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adashofniallandasprinkleoflunacy · 4 years ago

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you’re someone i just want around: I

“And I can't wait another minute

I can't take the look she's giving

Your body rocking, keep me up all night

One in a million, my lucky strike.”

— Lucky Strike, Maroon 5

A/N: this idea started as just random concept drabbling between leyla @sunflowervolvimp3 and i and we never really thought it would amount to anything tbh!! but as we started putting more and more into the plot and characters, we made the spontaneous decision to make it a full on, multi-chaptered collab fic! we have so many ideas planned and so much to elaborate on and we’re just so mfing excited to share it with you guys :’) any and all feedback is greatly appreciated 💌 we hope you enjoy the first part and that you fall in love with this stupid emotionally unavailable moron the way we did! happy reading!!

andrea’s askbox : leyla’s askbox : ysijwa masterlist : andrea’s masterlist : leyla’s masterlist :

word count: 17.2k

content/warnings: vampire!harry being a lowkey asshole while downing straight tequila like a psycho, getting to know The Crew, Mitch being the iconic legend he is, mentions of smut, and Harry working his immortal charm on an unsuspecting human girl with a peculiar scent and intriguing personality

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Harry hates clubs.

In his two hundred years of life, through many trials and tribulations, through tricky scenarios and annoying encounters, through thousands of unappealing circumstances and patience-testing events, he doesn’t think anything quite compares to the crowded, nerve-wracking experience that is a Los Angeles club on a Friday night during peak hours.

According to his wise, humble opinion, it’s absolutely fucking petrifiying. He’d rather swallow a stake than have to spend hours in a dimly lit room with synthetic smoke choking his lungs, half-conscious humans stumbling around into him, and the stench of sweaty bodies mixed with liquor fumes, alongside the faint yet unmistakable waft of vomit.

Yeah, Harry would definitely rather eat a red oak spear than have to shoulder that.

Despite his intense hatred for this Californian city during its after-hours, he can’t deny that he fits right into the scene perfectly. Decades of grooming and practice have made him a prime candidate for the fast-paced characteristics that come with the party nightlife.

Fitting into these aspects aren’t something he had learned willingly; he didn’t really have a choice on the matter, considering his entire existence depends on mortals immature tendencies to get properly shit-faced and make stupid decisions in tightly-packed glorified bars. Harry never understood that— how a fog machine, strobe lights, and an undergrad amateur DJ could ever seem more appealing than the quiet, stable ambiance of a semi-formal bar. How deranged do people have to be to actually enjoy strangers spilling alcohol on them while attempting to shag someone else two feet away on the dance floor?

Whenever he dwells too much on that thought, he gets a spiking migraine. After this long, Harry’s just come to terms with the fact that humans are regressing as a species. His conclusion is a bit cynical, perhaps, but hardly difficult to accept. One look at a news outlet provides enough proof to launch an Ivy League research project on the matter.

He really shouldn’t be complaining, however, because the combination of overflowed close quarters and dampened inhibitions makes it the ideal hunting ground. Picking up a living blood bag at a club is basically as easy as walking through a vineyard and plucking grapes right off the stems. It’s practical, it’s fool-proof, and if he plays his cards right, he gets to feed and gets his more intimate needs tailored (a combo that he and his friends refer to as Laid and Drained).

So regardless of his distaste towards clubs and their eager inhabitants, Harry had learned to mold his persona to fit the bill, making himself as approachable and desirable as possible. His life literally hangs in the balance; he’d put up with throngs of drunk sorority girls and their affinity for shitty perfumed drinks if it means avoiding desiccation.

It’s not like it’s hard. All Harry has to do is make himself look more appealing than the other hundred men milling around the establishment, which— if he’s being brutally honest— isn’t that challenging. The moral, physical, and ethical standards of men have dropped frighteningly low since his time. Most of the ones that creep around clubs are overconfident, overzealous, boundary-lacking douchebags who think they’re entitled to a woman’s attention, and therefore make complete, utter fools of themselves in the process of trying to court one into their pants. Buying a girl one Sex On The Beach and dry-humping to Daft Punk isn’t the way to convince her to come home with you.

Harry has developed his own guidelines and tactics for securing a nightly bedroom companion, and his ideas have been working wonders for him for decades now.

The first and foremost rule is to clean up nicely. Personal appearance is everything. Humans are visual creatures; they build first impressions solely based on outward attraction. That trait is enhanced the higher their blood alcohol content rises. The drunker someone gets, the shallower they become, and it’s Harry’s job to work that to his advantage. And at the risk of sounding shallow himself, he thinks he does pretty alright in that department.

Especially tonight, present in all the elements of his physique. He’s clad in a pair of high-waisted tan trousers that have been ironed to a crisp, his fitted graphic tee tucked neatly along his waistband beneath his black leather belt. His t-shirt is probably his favorite part of the entire look. It’s a baby blue sturdy cotton number with pastel yellow detailing along the cuffs and collar and a giant cartoon puppy in a striped bowtie taking up its center, smiling cheekily at the onlooker. Arranged around the doodle in faded Times New Roman bubble letters are the words WE’RE IN THE SHIT.

Harry loves the irony of the article— the innocence of the drawing juxtaposed by the crude message. The piece is a conversation-starter— people almost always comment on it— and that’s exactly what he needs. Something to draw attention to himself and shadow all the other men. Something that shows he has a personality; that he has taste and a good sense of humor and isn’t just another walking genital. Plus, what person doesn’t enjoy a funny little contradiction, especially when it’s this cute?

On top of his graphic top, he’s wearing a tartan cropped blazer (open, of course) with a creme background and royal blue lines. The hem ends at the bottom of his ribs, exactly where his pants begin, and the jacket's hand-sewn buttons and strap detailings show that it's an expensive garment. It shows that he puts money and effort into how he looks, which is something anyone would appreciate when scoping for a possible hookup.

Harry’s shoes are the most casual factor of his fit. They’re a pair of light yellow Vans that match the collar of his tee. They’re plain, but he keeps them clean and they tie the whole look together without a hitch.

Accessories are everything, as well. Aside from the pearls arranged around his prominent collarbones, the gold-dipped cross hanging from a delicate chain around his neck, and the matching dangling cross earring on his right earlobe (again, he adores irony), he’s sporting a plethora of chunky rings on his hands, each unique and effortlessly complimenting his appearance. On his left hand, his index finger dots a ruby jewel embedded into a thick rusted band, another large metal one with dancing bears on his middle, and two clunky golden letters on his last two digits— his initials, HS. On his opposite hand, he has a medium-width plated ring on his middle finger with peace engraved along its rounded edge, an elegant lionhead number with an amethyst stone snug in its mouth, and along his pinky is a decently-sized opal set into a delicate polished frame.

His two last rings are the most important of all. The lionhead is his daylight ring, which he hasn’t taken off since he transitioned. It keeps him from bursting into flames everytime the sun hits his skin. The opal was his mother’s, and it was her favorite.

Harry’s attire is something he’s immensely proud of, even though a good amount of people deem him eccentric in the eyes of modern masculinity. He couldn’t give less of a shit. With his lightly tanned skin, alluring cologne and lacquered nails, his shirt stretching across the defined muscles of his chest and stomach, his broad shoulders and tapering waist, his thick thighs, sharp jaw, jade eyes, loosely tousled chestnut curls, and the vast array of dark ink littering his arms...

He looks good and he knows it. And all the people whose gazes glue to him as he passes by know it, too. Especially a random group of young women in line, who ogle at him shamelessly as he casually strolls past. He treats them to a sly wink, an irresistible dimpled smile, and a soft, cheeky greeting of, “Ladies.”

He gets off on the way they swoon at his refined English accent, giggling and waving.

The only other component Harry has for succeeding in the club environment is simple, but it’s important: Don’t seduce, romanticize.

Anyone— even inebriated idiots— can try and seduce a woman. And if she’s had enough tequila shots to cloud her thoughts, they just might succeed. But only a real man can romanticize a girl, and it yields way better results.

Females are an emotional sect (Harry says that with zero misogyny; it’s just a scientific fact and he actually praises it), which means that if you entertain their interests and fluff their egos, they are bound to fall right into the palm of your hand. It changes the game completely because then they don’t feel that they have to pleasure you, they want to. They pursue the guy who flirts without being too vulgar, who appreciates and acknowledges their efforts, and who can go head-to-head with their wit by carrying unforced banter. They chase after him because he’s showing genuine kindness rather than just sexual interests and if he’s that attentive on the getting-to-know-you front, one can only imagine how skilled he could be in other bases. Chatting up a girl the right way, with patience and courtesy, builds credibility and prowess. And as a thank you, they’re usually more than willing to pay special attention to your needs, as well.

Thus, romanticizing is always the expert move. So, yes, Harry detests clubs and the disaster that is adult recreation. But he’s fucking amazing at playing it to his favor. He’s great at calculating everything down to the smallest detail and he’s going to piggy-back on those skills for the rest of eternity. He’s so good at what he hates that his closest friends have anointed him the title of Walking Paradox. He’s more than happy to keep it.

All of these thoughts are circulating around his skull, hyping him up for the game ahead as Harry and his friend group walk up to the bouncer at the entrance of the club they had chosen for the night, faint stars twinkling in the dark sky as the sounds and lights of the city fall away into background static.

They cruise by the long line of people, hearing sounds of disagreement and grumbling coming from the other patrons waiting to get in. Harry casually tucks his large hands into the pockets of his light brown slacks as he pulls up in front of the burly bald man, who is wearing a black shirt with the club’s name printed in neon letters. The security guard is at least five inches taller than him, overswollen biceps and pectoral muscles rippling under the flimsy material of his work outfit as he crosses his arms over his barreled chest, cocking a single thick eyebrow at the seemingly young vampire.

Harry delivers a good-natured smile up at the employee, despite the man’s obvious begrudging disbelief at what he is about to try and do. His friends chat quietly behind him, uninterested in what is happening; after years of being acquainted, they know that Harry is going to get exactly what he wants. He always does.

He’s the best of them, that much is obvious. Not only when it comes to his experience with persuading sexual partners and getting himself a decent dinner, but he’s the best at convincing just about anyone to do anything, neutral of gender. He’s the second oldest of the crew, yet he seems to have the most knowledge and practice under his belt; his easygoing charisma, undeniable good looks, and dazzling smile could sway even the most stubborn of souls. Frankly, he’s so successful in getting his way that no one cares to try and argue for the leader position. Not when they can just sit back and let Harry do all the work.

“Good evening.” Harry’s deep voice chimes giddily in the direction of the bouncer, his accent particularly heavy for no real reason. “How you doing tonight, mate?”

The guard— whose name tag reads Brock and Harry has to actively stop himself from snorting at how fitting the name is for such a brick of a human— looks down at him with a stony expression, voice flat. “I’m good.”

“Well, that’s great to hear!” The curly-haired boy’s simper widens, dimples popping into place as he skates into his next question with dramatic friendliness. “Haven’t had anyone cause you any trouble tonight, have you?”

Brock blinks once, attitude remaining coldly indifferent even in the face of Harry’s cheeriness. His words, however, are snipped and pointed. “Not yet.”

“I’m guessing you’d like to keep it that way.” The young man comments sympathetically, nodding his head along with the worker. “Totally understandable.”

“Good.” The employee remarks in the same detached tone, shifting on his feet, obviously growing uncomfortable and irritated with the conversation. “So I’m guessing that means you know you have to get in line.”

Harry glances over his shoulder at the lengthy expanse of people gathered along the side of the building, a light wind filtering through his freshly-shampooed ringlets as he studies the way the bright sign on top of the club casts alternating rainbow colors across the crowd.

He makes a disapproving sound by sucking at his teeth, lulling his sight back onto the guard. “I don’t know, man. At this rate, I feel like by the time we get to the front of the line, it’ll be last call.”

“Maybe.” Brock shrugs offhandedly. “It is what it is, right? Fair’s fair.”

“Yeah, you’re right.” Harry returns his gesture, but his posture shows no intention of moving, the corners of his rose lip set in a knowing smirk. “But since you’ve been having a good night, do you think you could find it in yourself to just let us through? We’d greatly appreciate it.”

The bouncer’s face hardens, any shred of professional amiability washing out of his defined features. “I don’t think so.”

The vampire’s shoulders sag in exaggerated disappointment. “Are you sure? It’s just five of us. Don’t think we’ll do much damage. Right, guys?”

Harry glimpses over his back to his friends, who let their conversation falter for a moment to throw out a chorus of half-assed agreements, trying to keep themselves from snickering.

“We promise we won’t cause any problems.” Xander speaks up, jutting his chin encouragingly at the man as his lips twitch slyly. He lifts one of his hands, the smallest finger sticking out stiffly and wiggling around. “Pinky swear.”

The rest of the group bursts into a round of light laughter, causing Harry to release a few airy giggles of his own.

Xander looks over at Niall, raising his eyebrows and quipping in an innocent manner. “Right, Ni? No funny business tonight. That means no climbing onto the bar again and stripping down to your socks.”

“That happened one time!” Niall exclaims incredulously, socking the taller boy in the shoulder as the others laugh harder than before, his blue eyes narrowed and face pinched. “Once! And it was only ‘cause Harry challenged me to a tequila shot contest.”

The Irish vampire’s accented voice drops darkly as he reminisces. “Fuckin’ hate tequila. Makes me act like a moron.”

“As if you’re not one already.” Mitch pipes up in his usual soft dialect, chuckling as he ducks away from Niall’s vengeful fist.

Harry cranes back to face Brock, thumb playing with his daylight ring as his hands stay relaxed inside his trousers. He shrugs one shoulder easily for emphasis. “See? You can let us through. We pinky swore.”

The entire charade seems to have only infuriated the security guard more than before, his brows now fully furrowed and a deep, unamused frown etched across his previously pursed lips. His voice is on edge with barely controlled anger. “I’m not putting up with any shit. If you want in, go to the back of the line. If not, leave.”

Harry sighs grandly in defeat, head shaking slightly. “Guess I’ll just have to go the other route, then.”

The creature takes a step forward towards the employee, close enough that their chests almost press together. The bulky man stands his ground, though there’s a flicker of surprise in his eyes at seeing the smaller boy make such a bold move.

“What the f—?”

Harry locks gazes with Brock, pupils dilating to twice their size, the usual emerald shade of his irises flickering a haunting red and looking sinister in the buttery light of the street lamps. Horror breaks across the worker’s face, the ability to form coherent sentences disappearing from his demeanor. Harry’s heightened senses can hear the way his heartbeat spikes, blood instinctively rushing into his chest as a response to the adrenaline materializing in his veins. The activation of human’s fight-or-flight modes is always so oddly pleasurable. Just feeling how they react so drastically makes Harry’s fangs tingle with longing. Fear is a good condiment, he’s learned; it gives blood’s usual metallic flavor a certain twang.

But at the moment, a beverage from this specific tap isn’t the one Harry has in mind. He has his interests set on something much tangier and full-bodied; maybe Casamigos golden tequila, or Don Julio's Blanco. Preferably mixed with a young office secretary or a Bath and Body Works employee instead of lemon and salt.

All in all, Brock is just collateral for a much bigger prize, which lies behind the roped off area he holds dominion over. It’s Harry’s job to break that dam.

Before the large man can fully react, the vampire begins working his compulsion strategy, tone coming out level and soothing, thick with persuasion and teetering along a sleepy undercurrent. “You’re going to let us through, and you’re going to forget we ever met.”

The guard’s pupils enlarge to match Harry’s, the look of utter terror on his face melting right off. His features go slack as the monster’s magical influence works its way through his brain, coating every neuron and bending him to the deliverer’s will. The man reaches over and removes the velvet rope blocking the group’s path, stepping off to the side obediently with an empty expression present across his appearance.

The leader of the group smiles just as brightly as he had the second he’d walked up to the door. He passes by the worker, giving him a hard pat on the shoulder and feeling the muscular man strain under his supernatural strength. “Thank you very much. You have a nice night, Brock.”

Harry’s friends follow behind him, echoing his parting message and sharing a collective chortle.

The second the group dives past the frame of the club entrance, the whole ambiance of the atmosphere changes. Harry walks across the top ledge of the establishment, coming to a halt at the railing that overlooks the main level of the club, his inhumanly sharp eyes bouncing around all the corners of the building to construct some type of familiar layout in his head. Amidst the blinking lights, thick artificial smoke, and swaying bodies, his keen instincts sketch a mental image for tonight’s hunting ground.

The bar is at the far left corner of the club, squared off and taking up a large chunk of the colorful tiled dance floor. The music station extends across the entire wall at the opposite end of the tavern, stocked with massive speakers and a professional turntable. Harry’s brows jump in mild surprise— it’s not every day that a club puts so much effort into their mixer.

The animated dancing area is packed with people, the crowd all jumping and grinding to the beat of the bass, moving as one large mass while the rotating strobe lights hang from the cavernous ceiling, bathing their moving silhouettes in neon reds, drunken blues, groggy purples, and electric yellows. The dim surroundings and heavy fog make all the hues more intense, giving the endless party that timeless quality which people tend to enjoy about nightlife. It’s the night to remember effect that movies and shows always hyperbolize; he thinks this way because he’s well aware that not even a third of these people are sober enough to know what the fuck they’re doing, let alone recall it the following day. It’s comically ironic, really.

But Harry profits off that liquor amnesia, so he brushes away his sardonic skepticism for the time being, settling his lean forearms onto the metal railing that lines the second story of the venue, which is meant to keep shit-faced customers from creating a messy lawsuit. He carefully absorbs the grandeur of it all, leaning his weight forward with a detached sigh, already flickering through the mental menu of his favorite drinks that he has expertly memorized.

He’s in the process of choosing between a Manhattan— it isn’t a very complicated drink, which is exactly what he’s looking for; something simple and strong— or just straight tequila in a glass when he suddenly feels a familiar presence arrange itself beside him, bumping his shoulder playfully with their own.

Harry snaps out of his recipe retrieval, eyes casting to the side to land on his best friend of almost a century. He cocks an eyebrow expectantly, waiting for the thin, bearded man to make the first move towards conversation.

“You’re a real dick, y’know that?”

The green-eyed vampire sputters into spontaneous laughter, the edges of his eyes crinkling as the small pits in his cheeks jolt awake. His tone is humorous and full of fake insult for the hell of the joke. “Wow, alright. So I get us into the club that you chose and that makes me a prick? Good to know. You can handle the muscle next time, then, if you’re gonna talk shit.”

Mitch cracks a gentle jesting grin, which is very on brand for him. He doesn’t seem like much, with his skinny, lanky frame, delicate features, shoulder-length hair, and somewhat scraggly stubble. He’s quiet, reserved, and hardly engages with anyone outside of their immediate group. He’s always been that way for as long as Harry could remember.

When they had met back in 1924 at a speakeasy in New York, Mitch had given off a mysterious vibe that Harry had found amusing and intriguing. His slightly sickly appearance and distant persona made the younger vampire want to get to know him better; it was just so peculiar that this seemingly impassive man was working at an illegal bar as a live musician. One would think that a performer would have to display an engaging character to keep a loyal audience, but Mitch had been all the talk of the underground despite his unemotional coolness. It was startlingly unorthodox and Harry just had to know more.

Therefore, with a bit of help from his convincing supernatural abilities, he’d secured a spot as the black market club’s leading vocalist. He wasn’t anything worth a Grammy, but he could keep his singing in tune and follow Mitch’s guitar rhythms easily enough, all thanks to his limited experience with piano. He fit right in.

From the first show they had put on together, it was like they had known one another in a different lifetime. They clicked so flawlessly it was almost fictional.

Harry was lively and charming on stage, working the crowd to his favor as easily as he could knock back a shot, wrapping every single patron around his jeweled pinky without breaking a sweat. His witty temperament countered Mitch’s timid disposition perfectly and that uncommon dynamic had been the foundation to their friendship. Their humorous shenanigans on stage (which included Harry pinching at Mitch’s ass and making vague vulgar motions at each other while harmonizing) was a hit within the drunken community, and it bled into their personal lives. They went from only interacting on stage to sharing drinks together afterwards, to hanging out outside of work, to deep late night conversations about the world and their experiences.

Soon enough, they were closer than either had expected to become. And once they found out each other’s true identities (Mitch had transitioned during the American Revolution, when a vampire in his battalion had given him blood to heal from a wound, unaware that the next day, Mitch would suffer a fatal gunshot to the stomach that would trigger his transformation) they grew inseparable. They had remained that way ever since.

Despite his friend’s withdrawn tendencies, the older vampire never hesitates to make his opinions heard, obvious in how he’d just full-bodied Harry with that snarky comment. Even when it’s at his expense, Harry appreciates and respects the rawness of it. He loves the way Mitch is honest and straight-forward with everything that crosses his path— it’s one of his favorite traits about him and definitely one of the characteristics that had led Harry to deem him his best friend. He’s probably the most fulfilling person Harry has ever met and their friendship brings him a type of comfort that he doesn’t receive from anyone else.

Vampires can be so detached and cold not only towards humans, but towards one another, and it gets old at times. It’s unsettling not having someone to truly confide in, and Harry is grateful that Mitch had been so willing to fill that position.

Due to this, Harry rarely takes genuine offense in Mitch’s digs. They’re normally expressed as a joke and they’ve both been alive for so long that thick skin is a default.

“How was I dick?” Harry inquires, slinking his head to the side with entertained curiosity. “If anything, he was the one being an asshole. I asked him to let us in nicely and he practically spit in my face!”

Mitch snorts in amusement, shaking his head lightly as his eyes streak across the humongous room in the same cunning manner Harry’s had. “You and Xander didn’t have to mock him that way.”

That’s another thing that makes Mitch the better half of their power duo— he still has a decent shred of humanity in his unbeating heart. Pessimistic conclusions aside, Harry does have a bit, as well...but his is more like a paper-thin pencil shaving than a shred. Barely there, but there, at least.

The young man returns his companion’s snort, rolling his eyes up to the hanging lights over their heads. “Was just some harmless teasing. Nothing bad came of it.”

Mitch scowls scoldingly. “It was unnecessary and mean.”

Harry mimics his expression with his nose scrunched sarcastically. “We were just taking the piss, and it’s not like he’s gonna remember it anyways. Stop being such a kill-joy.”

“Stop being such an arrogant little shit.”

“Or what?” Harry tilts his chin up challengingly, the amber specks around his pupils glinting tauntingly, faint black veins momentarily webbing across the whites of his eyes. He sweetens his voice into a honeyed drawl. “Are you gonna spank me, daddy? Have I been a bad boy?”

Mitch belts out a feathery chuckle, shoving his friend with enough strength to send a regular human flying across the deck. But since the taller vampire matches his force, he hardly moves an inch. “Fuck off.”

“I’m being serious!” Harry cackles, turning his hips and sticking out his ass towards his visibly disgusted acquaintance. “Go fucking in, if you want.”

He lowers his voice into a sultry hum, wagging his backside jestingly. “I like it rough, baby. Why don’t you bend me over this railing and show me who’s boss?”

It’s Mitch’s turn to roll his eyes to the ceiling, voice deadpan. “I think I’ll pass.”

Harry juts his lower lip into a theatrical pout, sniffling faux tears. “You’re rejecting me that quick? Who’s the asshole now, huh?”

His best friend doesn’t even blink. “Still you.”

“I can live with that. And it’s probably a good call on your end to give up all this,” he signals vaguely up and down his tight torso with a ringed hand, grinning as he watches the veteran vampire pretend to gag, “because I don’t think Sarah wouldn’t be too happy about it.”

Mitch’s humorous face immediately drops, eyes narrowing at the change in topic. “Very funny.”

“I know, right? I’m a proper comedian.” Harry quips proudly, batting his lashes mockingly. “Where is Sarah, anyways? Have you heard from her lately?”

Sarah and Mitch...They’re a complex couple, if they can even be called a couple. The two are more like occasional friends with benefits, “occasional” meaning “once every couple of months, if Sarah happens to be passing by.”

Their relationship is open and very loose, mostly due to the fact that Sarah is fairly new to the world of blood-driven immortality and has decided to take full advantage of it. She’s been using compulsion to travel the world for the last three years since she changed, which had been the result of an unfortunate car accident.

Mitch had been seeing her casually beforehand, keeping her around for the purpose of having a conventional feeding arrangement. Every time vampires feed, they heal the wounds they inflict with a bit of their blood, proceeding to then wipe the person’s memory with compulsion in order to eradicate any chances of getting caught. The caveat is that if a human dies with vampire blood in their system, they become one.

Sarah’s death happened the day after she’d spent a night with Mitch, and one can imagine how distressed she had been when she'd awoken atop a metal table in a morgue within the basement of a hospital. Mitch had been there from the very first second she’d opened her eyes to her new life. Or rather, her dead life. He had helped her get accustomed to the next stage (meaning having to cut family ties in order to avoid a catastrophe— the less people that know the truth about the supernatural, the better) coaxing her through transition and teaching her the way to go about the rest of eternity without putting herself and others in danger.

Vampires rarely have any compassion for life (usually out of spite, which stems from how their own lives were taken from them), so it’s not uncommon that bodies are found drained of blood in back alleys, abandoned warehouses, and washed up on banks of oceans and rivers. It could be either of two reasons, or even both: the monster doesn’t care about the consequences of their actions, or they never learned to control their urges.

Harry’s crew isn't that careless. Through Mitch, they had learned restraint, taking up his practice of feeding enough to satisfy themselves without killing the host, healing them, and then erasing the occurrence from their memories. Mitch had come up with the tactic to cling to his humanity— to be as kind and nondestructive as possible— but if Harry’s being honest, most of their friends only play along because it’s convenient. No bodies means no police involvement, and no police involvement means being able to settle down in one place for an extended period, not having to stress about the annoying process of bouncing around the world for the rest of their lives to avoid detection.

Keeping low was for the best, and when things get rough— whether it be a mistake on their part or a disastrous bender caused by another vampire passing through— they resort to drinking from blood bags until things tide over. Mitch has a contact at the nearest hospital, which is how he gets access to the stock, as well as how he managed to clean up Sarah’s passing so quickly.

All in all, Harry had only mentioned Sarah to tease his friend, knowing the slight sensitivity that comes with the subject. Vampires rarely form emotional bonds, typically because it can get really messy, really fast, whether that connection be to a mortal or to another creature of their species. All of them have baggage of some sort— you can’t die, resurrect, be forced to abandon your family, and be a slave to drinking blood for the rest of eternity and just...be normal. That type of extreme emotional turmoil is corrosive towards love. It’s always better to just avoid it all together.

That’s why this is so habitual to joke about; it’s a way to deflect.

Mitch sighs grandly, Harry’s question echoing in his skull. “I don’t know where she is, to be honest. Last we talked was, like, four weeks ago, I think. She was in Japan, said she was drumming for a new upcoming band. Haven’t heard from her since.”

Harry nods his head once in understanding, itching to steer the theme of their conversation elsewhere now that he knows the topic is in a more sensitive state than he’d imagined. He doesn’t want to push Mitch into a depressive episode when they’re supposed to be having a good time. Spending the night consoling his sulky friend in the bathroom of a club is the last thing he wants right now.

“I guess that makes Sarah the asshole, then.” He pokes jokingly, bumping the older vampire’s hip with his own. “She’s ghosting you. Get it? It’s funny ‘cause she’s actually dead.”

Mitch’s sad expression shatters like glass, replaced by one of unamused secondhand embarrassment at the shitty pun. “I fucking hate you.”

“All the people who were ahead of their time were hated.” Harry sing-songs, turning up his nose haughtily. “Copernicus, Socrates, Einstein— all of them were hated for being geniuses. I’m willing to carry that same burden.”

Mitch blinks at him three times. “No one hated Einstein.”

The curly-haired boy’s lips twitch darkly. “I’m pretty sure Japan did.”

“You’re going to hell.”

“I’m already there, mate.”

Mitch shakes his head, but even through the black lights, Harry can see him trying to ward off a laugh. After a moment’s pause, he speaks up again softly. “It’s not that hard to refrain from humiliating innocent people who are just doing their job, H.”

“Oh, for fuck’s sake, you’re still on that?” The broad monster groans in exasperation, palms slapping down on the metal rungs below him. “We were just having some fun! But fine. If it helps you fake sleep at night, I’ll try and keep my condescending flare to a minimum.”

“That’s all I’m asking.” Mitch responds peacefully, tapping his nimble fingers casually along the railing, his action much less violent than his companion’s. “S’not too difficult.”

“Whatever.” Harry scoffs, returning his intent gaze to the dance floor, scoping out the scene once again in hopes of finding a proper meal for the night.

He zones in on a group of young women gathered along one side of the bar, their messy giggling and lack of balance giving away that they’re obviously sloshed off their faces. Seems promising enough.

When he talks once more, his tone holds an attitude that plays on a grumble, but it’s somewhat distracted. “The least you could do is let me have some fun, considering I didn’t even want to come.”

Mitch huffs, making an entertained noise in the back of his throat. “You say that every single time we go out, and yet you always end up taking someone home. Don’t know why you’re complaining.”

Harry side-eyes him from his peripheral vision, the corners of his pretty cherry mouth dipping down grudgingly, mood defensive. “You drag me to these things so I’m not going to apologize for making the best of it. I put a lot of effort into my pick-ups! I deserve to get my dick wet.”

“God, please don’t say that again.” His best mate physically makes a vomiting sound. “You’re acting like a spoiled fraternity douche.”

Harry’s gaze ignites into flames, his back straightening out as he fully turns to face the shorter man. He’s never been insulted so low before. “Take that back!”

“Take that back!” Mitch mocks in an exaggerated, high-pitched British accent, attempting to stifle giggles.

“Take it back! You know how much I hate Gen Z.”

“Okay, boomer.”

“You’re older than I am!”

“I know. Your lack of maturity is a constant reminder.”

Harry opens his mouth, prepared to make a sharp comeback about how Mitch should have left the shaggy-haired stoner aesthetic back in the eighties, but then a heavy Irish accent interrupts his rebuttal.

“What’s all this about getting your dick wet?”

Both of the vampires turn towards Niall, finding Xander and Adam accompanying him in a loose semi-circle.

Xander isn’t paying any attention, too busy tapping away at the screen of his smartphone, apparently engaged in a very riveting conversation with whoever is on the other side. Adam has his hands tucked into the pockets of his plum purple wind-breaker, looking over Harry’s shoulder, seeming to be adamantly searching for someone in particular amidst the mob on the level beneath them. Niall is the only one interested in their dying conversation, probably only because he heard something crude being mentioned.

“It’s nothing.” Harry dismisses, but he can’t help but stick Mitch with a glare. “What’s the plan for tonight, then?”

Adam speaks up for the first time. “Charlotte and Ny texted saying they got here about ten minutes ago. Mentioned they were dancing near the DJ station, so I think I’ll go find them.”

“Sounds good.” Harry bobs his head in accordance. “We’ll see you out there, yeah?”

Adam returns his action, turning on his heel and heading for the stairs that lead to the bottom floor. The leader of the group watches him trot onto the large spiral staircase, disappearing into the thick throng of people scattered across its wide steps.

Harry shifts his attention to Xander, snapping his fingers a few times in his direction and giving a two-toned whistle. “What about you? What’s got your head?”

“Not what, who.” Niall teases, wiggling his eyebrows suggestively and making kissy faces at their friend.

Xander ignores him, glancing up at the green-eyed brunette to let him know he’ll be with him in a second, returning his focus back to his iPhone. After a few more elongated moments of typing, the older man finally locks his device.

“I have a date.” He throws out casually, almost as if it should be obvious.

“A date?” Harry reiterates slowly, not quite buying it. Xander doesn’t date. He couch-surfs just as much as Harry does.

“Mmhm.” Xander glimpses behind his fellow vampire, eyes carrying intention. “It’s just a random dude from Tinder. I thought it’d be easier to set something up beforehand, just so I don’t have to spend the whole night trying to figure out if a guy is making eyes at me or trying to keep his whiskey down.”

“Smart.” Harry shrugs his sculpted brows, impressed. A cocky grin toys with the corners of his mouth. “But we both know no one will ever compare to me.”

“Right.” Xander scoffs in a deadpan manner, gifting him a tight, aggravated smile. “If only you weren’t such an emotionally unavailable prick.”

“Oh, like you’re mentally stable enough for a relationship?” Harry bites back, but it holds no true malice, just some petty rivalry. “Piss off.”

“Happily!” The other vampire exclaims, clasping his hands together for dramatics. “Have fun finding someone out there. I’m just gonna grab a to-go box for my already prepped meal.”

Harry doesn’t bother watching him leave. Instead, he turns to Niall, pointing at him to symbolize it's his turn to share his plans for the night. “What have you got, Lucky Charms?”

His friend breaks into a jolly cackle at the nickname, arms falling crossed over his chest, hands absentmindedly squeezing his elbows in thought. “Well, I dunno, Tea and Crumpets. What’s your game plan?”

Before Harry can answer, Mitch butts in, feeling left out of the banter and somewhat hurt that no one had assigned him an alter ego. “What’s my country-derived nickname?”

Niall gives the American a slow once-over, shifting in his dark brown Clarks boots, fitted navy slack riding up his thighs and allowing his rainbow polka-dot socks to peek out. He hums lowly in the back of his throat, a grin spreading across his rosy cheeks. “Biscuits and Gravy.”

Harry chimes in, his own arms casually folding over his strong chest, index finger tapping on his bottom lip as if mulling something over. “I quite like We The People, actually.”

The Irish lad snaps his fingers as if having a sudden epiphany. “Uncle Sam!”

Harry’s emerald eyes twinkle with glee at seeing the way Mitch’s go half-lidded, no longer entertained. “Four Score And Seven Years Ago.”

“Okay, I think that’s enou—”

Niall wags a finger at Harry, lifting one shoulder in question, seeking approval on his next idea. “Star Spangled Banner?”

Harry copies the boy’s motion from before, snapping his fingers and making jazz hands. “I Pledge Allegiance.”

“Ok, I get it!” Mitch whines with annoyed finality, pushing off the metal railing with a curt grimace on his scraggly face.

“You asked!” Niall rationalizes between hiccups of evilly delighted joy, cupping his stomach as if to keep it from splitting open.

“Won’t make that mistake again.” The older creature grumbles, leaning his back against the rungs and looking off towards the distance, communicating that he’s done being a part of the conversation.

Once Harry manages to reign in his giggles, he rubs at his nose with the side of his finger, releasing a wistful sigh. He refers to the question Niall had stated before their little bullying fest. “I think I’m just gonna do what I always do— sway a nice, pretty girl into doing some not-so-nice but very pretty things.”

“Solid.” The Irish bloke remarks, toying with the plastic buttons on his silk beige top. “Not much to do other than that, to be fair. Adam’s usually my wingman, but I guess he abandoned me for a girl’s night.”

“Mitch is mine, and he knows better than to dip on me.” Harry roughly nudges his best friend with his elbow, dodging to the side when Mitch tries to hit him in return.

Niall hums softly in amusement. “Maybe I should make Adam sign whatever contract you drafted for that poor bugger.”

The curly brunette snorts. “Good luck. Adam’s as stubborn as they come. But, hey, if you can’t find anyone, just come to me.” Harry’s irises flit crimson for a millisecond, an ominous smirk buckling his features. “You know I’m always happy to share.”

“Thanks,” his friend exhales flatly. “I’ll keep that in mind.”

“If you’re taking tips,” Mitch pipes up, vaguely signaling at Niall’s shirt with his chin, “maybe don’t wear that stupid shirt next time. The elephant doodles look ridiculous.”

“It’s a good thing I’m not taking fashion tips from anyone who actually enjoyed living in Ohio, then.” Niall snaps in an exaggerated American accent, middle finger jutting towards the other man. “The only thing you know how to dress is a cornfield scarecrow. Must be why you look like one.”

Harry forces down more laughter, clearing his throat softly. “You’ll be fine. Just don’t get hammered— girls hate that.”

“Note taken.” The pale boy runs his fingers through his hair, fixing it up and adding texture to appear more laid-back and rugged. “I’ll see you later, then.”

“Later.” The younger vampire recites, giving a big thumbs-up.

“Good luck out there. You, too, Boston Tea Party.”

With that, Niall saunters away, leaving a fully laughing Harry and a grouchy Mitch in his wake.

The two acquaintances decide to follow in everyone else’s example, descending down the looped staircase and chatting about Mitch’s latest gig at a new bar downtown.

Harry praises Mitch's talent with his guitar, specifically the fact that he found a hobby which he enjoys so much that he’s willing to keep it as a permanent part of his life. It’s easy to get bored of things when you have hundreds of years ahead of you; everything can seem pointless, in the end. But Harry doesn’t think Mitch has ever let himself fall into those types of dark headspaces and he finds that extremely admirable.

Harry wishes he could say the same. He’s no musical prodigy, that much is obvious, but he is an expert at playing a few specific French songs on the piano by memory. He rarely does it, though; only when he’s in a low state of mind, which— given the origin of how he learned said classical pieces— isn’t something he’s proud of. They’re tied to a very gruesome part of his past that he’d rather bury deep inside, but he can only push back his troubles for so long before they begin to leak out, staining the clean sheet of recovery he had sewn into place. Those arrangements just bring him a warped sense of comfort he can’t explain.

Even though he’s aware of the destructive aspects of the songs, he finds himself humming one now out of instinct as he elbows through squished bodies and flailing limbs. The second he notices he’s doing it, he cuts it off, focusing all his intention on making it to the other side of the room to the bar. It’s a hard trip when it feels like the walls of the building are closing in on him.

When Harry finally breaks free from the Human Centipede re-enactment that is the club dance floor, he practically collapses onto the sleek glass counter. Death was less painful than that walk.

He cranes his neck to the side wildly, suddenly remembering that his much smaller, much skinnier, much more crushable friend had been in tow behind him. To his utter shock, he watches as Mitch calmly weeds around grinding drunk couples with the poise and grace of a swan, filling the empty spot besides him without a single ailment in the world.

Harry blinks at him blankly in silence, almost as if he’d grown an extra set of fangs.

Mitch flags the bartender from all the way down the counter, not bothering to meet the green eyes peering at him in disbelief. “You’re so fucking dramatic, H.”

“How did you not die? Again?” Harry sputters, sight jutting all around the older vampire’s body, looking for any battle wounds or missing appendages. “I almost lost an arm in there!”

“It’s a good thing it wasn’t your favorite one, right?” Mitch smirks at his own lewd joke, the simper molding into one of genuine kindness when the mixologist slides up in front of them. “Hi, how are you? I’m good, as well, thank you for asking! Yeah, I’ve got something in mind. Don’t worry, I’m not one of the ‘just make me something sweet’ type of assholes.”

Harry zones out the rest of the friendly chat Mitch entertains with the employee, letting his gaze wander around the large auditorium-like room. He dances his vision over the DJ remixing music on top of the stage, head beginning to bop along to the beat that is currently shaking the seven foot tall speakers. He’s pleasantly surprised at how good this specific producer is.

He continues scoping out the rest of the venue, taking notes of the different clusters of people that seem to hold promise for the plans he has in store later tonight. A small group of hippie friends here, a two-party duo of tipsy stoners there, and a clump of college students at the edge of the ruckus, stumbling around loudly. Things are looking somewhat decent, in his opinion. The hippies seem to be catching his attention more than the others— specifically, the one that looks similar to Stevie Nicks. That’s a fantasy that’s been waiting to be fulfill for decades now.

Harry lulls his head forward again when he feels Mitch give a squeeze at his elbow, telling him that the bartender is waiting to take his order. He decides to go for the gold tequila, asking for it straight in a highball glass without any garnishes. The worker’s eyebrows jump up slightly at the unorthodox request, but he drops a polite, “Coming right up.” either way.

“You truly have no flavor.” Mitch tuts once their waiter has stepped away to prepare their drinks. “No taste buds whatsoever.”

“Yeah? Well, you can suck my flavorless dick.” Harry chimes brightly, eyes crinkling shut as a result of a theatrical smile.

The younger vampire goes to turn back around, legitimately interested in the girl he’d seen that looked like one of his seventies celebrity crushes, already running through scenarios in his head on how he’d get her into his bed for tonight. Weed and ABBA are probably good conversation starters for that, if Harry’s undisputed people skills have anything to say about it.

As he’s rotating his torso, a blurred image catches his eyes. He does a double-take, honing in on a group of girls that look faintly familiar. He scans them carefully as they huddle around the corner of the bar area, laughing and toasting along to the multiple conversations they all have going at once. They look like the typical posse that would be a backdrop clique in a mainstream movie.

He knows where he recognizes them from— it had been the same girls he’d spotted earlier up on the second deck.

Harry expertly surveillances each woman, picking out potential candidates as easily as he’d pinch petals off a flower. The one in the center of the group is obviously the leader, present in how she’s the prettiest and is somehow managing to juggle all of these interactions at once. It means she’s used to being the center of attention— probably strives under it. He throws her out as a potential; the last thing he needs is someone who everyone knows and seeks out. He wouldn’t be able to sneak away with her quietly.

The rest of the girl crew all seem to be the same status-wise, appearing as supporting characters to the main one in the middle. He could choose any one of them blindly and it wouldn’t make a difference. They all seem so tight-knit, they probably share personalities, at this point. It’s like dipping his hand into a jar of jelly beans and they’re all the same flavor. That notion makes him laugh to himself a bit; maybe Mitch was right about his lack of taste.

Then, Harry spots her, and all the other women immediately go up in smoke.

It’s hard not to spot her. She sticks out like a sore thumb, but not in a good way.

The prospective contender is off to the side, sitting atop a barstool with her feet tucked along the footrest, tapping them against the metal rung awkwardly. She’s talking to one of the other people in the group, but the interaction seems forced and not very satisfying, obvious in both of their faces. She’s tracing her middle finger around the edge of her glass cup distractedly, the contents inside barely touched, the ice in her drink long-melted. She seems disinterested in the chaos her friends are causing, her expression bored and borderline regretful, as if she doesn’t want to be here.

The further he sizes the girl up, the more appropriate she looks for the role he needs filled. Since barely anyone is paying attention to her, that means he can lead her astray without too much resistance from her acquaintances, if any at all. She appears somewhat unimportant to the narrative— merely a background extra— and it makes him wonder what she’s doing with this clique of women that can’t seem to be bothered by her presence. It’s sad, really. Sad, but beneficial, because that means he can succeed in making her the supporting protagonist of his narrative, at least for tonight.

The girl is attractive, but not anything astronomical. She’s unconventionally pretty in a way that makes her relevant, but not particularly distinct in the eyes of regular men with presumptuous standards. She’s easy to pass up, and if Harry hadn’t been actively pursuing someone of her bashful persona to card into his plans, he wouldn’t have noticed her. At the risk of once again sounding shallow, Harry’s aware that— physically speaking— he’s very much out of her league. His above-average appearance gives off the vibe that he’d fit better with the leader of the group instead of with her, but he doesn’t want someone that would raise suspicions as a result of their absence. This girl, sitting along the edge of the party with barely any purpose and no one to really question her whereabouts, is exactly what he’s looking for. She’s perfectly imperfect for the cause.

Harry continues to examine her meticulously, analyzing other traits that can give him a better feel for her character. She’s clad in a pair of high-waisted pastel pink silk pants that stop right at her ankles, accompanied by a flouncy creme lace blouse tucked into her waist. Tan wedges, no accessories, delicate rosey nail polish, and minimalist makeup. The boldest thing about her is the brick red shade of her lipstick, which is easily shadowed by the sparkly sequin dresses, five inch heels, and layered tops her friends are wearing.

Harry likes her outfit, though. It’s concise and safe, which he can appreciate. Yes, perhaps she looks like she belongs in a dentist’s office rather than a Los Angeles nightclub, but he thinks there’s beauty in simplicity. She looks cute, and that’s good enough for him.

“She seems interesting.” Mitch’s soft voice snaps him out of his detail-hungry haze, drawing him back into the reality that is the black lighting of the club and the deep booming of the music’s bass.

His friend slides his tall drink across the glass counter, the amber liquid inside warping his reflection.

“I suppose so.” Harry answers passively, shrugging one shoulder in indifference while accepting the cup, ringed fingers clinking against the crystalline surface.

He takes a leisurely sip from the straight tequila, its tangy kick sending a warm surge up through his ears and down his throat, spreading into his chest and along the trench of his tummy. Alcohol really is the cure to everything.

Mitch gives him a deadpan look, the strobe lights alternating across the glossy surface of his hazel irises, highlighting smugness. “You’ve been gawking for five minutes. Put your pride back in your pants and go talk to her.”

The curly-haired vampire flashes him a light smirk over the rim of his drink, absentmindedly tapping his two initial rings along the bottom of the highball cup. “Ever so blunt, aren’t you?”

Mitch scuffs, taking a swig from his trusty beer bottle. Out of everything, that’s the one aspect Harry despises about his best mate— that he goes to a club and orders the same drink every time. Where was the fun in that? Where was the excitement of trying something new? When you have an eternity, the least you could do is utilize it to your advantage. Cycling through every cocktail in human history is a prime example of making the best out of immortality.

But Mitch is a creature of habit— as are most of their kind— and Harry knows he won’t shake easily. Not when it comes to surrendering his preferred beverage, and definitely not when it comes to sticking his nose in Harry’s intimate business. Meddling and being irritating are what best friends are for.

“What can I say? Pep talks are my forte.” The older monster remarks sarcastically, bumping his bottle against Harry’s glass in encouragement, using the spout of his container to point in the general direction of the mysterious girl. “Now go make dinner.”

“But, darlinggggg,” Harry whines playfully, a smirk still tugging at the corners of his slightly liquor-swollen lips. “I made dinner last night. Isn’t it your turn?”

Mitch rolls his eyes and shoves Harry’s shoulder harshly, with just enough force that it actually has some type of impact this time around. “Just go, before she gets creeped out by your staring.”

Harry’s own irises copy his friend’s actions as he pushes himself up from the bar, rubbing at the new sore spot on his shoulder with an exaggerated pout present. “Ow.”

Mitch blinks at him flatly, fighting off a grin. “You’ve had worse. Go.”

Harry swivels on his heel, once again facing the group of tipsy girls at the other end of the counter. It appears that most of them have dispersed into the dance floor, having found partners to entertain them for the time being, moving to the music as if there are no other people in the room. They had left behind three of their companions, one of which is Harry’s aspiring hookup; he gets the feeling that the two girls had stayed behind out of the kindness of their hearts, feeling too guilty to leave the runt of the litter all on her own. He hopes that’s the case because if so, the second Harry inserts himself into the situation, they’ll take that chance and split, leaving him to tend his meal in peace.

He tucks one large hand into the front pocket of his trousers, the grip on his glass tightening a smidge, rings biting into his skin as the condensation of the chilled tequila cools the small spike of pain. He spins his lionhead ring around his finger within his slacks, gradually drifting closer as he goes through a checklist of prized pick-up lines he could use to garner her attention. He ducks and dodges inebriated club-goers with ease now that he’s had something to take the edge off, finally reaching the end of the bar, slowly coming to a halt right behind his target for the night.

Harry nearly passes out as soon as her scent hits him.

It’s faint and tender and nothing quite like anything he’s encountered before, a mixture of honey and lavender that permeates through her normal perfume. He feels like his head’s been put through a wringer, his whole body clenching for a moment as raging sparks erupt across the pit of his belly. He indulges a deep breath, willing the blazing current away in order to keep his cool, but all he can see flashing before his eyes are images of her leaving traces of that smell smeared all over his face as he bobs his head between her quivering thighs.

He takes another penetrating inhale, centering his mind back into the present. He needs to behave.

Her friends spot him immediately, their side of the conversation faltering to ash. They give Harry a wide-eyed once-over, mouths parting in slight shock as they drink up his attractive appearance, gazes lingering along his thick chest as it strains the baby blue material of his tee. Their sights drag across his broad shoulders, dainty collarbones, and strong neck, faces gawking without remorse, blinking emptily at the slope of his sharp jaw and the peaks of his prominent cheekbones. They seem to be at a loss for words the second his dimples indent into place, his brows shrugging in a half-assed greeting before he cocks his head to side a tad, voice velvet as it directs towards the girl they had forgotten existed.

“I’m guessing you’re the designated driver?”

Y/N jumps slightly in response at the new addition to the painfully dying conversation, not recognizing the heavy English accent and deep baritone that booms behind her. She had been wondering why Melissa and Isabel had stopped talking so abruptly, and she now has her answer.

Y/N slowly goes to cast a curious glance over her shoulder and Harry can hear the pulse flaring in her neck from the sudden intrusion to her surroundings. His fangs prick along the inside of his bottom lip due to carnal instincts; he has to will them back into receding.

When her eyes land on the owner of the random words, her finger immediately halts its swirling motions along the hem of her glass.

‘Fuck.’ is the only thought that registers through her short-circuiting mind.

The lanky, curly-haired brunette that stands before her gives a gentle yet confident smile, the gesture dazzling even in the low lighting of the atmosphere. He’s absolutely gorgeous, with deep pits carving into his cheeks, perfect teeth complimenting full cherry red lips, eyes the color of a rainforest canopy, and a broad frame that is somehow not overwhelming. He’s sporting neatly ironed tan slacks, a fitted cotton shirt with a cute yet crude graphic at its center, a fancy plaid coat, and crisp yellow Vans without a single smudge in sight.

Y/N can’t help but take notice of all the little details of his fit, especially the accessories. A beautiful pearl necklace laid along his delicate clavicle, a cross resting between his defined pectorals, and a matching earring dangling from his earlobe. Not to mention the array of clunky rings arranged along nimble fingers, hugging a tall glass carrying caramel liquor and somehow managing to dwarf the cup’s size. The extra decoration is sensual in such an unexpectedly delicious manner.

The hand he has tucked in his pants ducks out to comb through his dark auburn ringlets and Y/N can feel her mouth water at the new round of elegant rings. The action activates the cologne Harry had thoughtfully spritz in specific pressure points along his body, the scent of tobacco and vanilla traveling through the fog-heavy air and causing Y/N’s stomach to summersault.

The young man is as close to flawless as anyone could ever come.

Y/N feels an unmistakable sharp pain shoot through her ankle, and she comes to the realization that it had been the tip of one of her friend’s heels. The reality check jars her out of the embarrassing daze he’d spelled onto her, open mouth snapping shut and her lashes fluttering over her previously unblinking eyes.

“Oh! Uhm—uh—” She clumsily twists sideways to fully face him, swallowing thickly and tasting the remnants of the alcohol she’d barely been nursing. “N-No. I’m not— well, I don’t think…? We Ubered here so that wouldn’t make any sense ‘cause I have no car to drive...so...”

The boy chuckles softly at her choppy monologue, his laughter warm and inviting, similar to the look reflecting off his shiney irises, the golden flecks around his pupils seeming to swell and shrink from the rainbow lights cascading across them. Despite being caught off guard and utterly embarrassed, she can’t seem to break eye contact with him. The longer she gazes into his eyes, the more relaxed she begins to feel, a fuzzy heat stemming from the center of her belly and spreading up her neck and ears.

Y/N gulps heavily like before, willing her tongue to produce a less embarrassing comment. “Sorry. Let me...Let me start over…Hi.”

“Hello.” He quips back playfully, lopsided grin widening in fond amusement. He lifts his drink up a bit in greeting. “M’Harry.”

“Y/N.” The girl squeaks out, copying his gesture because it’s easier than forcing her disoriented brain to try and come up with its own.

Harry flirts his intent up and down Y/N’s body slowly, checking her out without any subtlety. He wants her to know he’s interested.

When his sight locks with hers again, he bats his lashes sultrily and pours as much passion as he can into his tone, accent weighing in just right. “S’nice to meet you, Y/N.”

Her entire face prickles at how her name sounds dripping from those faultless raspberry lips. She’d pay anything to hear him say it again. “You, too.”

This is not what Y/N intended. This is most definitely not what she’d intended to happen when she’d reluctantly agreed to go out with some coworkers on a Friday night, giving in simply because she had promised herself she’d be more social within her new job.

She had moved to California roughly two months ago, wanting to get away from her old life in the small, boring town she hated to call home. Buying the flight had been a drastic decision made when she had been under the influence of something she’d rather not admit, but the following day— after she had sobered up from a wicked hangover— she found herself not wanting to cancel the trip. Found herself craving the excitement and adventure of beginning anew somewhere far away from everything she had ever known.

All of Y/N’s friends back home had supported her without hesitation, egging her preposterous idea and congratulating her on “getting the fuck out of here.” Her family had been a little less supportive, but after a few heartfelt chats about following your ambitions and a budgeting lesson from her cousin, they had gingerly gotten on board. They understood that keeping her trapped in that lame town where nothing really happened wasn’t the way to ensure her success in life. Therefore, the people closest to her had swallowed their opinions and respected her choice to dive off the deep end, in search of something better beyond the borders of their tiny city.

Within a week, Y/N had secured a decent job at a semi-popular cafe, courtesy of a connection from a family friend. Within two weeks, after many sleepless nights full of Rocky Road ice cream and the bright white pages of ApartmentFinder.com, she had managed to book a nice flat close to her place of work. It was a miracle, if she’d ever seen one. Especially within the crowded, expensive community that is Los Angeles. Within three weeks, she had been walking out of the giant glass building that was LAX with only two suitcases in tow, boarding an Uber to her new life.

Things had never seemed more picturesque, she’d thought. Everything was falling into place in a way that seemed almost blessed by the universe.

Then, the culture shock hit.

California was different. It’s was so fucking different than anything she’d ever faced and she wasn’t prepared for the social difficulties she’d have to hurdle. All her life, Y/N had grown up with the same people around her, spending every school year with them up until graduation, expanding her friend group as time passed. Even after high school, she’d remained closely connected with most of her graduating class. The region she lived in was tiny, tight-knit and friendly; it was hard not to. She couldn’t even go to the store for groceries without bumping into at least three people from her Algebra II class.

Point being, it had been ages since Y/N had been put in a situation where she actively had to try and make friends. She’d been through that challenge way back in kindergarten and had never been hit with it again.

Until it smacked her across the head here in LA.

Y/N didn’t mesh well with Californians, she quickly found out. They were all about crazy parties and club-hopping, whereas Y/N had been raised on community cookouts and mass sleepovers. They enjoyed getting cross-faded and streaking down the beach at two in the morning, meanwhile Y/N liked stripping down to her undies and spending the night binging Queer Eye while stuffing her face with Cheeze-Its and Snickers bars. They freely boasted about their sex adventures while bussing down tables at the restaurant, while Y/N’s intimate life had been nonexistent since the move.

It was just...startling, to put it lightly. It wasn’t what she had expected at all, and that’s mostly her fault for not doing the correct amount of research before jumping headfirst into a cliche LifeTime film.

Therefore, Y/N had made a pact with herself one month in, swearing to let loose and allow her surroundings to sweep her into a new dynamic— into a new, social butterfly version of herself. She’d started accepting the invitations from her coworkers to go out at night, and she’d started putting more effort into being open to wild experiences, no matter how scary they might seem. Shutting down and refusing to mold to her environment would only result in her having to return home with her tail between her legs, and she’d rather jump naked off a pier than see her parents’ faces wracked with pity.

And that’s exactly what she’d done a couple nights ago, at the encouragement of the group of girls she was at the club with now. It had, in turn, ended in her coming down with a mild cold, but at least now she’d be able to tell her friends back home a cool story about dropping inhibitions.

Dropping inhibitions is also why Y/N’s here tonight, dressed in the most party-like outfit she could put together, prodding an overly-boozy drink into her system, attempting to release some of the tension that had been building in her head for the last couple of weeks since she’d left her old life behind. That’s why she’s here, with strands of her blow-dried hair catching on the dark red gloss Melissa has slathered on her mouth in a thick layer. That’s why she’s here, with synthetic smoke scratching at her lungs and drunken men and women bumping into her every two minutes, most of them too busy sticking their tongues down each other’s throats to realize they’d almost toppled her off her seat. That’s why she’s here, with a blasé expression plastered across her features as her coworkers talk over her head without a second thought, her mind far away from the walls of this overhyped horror house.

Y/N had been thinking about how she’d just started her Disney+ membership, finding comfort in putting together a mental checklist of all the movies she’s going to plow through the second she sets foot past the doorframe of her apartment. Indulging on her childhood was an ideal form of escapism, in her opinion. She’s positive Walt Disney would agree.

That’s what her brain had been lost in when Harry’s deep, melodic voice had interrupted her daydreams, sending her spiraling into an embarrassing performance of nerve-induced hysteria.

Now here she is, blinking back at him dumbly, eyes the smallest bit damp from the smoke machine and neon flashes of light. And here he is, smirking at her over the rim of his glass, eyes raking down her wired up body suggestively as he takes a calm sip from what appears to be the straight tequila in his colossal, bejeweled hand.

The English boy takes a gradual step closer to her, wanting to make sure he’s not crossing any boundaries that would make her uncomfortable. The scent of his cologne intensifies and she feels a fiery heat suddenly pour between her clasped thighs. It just hits her how long it’s truly been since she’s gotten laid and fuck, it’s sad.

Harry begrudgingly peels his attention away from Y/N for a second, aiming his words towards the girls standing behind her with their mouths still opened stupidly. Even from a respectful distance, his warm breath still washes across her jaw and cheek, causing electricity to zip down her spine. “You don’t mind if I steal her for a bit, do you?”

‘Yeah,’ Y/N thinks in the back of her muddled skull, ‘that’s definitely tequila.’

Isabel and Melissa slowly shake their heads in unison, glancing at each other as if to confirm he’d just spoken to them.

The edges of Harry’s lips jolt into a kind, easygoing smile. “Thank you. Promise I’ll keep her safe.”

Y/N feels her heart hiccup at his statement. If she’s not insanely mistaken, it appears to have carried an undertone of dirty intentions. God, she’s praying she’s not mistaken.

The two girls clamber away on their tall pumps, rounding around Harry and pausing for a moment. They make moaning faces and vulgar motions behind him, encouraging Y/N to pursue the stranger. She then watches them disappear into the throng of crowded bodies, leaving her alone with the beautiful boy and her heart slamming against her ribs.

Y/N focuses back onto Harry, licking her itching lips lightly, not knowing what to say next as he settles himself beside her. He rests his forearm on the counter along with his drink, tucking his other hand back into his trouser pocket and fixing himself into a comfortable standing position, crossing his ankles nonchalantly. The friction between his jacket and the bar rides his sleeve up an inch or so, and Y/N gets a view of the anchor tattoo he has along his wrist, as well as the upside-down cross inked between his thumb and index finger.

Harry catches her looking, mouth twitching with a smidge of arrogant self-assurance. He loves when girls drool over his tats.

“I have more.” He remarks lightly, a pang of condescending pleasure shooting through his chest at the way she jerks and pins her gaze down to the floor.

Blood rushes into her cheeks at the realization that she’s been caught and Harry’s teeth grind. It’s so hot watching her fidget for him. Maybe he finds her more attractive than he’d originally let on. “Would you like to see them?”

Y/N timidly coaxes herself into locking stares with him once again, looking up at him from beneath her lashes, barely nodding with a soft, “Sure.”

She looks so pretty like that, he notices, staring up at him all doe-eyed and shy. It’d probably look even better if she were on her knees.

Yeah, he definitely likes her more than he’d thought.

Harry proceeds to shift about, shrugging his coat off his strong shoulders, letting it slip down his lean arms and reveal the plethora of dark tattoos strewn across his left arm. Y/N watches avidly, drinking up every flex of his biceps under the black paint and every twitch of his pecs beneath his cotton shirt, the tendons along his throat going taut for just a moment. That moment is enough for her to etch the image into the back of her eyelids for the rest of her life.

Harry tosses the article onto the table, extending his arm over its surface for her to get a better reading. She doesn’t miss the chance, her pupils tracing over every line and stroke of the pen, over every shaded area and meticulous detail.

His voice comes out as a low, garbled murmur, his own irises studying her features with just as much intensity. “You can touch them, if you’d like. I don’t mind.”

After a moment of hesitation, the brim of her crystalline cup is replaced by the ridges of his smooth, tanned skin. She drags her digits over the naked mermaid, tracing the curve of her figure and the dip of her tail, then passing onto the stem of the large rose, ghosting over every thorn and prickle. Harry can feel her heartbeat through her fingertips and it’s making him throb.

“They’re very pretty.” Y/N whispers, allowing her touch to fall away, palm finding refuge across the counter. “Did they hurt?”

“A bit, yeah. But I’ve gotten so many done that I think I grew numb to the needle after a while.” Harry answers, shrugging one shoulder to show it’s no big deal. He grasps his glass once again and takes a drawn-out swig, extending the action just so she can see the way his Adam’s Apple bobs as he swallows. Once the cup is back in its place, his tongue peeks out and swipes any leftover liquid from his rosy lips, which then settle into a coy simper. “Plus, I kinda like the pain.”

Y/N’s breathing stutters in her lungs and she swiftly swerves the topic onto something much less explicit. “So why’d you ask if I was the designated driver? That’s kind of an odd question. Very out of the blue.”

Harry lulls his middle finger across the hem of his glass, exactly how she had been doing earlier, the motion weighed by an innuendo. She seems to understand it, present in how she bites into the inside of her cheek. “I just figured that a pretty girl like you would have easily found someone to dance with. So when I saw you sitting here looking all bored with your drink barely touched…I just assumed, I suppose.”

And there it is again— the blood pouring into her face. Christ, if she keeps that up, he’s going to fucking lose it.

“Thank you, that’s— that’s really sweet. Proper gentleman.”

Harry runs his bottom lip between his teeth, eyes snapping to her tinted mouth for a second, establishing some sexual tension that he’ll expand on as they go. “Who doesn’t like a guy who knows how to treat a girl, right?”

Y/N clears her throat softly, obviously phased by his forward compliment, but she tries to play it off. “To answer your question, I— uhm...I’m not really one for the club scene, I guess. Don’t really like it, but I didn’t want to be rude and turn down the invitation.”

‘Good girl,’ Harry thinks, silently cheering her on for having more brain cells than the typical human.

“Well, that’s where we share some common ground, then.” He chimes brightly, a soft smile bringing his dimples to life. “I don’t care for clubs, either, but my friends have an affinity for them so here I am.”

He gestures vaguely towards the general direction where he’d left Mitch, continuing his rant. “The choking smoke, the annoying strobe lights, the crowded floor, the drunk morons—”

“Bumping into you without giving a shit.” Y/N finishes his sentence, her vulgarity drawing a boyish giggle from her companion and now she’s convinced she’d do anything to hear him laugh like that again. “And there’s always a faint smell of vomit coming from somewhere.”

Harry slaps his hand down against the glass table in passionate agreement, voice pitching up slightly as his brows jump in emotion. “Right?! It’s fucking disgusting. Don’t understand how anyone could genuinely enjoy it.”

Y/N nods vehemently, sharing the same expression of utter distaste towards the subject. “It honestly doesn’t make any sense to me, either. Why come here when you can go to, like, a nice bar somewhere, y��know?”

Harry blinks at her in astonishment, her opinion mirroring his own with psychic-like accuracy. “My thoughts exactly.”

“Great minds think alike.” Y/N responds playfully, taking a hearty gulp from her drink since the first time he’d spotted her from across the room.

After a comfortable pause, Harry speaks up, also entertaining another sip from his own drink, which is now nearly empty. “Are you from around here?”

She can’t be. Rarely anyone born and raised here is willing to bash the status quo, and never so openly.

She’s once again mesmerized by the attractiveness of his rings, but manages to get her composure in check. “Kinda. I moved here about two months ago.”

Precisely his point.

Harry releases a curious hum over the cup between his lips. “Let me be the one to officially welcome you to Cali, then! Where people go to shitty clubs for fun and tan themselves into a strip of leather.”

Y/N sputters out a half-suppressed giggle and Harry’s brows almost furrow at the weird fluttering in his stomach. He rarely gets it.

Y/N takes another deep gulp of what he thinks is probably an Old Fashioned, silently praising the way she’d finished it off so quickly. She crunches an ice shard between her teeth and lets it melt across her tongue before engaging again. “I’m guessing you’re not from around here either though, are you?”

Now it’s Harry’s turn to chuckle a bit and she fights off an endeared smile.

“What gave it away?” He asks, purposefully doing a thicker, fuller accent, his teasing nature making the grin she’d just stifled fully break through.

Y/N lifts a shoulder offhandedly. “Your accent seems a little too…posh for this area. Or even this hemisphere.”

Harry scoffs softly, the pinky around his glass sticking up jokingly as he kinks an eyebrow at her, a few rouge curls falling across his forehead. “Keen ears, mate.”

Y/N lifts her drink up a bit with a playfully knowing air, mimicking an English dialect. “Cheers.”

He places his empty cup down on the counter, his middle finger once more ghosting around the edge absentmindedly. She notices the pastel yellow polish covering his nails, tiny black smiley faces decorating the lacquer.

“I like your nails.” She admires, tipping her empty lowball towards his hand for significance. “Did you do them yourself?”

Harry glances at his fingers, stretching and wiggling them out, his features taking on a bit of pride. “Sure did.”

“Don’t think I’ve ever met a guy at a club who could pull off nail polish so easily.”

The left edge of his lips flicks upwards. “How do you mean?”

Y/N’s gaze bounces back to his and the tone twirling in his jade irises tells her everything she needs to know about keeping this conversation going: he enjoys being praised.

She chooses her next words carefully, wanting to appeal to his interests. “I mean that it looks amazing on you. The color suits your skin nicely, makes your hands look good.”

Harry breaks eye contact, glimpsing down at his shoes and she realizes he’s actually trying to hide a blush. The fact that she had managed to coax one out of him boosts her confidence while simultaneously making his own waver. He’s never like this— never so easily flustered. He needs to get it together.

Harry tilts his chin back up, lower lip strung between his two front teeth. His voice comes out as a flirty laugh.

“Known you for maybe,” he looks at the beautiful watch on his wrist symbolically, “ten minutes, and you’re already stroking my ego just the way I like it. I think that’s a record.”

Y/N doesn’t know if it’s the liquor she’d just consumed too quickly, or if it’s Harry’s intoxicatingly alluring scent dulling the region of her brain that controls fear, but she’s suddenly filled with a strange surge of courage and her thoughts are spilling down her semi-numb tongue before she can stop them. “I’ve been told I’m pretty good at stroking, so an ego’s not too hard to handle.”

Harry cocks an eyebrow, surprised at her brazen reply. He might have misjudged her more than he assumed. However, he can’t say he doesn’t enjoy this girl more than the one he thought he was going to receive. There’s just something about how she can match his banter without a problem, and how they share a lot of the same thoughts and opinions, that just lights a fire in his stomach.

“Is that so?” His voice lowers in pitch and he scoots a step closer, fingers just barely brushing against her arm as he repositions himself against the bar. His question comes out as a sultry murmur. “What else can you handle?”

Y/N knows that she’s starting to cross a line, and with every passing moment, the likelihood of returning to her friends is getting smaller and smaller. She’s not mad about it. Riding off of the wave of confidence that had inflated her ego earlier, she mumbles her response back with the same tone and texture. “How about you buy me another drink and then maybe you’ll find out?”

Harry gives her a boyish grin and the indents that pop into his cheeks nudge his appearance from an incredibly attractive man to an adorable cheeky boy. He motions to the bartender for another round of drinks, only letting his eyes flicker away from her for the moment it takes to do it. “How do you like LA so far?”

“It’s...alright.” It’s Y/N’s turn to move closer to him now, flicking her hair off her shoulder, hoping that the motion releases the perfume she’d dabbed on her neck while getting ready. Judging by the darkening of Harry's eyes, it does just that. “It’s definitely a change in pace from where I used to live, but I think I’m slowly gaining the reigns. I feel like once I get acquainted, I could grow to love it.”

“LA’s definitely a toggle. You could either vibe with it, or it’ll eat you alive and spit you back out.”

She bats her lashes at him in stunned fright at his bluntness, his face deadly serious without any twitch or give.

Harry then bursts into high-pitched laughter, eyes crinkling shut and nose scrunching. “I’m just fucking with you, love. Ease up, hm?”

“You asshole!” Y/N exhales grandly, half in relief and half in indignation, slugging him on the shoulder. All she feels is hard muscle beneath.

He continues to cackle, sticking his tongue out at her. “Looked like you were about to cry.”

“It definitely crossed my mind, yeah!”

The bartender arrives with their fresh drinks and Harry tells the man to but both of Y/N’s on his tab. She feels her cheeks glow, telling him he doesn’t have to, but he waves it off and says he’s more than happy to serve such a nice girl as herself. Especially if she “hates the same things I do. Think of it as your initiation gift into the Anti-Club Club.”

A handful of heartbeats tick by, full of comfortable quietness as they both savor their new beverages. Harry pipes up first, regaining their topic from before.

“But, yeah, Cali’s for sure a special place. You meet some cool people if you hang around for a while. But sometimes,” he pauses for a second, eyes gleaming with something she can’t quite interpret. “But sometimes you can meet a really interesting person in just one night.”

“I don’t doubt it.” Y/N clicks her nails against her Old Fashioned distractedly as Harry fixes her with that beautiful emerald gaze that makes her ears tingle. She cocks her head to the side knowingly, flashing him a soft smirk. “Sometimes, you just happen to meet that one in a million.”

“A lucky strike.” He adds, lifting his tequila an inch off the counter and tilting it towards her in what appears to be a toast, irises dancing with a certain type of suggestive mischief. “To meeting interesting people.”

The human girl clinks the rim of her lowball to the edge of his cup, shrugging her brows and reciting his comment back to him. “To meeting interesting people.”

Y/N measures how the rest of their interaction goes by how quickly her drink shrinks.

When she reaches down to the first ice cube stacked on top, Harry has managed to coax multiple rounds of laughter out of her, his humor startlingly similar to her’s in the most refreshing way imaginable. She quickly learns that despite his broad shoulders, lean torso, dark inking, and flawless features, he’s a complete and total dork. His personality consists mainly of voice impersonations and contorting his expression into an endless array of silly faces, which she takes to easily.

By the time Y/N’s amber drink has reached halfway down its container, the default touch barrier between the two has broken completely. There had been a few caresses prior, but now it’s more frequent, more noticeable, and each touch extends in time. She had been the one to initiate getting physical, which had sat so right in her stomach because that meant he was respectful and patient— definitely unlike most men in clubs.

The mortal girl had gently shoved Harry’s chest when he’d made an nonchalant joke about how losing his swim trunks at a nude beach had been both the best and worst experience of his life, her cheeks boiling as she had felt nothing but more toned muscle beneath the cotton fabric of his top. She had gone back to tracing at his tattoos the further they got into sharing anecdotes and opinions, glancing up at him for permission in the middle of their exchange and smiling to herself when he’d nodded casually without a second thought. As the conversations continue, they both unintentionally get closer in distance to the point where the arm Harry had settled on the bar is now fully wrapped around the small of her back. She willingly leans into him, their knees and thighs brushing with every shift of their bodies and those minute moments begin to pile up their excitement.

By the time the alcohol in her possession bottoms out, she is nearly sitting in his lap, faces only a few inches apart. Y/N can’t recall half of what she had said, the subject having steered into so many different places that she couldn’t be bothered to keep track. Besides, she’s too focused on trying to keep a straight face as Harry plays footsie with her below the counter, his light yellow sneaker toying with her heeled velvet wedge.

An important question on his behalf snaps Y/N out of her flirty stupor.

“So how do you like your new home?”

She blinks at him slowly, partially to try and give a seductive tinge to the interaction and partially because the liquor has started to truly settle in. It takes her a few heartbeats to process the inquiry. “I love it, actually. It’s a place of my own, for the first time ever. I couldn’t be happier.”

The corners of Harry’s swollen lips tick in genuine happiness on her behalf. “That sounds amazing. Congratulations on such a big step.”

“Thank you! What about yourself? Renting anything neat?”

“Oh, I own a condo here.” He mentions casually, outlining the criss-cross pattern along the circumference of his highball glass. “I used to visit so often that I finally just decided to pull the trigger on one.”

“Look at you, investing in real estate.” She says in a teasing voice, her heel grazing around his calf slowly, cheeks sizzling as he parts his legs a bit to allow her the pleasure of traveling higher up.

“Mmhm.” Harry licks his red lips, free hand starting to trace over her own. The tips of his fingers are calloused and cold, the motion of them over her skin almost pulling a tremble out of her body. She does her best to restrain it, not wanting to give him the satisfaction. “Is it nice?”

“Hm?”

His lips twitch in endearment at how he’s managing to make her lose her train of thought. “Your apartment, darling.”

She rests the rim of her drink on the bottom of her lip as she speaks. “It’s nothing huge or fancy, but it’s a decent size and l can call it home. Can’t get much better than that.”

Y/N loves how Harry's eyes flit to her lips for what she thinks is the billionth time tonight, his vision sketching along the curve of her cupid’s bow and dotting every peak.

Another warm glow of confidence spikes through her veins and she’s talking before she can analyze her thoughts. “Well, at least I think it can’t get much better than that. Although, I could just be biased. Could probably use an outside opinion.”

It takes Harry a moment to register what she’s suggesting, a light blush creeping up the base of his neck as he realizes how he’s stopped so abruptly. Humans usually never get him this unnerved and it’s one of many times she’s made it happen. “An outside opinion?”

Y/N lists her head to the side. It sounds like he’s accepting the vague invitation, but she’s so anxious to mess this up that she’s second guessing herself with every passing second. However, with every touch, she wants Harry more and more, and that’s enough to propel her towards a more direct approach. “Mmhm. Like yours, maybe. Would you like to come back and see it?”

Harry pauses for a few of her heartbeats, and then bobs his head in acceptance. She can breath again.

He finishes off the last inch or so of his tequila, a wicked grin creeping its way across his pretty, flushed mouth, long fingers carding into his loosely arranged curls. “I’m more than happy to be of service.”

A smile works its way onto Y/N’s own face at his response, her foot dropping back down his leg slowly. “I’m glad to hear.”

“Mm.” Harry takes her hand completely now and she almost moans at how much bigger his are, his rings pinching a bit, skin rough in some areas, but silky smooth in others. And strangely icy, but she enjoys it. “Shall we say goodbye to your friends first? I wouldn’t want them to worry about you.”

He knows her “friends” couldn’t care less, but he wants to be as much of a gentleman as possible. Romanticize, romanticize, romanticize.

Y/N snorts, knowing full well that they’d probably purposefully embarrass her in front of him as a joke.

She squeezes his grasp lightly, giving him a soft smile. “You’re sweet, but it’s fine. They were actually behind you earlier, encouraging this whole thing, so I’m pretty sure they won’t mind.”

Harry hums deep in the back of his throat and the sound melts into a cute chuckle. “I’m glad they helped, then. Think you can deliver them my thanks some other time?”

The young woman chews on the inside of her cheek at his comment, realizing that it suggests he aims on keeping her occupied for the rest of the night and well into the morning. She has to will herself not to lurch forward and kiss at his annoyingly perfect lips right then and there. “I’ll make sure to pass the message along.”

With one last cocky simper, Harry helps her down from the stool and pays off their tab, offering her his jacket since most of her outfit is made of flimsy fabrics. Y/N takes it appreciatively, lashes fluttering when his scent envelopes her like a blanket. It’s the unique smokiness from his cologne, mixed with a slightly sweeter smell that she assumes is his shampoo, and a bit of something that reminds her of a vanilla candle. The aromas are sewn into every thread of his coat and she can’t wait to have those scents glued all over her more deliberately later tonight.

Harry turns and plunges them into the throng of partiers, weeding through bodies with a type of determination that makes her insides twist. His arm comes up in front of him as he plows people out of the way with absolutely no regret, leaving her to throw out a few half-assed apologies in his wake. The idea that he’s excited to be alone with her has Y/N’s insides churning.

Once they escape all of the grinding limbs and tight spaces, stumbling into the cool air of the starry night, she takes a huge gulp of air. She prays it will tide over the jitters running along the inside of her tummy. She has just now realized how riled up he’d gotten her and it’s all coming to a raging boil.

Harry paces past the bouncer, throwing up two fingers in parting. “Later, Brock.”

The security guard gives the young vampire a confused look, not recognizing him at all and wondering how he knows his name.

Y/N repeats Harry’s phrase for the hell of it, squeezing his hand jestingly and he glimpses over his shoulder, grinning at her with sheer amusement and something much deeper swirling around the specks of copper in his irises. If there was a bit more light, perhaps she would have noticed the way his irises had glinted blood red instead of olive green.

She ogles at the way his back muscles shift and flex below his pastel blue shirt, her mind vaguely taking note of the light yellow detailings along the cuffs and collar. The tee is intriguing and fun and she hopes he’ll let her sleep in it after they’re done.

She also gets distracted by the baby curls decorating the nape of his neck. She’s itching to tug at them and see what his response would be. Would he shiver in her grasp and let out a soft moan, or would he smirk darkly and tell her to go harder?

Harry suddenly halts, snapping her out of her thoughts as he presents his car. Y/N’s jaw nearly falls off. “This is yours?!”

She gawks at the vintage jet black convertible before her, feeling like she isn’t worthy of its chic presence. It looks new, shining in the street lamps like a thousand diamonds, not a scratch or dent in sight.

Harry unlocks the passenger’s door, opening it and guiding her inside with a gentle pull at their clasped hands, shrugging his brows playfully. “Hope it’s not too shabby for your liking.”

“Are you kidding?” The human mumbles in awe as she ducks down into the patented leather seat, running her free hand over the elegant cover. She sighs softly at the way his smell is lingering inside the vehicle, just as much as it sticks to his clothes. “I feel like I should bow to it or something.”

He laughs fully now, leaning down to get a view of her sitting prim and proper in his favorite car, looking gorgeous in her flowy silk pants, lace creme blouse, and his own clothes. He gnaws at his bottom lip to withhold a needy groan. “I think you fit right in.”

Y/N feels warmth erupt into her face and she tucks a strand of hair behind her ear, trying to distract her fingers from shaking. “Looks like I’m not the only one that’s good at stroking egos.”

“S’hardly a task. You make it easy, doll.”

It’s the second pet name he’s called her tonight— it’s strangely vintage, same as his car— and she can’t wait to hear what others he has in store. Preferably in the form of breathy pants and broken whines.

Y/N flicks her gaze up at him through heavy lashes, attempting to stifle a sheepish smile. “Quite the charmer.”

A moment of silence suspends in the air, a light breeze filtering through Harry’s curls, swaying the jewelry around his neck as well as the earring hanging from his lobe. Harry speaks up with a type of hushed desire she hadn’t heard from him yet. “Can I kiss you?”

She blinks up at him once in mild surprise and then releases a sigh of utter relief. “Fuck, I thought you’d never ask.”

Her hand reaches upwards outside the confines of the car, knitting into the thick fabric of his shirt and yanking him down. The second their mouths meet, it sets off a dozen fireworks in the pit of her stomach. His is softer than she had imagined, wet and warm, and his tongue carries the sourness of the tequila he’d been swishing the whole night.

Harry’s breath hitches in his throat, and then a quiet whimpery moan streams down his tongue onto her itchy skin. “Christ, that was hot.”

As much as she loves the taste of him— the tartness of the alcohol mixed with an inherent sweetness his lips carry— she forces herself to pull away, but keeps her sweaty forehead pressed to his. “Yeah. It was.”

With one hand still gripping the car door, Harry uses his other to cup her chin lightly, guiding her into another kiss. Now that they have both developed a feel for the other, this one is less tentative than the last. She tastes so fucking good on his tongue, like strawberry syrup—probably from her lipgloss— orange bitters, and bourbon. He just has to have more of it.

A helpless gasp escapes Y/N when Harry's teeth graze against her upper lip, only nipping enough that she craves more. More of anything he has to offer.

He pulls away and the whine that plucks her vocal chords feeds his eternal soul like nothing else has in a while.

The young man grins at her for a moment, half in smug satisfaction, half red-faced and desperate, before carefully closing the car door and making his way to the driver’s side. He slides in with ease, shuts his own door and buckles up with a click of the belt. The simple action has never looked so attractive before, but she’s certain that anything Harry does with his ring-covered hands would be attractive.

He fishes his keys from his front pocket, asking her where she lives in order to try and orient himself. As it turns out, she’s not too far away from his own flat. He knows exactly which condominium she’s referring to without having to even search it up— a perk of living here for a few decades.

He also chuckles to himself a bit at the fact that she hadn’t mentioned he shouldn’t drive under the influence. Vampires have an extremely high tolerance due to their self-healing properties, so the drinks he’d had only gave him a soft, warm buzz. He just finds it comical— and slightly arousing— that she’s so eager to get at him that she’d let that detail slip her mind.

Harry starts the car, but doesnt pull out of the parking spot. Instead, he glances at Y/N as a crease appears in his beautifully sculpted brows. The idea of something displeasing him bothers her, and she’s about to ask what it is when he murmurs a quick, “Just a second, dove.” He reaches across to grab her seatbelt, pulling it over her body and securing it into place on her behalf, making sure it’s nice and proper before leaning back in his seat. He doesn’t know why he cared to do it, but he had.

The simple action leaves another layer of heat on Y/N’s cheeks. Having him bent over her like that was just a teaser of what was going to unfold later and it already has her mind spinning. She can only imagine how much of a mess he’s going to leave her when there’s no clothes restraining them.

“Thanks.” She whispers, playing with the tips of her fingers.

“No need to thank me. Just wanna keep that pretty face in one piece.”

He plops one hand on the steering wheel as he shifts into reverse, carefully backing out of his spot. His arm ducks behind her seat, head turning and veins chiseling into his neck. It takes all of Y/N’s willpower not to lean up and begin to darken his tanned skin with hickeys.

Harry cruises up to the exit of the club parking lot, waiting impatiently for the turn signal, digits tapping away at the leather below them. Y/N can see him throwing pained little glances at her from her peripheral vision, obviously restless to feel her skin sliding against his. Each look causes the warmth between her thighs to swell.

She’s talking before she can stop herself, voice bashful and soft as ever, yet full of boldness from the liquor she’d consumed. “If you keep looking at me like that, I’m going to do something to you that’s gonna get us both killed.”

The tapping of his fingers halts and he cranes his head to face her fully, ignoring the flashing green arrow on the stoplight before them.

Harry reaches over the center console, his nose dragging up the length of her cheekbone, causing her to squeak out a tiny whimper at the feathery sensation. It’s the first time tonight he’s touched her so intimately.

The sentence he grits out next makes her entire body visibly shutter, his breath hot against her ear, damp lips smearing over her jaw as his oath burns into her flesh.

“And if you say something like that to me again, I promise you I’ll pull this car over and make you eat every fucking word.”

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insanehobbit · 4 years ago

Text

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.

#cloti

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