re all different with our tastes; at different stages of our life, we might connect more with one storytelling method over another. Some days I crave overtly intense emotional rollercoasters like in Skam France because I get to vicariously feel things deeply in ways my anxiety disorder and its neurotically clenched reservation prevents me from feeling in my own life. But some days I want the art of subtly that Skam brings because I don’t have to exhaust myself in the same way while still feeling things deeply.

I love all Skams, guys. This show has my heart and soul!

This got long (as per usual)…

I hope I was able to express why I (and undoubtedly others) react the way I do with Skam France’s season, why I think it is fair for us to compare any of the versions, and how that shouldn’t diminish the value of other Skams. Thank you for stopping by to express your own feelings on it. :)

[nancydrew65]

SKAM NL Season 2 Episode 8 Thoughts

So, I just realized that SKAM Dutch, the tumblr page that posts translated clips and text messages from the show, also labels how each clip is related to the episode, including which episode it belongs in! I am an idiot for not noticing this sooner. Now, I can post reactions sooner. Hurrah!

I Miss You

Liv wakes up hungover in Noah’s room lying in bed beside Morris and the blonde girl from the party.

Oh my god, I just realized this because I watched all the clips that just came out, but when Liv puts on her clothes, she doesn’t put on her bra. Rewatching this scene to write this reaction was one of the hardest things I have ever done.

As Liv leaves the house, she gets a bunch of messages from an unknown number. It is Noah and he lost his phone. He doesn’t want any more space and he texts her that he loves her. What a punch to the gut for Liv.

She has to throw up/retch by a tree. I have to say that lead-up was very realistic. I saw it in her before she did it that she was going to throw up.

And here starts the spiral into doom

What Happened Last Night?

Liv takes a shower at home, very similar to what Grace did in SKAM Austin. She buries herself into her covers and tries to fall asleep.

Ralph barges in and soon sees that something is wrong. He is worried about her not going to school and offers to make her juice! Sweetest Eskild ever. He is so attune to Liv’s feelings. I love him so much. I hope Liv confides in him soon.

Under the sheets Liv looks at all her messages and decides to send one to Morris asking what happened the night before. I think this is one of the hardest things that the Noora character is put through. Not only was she possibly raped or sexually assaulted, but she has to message her possible assaulter just to find out what really happened.

Flashbacks

This clip was… I almost felt physically sick watching it.

Liv is scrolling through instagram - there was an easter egg to SKAM with fan art of Noora - and looks through Morris’ profile. She finds a photo with Morris and the blonde girl who was in bed with them. Her name is Marie Van Aspen. So, this girl appears to be the Mari character. I really hope she and Liv have a scene together because she was so funny at the party.

Liv then searches for signs of whether or not you have had sex. My dear, poor girl.

Liv watches a youtube video of a girl who went through a similar experience as her, where she was drugged and taken advantage of in Las Vegas. I think it is really important for Liv to watch that video so that she realizes that whatever happened, it was not her fault.

There’s a knock at the door. Noah is outside, looking for Liv. She ignores him and he finally goes away when she texts him that she has the flu.

And then Morris texts Liv back and oh my god… SKAM NL just did that. So, I think SKAM NL set certain things up to make Liv’s situation seem better than other Noora’s, like how Ralph was so supportive and sweet and how Liv watched that really helpful, inspiring video of the girl who had been sexually assaulted. I think they did all that to shock us with this new reveal. For one, Morris responds much quicker than any other version of Niko and there is no fake-out text where he tells her nothing happened, she reunites with William, and then he texts her again and shows her the naked photo he took of her. Instead, we get this wholly awful scene where Morris texts Liv a video he took at the party where Liv is in bed wearing only her bra. In the video, Morris pulls back the covers of the bed and proceeds to slip Liv’s bra off, leaving her breasts exposed.

This is… shocking and horrible to say the least. I really wish there had been a trigger warning. Morris is easily the worst of the Nikos. And I feel kind of uncomfortable ranking the relative awfulness of each version of this character because each version is a terrible person. However, there is a large difference between Noora stripping and Niko taking a photo of her naked (still absolutely disgusting) and Morris approaching an almost unconscious Liv and stripping her bra off while she is protesting. That is sexual assault. And we don’t know if anything else happened… But that is so, so terrible regardless. I made an earlier post where I said I thought it would be interesting watching a version of Season 2 where Noora actually got assaulted because I thought it would be an incredibly complex and important storyline to tackle…. And I guess, be careful what you wish for. I am already so upset and horrified after one clip.

I Had to Do It

Liv is doing the wash and there is a very beautiful contrast between the white of the clothes and the dark hoodie Liv is wearing and the dark colors of her room.

Noah shows up with groceries. How domestic. No, I’m kidding. That was really sweet of him, probably one of the nicest things a person can do in a relationship tbh.

Liv explains that she isn’t angry anymore about him fighting, but she is sick and needs time to think. They share a kiss, so there’s hope. (Who am I kidding? I just watched the latest SKAM NL clip where a version once again leaves a version of Noora collapsed on the ground crying. I am very pissed off, but I will get more into that next episode.)

There was a great visual moment when Liv closes the door and leans back on it. She turns to the left where the glass part of the door is and through the frosted glass we see Noah’s silhouette. Very poignant. Once he leaves, she opens the door and grabs the groceries.

I Don’t Remember Anything

There was a trigger warning at the beginning of the clip, so at least SKAM NL took its fans thoughts into consideration.

Liv bakes cookies for Ralph and Jayden, but doesn’t have any herself. Is this a hint of her eating disorder? I know they kind of brushed that off in SKAM Austin and I can’t tell if they are doing that here.

Jayden comments on how put together Liv is… and that broke my heart because Liv is falling apart inside and she feels like she has to put up this strong front. Let people in!!!!! Tell the girls!!!!

Liv gets a call from her mother who sounds quite busy. Like the only time you can call your daughter is when you are in the car? Really? She does sound more concerned and invested in Liv’s life than her father who is really only interested in Liv’s music. And we got confirmation that Liv’s dad is experienced in the music industry.

This also made me notice that the record company meeting is probably equivalent to the article Noora had to write. That kind of makes it more sad, in my opinion. In Noora’s case, yeah, the article was a great opportunity to invest in her job goals, but for Liv it seems more serious. Music is something she loves and hopes to make a career in. This meeting could have potentially life-changing consequences for her and it is all ruined because of Noah’s asshole of a brother.

Liv’s mom suggests getting a plant (an offer Liv takes eventually) and tells her daughter that she is always there to talk. So, I feel like Liv’s mom actually does care about her daughter, but is a bit distant and is not really great in initiating contact.

Liv goes back to her room. Ralph asks to use Liv’s computer to look up a recipe to cook for Benny, his sweetheart. He finds what I assume is a website looking for symptoms of if you’ve been raped. We don’t know for sure.

He immediately confronts Liv about it. She yells that it’s not her fault. 1. It is incredibly sad that she has to assume that is what Ralph thinks, but 2. At least she doesn’t think it’s her fault.

Liv has a breakdown/panic attack and Ralph goes and hugs her, telling her she doesn’t have to go through this alone.

Now, I really enjoyed this scene, don’t get me wrong. I think SKAM NL has developed Ralph and Liv’s friendship very well this season. However, they do get rid of what is, in my opinion, Noah’s best scene in the season. And honestly, I would have cared more had I not just seen the scene where Noah confronts Liv. Now I’m glad they gave this scene to Ralph because Noah does not deserve it.

You Don’t Have to be Ashamed of Anything

While I am so so so so so glad that Liv has a support system much sooner than in other remakes… I am kind of uncomfortable about how SKAM NL handled it. I really wish Liv could have told the girls on her own, not have it something that was discovered. Despite how terrible it was watching Noora suffer alone, it was such a relief when she finally confided in the girls. I wish Liv could have been allowed to have that same initiative. She seems very reluctant when she is telling the story to the girls.

The girls (and Esra!) all arrive at the apartment (i’m pretty sure Ralph called them) to talk with Liv. I am glad that she explained the whole story to them and that Ralph didn’t just tell the girls all the details.

Speaking of the details, can we acknowledge how courageous Liv was to have showed them the video?

I loved the juxtaposition of everyone on one side of the bed, watching the video with Liv by herself on the other end. And as soon as the video ends, Isa and Engel climb right back to Liv’s side. It is kind of a metaphor for saying, we are here for you, it’s not your fault.

Esra says to go to the police… and yeah. Liv should most definitely go to the police. I am not very happy with SKAM NL executed the whole confrontation scene between Liv and Morris, but I will get more into that next episode. Long story, short: I wish they had adapted it better to the unique situation Liv is in, a situation vastly different from OG.

Liv doesn’t want to go to the police, but Engel convinces Liv to at least confront Morris. Janna says she will fight Morris bare-breasted. That is something I would like to see. Fight him, Janna!

Liv seems to get a renewed sense of confidence and messages Morris to meet with her.

General Thoughts

This has been probably my favorite episode in the whole season so far. I thought SKAM NL did a great job depicting Liv’s anguish and struggle (Zoe Love Smith is a fantastic actress, she is killing these extremely intense scenes) and despite how hard it is to watch, I am really glad they gave us a version where the Noora character is assaulted. For dramatic storyline purposes, I wish we had gotten the next clip (where Liv confronts Morris) as the last clip for this episode, but I understand that they have to distribute clips accordingly to each episode. That is really all I have to say.

[secretsofthemasquerade]

V5 Corebook, no gloves review P.1

Y’all know me, it had to be coming. Sorry it took me so long. Part 1 is about the physical aspect of the PDF (I don’t have the physical book at hand yet), Part 2 is going to be about mechanics and “content”, since I’m still testing that out.

So first and foremost, the small Mature Content Warning that was added last minute to the PDF. It has been published online on its own so I have no issues posting it here:

Mature Content Warning For the past several decades, Vampire: The Masquerade has addressed the darkness in the real world through horror stories: it has talked about AIDS, capitalist exploitation, sexual predation, the resurgence of far-right political extremism, religious fanaticism, state and private surveillance, and many other issues. This version of the game does not shy away from any of the above, and we believe exploration of subjects like these is as valid in roleplaying games as it is in other media. Including a problematic subject in a Storytelling game is not the same as glorifying it, and if you take the chance to explore it critically, it can be the exact opposite. If we understand the problems facing us, we are better armed to fight them. V5 includes in-world references and expressions of the following: sexual violence, political extremism, physical violence and gore, mind control, torture, abuse, imprisonment and kidnapping, racism, sexism, and homophobia, to name a few. It’s a game about monsters. “Why are you telling me this?” you might be saying. Someone at your table is not familiar with this game. Someone at your table has dealt with some of these issues in real life. Someone at your table wants to know that you read this warning and know you will be considerate to them as players, while putting their character through the wringer. In the Appendix, you will find concrete techniques on how to handle difficult subjects in your game in a manner that is respectful to your players and their experiences. Calibrate beforehand which techniques your group wants to use. People have different needs and not every method works for every person. This is a game about monsters. But it is only a game. Don’t use it as an excuse to be a monster yourself.

This is something I consider good (that last sentence is more necessary than I’d like to know), considering the rest of the contents of the game, but I wish they had taken a far more respectful approach to the mature themes instead of name-dropping horrors without meaning.

Now, the PDF itself has MAJOR issues in terms of book-making. The bookmarks are terrible, they integrate stuff from the side boxes that just make no sense, there’s little to no proper hierarchy, some are even missing, the internal links don’t work very well, it’s just poor, poor design.

Seriously look at this:

How can I navigate this? Like seriously ? I know there’s a table of contents, but it should be in the navigation bar as well, that’s how PDFs work.

(The Nossies are missing, it makes me laugh because it’s the Nossies, but they’re there, that’s why Malks seem to have two sections about Disciplines and Banes)

Now, the layout itself isn’t the worst I’ve ever seen, and some parts of what I’m going to be saying may fall upon “personal taste”, but I’ve been editing PhD thesis for long enough to recognize bad layout when I see one :p

Like, this is fine, I really like the new Tremere Clan Symbol (all the clan symbols are pretty neat tbh, and the Disciplines symbols are the VTES ones so that makes me extra happy), and they’ve used beautiful fonts, even if we disregard that they couldn’t be bothered to spell HERMETIC correctly...

However there are two major issues with the book layout as it stands, as you flip through the pages. First, the text isn’t justified (aka aligned left and right), and second, the text is sometimes in two columns, sometimes in three. Quite often, the titles are at the end of a column (see here “The Anarchs”) and some paragraphs have poor lonely lines in the precedent page or column and it just looks bad. I screenshot some pages with low res: the text itself does not matter so it’s ok if you can’t read it ;) But notice how “Relationship” is hyphened because of the three columns there...

Then, you have plenty of pages which have either black background or colorful background. That would be fine if some of the pages weren’t the kind of pages you’d want to print out to give as handouts to players...

My poor eyes.

These four pages would be far more useful with black on white, even if plenty of us like reading white on black because it’s easier on the eyes on a tabler, but this isn’t printer friendly when you sell a pdf... This should have been in the Appendix with a printer friendly version.

Sometimes the placement of elements is just weird or off putting in certain pages:

This image touches the bottom of the page, but there’s three meters of white space above. There are examples of the exact opposite (the image touching the top of the image with extra space at the bottom).

This chart should be centered, I think.

Something’s wrong here, isn’t there something missing above the first page? And that block alone on the second column, it’s very common across the book.

Now, on a tablet or phone, it’s easy to double tap and match the column length, and the fact that the text isn’t justified isn’t much of an issue when reading plain text, but I find that the text not being justified in any of the pages is just Bad Design.

I did like the separations, the small lines between the columns and all, they looked great, the change of fonts in between “boxes”, “quotations”, “examples�� and so on was also well made. 

Now, the Art.

Some of the art is old WWP art, some of it is WoD MMO art, some of the art is newly commissioned illustrations, and some of the art is photography with (or without) filters.

Old WWP Art is clearly to link back. The old Helena art is there. Theo Bell got new art (I think it’s new?), but Helena didn’t.

They also reused MET By Night Studios photography for Jeanette and Therese, and cropped the photo, taking away the key composition of the original. Did Bradstreet give the rights to alter his work with such cropping? 

Note that I personally dislike this picture, cropped or not, a lot, simply because being a Bloodlines fan I don’t think it represents either Therese or Jeanette properly. Jeanette wouldn’t be caught with a power stance and serious face like that, Therese wouldn’t be caught with such a non imposing, reserved pose, and coming from Bradstreet, I am VERY disappointed, because he has done official art for Jeanette for the video game before and it was far better representative of her; the model from the OG picture looks far closer to the Jeanette we meet in the game, but this is truly a matter of personal taste and opinion so I won’t scream again about it.

The MMO art is overall great quality, and sometimes it’s even used in a very smart, beautiful way:

(I’d have put this image on the Embrace and not on Predators, tbh...)

They also used the fashion spreads looks for the MMO in the corebook, some of it is plain silly, and I’m very much afraid they’re used literally as how PCs look like. Here’s the Gangrel Fashion splat:

I consider the art to be good, and to be great concept art for a MMO, and great fashion shots, but.. in VtM? this is not Masquerade Friendly. Also these types of art (as well as the Investigator image you can see on the first few pages I pasted above) are all 20 something model-like people, and yes that involves the Nosferatu, because they’re fashion drawings. Fashion drawings have stupid proportions and no realism, since they’re meant to show the clothes, not the model. And for a book about characters, well, why? This was suitable for the MMO because MMOs have transmogs and such and such.

I just find them to have completely missed the “Punk and Gothic Aesthetic of the World” and just stacked as much weird clothing as they could to look “hype and modern”. Hipster Instagram Fashion that’s unwearable.

Yes, vampires are marginal by nature, but please, their goal is to blend in, not be noticed, and considering how long they’re effectively inactive, and how age affects your will to stay on trend... Eh. 

The New commissioned illustrations are hit and miss, and some of this criticism does fall on “personal taste”, but here I ranted about one of those art pieces (which was the page for the Vault, but it’s in the book). They’re all a little bit like this, some having a far better composition even if they all seem to be this saturated. They’re all overall good and I like most of them.

This one is “look at my butt” kind of situation. I’d have rather have this picture just without this foreground couple, it would have been a perfect street look example, and the two jumping above the roofs guys would have had the attention they deserved. I love the fog, the graffity, the textures are nice, i just hate the butt.

And finally, the big chunk, the Photography Art.

I understand how they made it so that most people would be able to “make their own art” (photography being now more accessible to the masses than illustration), and that is something I nod to, appreciate and completely understand. HOWEVER, Photography IS art and not everyone can be a Photographer with a snap of their fingers (or a click of the camera :p).

What’s good with photography art is that they picked diverse looking models of all sorts, and they put them in interesting and somewhat telling situations. What’s bad is that “suddenly” all “positions of power” are held by middle-aged (so plain old 60yo) looking vampires and all Anarchs Rebels looks like they’re in their twenties.

This goes against VtM. Older vampires tend to look younger because being a King or Queen at age 14 wasn’t uncommon until the 1800s. Embracing people right at the end of their teenage years, at their prime, at their best, as they’re “perfect” is the best a vampire could do (remember Dark Ages have rules against embracing the young, the elderly, the crippled, the insane...).

It’s only after WWII that embracing people over 40 wasn’t uncommon.

I’d have LOVED to see a 60yo looking Punk, and have the Dominating Prince on Their Throne look like, 15. And own the place.

Now there are plenty of issues with some of the photography art, and here’s one (page 232) that I’ve screamed at for like, two weeks now.

This picture had one of the best compositions, the diagonal works great, the leaning away, the androgyny of the chalice (despite them still having a personality and free will...). How he filled the glass with the blood from the chalice through this.. pinky finger condom thing, okay, sure, weird af but why not. Does’t explain why the chalice has two marks on their forearm but okay. Sure. Also, FINALLY a photography in VtM of a dude wearing a suit that’s actually his size? Great. And it doesn’t come out of a Goth Store (tm). Great! Amazing! 

But there are in this picture TWO things I just cannot forgive.

First, the guy has his jacket buttoned. When you Suit 101, when you sit, you unbutton. You button up when you stand up. Now this is supposed to be The Ventrue (tm), this is just wrong.

Second, his fucking zipper is down. YES HIS FLY IS DOWN. How the hell did this not get photoshopped in like two seconds? Because of the jacket, I know this is an accident; the model just isn’t used to suit etiquette. You could explain this away by saying he’s a pervert or something, but in that case you’d have needed to add slightly more eroticism to the guy (jacket and maybe shirt open, no glass, slight smile, leaning towards the chalice and not away from them?).

Some of the photography-manipulated art is just beautiful, let’s be honest, this is the splat before Disciplines:

I’m not a fan of the orange (simply because I’m not a fan of orange in general), but this works just so well, the composition, the lines of sight, the shadows, the mirroring, just, top notch choice here, who did this??

But then you have post apo band :p

I mean I like this group shot, it’s very classical, it looks like a fine coterie with a specific turf.. But is this Mad Max? I know Gehenna happened, and I do know some people actually dress like that, but if you’re being tracked down and hunted into oblivion by the Second Inquisition, you.. just don’t do this.

Most of the photography is like this; marginal overdressed looks. Now this is personal taste again, I just wish we had more.. normal looking people. People who are exceptional, but not through their looks or clothing style. The back of the book claims “A Storytelling game of personal and political horror.” and I see little of it in the pictures and illustrations. 

Anyway, want more Art Rants? click here

Stay tuned for part 2!

[pervincetosscobble]

finished my young justice rewatch here are some Thoughts And Feelings (this is a very long post sorry to mobile users)

let me begin this post by saying bart allen is my one and only true ultimate favorite, and also if you’ve ever wanted to see (um, hear) me cry you can do that now thanks to bart allen

i was surprised by how much some of my opinions/faves changed tbh? i was. god, i was 13 the first time this show aired and 15 when it ended, so it tracks that now, 4-6 years later (???!?!?!?!?) things won’t be the same, but some changes were. significant

i’m adopting conner, for starters

conner loves sociology. pry this headcanon from my cold dead hands, motherfuckers

conner also knows a lot of really weird pieces of trivia

conner was a good student but also didn’t care about school

i remember not being really into conner/m’gann the first time around but i was kind of taken in by them in s1? these two kids trying to find their home in a world that wasn’t made for them.

conner and m’gann had a lot of date nights themed around Get To Know Earth Culture

some of these involved bioship travels and, like, day trips to paris just because they could

some of these were like. improv lessons and pottery classes.

i’m also still not super happy about the hints that they get back together post-s2. like. i hope they become friends again, that’d be good, but i refuse to believe conner would be okay with dating her again after what she did the first time.

point that has only just occurred to me: in the beginning of s1 conner is vastly uncomfortable with telepaths. by the end he’s totally okay with it because of m’gann. and i’d bet money there’s a point somewhere mid-timeskip where, because of her, he was no longer okay with them anymore.

one the note of the timeskip: five years seems RIDICULOUSLY long to me, especially considering that every plot-significant change happened “in the last few months.” like, what was the goal? aging dick up to nightwing? five years is SO MUCH missing lore, so many stories they could’ve fleshed out. make it two years. hell, if two is a squeeze, i could’ve gone for three. but five years?? nah, dude.

the best thing about the timeskip was domestic wally/artemis, which, like, i was totally enamored with them, so much, and their relationship development, and everything about them

i also liked kaldur’s character a lot more this time around, although i’ve got to say i’m not wild about them basically fridging tula?? (i’ll admit to not being super familiar with aquafam lore, so i don’t know how true to the comics that is, but they didn’t have to do it in the show) like, i know that it turns out he didn’t really go mad with manpain grief and turn evil, but i think there’s an equally powerful story in tula being injured and recovering in a world where she thinks kaldur abandoned her, in kaldur having to lie to her face instead of using her memory as justification

in general i think s2 could’ve benefitted from some trimming? i love all the freshmen, i really do, but it wouldn’t have been the worst thing if there were a few less of them.

alternately - and i know, networks and whatever - if s2 had been two seasons, or even had half a dozen more episodes, i think it would’ve benefitted from that, too

gotta say, the light gets old real fast. or at least, like, the whole “everything got super fucked” “no, everything went exactly as we planned it” things. like, you’re telling me the team never once threw them a curveball. never. really

13yo dick’s shenanigans and wordplay were a lot funnier when i was 13

now that i am an adult i feel..... a little more skeevy about canon-era jaime/bart than i did when i was 15 and i actually knew 13-year-olds who were dating 16-year-olds and saw nothing wrong with it? but i maintain that they have a solid friendship and definitely end up dating once they’re in their twenties

zatanna is my hero

this show vastly, vastly underutilized raquel. it’s a damn shame.

you know who else was great? mal. mal definitely saves puppies in his spare time and knows three languages and at least seven forms of martial arts and every teammate’s abilities and fears and favorite colors and everything there is to know about karen

artemis/zatanna is good

you know how jade just showed up and was like “yo roy look at our daughter”?? i like the idea of jade just, like, casually dropping lian’s existence into daily conversation.

“i miss alcohol now that i’m pregnant,” jade says. artemis chokes.

“this mission can’t take too long, i told the babysitter i’d be back by 9,” cheshire says. “the what,” sportsmaster shouts.

i still ADORE the runaway team, including og!roy, and man, i didn’t come out of this rewatch shipping a lot, but i love the idea of the runaway squad being kind of a tangled poly mess. ed is dating roy and asami, tye is dating asami and virgil, asami loves all her boys and understands why roy isn’t interested, etc.

like this fic for the disney film descendants

but also, like, in general, i really fucking love these kids

this show has a lot of really weird dad plots, which is strange for me bc my dad and i used to text after every episode, but also in general it’s interesting seeing the vast range of potential dads. for instance:

clark “i didn’t ask to be a dad” kent, who eventually transitions into an apparently passable dad? it’s not clear

black manta, who is morally a shitheel but also one of the most supportive dads on this show

barry, who definitely wanted to be more of an uncle than a dad

lex, who wanted to buy his genetically-experimented kids’ love

ollie, who really had a hell of a time

and of course dinah, who is the best mom and probably the best parent on the entire damn show

(also bruce, who didn’t do much dadding, but damn if i didn’t tear up at him talking to dick/tim/babs before he left earth)

gar logan is the team’s adoptive little brother. all of them, but especially the original six. and probably also zatanna and rocket.

i’d be able to go into more detail if we had more goddamn information about who joined the team when, which we don’t, because five year timeskip

but anyways since gar and m’gann are pseudo-siblings they’re closest, and then gar also loves conner, because who wouldn’t love their sister’s cool boyfriend?

conner is overwhelmed and kind of pleased by this

after conner and m’gann broke up gar was very worried that his sister’s cool ex-boyfriend wouldn’t want to hang around him anymore

conner did. conner and gar are basically brothers.

gar loves the entire original team, period

also i wanna throw it out there: ik there was a show-specific comic tie-in. i have read none of it. so if i say anything that doesn’t mesh with that it’s because i don’t care a ton about the comics? the show is probably better anyways

god i think that’s just about everything? so to wrap up this extremely long post i’m gonna go out of bulletpoint style here

i’m excited for s3! i really am. i can’t wait to see what they do with it. but also i’ve been convinced since i was 15 that the very last scene, with darksied and apokalips (which i deffo just spelled wrong but anyways), that scene only exists bc the producers were like “fuck it, we’re getting cancelled, might as well go all in” and just threw garbage in to make it seem like there was a conspiracy

like, this is a deep cut here, but there’s an episode of phineas and ferb that ended with a “next time” that was a series of nonsensical dramatic scenes, and then they tried to make an episode out of it and it was basically gibberish, and i’m really concerned that’s what’s going to happen here

but tldr i did enjoy this show a lot, and i’m glad i had the chance to rewatch it, and if anyone has their own thoughts to share y’all are welcome to hit me up!!

[rogntre]

media & communication vocab

kommentar (en).  comment tekst (en).  text / lyric press (en).  press informasjon (en).  information søker (en).  applicant uleselig.  illegible / unreadable nyheter.  news

kanal.  channel nyhetskanal (en).  news channel fortelling.  story / tale journalist (en).  journalist beskjed.  word / message postkort (et).  postcard sende.  send

søk.  search frimerke.  postage stamp underskrift (en).  signature skjema (et).  form fylle.  filling gjelde (gjaldt).  mattered / counted

post (en).  mail kilde.  source postkasse (en).  mailbox videospill.  video game(s) postkontor (et).  post office melding (en).  message

setning (en).  sentence leser.  reader mening.  opinion / intention / meaning høres.  sounds rope (ropte).  cry / scream / call kjendis (en).  celebrity plakat (en).  poster

spalte (en).  column artikkel.  article tekstmelding (en).  text message krontroversielle.  controversial beskrive.  describe blad (et).  magazine / leaf / blade foregår.  goes on

overvåket.  monitored brosjyre (en).  brochure talsmann (en).  spokesperson talskvinne.  spokeswoman bekrefte.  confirm inntrykk (et).  impression motta (mottok).  receive

Skriv en kommentar her.  Write a comment here. Hvem skrev disse tekstene?  Who wrote these texts? CV-en til søkeren var uleselig.  The resume of the applicant was illegible. En kan lære mye gjennom nyhetene.  One can learn a lot through the news. Politibetjenten svarte på pressens spørsmål.  The police officer answered the press’s questions.

Jeg svømmer over Den engelske kanal.  I am swimming across the English Channel. Nyhetskanalen er ikke viktig.  The news channel is not important. Hvilken fortelling vil hun at skal bli film?  Which story does she want to become a movie? Den journalisten er kjøpt og betalt.  That journalist is bought and paid for. Hun ga meg beskjed ved å sende meg et postkort.  She let me know by sending me a postcard. Vennen min har sendt meg flere postkort fra Hellas.  My friend has sent me several postcards from Greece.

Vi fant henne etter et kort søk.  We found her after a quick search. Du trenger intet frimerke for å sende et postkort.  You need no stamp to send a postcard. Underskriften hennes var et kunstverk.  Her signature was a work of art. Gi oss beskjed ved å fylle ut dette skjemaet.  Let us know by filling out this form. Han hjalp meg når det gjaldt.  He helped me when it mattered.

Hvor fant du kildene dine?  Where did you find your sources? Foretrekker han bøker eller videospill?  Does he prefer books or video games? Finnes det et postkontor i nærheten?  Is there a post office in the vicinity? Dette er en veldig melding.  This is an important message.

Husk å oversette hele setningen.  Remember to translate the entire sentence. Avisen har mange lesere.  The newspaper has many readers. Slektningen min er en kjendis.  My relative is a celebrity. Det høres bra ut, ikke sant?  It sounds good, right? De ropte om hjelp.  They cried for help. Hun har en plakat på veggen.  She has a poster on the wall. Min mening er at folk må endre holdningene sine.  My opinion is that people need to change their attitudes.

Boken var veldig kontroversiell på den tiden.  The book was very controversial at that time. Han skrev en tekstmelding til moren sin.  He wrote a text message to his mother. Kan du beskrive det?  Can you describe it? Moren min skriver en spalte i bladet.  My mother writes a column in the magazine. Hva er det som foregår i Storbritannia?  What is it that is going on in Great Britain? Det er mange interessante artikler i avisen.  There are many interesting articles in the newspaper.

Politiet overvåket huset i fire år.  The police monitored the house for four years. Vil du ha en brosjyre?  Do you want a brochure? Talsmannen mottok meldingen.  The spokesperson received the message. Jeg kan ikke bekrefte e-postadressen min.  I cannot confirm my email address. Jeg mente ikke å gi et slikt inntrykk.  I did not mean to give such an impression.