#yes Life loves the people the creatures it has created but death is an inevitable thing that's necessary to balance the universe

[the-whispers-of-death]

I've seen when people write Reader and Ghost as Life and Death, Ghost is always Death while Reader is Life. Which is fine, no hate to them, but imagine with me: Life!Ghost and Death!Reader.

I know it sounds a little out there, but Ghost's entire job as a soldier is to help ensure people in his country are safe. He's fighting for Life.

Also like, who says Life can't kill? If we look into mythology, gods of death don't take people's souls, they just guide the souls to their respective afterlives. If anything, Life is the one guiding the circumstances that kill mortals while Death is the one who guides their souls to their resting places. Life is the one killing them.

And I know someone can say "Oh, but Ghost is gloomy and Life is supposed to sunshiney." Who says? I think both Reader and Ghost can be gloomy people together, in two different ways. Reader just appears out of the shadows, gently taking the dead soul via however they transport souls to afterlives while Ghost is his snarky self.

Imagine, an enemy soldier seeing Ghost corner them in a battlefield and is like "Have you come to take me, Death?"

And Ghost just responds, "I'm Life, actually. They're Death."

And as the enemy soldier turns to face Reader who walks out of the shadows that had encased them, Ghost stabs the enemy soldier. And when they're dead, Reader silently takes them to their designated afterlife.

I don't know if any of this actually made sense to anyone except for me. But if you see the vision, I'm glad.

[zynart]

humanity is worth loving, humans are worth saving

(yes we are. we absolutely are. and cynicism and nihilism is lame)

i was dwelling a lot on that idea a lot this afternoon about my views of humanity and my conviction in us, inspired by the central theme of the show and movies, which is that maybe loneliness and yearning for connection is the most human possible feeling, and that most human beings are to some level closed off from human connection that there's a hedgehog's dilemma among humanity — that fear of connection, fear of being seen as a mirror of what you most fear about yourself/fear of hurt from both vulnerability placed in others and the inevitability of change/the inherent inability to ever be truly known when human minds are fundamentally separated from each other — is inherent to humans

so to contextualize the rest of this post i’ll describe things i’d been thinking about today. evangelion rebuild 2.0 and the ending of that movie, the choice that the characters make there. the ending of life is strange and the choice that you make there (i said fuck arcadia bay). and then the mirror examples, that one episode of angel where angel becomes human, or the ending of final fantasy x. every piece of fiction where people face a choice between saving someone they love and saving the world and they say fuck the world. even when it makes no sense and even if it means they and you both will die soon enough in a destroyed world anyway, even when it’s morally indefensible and unquestionably selfish. every time that question comes up, it’s so obvious what the right answer *should* be, but how human is it to just choose wrong anyway? that’s what i did when i had to choose and i said fuck arcadia bay. at that moment i felt such a sense of connection with what it meant to be human

in the original neon genesis evangelion it’s an argument between a worldview that it’s the inherent flaw of human nature, which would mean that the ideal vision of heaven is all-as-one where all humans exist together in kind of a hivemind free-flowing soup of minds (or with how little we know ourselves, that maybe even worldview is just being so afraid of connection that you’re afraid to reach out and try unless it’s with the safety of it being complete and universal and inescapable)… or whether what is special about humans and the most human thing possible is humans choosing, with full knowledge of the fear and hurt and inability to ever be known and the inevitability of change with passage of time and death, to put fear aside and connect with others

that latter view has long been the frame of thought where i feel most tender and optimistic toward humanity and individual human beings as creatures of grace. what takes away times where i feel jaded or cynical or fatalistic or disgusted or hopeless, which it is easy to be. often when people talk about being proud of humanity is pride at collective humanity and amazed at what the human race could achieve working together, but that’s barely part of the equation for me. it’s just that one single core aspect of the human soul, that every day humans choose to put aside all that fear about things that are right to fear and just choose human connection anyway. better to have loved and lost than never loved at all isn’t a platitude or an expression, it’s a summation of the most fundamental element to being human — its just that it’s not only about romance, it’s about all love — for friends, family, children, pets, characters in fiction, music made by others, art created by others, memories with others

(this made me google that phrase, to learn more about this phrase that puts the deepest truth about being human into 13 words, and turns out it’s by tennyson writing about the sudden death from a cerebral haemorrhage of his friend— or maybe more, we don’t know, but it’s besides the point that it was someone that he loved dearly — arthur henry hallam, who died aged 22 when tennyson was 23. and it’s a line from a 2,916-line, 133-canto poem titled “in memoriam a.h.h.” that he spent 16 years writing. 16 years where the pain didn’t stop. they met each other as teenagers, knew each other for about 3 years, and that was it. when he finished that poem after 16 years, he’d lived almost half of his life with that pain. he’d lived with that loss for almost five times longer than the time he’d had with him. and he still felt it was all worth it. it was better to have had the honour and privilege to feel that love, even at the price of decades of pain, than it would’ve been if he’d never gotten to feel that love at all)

caring about anyone is opening yourself up to a world of hurt in so many ways outside your control and humans are the only beings we know of that actually has that knowledge but we choose to care anyway. we have children, we attach to family, we form friendships, we fall in love, we even get emotionally attached to pets with short lifespans and emotionally invested in fictional characters

animals don’t have that knowledge. it’s easy for me to imagine many rational beings or sentience that could have that knowledge and optimize toward the pain-minimizing path of closing off completely and dying off in a generation. if pain is the price we pay for the ability to live and feel things and love things, is the price of entry worth it at all? i think most versions of a fully realized consciousness that wasn’t human would think that it wasn’t worth it at all. nonexistence over pain feels rational. but we don’t make that choice. human beings choose over and over and over to love things. and when i think about it, it makes me feel proud and giddy even for inherent human nature, it makes me feel in love with the concept of people with the same butterflies, and it makes me a firm believer that we should exist and humanity deserves to exist

one could say that it’s very stupid to love. it's very stupid to make an active commitment to inevitable future pain. it’s suboptimal for an entity that optimizes to avoid debilitating, all-consuming pain in a world where the passage of time can never stop and loss is inevitable, where there is literally no possible ending in which there isn’t an ending. and it’s kind of a miracle that we choose to do so, billions of people, every day

if you liked this, feel free to check out my other 'essays' on internet/pop culture stuff on my homepage. here's a selection:

· “book lovers” don’t love anything about books and it’s weird (or, defending classic novels)

· there are things we owe to each other

· i trained a neural net on 10,000 irony-poisoned tweets and it just gave me cringe?

· what makes someone good, bad, cancelled, or redeemed? i don't know either!

· please tell me if you have a definitive answer on what makes someone a bad person

· ok, fine, my social justice politics feel a bit like religion sometimes and that’s ok

· after the deluge (short story) (dispatch from an island state post climate apocalypse)

[alexisherself]

The Cat and the Fox

Chapter 3: Flower of Death

Summary: Solikha and Enver go over details for their raid to steal the crown and tensions rise. General Dark Urge violence.

AO3 LINK

Solikha stood outside in Bloomridge Park, waiting for Enver to show up, as it poured over Baldur’s Gate. It was something she could never pinpoint, rain brought her a quiet joy, unlike that of the euphoria of blood or the dead. It was the only time she felt clean, her head clear as the smells of the trees and grass filled her. A tiny piece of sanity, clarity and calm that inevitably left a sickening guilt in her gut. What business did a wretchedly disgusting creature like herself feel a moment of calm? Still she pondered the reason why the rain would make her feel this way. Was it something about a time before her Father claimed her life and called to her? Panic rose at that thought, this was who she was meant to be, who she was created to be. Picking at her the skin around her nails she watched the blood pool and disappear as she let rain wash over her fingers.

Where was he? Solikha preferred to be the last one to arrive and Enver was prompt every other time they had met since their first encounter. She scanned the park again from the far platform she had cozied up in looking for him. Finally she spotted him walking up towards her, though he had yet to notice her. She blended into the foliage as he approached, still not noticing her presence and watched while he looked for her. A smirk came to her lips as she approached him slowly, quietly, the noise of the rain helping her sneak up on him. How easy it would be to simply drive her blade into his back. Her hand twitched over her dagger for a moment before she got up to him.

“You’re late Enver.” Solikha whispered in his ear and much to her delight he flinched ever so slightly. How much she loved to crack his facade, to see the fear flash in his dark eyes. He should fear her and she needed to remind him that.

“Yes apologies,” he said not acknowledging she snuck up on him nor that he was for a moment freaked out about it. “Going over the plans with Helsik took a bit longer than I expected.”

Enver had been in contact with a Diabolist to plan a way into Cania. Why he knew so much about the crown and its whereabouts was not something he told Solikha and she didn’t pry. They weren’t friends persay, more like coworkers, and he owed her no explanations on why he knew so much about the Hells. Though she found herself curious nonetheless, she would have to do some research on her own time later. The plan was perfect though, truly diabolical. Her heart fluttered at the scale of massacre she’d have at her fingertips. The dreams that have been her life since that fateful day Bhaal came to her so close to coming to fruition.

“You’re staring in space again, it’s unnerving at best.” Enver looked at her, slightly annoyed. “Also you look like a wet cat, let’s take this back to my tower. We can further discuss logistics there and not be sopping wet.”

“I quite like the rain, to be honest.” Solikha stared up at the dark clouds and let the rain wash over her face. Dark fabric disturbed her view and she noticed Enver had put his umbrella over them both.

“I know you’re a deranged lunatic but everyone here has yet to figure that out.” He said with a twinge of humor…was it humor? She tried to search for a smile, smirk or something in his eyes but his steely composure remained.

She nodded as she allowed Enver to lead the way even though she knew exactly how to get there. People greeted him as they walked by, some nervously and others more enthusiastically. The world he inhabited perplexed her, though she had no reasons to understand it. Being a Bhaalspawn she had no need for silly power plays in that way. It was kill or be killed in the literal sense and Solikha deserved her spot as her Father’s Chosen despite how badly others like Orin wanted it.

As they made their way into Enver’s room he directed her to take off her cloak and armor in the foyer. “I don’t know how long you stood out there but I’d rather not have puddles all around.”

Solikha hesitated after removing her cloak. It’s not that she was nervous he would do anything nefarious to her, they’ve established the need for each other so this plan could succeed. Her armor was her second skin and without it she may as well be naked. After too long of a pause she finally started to undo her half plate and pants leaving her just in her plain white shirt and trousers. She caught Enver staring at her from the corner of her eye and something fluttered in her stomach. It was different from the Urge and nothing she had felt before.

“Well then, now we can start. Come sit, I’ll get us a bottle and pack a pipe.” Enver said motioning to the table that has now become the birthplace of their invasion plane of the Sword Coast. Solikha took a seat and looked around the room. It was gawdy to say the least, everything was overly ornate and expensive looking. Busts of other high profile Lords and Dukes were in the foyer, books and artifacts displayed all over the walls. Gold filigree illuminated every piece of fabric in sight and his bed had more pillows than one person could even need.

“So I have acquired some maps of Mephistopheles’s archives through a connection in Avernus. This should help us access where best to conjure the portal for the optimal entrance and exit.” Enver said as he brought the wine, glasses and pipe over. He himself had switched into a black robe with gold stitching. What was different about tonight? Everything seemed off, even the air between them felt thinner.

Outside of Orin, Enver was the person she’d spent the most time with. While Orin enjoyed her crew of doppelgängers, Solikha preferred to work alone. She was never close to anyone for too long. It only ended one way eventually so better to keep people at an arms distance. In the end he’d have to die, everyone would including herself, why bother with attachments, whatever form they may take.

But sitting here now this feeling sat sickly in her stomach. It wasn’t just arousal, it’s not like she was some virgin. A handful of living people have made it to the point of no return with her in that way. Every single one dead by the fourth time, sometimes even the first. No, the feeling that was writhing in her was that of fear. Fear of hurting him, killing him too soon, of losing his company. In fact she didn’t really want him to die at all. Again not an uncommon occurrence, there was Orin who she didn’t exactly feel the need to murder but this was different. Solikha shifted uncomfortably in her seat and listened to Enver talk about what options they had.

“I think we should approach from this south point here, there is low visibility despite being heavily guarded.” She said as nonchalantly as possible. “Lots of crags and structures to hide and the closest window to the archives is right there.”

Enver looked at her eyes glinting with admiration and she continued. “I’ve got some spells that will aid us too but we will probably want some invisibility scrolls or potions for you. You’re not exactly stealthy with all the peacocking around.”

He laughed so hard it sounded off the walls. “Well of course no one is better at sulking around and blending into a crowd. We both have our strengths though.” Enver’s eyes caught hers for a second and she looked away back at the map.

“We’re really going to do this, aren’t we?” Solikha said changing the subject from their playful ribbing of each other. “The plan is brilliant, Enver. I can see why Father had me seek you out.”

“We are brilliant Solikha.” His gaze was a dagger cutting into her soul, ripping apart her insides and opening a part of her she thought was long gone.

The movement of his body was sudden and without a thought her dagger was out and under Enver’s chin. He was so close to her, closer than they’ve ever been to each other. He had smokepowder just under his left eye and smelled of tobacco and wine. Both his hands were on the arms of her chair caging her in but not in a way that was threatening to her. It was an intensity that elated her. Only a single movement and his throat could be slit perfectly as she watched the life slip from his eyes. His body would slump onto hers, bleeding onto her white shirt, how beautiful it would look. How wonderful it would feel to be bathed in his blood.

“You’re too close Enver or do you have a death wish?” A smirk grew across her face and their noses almost touching.

“You’re not going to kill me.” Enver’s voice didn’t give anything away if he was unsure of his statement. “I meant what I said. We are brilliant. Together we can rule over this brain, over the world. Together we can become gods in our own right.”

So sure of himself. She couldn’t believe his audacity to think he would be immune from the wrath she’d bring upon the world in her Father’s name. But a small voice in the back of her head wondering what if they didn’t need Bhaal. When the thought crossed her mind her blade pressed into the skin of his neck. Enver started to bleed but he continued to stare into her, waiting for her response. The Urge screamed inside, rattling in its cage wanting so badly to slice and stick and smear. Orin laughed in the back of her mind as the guilt of even the brief thought of forsaking her Father sent her over the edge.

“What exactly are you suggesting?” Solikha spat the words at him as if they were poison, not wanting to give away her brief thoughts of removing herself from Bhaal’s grasp. It wouldn’t be the first time a Bhaalspawn attempted to dethrone their Father, but they all have failed.

“Your genius and talents would be wasted on bringing upon an endless oblivion. I know the deal with you Bhaalists. What you believe.” Enver smiled moving his hand to the wrist of her knife hand. “Think of what I offer, what we could do together.”

His hand gripped her wrist moving the dagger down from his neck. She allowed it, chewing on his words as they rotted her insides. A different urge was fighting the Urge to flay him right here in his home. The new urge was one of lust, she wanted him to kiss her and she knew he wanted to as well. She didn’t dare make the first move, to do so would be to admit defeat. Instead she remained seated with both his hands on her wrists now as he still stared at her.

“Flower of death.” He whispered now in her ear.

“Excuse me?” Confused she turned her head to look at him.

“Your name, Solikha. It means Flower of Death, or well Salvation. The translations are a bit muddled.” He let go of her left wrist moving his hand to her face. “Atop a mountain of corpses was a large black flower with a dew so sickly sweet. Many people sought out the flower since it was told to possess the power to grant wishes.” His hand now cradled her chin. His touch was light as a feather and sent electricity through her nerves. Why was he doing this? What was his play here?

“In truth it did not and if you were to ask it in false the sweet dew would fill your lungs and poison you, leaving your body to become part of the mountain.”

“And what exactly are you trying to achieve? You’ve admitted as much that the end for you will be death.” She said it like a promise. It was fated from their first meeting that she would be the death of him.

“Well it is said if you come to the flower with true intentions, unabashed in your desires then the path of enlightenment is revealed.” Enver still kept his hand on her chin, observing her in a way she could only imagine he’d done with all his other exploits.

Of course he knew the meaning of her name, it was as wretched as herself and telling of her destiny. She wondered if her adopted family knew what they named their wayward little Bhaalspawn. Did they think about it when she slaughtered them? The thought bloomed a disgusted heat in her core. How exactly could she turn this around and keep the upper hand. Being drawn to him was something she couldn’t deny any further and maybe he felt the same for whatever reason. Their destinies were to destroy and be destroyed, so why not have a little fun in the meantime.

“Well if you think your intentions are true Banite, what are you waiting for? If you want it, take it.” The words were syrupy sweet as she said them, not breaking eye contact.

Her words broke whatever resolve he might have had left. His hand moved to her throat, squeezing hard enough to make her head throb in ecstasy.

“You would like that, wouldn’t you?” His words slurred slightly, maybe from the wine or just drunk of the tension they’ve built around themselves.

“Maybe, maybe not. Guess you’ll have to see, will I be your enlightenment or your death?” She barely finished speaking as he slammed his face into hers. There was no tenderness in this, just pure hunger and lust. Solikha felt her insides churn with delight and disgust as the grip on her neck disappeared and his hand moved to the back of her head grabbing a handful of her hair.

A clang rang out in the room as her dagger dropped to the floor.

[insanehobbit]

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

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

The LTD remains unresolved

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FF7 OG or The dumbest thought experiment in the world

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

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

They ask you for your notes.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What a mess.

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

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

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

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

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

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

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

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

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

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

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

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

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

(a very real scene from a very good game)

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

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

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

A somewhat more serious character analysis of the OG

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(one of these is a good film!)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mike: Will you marry me, Tracy?                      

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How then does the Remake clarify things?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Home Sweet Slums vs. Budding Bodyguard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What does it all mean????

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It’s over! I promise!

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

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

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

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

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

[yunho0o0o0o]

my fic recs: a masterlist

note: most of these have been reblogged on my account, but here’s a list for convenience, author’s summary is copy and pasted here if there is one, if it’s the first in a series I recommend the whole series, I’ll probably add to this as I read more, yes i know some people are missing i just somehow didn’t have any fics in my stache that included them

A- angst, S- smut, F- fluff

Includes BTS and Ateez

BTS:

OT7:

Lost & Found (F, 1.7k) - @namjoontunes - In a world where mythical creatures like dryads and vampires are commonplace, how will a household of supernatural humanoids react to their new kitten being a shapeshifting girl?

Lilies of the Valley (A) - @girlmeetsliv3 - includes ABO, yandere themes

Sunlight (F, A, 16,5k) - @floralsuga - A soulmate. That was all you had wished for. Someone to come home to, someone to be there for you, to build a life together with. And yet you were cursed with having seven. Seven soulmates that you could not allow yourself to have.

Fading Legacies (A, 3k) - @mindays - BTS achieved everything they’d ever dreamed of, becoming world wide idols. But then the zombie apocalypse hits and it’s all they can do to survive. And they’re going to need Y/N to do it.

The Gentlemen (M, A, F, 5.2k) - @honeymoonjin - Sick of unsatisfying hookups, boring relationships or the company of your own hand? Apply today for the chance to be on bangasm.com’s very first reality show! Seven attractive young gentlemen will be vying for your choice of who is best in bed. All from different backgrounds, these men claim they’ll be able to rock your world, so don’t hesitate! Apply now! 

Ethereal Orbit (A, F, S, 1.1k) - @miamorjoon - somehow you’ve landed on this strange planet named Utepnia and you have to save their race from extinction.

Taehyung:

Chism (S, A, F, 19.9k) - @kpopfanfictrash - The entirety of your life, you have never fit in. A woman soldier. A passive power, wielded in the land of the bold. Despite this, you have followed your father’s advice and striven to blend into the crowd. You feel you have succeeded, until your Queen calls you before her with an arduous task. Guard the darkest cell in the lowest dungeon. Do not listen to what the prisoner has to say and above all else, keep your head. The old gods may be dead, but the humans are living.

Beastly Gods (M, A?, F, 8k) - @lemonjoonah - ‘Don’t leave the forest,’ a rule that you've been forced to follow since birth, but you are tired of living in this wooden cage. Out of desperation you cut a deal with Taehyung, who claims to be the only one who can get you out safely, even though he might be just as dangerous as the god you’re trying to escape.

Teach Me Dirty (S, 2.9k) - @forgottenpasta - Taehyung has a lot to teach his English teacher. Fortunately for him, you’re an eager and willing pupil.

Hoseok:

World of Pride (A, F?, 5.2k) - @an-ambivalent - artificial intelligence hoseok, includes yandere themes, your father created an AI to protect you when he’s gone

Yoongi:

Make Me (S, F, 4.4k) - @ppersonna - an ordinary sleepover with your best friend turns into anything but ordinary, thanks to your ridiculously loud neighbors above you.

Lineage (M, S, 6.7k) - @kosmosguk - When an engagement locks you, the 8th and forgotten princess, to the duke infamous for his cruelty, you find yourself counting the days until your inevitable death. It’s terrifying to think of your end, but when you arrive at his territory, you realize there’s a more morbid reason behind your marriage, and that the duke is much worse than the rumors have painted him out to be.

Switching Places (F, 1.7k) - @ijungkooki - soulmate au where you switch places with your soulmate at random times

Jin:

Scopophilic Affection (M, F, 7.8k) - @bibbykins - Scopophilia is a more dignified way to define voyeurism, something Seokjin had no intention of partaking in until he came across your live stream. Seokjin is a dignified man, but never in his life had he felt so depraved watching you smile and work like it was his profession, unable to reach through the screen and make you his. Unable to tell you how much he loves to watch you because you have no idea you’re live stream even exists. He can’t tell you how hypnotizing you are without the glaring controversy of him watching your hacked-into webcam, both as a human and director in the computer science division of the company he is a board member of. Nevertheless, you were his very guilty utmost pleasure. 

Jungkook:

Shadow (2.2k) - @yoonologue - Shadow has been on the run her whole life. Her survival depended on her keeping her mouth shut and staying hidden. If she didn't then she would be captured and used as a pawn to do their bidding. But it seemed that her heart did not seem to understand that. She had never been able to ignore a person in need. She never had a problem before, but it seems that her luck had run out. Now she was left with scraped hands and unconscious boy that was too nosy for his own good.

Asterismos (A, F, S, 7.1k) - @hobiance - As far as you’re concerned, things like magic, prophecies, and fate are nothing more than fairytales. But when you accidentally bind your soul to a mysterious amulet you found at an antique shop, a group of seven warriors from a magical world inform you that you now hold the key to saving them all. The fate of the realm Elodia now rests in your hands, and you realize that you couldn’t have been more wrong.

Sweets (F, 4.2k) - @worldwidemochiguy - in which jungkook steals your lip balm and perfume instead of talking to you, you leave a post-it note with your number on it for the strange thief who only seems to take the most inexplicable items and has a strange sense of responsibility for your wellbeing, and the cute boy in your photography class with the fluffy hair and the oversized sweater keeps getting more and more endearing… , includes yandere themes

Pen Pal (A, 5.3k) - @chinkbihh - As a lonely person, the idea of exchanging letters with someone apart from society was actually quite appealing to you.  In a random act of charity and desperation, you sign up for a pen pal and get paired up with an inmate named Jungkook.  The letters were meant to help him cope with prison life, but little did anyone know it was actually driving him more mad., includes yandere themes

Quarter Quell (11.2k) - @chinkbihh - includes yandere themes, you are selected as a tribute for the next quarter quell (hunger games au), the volunteer from district two seems to have an unhealthy obsession with you

Haunted (A, S, 14.1k) - @mint-yooxgi - you move into a new house without knowing it’s already occupied, includes yandere themes, ghost! jungkook

ATEEZ:

OT8:

All Eyes On Me (S, A, F, 3.5k) - @atiny-piratequeen - member x member, not an x reader, yeosang focused, Yeosang is a very shy man. Everyone knows this.But he’s fed up of his shyness and insecurities being the reason he’s left out of sexual activities from the others. He wants them to look at him like they look at each other

Mingi:

Two is Better Than One (ft. Yunho) (S, F, 4.2k) - @mingishoe - a threesome with your boyfriend sub! Yunho and dom! Mingi

Yunho:

Two is Better Than One (ft. Mingi) (S, F, 4.2k) - @mingishoe - a threesome with your boyfriend sub! Yunho and dom! Mingi

Bassists Do It Deeper (S, 6.3k) - @luvteez - while using what you thought was your brother’s laptop you find a search history full of exhibitionism, only to find out you’ve been using one belonging to Yunho, the newest bandmate and your childhood enemy

Shower Sex (ft. Seonghwa) (S) - @atothetiny - after a long day at work you decide to join your boyfriend in the shower

San:

First Time With San (S, F, 3.5k) - @call-me-bha -  Choi San, recognized as sex on legs among fans, was exactly-if not more- truthful to his reputation, and you quickly discovered that from the beginning of your relationship with him. In fact, you were about to find out about how much that name was made for him.

Seonghwa:

Truth or Dare (ft. Jaehyun and Johnny from NCT) (S, 6.2k) - @domjaehyun - playing truth or dare with your boyfriend and two guys you’ve hooked up with in the past when they propose a different kind of game

Focus (S) - @yeosangs-horizon - you and seonghwa try cockwarming in the study room, includes a little size kink

Shower Sex (ft. Yunho) (S) - @atothetiny - after a long day at work, you decide to join. your boyfriend in the shower

Yeosang:

Listen (F, 3k) - @mingishoe - You can hear every song your soulmate does, yours just happens to listen to the same song on repeat… for days.

Wooyoung:

Talkative (S) - @needyateez - when your car dies you’re forced to accept help from your enemy, Wooyoung, however things turn a different way than either of you were expecting

Hongjoong:

Miss (S) - @mingi-baby - sub hongjoong calling you miss

[primrose-path-of-dalliance]

on bren and feeblemind.

(cw: lots of caleb backstory. self-explanatory, i think?)

.

.

this isn’t something i’ve talked about on my blog yet, but since the campaign has begun drawing to a close, i want to make sure i say my piece on the popular theory that bren/caleb was institutionalized because trent ikithon feebleminded him to disable him.

my piece being that it’s exceptionally unlikely he did—at least as a premeditated plan. this kind of theory also falls prey to the exact beliefs ikithon has tried to exploit in caleb.

for our mutual reference, i’ll quote the spell description of feeblemind.

FEEBLEMIND (PHB) 8th level enchantment

Casting time: 1 action Range: 150 feet Components: VSM (a handful of clay, crystal, glass, or mineral spheres) Duration: Instantaneous

You blast the mind of a creature that you can see within range, attempting to shatter its intellect and personality. The target takes 4d6 psychic damage and must make an Intelligence saving throw.

On a failed save, the creature’s Intelligence and Charisma scores become 1. The creature can’t cast spells, activate magic items, understand language, or communicate in any intelligible way. The creature can, however, identify its friends, follow them, and even protect them.

At the end of every 30 days, the creature can repeat its saving throw against this spell. If it succeeds on its saving throw, the spell ends. The spell can also be ended by Greater Restoration, Heal, or Wish.

considering the characteristics described and implied by actors other than ikithon—caleb and astrid prominently—who are not motivated to deceive on ikithon’s behalf, feeblemind is not consistent with caleb’s mental break.

fact the first: when bren broke, he became violent and spellcasted.

when astrid describes the circumstances in which he was taken to the vergessen sanatorium (e89, 1:49:30), she refers to his lashing out as “creat[ing] a lot of sparks everywhere else” and rubs at burn scars across her neck. she says that they had to subdue him because he was too dangerous. all of these statements add up to a bren who was viciously spellcasting at his friends and mentor when he broke down.

this wouldn’t have been possible if he’d been feebleminded. feeblemind explicitly prevents the affected creature from casting spells or activating magic items. in that scenario, the only thing bren would’ve been capable of is throwing hands. from him? not very dangerous at all.

how do we know astrid wasn’t lying or intentionally deceptive? because she (and eadwulf) still cares so much for caleb that she risked her life multiple times to aid him. no one who would give caleb a map to a secret volstrucker vault with her own handwriting on it (e127, 29:29; and 30:57)—or intentionally fail to counterspell him when ikithon could’ve seen her do so—would lie to caleb about ikithon attempting to permanently feeblemind him if she knew.

to preempt the idea that astrid had set the m9 up: it’s very obvious she didn’t, since trent ikithon had clearly had no forewarning of a break-in. he would’ve at least been waiting in the vault, already prepared to subdue them quickly, if he’d known.

so it’s fair to determine that astrid would either be honest to the extent of her knowledge to caleb or make it clear that she couldn’t answer him. since she didn’t imply the latter, we can assume she was being honest. and because of astrid’s competence, it’s highly probable she would’ve noticed if his behavior was symptomatic of feeblemind over the years.

fact the second: bren’s mental condition repeatedly improved and regressed while he was institutionalized.

astrid states this in the same conversation about their subduing him after his breakdown (e89, 1:50:50). considering this with the context of their romantic relationship prior to his breakdown, her genuine care for him, and her rise to power that included accompanying ikithon frequently to the sanatorium (e127, 31:07)—astrid would’ve had the motivation and the opportunities to visit bren in person. she could’ve also kept well-abreast of his condition.

actual times of improvement and decline in the mental state that astrid first observed during his breakdown wouldn’t be consistent with feeblemind. although it reduces the victim’s intelligence score to 1, they still retain thought and their sense of identity without problems.

this is a maintenance of consistency and (relative) reason. feeblemind does not actually damage a person’s basic perception of reality. but the health of bren’s behavior throughout the years was instead very unstable.

fact the third: caleb doesn’t remember anything from the burning of his home up to his healing by the unknown cleric.

in the conversation with astrid in e89, he asks her what happened when he broke and explicitly says, “the last thing i remember is my home” (1:46:58). when he first tells beau and nott about his past, he explains that he doesn’t remember much of what happened to him there (e18, 2:51:54).

beyond the reduction to their intelligence, feeblemind doesn’t affect the victim’s ability to form memories. caleb’s keen mind feat and established narrative element of his eidetic memory would’ve still been present as well. therefore, feeblemind alone can’t explain such a significant, near-empty gap in his memory. he would still remember something.

even the possibility of trent ikithon altering them directly is precluded by the fact that the cleric’s healing removed the alterations to caleb’s memory. if all those years had been magically blocked away, they’d have returned when he was healed of everything else.

fact the fourth: sometimes, people really do just break.

nothing about caleb’s backstory is inconsistent with just... being a person living their life, even a terrible one. he was a young man that believed so zealously in his country and his purpose, abused by a powerful older man, that he did many horrible things and believed they were right. until finally he did something that he couldn’t process and broke down.

there’s two reoccurring, underlying assumptions i’ve noticed behind why this theory seems to be so compelling and popular:

caleb just seems so remorseful and traumatized by his double patricide. there’s no way he would’ve willingly murdered his parents. ikithon must have known and decided to preempt his inevitable betrayal.

everything we know about bren, especially from the horse’s own mouth, suggests that he had been willing (at least up until his mental break) to murder his parents. he was literally an extreme nationalist—a fascist, if you will. he was lawful evil (twitter source). he gratefully executed many “criminals” put in front of him, more than likely by burning them to death based on his ptsd. victims whom we now understand may not have been guilty of anything at all.

he was glad to do what he thought was best for the dwendalian empire, and he truly thought being volstrucker was the correct path. trent ikithon, his abuser, treated him as his favorite (e110, 3:30:58). because he believed.

that fervent faith, in fact, is the key to something like his breakdown in the first place. hearing the dying screams of his parents, bren was forced to confront a violent dissonance between his radical beliefs that condemned traitors (as he believed until the cleric’s healing) and the intuitive horror of murdering his parents that he couldn’t reconcile. this fathomless sense of betrayal is why caleb so deeply despised ikithon and himself.

a young evocation wizard who didn’t want his parents dead would’ve run into that burning house, feebleminded or not. someone magically compelled to set that fire would’ve understood what happened as soon as the charm left him and would definitely remember every detail once the cleric healed him.

caleb is remorseful and traumatized because he willingly murdered his parents. as well as many others.

it can’t be that simple. caleb was institutionalized for eleven years just because his abuser pushed him too far? there must be a more nefarious reason. ikithon even said he basically stored him for later.

putting aside the fact that bren having a breakdown in the way he did makes complete sense for his situation, ikithon’s “claim” that he orchestrated all of caleb’s subsequent years is not only something he never actually says (e110, 3:16:34)—it is a claim that’s patently absurd.

i’ve written meta that discusses this in the past (link here). essentially though, the number of moving pieces and assumptions that would be needed for such a series of events is ridiculously improbable. even assuming that ikithon feebleminded him—so that caleb’s mind would be intact when he ‘woke up’—even assuming that ikithon somehow procured the service of a cleric of the archeart—a banned deity in the empire that would oppose ikithon...

why in the world would he ever reasonably believe that caleb widogast, the man he viciously betrayed and lied to and abused, would do anything to benefit ikithon?

trent ikithon is a mortal man. he has power, yes; enchantment magic, authority, and a history of abuse and manipulation over caleb’s head, yes. but ikithon is a mortal man. not a puppeteer in the sky piloting people’s bodies.

he certainly wouldn’t have led caleb to a whole new family that would change everything about his life for the better. a family that would love him, truly—a family that would help him heal, bear the weight of his guilt, and find a real future waiting for him again instead of a self-destructive end. a family that would fight tooth and nail for caleb’s sake against ikithon.

abusers lie. their biggest lie, the one they always circle back to in the end, is that their victim is unique: that there is something which makes them deserving of abuse, and that their abuser is both right and inescapable.

ikithon is read as honest because he chooses his words carefully and has the self-confidence to believe it. everything he’s claimed about caleb and his past have either been implications that he encouraged others to reach for him or platitudes empty of everything except gaslighting intent.

caleb has escaped. and everything ikithon wants is to convince caleb and his friends that he continues to control caleb’s life, that caleb is special, so he can regain some influence over a man who’s come to command so much power.

the idea that caleb must’ve been feebleminded—that he couldn’t have just had a mental breakdown like so many other prospective volstrucker before miraculously, then strenuously, recovering to create a hopeful future for himself—falls into the trap of validating ikithon’s lies.

trent ikithon didn’t see and believe in caleb’s ‘full potential’ before anyone else did. he didn’t foresee a single ounce of the man’s struggle to put himself back together after what he suffered. caleb was not institutionalized to serve as a toy to one day pull back out of the closet. there was no feeblemind or other secretive plan that could only serve to obfuscate the brutal truth:

ikithon abused a boy until he shattered, and tried to hide the evidence. a crime that he’s committed against countless other children. plain and simple.

so that’s my piece.

caleb widogast—bren ermendrud—was not the victim of a premeditated feeblemind from ikithon, based on the mechanics of the spell. even more importantly, the narrative of his and ikithon’s stories would suffer if he was.

now,

A LOGICAL POSSIBILITY I WON’T DENY.

what if ikithon feebleminded him as a method to subdue him after the breakdown?

this is more or less an alternate theory that’s irrelevant to the points i actually wanted to make. but i want to talk about it anyway because it’s kind of fun.

fact the bonus: bren spent eleven years in the sanatorium.

eleven years is a long time. he would’ve been able to save every 30 days after the initial failed save. the exandrian calendar has about eleven 30-day periods every year. assuming a feeblemind spell cast on him just prior to his institutionalization, that’s somewhere around 121 possible save attempts, give or take a few.

what’s the likelihood of him actually saving? to go through the mechanics:

normally, feeblemind reduces a person’s intelligence score to 1, modifier -5. caleb, as a variant human, possessed the feat keen mind from the beginning both mechanically and story-wise. this would make his intelligence score 2, modifier -4, even after feeblemind.

as a level 1-2 wizard, he would’ve had proficiency in intelligence saves. this would be +2 to his save.

in total, the modifier to bren’s intelligence saves would be -2.

in order to cast feeblemind, trent ikithon would have to have been a minimum level 15 wizard. this leaves two possible proficiency bonuses to determine his spell save dc: +5 or +6.

it’s probably safe to assume that his intelligence score is at least 18–20, likely 20. this would be a modifier of +4 or +5. (his intelligence could be 22+ if matt wanted to be a real dick, but let’s assume otherwise.)

spell save dc = 8 + spellcasting score mod (for wizards, this is intelligence) + proficiency bonus.

this means trent ikithon’s possible spell save dc is somewhere from 17–19.

therefore:

at minimum—17 being ikithon as a level 15–16 wizard with an intelligence score of 18–19 at the time of casting—bren would have to roll a 19 or nat 20 to make the save with his -2 save modifier.

at a dc of 18—ikithon either being level 17–20 or having an intelligence score of 20, but not both—bren would have to roll a nat 20.

at a dc of 19(+), it would be impossible for bren to save without additional bonuses such as bless.

i don’t have the brainpower to calculate some real statistical probabilities, but depending on your opinion of trent ikithon’s probable capabilities at the time of bren’s mental break, he may have been able to save against feeblemind sometime during the eleven years he spent at the sanatorium.

naturally, this has the earlier-mentioned conundrum of remembering that return of clarity once he was healed by the cleric, should ikithon have been retrieved to recast the feeblemind and altered his memories. nevertheless, it may or may not be a fun thought to play around with.

[chipper9906]

Maybe

WARNING: SPOILERS FOR LOKI SEASON 01 EPISODE 05: ‘JOURNEY INTO MYSTERY’ AND SEASON 01 EPISODE 04: ‘THE NEXUS EVENT’

Pairings: Loki/Sylvie

Rating: General Audiences

Word Count: 4,124 

Status: One Shot - Complete

Chapter Preview:

He had meant for it to come out more as a question, an offering. A possibility for the both of them. But what it really sounded like was a… well; a sincere, hope-filled attempt to keep hold of… this. Whatever this was, he knew he wanted it. However things went, he knew-

He wanted Sylvie in his life.

His heart was racing in his chest, pounding almost as hard as it does in the midst of battle. In the unlikely event he’s a free man after all of this over, he’ll have to go and find his brother - if he’ll even talk to him, that is - and apologize for the harsh insult he used; for berating his older brother over his affection for that Earth woman.

He understood now.

Link To Fic

OR

Click Below To Keep Reading

Author Note: 

Oh Boy, here I go again, getting sucked into yet another ship. Basically, this is a dive into Loki's thoughts during the blanket scene in Episode 5 "Journey Into Mystery" because man, I sure do love getting into a character's head and breaking down their thought process.

P.S. No joke, I think I re-watched the blanket scene like... over 40 times I counted, roughly. Wanted to make sure I got every detail right lmao.

Oh wow, would you look at that - yet ANOTHER fic based on the blanket scene? I'm sure this hasn't been done by many different people ever since Episode 5 aired! Nah, I'm sure this is purely original stuff.

(Listen, this scene and - consequently - this fic got stuck in my head and I just had to write it down and... well here we are.

* * *

This was, as he had said, new for him.

It was… strange, to say the least. Not just because the woman who was sat next to him was, technically, on some sort of level, himself. And yet… not. Sylvie was her own person, that was for sure. And the only Loki, from who he’s met, who refuses to be called Loki. She had chosen her own name, and was currently choosing – or carving, was more accurate – her own path. A way out of the never-ending, self-sabotaging, “only use is for improving others” apparent destiny they’ve all found themselves in.

She had lived an entirely different life from him - and the use of the word ‘different’ here is strongly applied. It makes him a little uneasy when he dwells on it for too long if he’s being honest with himself. Yes, there may some similarities between them, as to be expected, but Sylvie had lived her own set of experiences different to his. Differences that had shaped her, made her see the world… universe… timeline? All of that, in a different way to him. Learning of the things she had gone through, what she’s trying to accomplish… it made his “glorious purpose” of ruling over “Mid-guard” seem like a spoiled boy's desperate attempt to feel important.

Everything with Sylvie and the TVA had shut down that ideal very quickly. Or, at least, has changed his view of his “Glorious Purpose”. The one change that he hadn’t seen coming, that Sylvie herself had told him; the very first words she had actually said to him:

“This isn’t about you.”

No, it wasn’t about him. Not just him, anyway. It was… it was all of him. Every version of himself out there, and every other variant of... Of everyone to have ever existed. Those, just like him, who are punished for stepping out of their pre-written timeline. Those that, when they try to change themselves, to be the person who those that loved him did everything in their power to guide them to be, were snatched away by the TVA and sent here to this pit of unwanted, broken things; left with nothing but unforgiving and dirty survival, only to lead to their inevitable death. 

And it’s cold.

“Mobius isn’t so bad.”

Sylvie breaks the comfortable lull of silence they had found themselves in. They were, technically, supposed to be ironing out the details of this plan to enchant a creature much, much larger than them, whose only desire is to eat everything that enters the world they’re currently in. Which is why, perhaps, they had taken the moment to just… breathe. A moment of rest, side by side. Whilst it was true that his plan of killing the gargantuan cloud thing was near suicidal, it would be fair to say that Sylvie’s plan was equally as dangerous. Then again, what did he expect? Seemed that every type of Loki out there isn’t the best at creating plans…

“Or so good,” Loki counters. It seemed almost cruel to say, but… it was also true, wasn’t it? Sure, Mobius had done the things he’d done because he thought they were the right things to do – but that didn’t take away from the fact that he’d done them. How many variants, not only of him, but of so many other poor souls had been doomed to this place because of his work? Still, it wasn’t like Mobius had the full picture with everything. Mobius had been lied to just as much as he had. “I think that’s why we get along.”

A small smile pulls at Sylvie’s lips. She takes a deep breath in, staring out to the horizon where Alioth awaits prowling his territory. “He cares about you.”

That catches him off guard. He supposed that she and Mobius must have had some type of conversation in however long they’d spent driving to reach them. Apparently, the topic of conversation must have steered towards him at some point. And somehow, through that, Sylvie had deduced that Mobius… cared about him?

There’s a soft, knowing smile on Sylvie’s face as she catches sight of his reaction. It was probably the closest similarity they shared: friendships… didn’t quite seem to happen for them. 

But there’s something else there in Sylvie’s expression as she looks to him. Almost a twinge of… of sadness. It sends an aching sort of pain through his chest as he sees it, coming to a sudden realization in his head. He knew that, deep down, the reason for his own loneliness was all due to himself. He knows now that there were plenty in his life that loved him, that always treated him like family even when, genetically, he wasn’t. But he had been blinded by jealousy and hatred, hatred that they had kept the secret of his true nature quiet for so long. It was because of this; this stubbornness and this selfish, false ideal that he deserves more, that he had made himself alone. 

But Sylvie…? She had been well and truly alone. From such a young age, an age where his mother had barely begun teaching him the basics of magic, she had been snatched away from her life. Everything she ever knew and loved had been wiped away, the timeline dumped here just like everything else the TVA – or whoever the hell is actually in charge of the damn universe and its multiple timelines – decided was too much of a threat. Ever since then, from that very same day she had managed to escape their clutches, she had been running alone. All those years, fighting to survive, completely alone, existing in one apocalypse after the other. Even if she did try and interact with the people in those timelines, what would be the point? They were doomed to die, anyway… 

Her words echo in his head for a moment, her sad smile seemingly etched into his memory. A part of him, that strangely soft side he didn’t know existed that had been growing stronger and stronger these past few days, burst with the need to do something, to remove the pain she was feeling. For just a split second, he nearly gives into it. He nearly says the words that were forcing their way to the forefront of his brain. 

‘I care about you.’

But the words stay safely locked away in his head. Sylvie looks away from him, and the moment passes. He didn’t know if she had been expecting for him to say anything, and he certainly didn’t know what it is she might have thought he would say. His mind clambers for something, for anything to try and bring the moment back.

A strong gust of cool wind blows over them, sending chills across his pale skin - despite the long-sleeved shirt he was wearing. He knew that, if he really wanted to warm himself up, he could shift into his true form. Except, he didn’t see it as his true form. He has been an Asgardian as long as he can remember, and for all intents and purpose, this is who he’s meant to be. He is the son of Odin, son of Frigga, brother to Thor, an Asgardian, and he’s proud of that. 

And that’s when the idea pops into his head.

“It’s cold,” Loki states the obvious to Sylvie with a shiver of his upper body, glancing over to try and catch her reaction out of the corner of his eye. For a moment, he wonders if Sylvie has the same views on their true heritage as he does, considering that, in her timeline, she was told she was adopted much earlier than he was. 

She doesn’t mention anything about it, though. Instead, she simply agrees with his statement with a hum of “Mmm-Hmm,” but it’s exactly the kind of answer he’s looking for.

From the outside, it looks like an easy twirl of his fingers and a burst of lime-green light, but in reality, it’s years and years of practice, both by himself and… and with his mother. The weight of the blanket - though light - is comforting as it wraps around his shoulders; silky smooth to the touch and of a darker green than the light of his their magic. 

The burst of color gets Sylvie’s attention, looking over to Loki again to see the new blanket he had materialized out of seemingly thin air - which… he did. 

“I could conjure one for you, if you like?” Loki offers.

Sylvie smiles for just a split second, enough for Loki to believe that she might just say yes. But then her nose scrunches as she comes back to herself, and the belief is gone. “Tell you what, you could conjure me a new outfit,” Sylvie says off-handedly, pulling at the tight collar of her outfit. “You have no idea how uncomfortable something like this is.”

It’s a deflection. He knows that all too well, because… because it’s something he’d do. Not that he can blame her in the slightest. As he had said, just before he was pruned through the heart and sent here - this was entirely new for him. Sure, he had had his fair share of flings back home. Rare occasions when he would give in to temptations, let himself experience a slice of normality. But it was never real. He did not doubt that those that fell into his bed did not do so because they felt a connection, or saw a future. And neither did he. He was a prince, a God, and for most, saying you were able to seduce a prince was an achievement. And for him? Well, it was an easy means to an end, he supposed. 

But this? This felt real. It was strange, it was something he had never experience before, and quite frankly, it scared the ever-living God’s out of him. So sure, he knew how to flirt… somewhat. But with this, with Sylvie? Everything was different, and he had no clue whatsoever what he should do.

“So…” Sylvie breaks him out of his thoughts. “Mobius, and his theory about…”

Oh. Well, he certainly hadn’t been expecting for the conversation to go there. Really, he had thought she might try and pretend to have never heard what Mobius had said. 

“Right, right. About our Nexus event-,”

“Total rubbish, right?”

He’d be lying if he said that didn’t sting a little bit. “Absolutely,” ‘Liar’, a voice in his head hisses. “Of course, I mean-,”

“I don’t mean that it wasn’t a nice moment,” Sylvie hurries to say, and it lessens that sting just a little bit. 

“No, it was great! It was really nice.”

“It just… sounds like another TVA lie.”

Which... Yes, when he thinks about it, could you easily have been a lie. Not that he thinks that Mobius would lie to them about this, no, but that someone else within the TVA had fed Mobius the lie. For what reason, he's not entirely sure. To throw them off the scent perhaps? Keep them from figuring out what can really cause a Nexus Event so powerful that it could conceivably take the TVA down. 

Or, perhaps they just enjoyed lying. More than him even - and that's saying something. 

"A hundred percent. I mean totally, yeah."

And oh, what was this? Loki tries to meet her eye, expecting her to nod her head vehemently in agreement to his statement. But... She won't look at him. She gives a somewhat strained-looking smile, more like a grimace than anything, and if he looks hard enough - by which he means projects his own feelings onto Sylvie and hopes she feels the same - he could almost imagine there was a flicker of disappointment there, too. 

"I don't know how to do this," Sylvie says, an admission he didn't expect. She looks about as awkward as he feels, eyes fixated on her fingers as she plays with them. 

"I don't even know what we're doing," Loki returns, and dear oh dear did he genuinely mean that. One moment he thinks he should take that step, say something, anything. And then the very next moment it becomes the wrong time, the wrong thing to say, and he's back to square one. 

It was frustrating, to say the least.

"I don't have friends," Sylvie carries on, and it's another dagger through the heart. Yet another thing that was so similar, yet so, so different. He had been given so many opportunities for companionship, for friends, but he repeatedly threw them all away. But Sylvie? She wasn't even given the chance. She truly had-

"I don't have..." Sylvie trails off, a long gap where she struggles to find the right word to use. Her eyes had locked onto his, and he knew that nothing less than Alioth appearing right above their heads would get him to tear his eyes away.

"... Anyone." 

"Well, there are more important things, right?" Loki desperately grasps for something to wipe away the blank, dejected look that was etched onto her features. 

"Right? Yeah, like bringing down the TVA." 

For once, one of his plans was going well. "Saving the universe, even."

"Well, there's no need to be dramatic - but yeah, kind of!" 

Then there it was again - a particularly strong breeze pushing up to the little hill they were sat on. Sylvie gives a little shiver as it washes over them, a barely noticeable shuffle in an attempt to get warm, and Loki jumps at the opportunity. 

It only takes one small adjustment, a brief push of magic, and then the blanket is growing, wrapping itself around Sylvie's shoulders in a motion so smooth, you'd think he'd done something like this hundreds of times before. Loki smiles gently to her when she notices the change, and his smile only grows more as Sylvie pulls the blanket tighter around her shoulders, shuffling closer to him by just the smallest of movements. Yet another plan he could now say was a success. 

"It's not very snuggly."

Or, maybe not. "Okay," Loki manages to get out through a surprised laugh, but he does get some sort of gratification in seeing her smile at his response. 

"Is it a tablecloth?" 

"No, it's a blanket," Loki finds himself strangely defending his materialized choice of cloth. 

There’s a pause, the quickest of glances up to him. He sees a brief flash of pink as she pokes out the tip of her tongue between her lips, wetting them as she struggles to get out her next words. “Thank you.”

Loki gets a strange feeling she doesn’t get to say that all too often. Whether that be because she chooses not to, or because she’s never had the opportunity to. When was the last time someone did something nice for her…?

“My pleasure.”

Sure, this was all new, and all types of scary. But, as he sat here, shoulder to shoulder with Sylvie, looking out to the dreary yet oddly beautiful landscape scattered with remnants from pruned timelines, he can't help but feel that this moment right here? It was… nice. Despite the TVA, despite Alioth, despite the fear of imminent death he’s had to live through nearly every moment since the Tesseract flung him into that desert in Mongolia, he had managed to find himself some semblance of peace. 

And it was because of the person next to him.

“How do I know that, in the final moments, you won't betray me?”

Now, this was a conversation he had been expecting. How can he not? It seemed that nearly every single person he’s ever come across, who he hasn’t immediately tried to murder, wonders the exact same thing. The ‘inevitable’ betrayal every Loki seems incapable not to carry out. 

And he couldn’t blame them, just as he can’t blame Sylvie for wondering the same thing. Really, he had thought the whole reason she had wanted this moment to talk to him was to have this very conversation. It was… it was something he had thought about himself, ever since being dragged in by the TVA. It was Mobius that had shown him his consistent deceitful nature - quite literally, by showing him film of every moment in his life where his flair for dramatics and affiliation for backstabbing was apparently used for ‘the bettering of others’. 

It had become deeply ingrained into his nature. It became what he was known for, what his family knew him for. He supposed it gave him some sense of… satisfaction, perhaps? A false sense of security, that he always has the upper hand when need be. It was almost like a trial, opportunities to prove to himself that, when the time comes, he can do what it takes to claim what he, false-fully, felt he was owed. He was certain that the only path to being a rightful ruler was one filled with betrayal. 

And now, after only a few days with Mobius - and an even shorter amount of days with Sylvie, his previous ambition he’s been working towards for so long suddenly wasn’t as important. Things had changed. 

He had changed. 

And that was part of the reason the TVA wanted him dead. 

“Listen, Sylvie, I…” Loki starts, but then stops. He sighs deeply, wanting to find the best way to get this across to her. He needed her to understand. “I betrayed everyone who ever loved me. I betrayed my father, my brother… my home.”

He at least had her full attention now. No more awkward glances at one another, unable to maintain more than a few seconds of eye contact. This was important, and they both knew it. “I know what I did. And I know why I did it. And that’s not who I am anymore. Okay?”

There’s nothing on her face that he can read, nothing that says whether she believes him or not. She had been expecting him to say this, he supposed. “I won't let you down,” Loki says, and he says it like a promise - one he fully intends to keep. 

“You sure?” Sylvie asks, and he nods his head straight away in response. “ ‘Cause if we make it, and the TVA is gone, there might be a timeline for you to rule.” Sylvie continues with a challenging - yet slightly teasing- narrowing of her eyes. 

“Ah,” Loki says wistfully, looking out to the horizon as if dreaming of such an event. “And then I’d finally be happy.”

Except, he wouldn’t. He only has to look at his older self to know that. The only one of himself that had beaten the one event that’s supposed to define their lives. He had tricked the mad titan himself, found himself a little corner of the universe to live out his life in peace. No more people he has to challenge, no more opportunities for betrayal - by him, or to him. 

And he looked… miserable. 

Now, though? Right here and now, he wasn’t miserable. He certainly wasn’t relaxed, that was for sure, but far from miserable. He had ended his little exclamation with a rare smile that wasn’t a smirk - or forced- and miraculously, Sylvie returned one just as wide as his; wide enough even for him to see the little laughter lines crinkling at the corner of her eyes.

“What about you?” Loki asks. “What will you do when this is all over?”

Sylvie takes a moment to think, tucking an unruly strand of hair away from her face. “I don’t know.”

He couldn’t even begin to try and put himself in her shoes. Sylvie had spent… hundreds, perhaps even a thousand years of her life just running. Surviving. Doing whatever it takes to make sure she wasn’t wiped off the board by some mystery figure, or group, that had deemed her too dangerous to the timeline. And for what? Some kind of sick desire to have control over every single living thing in every type of Universe to ever exist?

Which… which sounded an awful lot like himself, now he thought about it. Maybe whoever was in charge of the TVA was another variant of himself…

“I don’t know either,” Loki said, and that added to the tally of growing truths he was admitting to people - perhaps the most in his life. 

At some point, this all had to be over. Whether… whether it ends in his death once again, another defeat by a power-hungry being, or with their victory. No more TVA. No more pruning of variants. No more control. Sure, Sylvie had made that joke about him ruling a separate timeline, but… what would he do once this was all over, assuming her survives it? What did he want to do?

What does he want? 

‘Look at your eyes! You like her!’

‘What?’

‘You like her! Does she like you?’

‘Was she pruned-’

‘No wonder you have no clue what caused the Nexus Event on Lamentis; both of you are swooning over each other!’

‘Tell me the truth-’

‘It’s the apocalypse! Two Variants of the same being, especially you, forming this sick, twisted romantic relationship - that’s pure chaos! That could break reality, it’s breaking my reality right now! What an incredible, seismic narcissist - you fell for yourself!’

‘Her name was Sylvie’.

Mobius had truly tricked him there. At least now he knew how cruel it was to be on the other side of such a bluff, he supposed. He had always prided himself on his acting abilities, his innate way of lying to others. Yet, apparently, when it came to Sylvie… he puts his full emotions on display. He had become too overcome with emotions at the mere thought of Mobius telling the truth, that Sylvie was well and truly gone, and he had snapped. He was…

Yes… That was the word. 

He was heartbroken. 

‘You conniving, craven, pathetic worm. I hope you know you deserve to be alone and you always will be.’

‘Do you really think you deserve to be alone?’

‘I don’t know.’

‘Well then you better figure it out quick, because the Nexus Event the two of you caused, whatever that connection is, can bring this whole place down.’

Maybe, just maybe… Mobius was onto something there. Maybe Sif, even in that small, once insignificant memory buried in his mind, was wrong. 

Maybe he didn’t deserve to be alone.

Maybe he didn’t have to be. 

“Maybe…” The words get caught in his throat, spoken softer than he intended to. He involuntary finds himself leaning closer to Sylvie, to the warmth radiating from her, trapped within the blanket wrapped around them. “Maybe we could figure it out... together.”

He had meant for it to come out more as a question, an offering. A possibility for the both of them. But what it really sounded like was a… well; a sincere, hope-filled attempt to keep hold of… this. Whatever this was, he knew he wanted it. However things went, he knew-

He wanted Sylvie in his life. 

His heart was racing in his chest, pounding almost as hard as it does in the midst of battle. In the unlikely event he’s a free man after all of this over, he’ll have to go and find his brother - if he’ll even talk to him, that is - and apologize for the harsh insult he used; for berating his older brother over his affection for that Earth woman. 

He understood now. 

He almost misses the slightest of reactions as Sylvie looks up to him - and what he knows is an earnest, vulnerable glaze in his eyes. It’s the smallest of things, almost impossible to see, but there’s a slight pull to the corner of her lips as she looks to him. Almost as if she was fighting back a smile at his proposition. 

“Maybe,” She whispers back to him, just as quiet and tender as his own words. It’s not a yes, not in the way his frantically racing heart was hoping to hear, but it was a start. It was Sylvie’s own returning of a proposition, her own olive branch. The possibility he had given that she was extending right back to him. 

Maybe. 

Maybe.

Maybe.

Yes… Maybe they’d survive this. Maybe he and Sylvie would bring down the tyrant who oversees ‘the sacred timeline’. Maybe he’ll find Mobius again, alive and well, having turned the entirety of the TVA’s workforce against the organization they devoted their lives to, and burn it to the ground. 

Maybe Sylvie will let him stay by her side. 

Maybe, he’ll carve that new path in his life - with Sylvie’s intertwined with his.

Maybe he’ll find that new Glorious Purpose.

Maybe he won’t be alone. 

Maybe he’ll be happy. 

Maybe…

You know what? He was starting to like that word. 

[therealsaintscully]

Mary and butterflies - the inevitability of death, murderous calling cards and collectors

Some ramblings with links to other people’s excellent meta, in which I suggest that butterflies (and/or moths) symbolize Mary as Moriarty’s reincarnation and or calling card, while also hint at her inevitable death.

Disclaimers: credits are below the cut. I’m not an expert in any of these topics. Thank you, @thewatsonbeekeepers​​ for the beta. In this post I’ll be using moths and butterflies interchangeably, apologies to any entomologists.

Mary’s appearance in the show brings with it new imagery we haven’t seen prior to The Empty Hearse - butterflies. Once Mary’s in the picture, there are butterflies in some very strategic locations, all are either visually or subtextually leading to her. The show has done that previous to season 3; Moriarty is connected to some well established symbols like magpies, apples and IOUs. 

When I first started reading meta I used to think these themes were a bit of a stretch, but I’ve since accepted  that this is a show that puts barely noticeable phoenixes in a restaurant scene that shows us Sherlock rising from his death.

Here are some of the butterflies I spotted so far:

Butterflies (and in the case of this piece of meta, moth) symbolize most commonly resurrection, change and renewal. Behind the symbolism stands the transformation of a small, ungainly creature into something full-grown and unbound. In that case, in the simplest way, one could argue that butterflies were chosen to symbolize her because the ‘Mary Morstan’ persona was a stillborn’s identity that was stolen and used ‘reborn’ to create a new person.

But more than this simplistic idea; butterflies carry multiple symbolisms. When it comes to Sherlock, I and many others tend to look at Victorian symbolism, considering the detective’s Victorian roots. 

I find the appearance of butterflies interesting in Mary’s context, much like I find the skull interesting in Sherlock’s. The skulls, in Sherlock’s case, serve plenty of purposes, but one of them is the idea of memento mori.

Memento mori (Latin for 'remember that you [have to] die') is an artistic or symbolic reminder of the inevitability of death. These are representations that can appear in any form of art such as paintings, literature, poetry etc. It’s a concept that existed in many ancient cultures but is also deeply rooted in early Christianity. It serves to remind people of the inevitable; that even if we choose to ignore it, not think about it, it’s always there lurking, and the purpose is not to scare us but to encourage us to make good use of our time when we’re alive. Memento mori was the philosophy of reflecting on your own death as a form of spiritual improvement, and rejecting earthly vanities.

Victorians were obsessed with the concept (weren’t Victorians obsessed with everything?). They would take photographs of the dead and keep locks of hair of those who died in mourning brooches. It is said that they found these practices comforting. 

Another expression of the ‘remember that you must die’ concept was vanitas art;  vanitas is a symbolic work of art showing the transience of life, the futility of pleasure, and the certainty of death. The Latin noun vanitas (from the Latin adjective vanus 'empty') means 'emptiness', 'futility', or 'worthlessness', the traditional Christian view being that earthly goods and pursuits are transient and worthless. It alludes to Ecclesiastes 1:2; 12:8, where vanitas translates the Hebrew word hevel (הבל), which also includes the concept of transitoriness. 

This concept reminds me, most especially, of the skull used in The Abominable Bride, which is actually Charles Allen Gilbert's 'All is Vanity' Illusion art.

Back to butterflies - butterflies are a staple component of vanitas art - paintings executed in the vanitas style were meant to remind viewers of the transience of life, the futility of pleasure, and the certainty of death. They also provided a moral justification for painting attractive objects - in a way, it’s a justification for the vanity, or the human need of enjoyment of beautiful things.  Below is a vanitas by Jan Sanders van Hemessen:

But butterflies are also considered an omen of death: 

“Butterflies and moths were associated with death, sometimes merely as omens, sometimes as the soul or ghost.” These butterfly omens came in many ways.  For example, in the nineteenth century United States, some people thought that a trio of butterflies was an omen of death.” [x]

Oh.

But I also think there’s more to the butterfly symbolism than Mary’s imminent death; I suggest that, in keeping with @loudest-subtext-in-tv​ M-Theory (suggesting that Mary was planted in John’s life by Moriarty), they symbolize Mary as Moriarty reincarnated following his death in TRF. That Moriarty had indeed not disappointed Sherlock - there was a posthumous game after all! That Sherlock was supposed to understand that while one form of Moriarty died on that roof, another had emerged, continuing the mission of burning Sherlock’s heart. Mary is Moriarty’s calling card, left behind in the crime scene. They’re different, but not separate, which is why Sherlock is so obsessed with Moriarty between HLV-T6T; he’s both wrong and correct at the same time.

So far, what I’ve suggested is that in Sherlock, skulls are Sherlock’s symbolic memento mori - the skulls are associated with Sherlock in some very significant ways. 

However, Mary’s character was doomed from the start - she dies during Sherlock’s hiatus in ACD canon. I believe many fans assumed Sherlock’s Mary expected the same fate when she was introduced to the show. Although the story of Samarra is told by Sherlock, who expects his own death in T6T, Mary is the one who ends up dying. 

Butterflies in ACD canon

Searching for the significance of butterflies in the ACD and BBC canon led me to a number of interesting directions in meta written by others. 

The first and probably the best place to start is this meta post by @tendergingergirl​​, which I strongly suggest you read in full: Butterflies, Sexual Deviancy & The Bloodline Theory in The Hound of The Baskervilles. 

Stapleton also has a hobby. He collects bugs…Butterflies, to be exact. This can often be seen as purely academic, but depending on the actions of the hobbyist, they can indicate more disturbing things. That of holding something vulnerable captive, treating it as your hostage, pinning it down. The torture of animals has come to be a good indicator of someone who would do this to a human. He had already shown callousness by laughing as he recounts to Holmes of ponies wandering onto the Moor, becoming trapped, and dying. In 1974, there was a release of a new edition of Sherlock Holmes stories, with the forward of The Hound of The Baskervilles written by British author, John Fowles. He is responsible for several well-known works, including The French Lieutenant’s Wife. Another, was a novel that Mason finds himself wondering why Fowles doesn’t mention in his introduction, since the villain is such a close parallel to Stapleton.(but as we have learned through the study of ACD, most writers will not come right out and say where they got their inspiration. They like for you to guess!)

A lonely young man, works as a clerk, and collects butterflies, becomes obsessed with a pretty young girl, Miranda, an art student. He chloroforms, and kidnaps her, taking her to his cellar basement, to add Miranda to his collection. That book was called The Collector. But what else does it sound like?

“So yes, I googled. From an article on the release of the movie’s Documentary. "The docu proves a poor reference point for anyone who wants to understand the literary and movie links for “Lambs.” There’s no mention, for example, of how Harris partly based the butterfly-loving Bill on John Fowles’ kidnapper in “The Collector” …And here I thought Mofftiss added allusions to Silence of The Lambs into Sherlock just for fun. SMH.”

@tendergingergirl�� also added this photo to their post:

So what we have here is a chain of metatextualities/inspiration, starting with ACD’s THOB, where Jack Stapelton inspires a book about a disturbed butterfly collector (The Collector by John Fowles), which inspires a the author of Silence of the Lambs in creation of his character Buffalo Bill, a serial murderer who inserts a death's head moth into the victim's throat because he is fascinated by the insect's metamorphosis. Silence of the Lambs served as inspiration for Sherlock  as analyzed by @garkgatiss​ in Bond, Hannibal, and Holmes (I suggest you read the whole Hannibal section) . 

Let’s look again at some imagery from His Last Vow. Mary shoots Sherlock’s heart, essentially burning his heart out, and who does Sherlock meet in his Mind Palace in a very cocoon-like straightjacket? Yes, the dead dude who encourages him to die already (“one more push, and off you pop”).

What’s the next thing we as an audience see once Sherlock opens his eyes? Mary coming to the hospital to hear that Sherlock had, in fact, survived. And what is she wearing? Her butterfly scarf, one which will another appearance later in the episode, during the tarmac scene.

I also find it interesting that in the context of Sherlock and Silence of the Lamb, there’s an element of gender-switching between Moriarty and Mary. Buffalo Bill, the murderer from Silence of the Lambs, skins bodies of women to create himself a woman’s 'suit’; in Sherlock, Moriarty is a man-villain who transforms into a female-villain in the form of a bride and/or Mary. 

By the way, who else is obsessed with his suits?

Also, let’s not forget the worms, maggots and other such crawlers in the grave scene:

Now, let’s go over some of the photos I included in the beginning of this post a bit further.

Mrs. Hudson’s butterfly tea set is first shown in TEH - she uses it to serve John tea when he comes visiting her and tellis her about Mary. We also see it near John’s chair on the day of the wedding. This isn’t Sherlock’s set - his set is different, featuring the British Isles. Moriarty drinks from it in TRF. The next tea set we see, now that Moriarty is dead, is the butterflies one. In TLD, Mrs. Hudson uses Sherlock’s tea set - the butterflies are gone.

Mary’s bedroom wallpaper is very feminine, with flowers and butterflies, both complementing symbols while also very common in vanitas art. Much like Mrs. Hudson’s wallpaper in Baker Street, Mary’s wallpaper is supposed to show the contrast between Mary’s flat/Mary and Sherlock’s flat/Sherlock.

There’s an interesting moth reference in The Empty Hearse, which in my opinion, is Mary & Moriarty related. In short, in a previous piece of meta I wrote, I suggested that the Jack the Ripper case in TEH is subtext alluding to Mary’s skeletons, which Sherlock ignores because he’s upset by his reception by John. And what’s one of the first things Sherlock notices about the skeleton? New mothballs smell, hinting at an attempt to get rid of moth/butterflies - maybe a hint to  the fact that Sherlock has a chance to discover the truth about Mary but misses it. Also, in the context of Mary and the Jack the Ripper case, notice this transition:

Transitions are important on Sherlock - they’re nearly always there to draw our attention.

This, I think, is perhaps the most telling about a possible connection between Mary and Moriarty: we have both magpies (a Moriarty hint) and butterflies together here. This isn’t the only hint of Mary’s past we get in the wedding; there is, after all, the telegram from CAM.

Mary’s scarf is colorful, and it appears by the time Sherlock’s subconscious suspects Mary. Mary’s black butterfly dress - an ominous dress, I’d say - is the one she wears during the labour scene in the car. The third photo is a behind the scenes photo uploaded by Amanda Abbington, although I’m unsure whether this necklace is AA’s or Mary’s (but I couldn’t pass on including this).

Interestingly, the butterflies do not appear in Rosie’s context - either because it’s a telling sign that Mary won’t be with us much longer, or because Rosie is spared being considered a part of the ‘burning Sherlock’s heart’ plan. Sherlock, on the surface, seems to love Rosie and accepts her.

Also, another BTS photograph I came across during my research which I’ve never seen before and ties nicely to the vanity topic is this one (found here):

The Death's-head hawkmoth and ‘Death with Interruptions’

You’ll recall that I referenced The Collector and Silence of the Lambs, both featuring butterflies on their cover art. 

The Silence of the Lambs cover features Acherontia atropos, otherwise known as the death's-head hawkmoth. It gets its name from the sinister-looking skull shape on its back. In many cultures it is thought to be an omen of death. In a bit of another coincidental but stunning piece of symbolism, all three species of the Death's-head hawkmoth are commonly observed raiding beehives of different species of honey bee; A. atropos only invades colonies of the well-known western honey bee, Apis mellifera, and feeds on both nectar and honey. They can move about in hives without being disturbed because they mimic the scent of the bees and are not recognised as intruders.

Anyway, the use of Acherontia atropos reminded me of the book ‘Death with Interruptions’ by Jose Saramago. Interestingly, this is another book about a deathly collector with a butterfly on the cover:

In Death with Interruptions death is a woman, and she falls in love with one of her future victims. She decides to spare his life: Every time death sends him his letter [notifying him of his imminent death], it gets returned. death discovers that, without reason, this man has mistakenly not been killed. Although originally intending merely to analyse this man and discover why he is unique, death eventually becomes infatuated with him, so much so that she takes on human form to meet him. Upon visiting the cellist, she plans to personally give him the letter; instead, she falls in love with him, and, by doing so, she becomes even more human-like.

It’s pretty common to read theories about Mary who maybe was one of the assassins due to kill John both at the pool and in front of Barts. So we have a death harbinger trying to kill someone twice and failing. She then falls in love with him.

But how does the butterfly fit in?

Well, at some point in the story, death (that’s her name, sans a capital d), contemplates that using the death head butterfly, instead of a violet piece of paper, would have sent a much stronger message to those whose death is coming for.

And here’s another last bit of coincidental reference to Sherlock: I’d argue shades of purple, among them shades of violet, are associated with Mary and her secrets. There’s the purple dress she wears in TEH, her bridesmaids’ dresses include various shades of purple (including what I would argue was a violet sash) and let’s not forget:

Oh and, by the way, remember the song Donde Estas, Yolanda from TEH, about a woman called Yolanda? Always thought it was a bit of an odd choice for a song?

Yolanda is a female given name, of Greek origin, meaning Violet.

:)

Thoughts?

Credits: thank you @lukessense​ for directing me to @tendergingergirl​ meta about butterflies. Episode screenshots are from kissthemgoodbye.net.

@sarahthecoat​  @tjlcisthenewsexy​ @devoursjohnlock​ @inevitably-johnlocked​ @shylockgnomes​ @possiblyimbiassed​ @raggedyblue​ @ebaeschnbliah​ @gosherlocked​ @waitedforgarridebs​ @helloliriels​ 

[tricketyboo2020]

Spooky Season approaches!

We hope that all you big spooky fans are having a good summer, and that you're as excited to get spooky as we at Trickety-Boo are! October is fast approaching, and the time has come to put out the prompts for our Trick-or-Treat!

What’s the Trick-or-Treat again?

The Trick-or-Treat is us knocking at your door and asking for all your sweetest and spookiest seasonally-appropriate Good Omens works! We’re sharing the prompt list now for you to get inspired by (below the “read more” for your scrolling convenience). You can use these prompts to create your lovely fic or art OR you can come up with your own! Either way, submit the final product to us starting at the beginning of October and we’ll share them with the world!

A complete list of the prompts, including who to tag if you fill them and desired spookiness ratings, can also be found on this google doc. We were unable to include these in the list below because Tumblr.

You can find more details on the Trick-or-Treat page on our blog! Please see the About and FAQ pages for more information on this event as a whole, including a guide on how to appropriately tag your works. 

Prompts:

CONTENT WARNINGS for murder (incl. serial killers), supernatural horror

SFW Prompts

A day in the life of Eric the Disposable Demon

Adam accidentally makes everyone’s costumes real. Angel, demon and antichrist scramble to fix everything.

Aziraphale tries candy making and gets creative with it.

Bones

Chattering Nuns Convent Haunted House

Clue Not-AU. Post Canon (slight preference for show, but book is great too), Airaphale and Crowley are invited to a murder mystery weekend at an old manor with secret passages. It’s supposed to be fun & games, but then people start actually dying. Bonus points for as many actual Clue things (weapons, rooms, characters) as you can incorporate.

creaky hallway

discovering the existence of emoji spells

Dog’s Halloween Costume

Due to a curse leveled at him during the 14th century, every Halloween Crowley is stuck as a snake for 24 hours. Aziraphale has no idea, and Crowley would like to keep it that way…but the universe has other plans.

Making or putting up Halloween decorations together

rude notes

Scary demon/angel summoning. Aziraphale or Crowley get summoned by people who want to hurt/kill them. The other rescues. Hurt/Comfort ensues.

Scooby Doo AU

Scooby Doo Crossover! I’d love to see Aziraphale and Crowley end up in the Scooby Doo world somehow and have to work with Mystery Inc. (The other way could also work, I suppose, but I like this one a bit better.) No Scrappy Doo, please.

Silly Demon/Angel summoning. Aziraphale or Crowley gets summoned to a Halloween party. The people who summoned him didn’t expect it to work. The other comes & “rescues” the summoned one and they may or may not stay for the party.

The Dalby Spook, also known as Gef the Talking Mongoose, was an animal apparition on the Isle of Man in the 1930s. Someone gets sent to deal with this really very harmless mongoose demon who’s just living with this family

the devil’s mahjong game

The Them’s Halloween party/night trick-or-treating

the widow’s long walk

Witchery lessons with Anathema

Zombies in Soho

Any Rating Prompts

A crossover with the horror game Bendy and the Ink Machine

A Wild Hunt has been called and Crowley just KNOWS Aziraphale will inevitably get tangled up in it. Now he has to save his angelic counterpart from the fae’s court, no matter how much of a liking they’ve taken to his angel.

After Adam’s reset of world some unreal things Adam thought were true now ARE. including some urban legends. Some of them very dangerous ones that need to be dealt with by A & C. And this is how they end up parked in the Bentley on lovers lane trying to find a guy with a hook hand. Wait, this legend requires them to make out! …. Oh well, yes, definitely have to kiss to lure that monster out. That’s why they’re kissing. Definitely. Unless…

Aziraphale falls in love with a storybook monster.

Aziraphale is a skeptic in all things supernatural. His (demon) boyfriend Crowley prefers it that way. If only the meddling witch would stop trying to expose him and the rest of the supernatural forces.

Aziraphale is possessed by an evil spirit and Crowley must save him.

Aziraphale is the (surprisingly friendly) Victorian ghost haunting Crowley’s new mansion

Carving jack-o-lanterns

Creepypasta format story (like a found footage or witness statement kind of thing)

Cursed

Demonic attempt to travel via the internet goes horribly wrong and get stuck in a streaming horror movie. Can’t get out til the end… If they make it to the end without being discorporated. Could go either very funny or really terrifying for demon not familiar with humanity

Eyes in the dark

Falling to the influence of dangerous/beastly instincts.

Ghost AU

Halloween is the one day the points of good or bad don’t matter, so it’s Heaven and Hell’s day off

Heaven/Hell have a hostile masquerade party. Oh, no, our outfits match too much. We’re definitely, absolutely enemies!

Killing time

Murder at the Dowling Estate

Nun/Vampire or a lost villager in a forest meets a myth creature

Samhain celebration

Scary movie marathon

True form is scary (either angelic or demonic)

Trying to learn the Time Warp choreography from the Rocky Horror Picture Show

NSFW Prompts

“Oh no, due to mysterious and unforseen circumstances I’m lost in the woods in this fancy outfit, and the only place nearby is the castle that everyone says is inhabited by a Very Sexy Vamipre, whatever shall I do??”

Aziraphale is Death and Crowley is the serial killer who keeps murdering to catch a glimpse of the ethereal being he fell in love with.

Sexy costumes (or “sexy” costumes)

Serial Killers AU: Aziraphale is a novice who’s just drawn his first blood. Crowley catches him in the act and aims to teach him to not get so sloppy.

[saltoftheplanet]

Your basement in Nibelheim: Unpacking the new themes of Final Fantasy VII Remake 

The story told by Final Fantasy VII Remake is a reconfigured one. It tweaks, adds, and cuts the original's narrative in ways that seem designed to bring something new and unanticipated to the experience. However, these alterations are neither random nor incidental. They follow deliberate themes and patterns in the same way a completely original story might. Though not as readily perceptible, the Remake has a coherent outlook that it expresses most clearly through changes to the original narrative. All of its major changes are expressions of internally consistent concerns, albeit ones that differ dramatically from the original’s. By examining the principles underlying those narrative changes, we can understand the thematic axis along which they have been made and the message the Remake ultimately expresses.

Spoilers for everything follow.

Good guys good, bad guys bad

The first major narrative change appears at the end of the first chapter. At the culmination of Avalanche's mission to bomb the Sector One reactor, we see Shinra was actually responsible for the subsequent massive explosion that claimed many lives. The bomb brought by Avalanche was several orders of magnitude smaller, only enough to destroy a few pipes. 

In the original game, the opening bombing mission serves as a moral orientation to the world, and as a keystone event by which that morality will later be re-evaluated. Avalanche examines the justness of their actions as early as a couple hours in and is confronted about them directly as late as forty hours onward. The moral ambiguity they express is echoed in many situations and characters in between, from the conflict between Dyne and Barret, the addition of Shinra kidnapper Cait Sith to the cast of heroes, and your frequent run-ins with the openly amoral but otherwise amicable Turks. The cast is a self-interested one and the world they navigate is tangled, often without a clear or righteous path forward. 

In the Remake, Avalanche is never made aware that they aren't culpable for the explosion of the Sector 1 reactor. In fact, they agonize far more about the loss of life they are no longer in any way responsible for. In doing so, they enact a kind of moral pageantry - we as players have already been assured of their innocence and each time they question themselves, we are only further reassured that our heroes are fundamentally good. The world of the Remake is morally uncomplicated, and any character it expects you to extend sympathy towards will voice their conscience clearly, up to and including the Turks before they drop the Sector 7 plate.

The corollary is that the villains have become morally uncomplicated. They no longer have any need for the sort of rumination that is regularly employed to reassert that the good guys are good. Sephiroth illustrates this with particular clarity. In the original game, Sephiroth is morally reprehensible but easy to understand and empathize with because we participated in the reflective journey of self-discovery that ultimately made him a monster. His turn toward annihilation is the highly motivated result of coming face to face with the truth about the impact Shinra has had on his life - in other words, roughly the same thing that drives the cast of heroes. 

He also expresses his goals in the same terms as Avalanche, orienting his actions around the hypothetical good of the Planet. There is an implicit condemnation of Avalanche's heroism embedded in Sephiroth, who clearly understands himself to be righteous. As the primary antagonist, Sephiroth is the most fleshed out, but most of the villains with any degree of screen time illustrate their own complexities. The shallowest among them, President Shinra, is summarily killed off in the opening act.

But the Remake is not a morally murky world, and neither is it's incarnation of Sephiroth. His motives are either inarticulate or entirely absent as he appears throughout the story at regular intervals to menace Cloud for menacing's sake. Evil is now one of his innate qualities, the same as President Shinra’s, and adding purpose to his actions will only muddy the waters. While Tifa wrings her hands over the harm she may be inflicting by turning off Sector 4's sun lamps - a surely temporary measure - Sephiroth antagonizes Cloud for no reason in particular. Shinra's newfound culpability for Avalanche's bombing has similarly flimsy and inconsequential motivation. Ultimately, nobody's reason really matters; the point is simply to display their moral character, which is always exactly as we anticipate it. 

Cloud may flirt with selling his friends out for gil and Barret may wish to kill President Shinra, but neither will follow through because they are Good, as solidified by their intention. Even Cait Sith appears to sorrowfully witness the plate dropping, thus absolving Reeve for his complicity by proxy. Bad outcomes are the result of bad actors with bad intentions. The good guys may feel conflicted and responsible, but no harm can truly come from them. Otherwise, what's the point of bad guys?

Sadness is unnatural

The point of bad guys, if you're wondering, is to bring harm, suffering and loss.

The penultimate boss of the Remake is an incarnation of the Arbiters of Fate, a newly introduced concept. Ghostlike beings known as Whispers appear regularly throughout the story, often during familiar scenes from the original game, interfering with events to keep them "on track." Before the main cast squares off against their ultimate manifestation, Aerith and Red XIII explain that the Remake's Planet is one with a fixed destiny, and these creatures are its enforcers.

"But this isn't how it's supposed to be," Aerith tells us, which is the point to their presence in the first place.

Over the course of the Remake, it becomes apparent that she anticipates certain plot points of the original game, and in particular her own death. This is a point that Cloud seems to remember, albeit vaguely, as well. The implication of the Whisper's presence and Aerith's dialogue about defeating them to "put things right" supposes that the original game's most famously sorrowful moment was the product of interlopers, working on behalf of fate. 

To be clear, destiny is not the point of the Whispers. The point of them is that they create outcomes, and the undesirable ones can be changed through their defeat. This is further underscored by the ending of the game following their defeat, in which we see Zack, Biggs, Wedge and Jessie's deaths undone.

Final Fantasy VII was a game very informed by loss and uncertainty. Aerith's death is memetic for how shocking it was, yes, but in its original context the shock comes from the suddenness and permanence of the loss. More sorrow follows, as Cloud breaks down completely and Meteor is summoned. It hangs in the sky over the last act, the physical manifestation of a pall that Aerith's death cast over the game. Even as we approach resolution, the game underscores the uncertainty of life as one of its key themes - no one can be sure whether Holy will work or not, and if it does, what effect it might have on humanity as a whole. Mortality is a neutral and inescapable fact of life.

The sad things that happened in Final Fantasy VII largely did not happen because a being or force made them happen. The most attributable tragedy is Aerith's death by Sephiroth's sword, but her death was unique in the broader media landscape in that it's purpose was not to rally the heroes against the villain. It was to convey the suddenness and pointlessness of the death of a loved one - how abrupt and unjust it is to lose someone. Hollywood-style farewell speeches were deliberately eschewed for a more realistic and sobering finality. Cloud's emotional reaction and Aerith's funeral are the focal points of the scenes that follow. 

When things happen for a reason in Final Fantasy VII, the long arm of consequence is usually at play. Most tragedies in the game, including those wrought by Sephiroth, trace their origins back to the Shinra Electric Power Company. There is no fixed destiny, only the culmination of callous decisions made in hubris, greed and self-interest. All suffering wrought by Shinra pays dividends, but the only organizing point to it is that inhumanity and cruelty are self-perpetuating cycles, all the more difficult to escape once you are caught up in the pain of them. Thus, learning to deal with the pains of life truthfully and gracefully is a vital endeavour. Their ability to do so is ultimately what marks Avalanche as the heroes of this story. 

The Remake does not believe in the random cruelties of the universe and is not much interested in depicting them either. Death is a markedly different affair. When it happens to Biggs and Jessie, neither can be sent off without a farewell speech delivered against stirring strings. The people in the Sector 7 slums largely escape their pointlessly cruel death. Aerith's death is reconceptualized from a tragedy to a universal wrong needing to be righted, something that never could have happened if things had gone the way that they were supposed to. Loss and sorrow and suffering are not a part of the natural fabric of this universe, but aberrations visited upon it by external actors.

This is why it all must be "put right" by bringing back Zack, Biggs, Wedge and Jessie, and by implicitly averting Aerith's death. Suffering can be avoided through direct physical confrontation with whoever bears the blame. Obviously this means Sephiroth, who is actually responsible for Aerith’s death and has no other narrative reason to fight you, but it also means the Whispers.  The concept of Fate is a stand-in for your prior intuitive understanding that Aerith and Zack’s death are integral and unassailable parts of the story Final Fantasy VII was trying to tell. Loss is not so inevitable after all.

It's all about you

Of course, there is another dimension to Aerith's impassioned plea to defeat fate and set things right.

The Whispers aren't an emotionally engaging concept. The rough idea of destiny doesn't really make for good table stakes. Their meaning is only revealed at the eleventh hour, so why should you care whether or not the events of the universe are on the rails when none of the driving action in the past 45 hours has suggested you should? The answer, of course, is that you've played this game before.

The glimpses of a predetermined future and the sadness that must be defeated aren't really concerns of the characters - the "future" that needs to be defeated is in your memory. This game was written for returning players almost exclusively. Sephiroth's every appearance and the Whispers every interference hang on your foreknowledge of what is about to happen. The climax of this game is a confrontation with the most culturally enduring feeling it inspired. Namely, sadness - and sadness at Aerith's death in particular, one that fans begged for an aversion to in the many years that followed.

In one of the most memorable sequences of the original Final Fantasy VII, we're given an up-close view of Sephiroth's becoming as he transitions before our eyes from ally to villain. What happens to Sephiroth is often colloquially described as a break from reality but is better understood as a deliberate reordering. Faced with a reality he can't accept, Sephiroth reconfigures his perception of the world. His new worldview places himself and Jenova at the center, where good and evil are stark black and white and he has no more need of pain. His role is to be the chosen hero, so what is there to be sad about? Later, the same Nibelheim basement provides the site for Cloud to forget himself and undergo his own reconstruction of identity.

The world of the Remake has undergone a similar reconfiguration, but it's not Sephiroth at the center - it's you. The Remake is an incarnation of Final Fantasy VII adjusted to accommodate your hazy memories of it. But no such project can truly tailor itself to the particular and personal memories and experiences of someone engaging with a story for the first time. It engages instead with the cultural memory - evident in the emphasis on rectifying Aerith and Zack's deaths - and rounds out the rest with one key assumption about who you were when you first encountered Final Fantasy VII.

Specifically, that you were a child.

That you remember the good guys being good, the bad guys being bad and the sad parts being sad. The complexities and nuances beyond those points were difficult to grasp. To include them in the Remake would be to transgress upon your memory of the original story. The clear political and philosophical voice of the original might feel intrusive and awkward now that you are old enough to meaningfully disagree with it. The Remake wants to surprise you, but not disrupt you. "Nostalgia" is usually the word people reach for but I think even more apt in this case is "comfort."

The Remake is a comfort game, and as you sit in your proverbial basement and devour it, it tries to tell you what it thinks you want to hear. It supposes that your memory of the original, however detailed, is emotionally and intellectually straightforward, and aims to remake its story from that memory rather than from the meaning of the original game.

Engaging directly with the player's hypothetical and emotionally charged memory is the culmination of the Remake’s first episode of the Remake because it is the point of that episode. Built on acknowledging and reinforcing the memory of the player, the game naturally ends differently. The childish memories of the player is the primary concern of the Remake, and the finale naturally rearranges itself into a tacit promise to fulfill equally naive dreams that never came true in the original.

Illusions of Nibelheim

The net result is that the Final Fantasy VII Remake tells a story with a very different meaning and focal point than Final Fantasy VII, and in fact an often antithetical one. This is not surprising, as their philosophical foundations differ vastly. Where Final Fantasy VII was concerned with human mortality, changing identity and locating ourselves in a broader environment, the Remake is concerned with reflection and personal recollection, and in particular how those reflections are distributed across two very different points in time (time - a theme we are likely to see plenty of as the Remake saga continues on). The original looks outward, and the Remake looks inward.

The striking difference between the two calls to mind another of Sephiroth’s scenes in the original, the one that forms the cloth from which his every appearance in the Remake has been cut. Taunting Cloud and Tifa, he conjures an illusory burning Nibelheim and confronts their faulty memory of the events that transpired there. Sephiroth’s point is this: “What I’ve shown you is reality. What you remember, that is the illusion.”

It’s an illustrative example of the gulf in meaning between two works we once believed were intended to tell the same story. In the Remake, memory is the foundation of reality. In Final Fantasy VII, memory is precious, but deeply unreliable, and never preferable to truth. 

[arlingtonpark]

SNK 138 Review

The moral of this chapter is that the rumbling is all Mikasa’s fault. #truth. 

Mikasa loves Eren. She loves, loves, loves him.

Eren’s family brought her into their home and they became her new family. Eren wrapped a scarf around her, and she never forgot that. Mikasa wanted to live a quiet, peaceful life with Eren, and nothing would stop that from coming true.

No matter how many times that suicidal blockhead got into trouble, she’d bail him out. Bullies, titans, warriors. On the street or on the battlefield.

She’s indulged Eren’s pursuit of freedom, but she’s always kept her eyes on what was always on the horizon: a mountain cottage with just her and Eren. Basically her old life but with her new family this time.

It’s what she’s always wanted. It was her wish.

But she failed.

This time, Eren went too far. In multiple meanings of that phrase.

Eren is easily the worse thing to ever happen to humanity. Like, maybe a giant asteroid hitting the planet would be worse, but idk. We saw there were many survivors, but it’s genuinely a question if human civilization can bounce back from this.

The human death toll is only the tip of the iceberg. Food and shelter will be hard to come by. Vital infrastructure is destroyed, so shipping emergency supplies into damaged areas will be impossible. Not just food, but medicine and materials to rebuild. The rumbling also probably ruined a lot of farmland, so there won’t be any food for a long time no matter what. Now consider the environment Eren caused. Many habitats were probably crushed, which means there is a mass dying off of animal life to come. And on and on, deeper and deeper into the abyss.

The whole planet is screwed.

Oh, yeah, and he killed most of his friends.

Not even Mikasa can save Eren from all this.

Mikasa has always clung to the hope of a simple life with Eren, but what she realizes in that vision she has is that there is no hope. Her dreams are dead.

I’ve been very critical of Mikasa for being slow to realize that. She just wasn’t making any progress with accepting Eren needed to die. Every single time it was brought up that they had to kill Eren, Mikasa would react like it’s the first time she’s heard it. Every discussion of that need seemed to bounce right off her.

There was no progress, and as a reader, that was so frustrating. She couldn’t accept it right until the last second. I was so sure Isayama was setting up a scenario where Mikasa failed to let Eren go at the moment of truth, and then she would be the one to get killed.

(Dark? Yeah, but the Earth is ruined, so why the fuck not?)

How Mikasa comes to let go of Eren and her dreams was so beautifully done that I honestly think it makes up for all the thick-headedness we got from her up until now.

The takeaway from Mikasa’s vision is that it’s not real. It’s not her reality. She could have told Eren how she really felt back then, but she didn’t and it’s too late to take it back.

Arguably, it was too late even before they joined the military. Eren’s death was guaranteed when he gained the Attack Titan. Living alone with Eren was always going to last a handful of years.

I think that’s what Mikasa realizes in this sequence. This world where she essentially gets what she wants is not her world. It’s not even a memory she can cherish. It’s what she wants, but cannot have now.

It’s a long dream.

(As far as Mikasa is concerned)

I don’t actually know what this vision is supposed to be exactly. Maybe it’s an alternate reality or a previous reality (ie a timeloop). Maybe Mikasa is seeing this because of Eren or maybe it’s her ackerblood. That can be explained later, but for now, it doesn’t matter.

The point is that Mikasa’s life is cruel, and she needs to focus on what little, minor, insignificant parts of it are beautiful.

It would have been easy to kill Eren in righteous fury. He harmed and killed so many people. I for one am glad he’s dead, and I hope he burns in hell. And I don’t think anyone would’ve been surprised if Mikasa killed him with horrified tears in her eyes. But that’s not what happened.

She killed him with a smile on her face. She killed him as an act of love. I think a big part of why Eren made so many people suffer is that he himself was suffering. The way he saw it, so long as people existed outside the walls, he couldn’t be free, and so long as he wasn’t free, he would struggle endlessly until the day he died. He would never know peace.

That doesn’t make him worthy of anyone’s sympathy, but it does make Mikasa’s slaying of him an act of kindness.

In hindsight, Mikasa was always going to be the one to kill him. She was the only one who’s killing of Eren could be reasonably presented as an act of love.

At last Mikasa has returned Eren’s favor: she wrapped the scarf around him. Just as Eren ended her suffering by taking her in, Mikasa has ended Eren’s suffering by taking his life.

Instead of thinking of all the harm Eren’s caused, Mikasa chose to think of the good he did.

Eren did wrap the scarf around her. What he’s done since does not diminish that kindness. In the time they knew each other, they were in it together, against the titans, and both enemies in the walls and outside it. And they cared about each other.

Is that petty compared to all the people Eren’s killed?

Yes, it is.

If you didn’t know him personally, that is. I’m willing to grant that Mikasa’s relationship with Eren makes her justified in having a unique perspective on him and his actions.

If this vision means anything, it means Eren loved her. What’s sad is that the closest Mikasa will ever get to experiencing that love is kissing his corpse.

But Mikasa isn’t abandoning Eren either. Like in Trost, she accepts that she cannot live with him, but pledges to live on regardless.  Eren tells Mikasa to forget about him because apparently he thinks that to move on from him, she has to reject him completely. She has to reject even the memories she has of him.

Mikasa refuses. She even puts the scarf on as she’s preparing to kill him. Like in Trost, she promises to remember Eren even as she moves on from him.

What makes this moment so much more powerful than the one in Trost is that this time Mikasa is the one killing Eren.

I think this chapter cements Mikasa as a person of profound emotional strength. Who among us could kill their loved one as an act of mercy and smile the whole way through?

Mikasa killed Eren out of love rather than vengefulness, and in doing so, she has broken the cycle of violence.

Hallelujah!

I guess.

Eren is dead, the rumbling is over, and most of the cast is dead too. Soooooooo…, where do we go from here?

The sequence with Mikasa was great, but taking a wider view of the story, I’m left wondering how Isayama is going to play the aftermath of this disaster.

Attack on Titan is not as hopeful a story as people think it is. “The world is cruel, but also beautiful.” I think people pay too much attention to the latter half of that quote. Yes, hope glimmers through the darkness, but that’s all it does. It glimmers. The light is still enveloped in darkness.

Just ask yourself: what are we supposed to make of all this?

The climax is over, but it’s basically a wash for everyone involved. Humanity survived, but will have to deal with famine and ruination for decades to come. Eren succeeded in crippling humanity, but failed to fully wipe them out. The Alliance saved humanity, but at the cost of not only their lives, but the lives of their loved ones, too.

There is nothing beautiful about this.

In the real world, violence and cruelty are not as common as Attack on Titan would have you believe. I think the series is smart on how it’s described people overcoming their animosity: everyone has a monster inside them and everyone needs to work hard to keep that monster in check. Unfortunately, the series vastly overestimates how powerful that monster is.

“I got the idea for Attack on Titan from a computer game. The whole universe was under attack from aliens. I thought if those monsters ate humans, that would be pretty interesting. The cruelty of man-eating titans. I think it came from my experience of growing up in a farm. As a child, I remember thinking ‘all living creatures must get nutrition from other living creatures to survive.’ We might call it cruel, but it is actually the norm.”

-Isayama, on his inspirations for Attack on Titan

Humans are not like animals. Human beings have created a complex web of sociopolitical and economic relationships called “society” which other animals do not have. Yes, humans commit violence because of a need they must have satisfied, similar to how an animal hunts for nutrition, but human needs are strongly affected by society.

What this means is that it is always possible to modify society so those needs can be met through less violent means.

Humans have a strong need for community. But nationalism isn’t the only way to express or satisfy that need. There are other outlets like sports or religion that can do the job. I’m not saying that Floch would’ve turned out alright if he’d gotten a hobby he could pal around with everyone with…well, actually, yes, that’s exactly what I’m saying.

Extremism is always a choice. It is never inevitable.

Attack on Titan acknowledges that people can do better individually, but I don’t think it’s ever acknowledged that herd mentality doesn’t always hold.

And no, I’m not counting the Marleyans at Ft. Salta as an example of that. They made peace with the Eldians en masse, but then Isayama, almost as if to mock the very idea of making amends, has the Eldians turn into titans and destroy the fort.

An ending where Eren outright wins was never going to happen. The laws of good storytelling required that he get a comeuppance for resorting to the rumbling. That didn’t mean the Alliance had to win.

After reading the chapter, I was left with an overwhelming sense of emptiness. No one really got what they wanted even though they all basically lost everything. I’m glad there’ll be one final chapter to sort it all out because it can’t end like this.

Eren committed the most despicable act imaginable; the Alliance acted bravely to stop him. The story can’t end with the Alliance no better off than him.

He was going to die no matter what, so the simple fact that he’s dead and (some) of the Alliance are alive isn’t much of a consolation.  

Even humanity being alive doesn’t really mean Eren failed. Paradis is self-sufficient and mostly intact. They can ride out whatever environmental blowback the rumbling causes with little trouble. Any leg up Paradis gets because of what Eren did is a victory for him.

Something more needs to happen that really sticks it to Eren. I don’t know what that could be, but next chapter will hopefully be the Eren POV we’ve been waiting for, so my fingers are crossed that Isayama will have something up his sleeve.

Remaining question marks include the worm thing, Historia’s baby, and the fallout from this possible timeloop reveal. All three of these plot points could easily be fumbled in the final chapter in a way that ruins the ending.

If Historia’s child is really born with titan powers, then they’ll die by age 13. It’s like being born with a crippling birth defect. Hooray?

As for Historia herself, what role did she play in Eren’s plan, really? Everyone’s assumed the details of her pregnancy have been obscured because it’s relevant to the main action of the story. Somehow.

It’d be really lame if she was just a passive bystander. If the pregnancy was only tenuously relevant to the rumbling.

One idea I’ve toyed with is that the final chapter will actually be Historia’s POV and we’ll learn Eren’s POV through her.

We still don’t know what else was said between Eren and Historia when they discussed his plans. That conversation was a critical juncture for Eren: he confided his plans in a friend and they came out strongly against it. Returning to that moment is a good opportunity for us to see what Eren really thinks and what’s really driving him. And that can be done through Historia’s perspective.

Everything about the worm thing is a mess and I wish Isayama had kept it out of the story. Like, yes, this thing is “the source of all organic life” as Kruger put it. It is the first complex lifeform to evolve on Earth and all living species are descended from it.

Why does it have supernatural powers?

The worm thing’s motivation has been described as being to simply propagate, which is to say it’s more a force of nature than an intelligent being acting on a cognitive thought.

Its actions are purely conative. It acts purposefully, but not out of intelligent thought, like how a hyena acts to obtain food for itself. It has a goal it strives to achieve, but not in the same way as humans do.

(The greatest tragedy in Attack on Titan is that this distinction is apparently lost on Isayama)

I don’t know how the worm thing will be dealt with; I just think it’s weird to introduce this thing as a late stage antagonist when it’s just an animal doing its thing.

Speaking of questionable, late stage additions to the story: all this timeloop business.

We’re really doing this now? In the second to last chapter???

This is like if episode ten of Madoka Magica was the last episode. What can the existence of a timeloop add to this story-that’s-already-over.

How did it start? By what means? To what end? What does this add to the characters and themes of SNK?

Everything about is just… ??????

If nothing else, I expect the final chapter to at least try and resolve these plot points.

Next chapter is the last. Ladies and gentlemen, our final moments together are upon us. It has been a privilege playing with you tonight.

[sm-pantheon]

SMPantheon AU Information

Greetings, Tumblrer. Can I interest you in my Dream SMP God AU? Yes? Great. Hope you like reading.

I should clarify, before we begin, that there is one rule in the Pantheon: and that is not to date those in other classes. This rule is often broken due to the enforcer's blatant biases, so some people get off scott-free. This rule doesn't apply to dating humans, however, because of the need for classic zeus-style, demigod-bearing hijinks.

THE TRINITY

The creators of the universe, the dreamons. Gods of Chaos. Two have been replaced so far.

Dream XD The creator, the father, the man...god...thing Himself. Yes, that H is capitalized. He was the first god to exist, and every heavenly being stems from Him in some way. He enjoys seeing people suffer. He loves George in secret, even if He hasn't yet reciprocated. He stripped Captain Puffy of some of her power because He deemed the God of Order to be getting in the way of His chaos. His mask has the XD emoticon on it, fittingly enough.

Dream The 'son' of the Trinity, and the enforcer of the love law. His position was once filled by Mexican Dream, before he was demoted for being a dumbass. He later demoted Mamacita for falling in love with Mexican Dream, because they weren't in the same God class anymore. He is notoriously biased and nepotistic with his enforcing. He's also an asshole. His mask has the :) emoticon on it.

Drista The 'holy spirit' of the Trinity. A child. She causes chaos wherever she goes, whether intentionally or not, which makes DXD very proud. Her position was once filled by Mamacita, before she was demoted. She often hangs out with the demigods, most often Tommy. Wherever she goes, hijinks ensue. He mask has the >;P emoticon on it.

GREATER GODS

The most powerful gods, besides the Trinity.

Philza The God of Freedom. A ruthless killer, but a pretty good father figure. He was the first non-Trinity god, and appropriately he matches up with their chaos. He is most notably the god who invented angels, and personally made the first one, Clara. A long time ago he fought with Awesamdude because of their conflicting symbols and won, demoting Sam to the rank of a regular God. His wife is Kristin, a (dead) human, but one time he had a fling with a refridgerator. Confusing times. His sons are Tommy, Tubbo, and Wilbur, and his grandson is Fundy.

Technoblade The God of Violence, often regarded as the 'Blood God'. He is a force to be reckoned with, and you can probably trace him back to every world war in some way. He has a more stoic and calm side, which only Philza and his family can bring out. He acts as sort of an uncle and brother to them, sometimes caring for the kids. He would rather die than have his own, though. He feels an attachment to his friend Ranboo's son, Michael, because they are both pigmen. He plans to train him when he grows hold enough. His pride and joy is the section of the underworld he invented, which is the section where sinners burn eternally.

Antfrost The God of Love. Currently he is taking refuge on earth with his boyfriend Velvet, who is the third archangel. He's never been very friendly with Dream, so it would be inevitable that he would be punished for loving Velvet. To avoid this, he fleed to a small town on earth. He has had a long-time rivalry with Ponk because of his innate hatred of cats.

Foolish Gamers The God of Creation. He is a master builder, and has built the temples of all the Gods. One day, Sapnap, the God of Destruction, challenged him to a fight, and whoever lost would be demoted. He accepted and won, which is why his equal is now lower on the totem pole than he is. He created the earth with Hannah at the command of the Trinity. His best friend is Eret. He often enlists the help of the rock nymph HBomb for help with terraforming and foundation building.

Karl Jacobs The God of Time. He can control time by slowing it down, speeding it up, pausing it, rewinding, etc. However, he is only allowed to use it when the Trinity gives permission. Usually, he just sits around and helps his "not fiancés", Quackity and Sapnap, with their work. He was born soon after Philza.

GODS

Averagely powerful gods.

Sapnap The God of Destruction. He was originally a greater god, but lost a fight to Foolish and gave some power up as a result. He is responsible in part for all the natural disasters of the world.

Awesamdude He was stripped of some of his power by Philza (with assistance from Techno, although he'd never admit it). He acts as a father figure to some of the younger heavenly beings. He created Sam Nook, an altered clone of himself, to be a Nanny for Philza's children. He now takes care of young Fundy and Michael. Loves Ponk in secret.

Badboyhalo The God of Purity. Cannot do wrong, after all he is the only person who actually is dating someone and is following the rule. Has a public record stating he has never sworn. He's highly devoted to his pursuit of holiness... and also Skeppy.

Skeppy The God of Fortune. After all, he's made of diamond. He's a goofball, especially around Bad. He's Bad's best friend/boy friend, B.B.F., as he would say!

Captain Puffy The God of Order. She has always had a rivalry with the Trinity for directly contradicting them with her existence. Because of this, her dates with Niki have to remain a secret, or else she'll be demoted again. Currently she's filling the paws of Antfrost as God of Love until he comes back, or a new heir is born.

Hannahxxrose The God of Nature. She mostly hangs out on Earth, tending to gardens worldwide, but she stays in heaven an ample amount too. She was literally born from Foolish's idea to create nature for earth, which she then assisted in plans for.

JSchlatt The God of Sin. He was originally a Greater God, but he had to be demoted so that the human race wouldn't be absolutely fucked. He's technically in charge of the Underworld, but he doesn't do jack shit down there. He's a raging alcoholic, and is always complaining about heart problems. His best friend is Minx.

Eret The God of Power. He isn't part nymph or anything, but the nymphs respect him and have crowned him as their king. He gladly accepts this role. His best friend is Foolish.

MINIGODS

Less powerful gods.

GeorgeNotFound The God of Beauty. He is fully aware that DXD is in love with him, but he doesn't want to reciprocate for fear of the rule. Still, he hasn't ratted him out... yet. He often hangs out with Sapnap, and he used to hang out with Dream, but he has become more distant as of late.

Mamacita The God of Justice. Also known as Girl Dream. She was removed from the Trinity for loving Mexican Dream after he was demoted. Since she and him still have a lot of power, they've been tasked with running the Underworld. Her mask has the :/ emoticon on it.

Mexican Dream The God of Death. Was removed from the Trinity for generally being a dumbass. He co-runs the Underworld with his Mamacita. He has also adopted Quackity as a twin. His mask has the ;] emoticon on it.

Quackity The God of Humor. He doesn't do a whole lot, just hangs out with his fiancés and his unofficial twin. An absolute jokester.

Slimecicle The God of Joy. A lovable goof who has never done a thing wrong in his life. He has a human wife, Grace, and his son is Connor. He skips around heaven a lot, and often hangs out with the angels.

Ranboo The God of Identity. He is *platonically* married to Tubbo (so Dream can't technically punish him!) He has a son, Michael, and he often hangs out with the demigods. He is considered the least powerful full god. He has a habit of forgetting things and also a habit of stealing all the gender from the other members of the Pantheon.

Niki Nihachu The God of Grace. She mainly takes care of the children along with Sam Nook, and hangs around the water nymphs. Her best friend is Sally.

Jack Manifold The God of Spirit. Previously nicknamed 'Thunder', he is an epic gamer lad. He famously invented 3D glasses and also Britain.

Ponk The God of Bravery. Has had an age-old rivalry with Antfrost because of his fear of cats for eons, and he is quite happy that he's gone. He has a strained love for Sam, which they have to keep secret. Only Sam has seen the rest of his face, under the mask.

DEMIGODS

Half gods, half humans. They are free to travel between earth and heaven.

Tommyinnit The youngest son of Philza and Kristin. A rambunctious teenager who is quite popular among the gods, especially Drista. Often flirts with the goddesses, and always says he has a crush on the Queen of England.

Tubbo The middle son of Philza and Kristin. A chaotic man-child and also goat boy. He is absouletly adored by the Trinity. He has a "platonic" husband, Ranboo, and a son, Michael.

Wilbur The eldest son of Philza and Kristin. A musical prodigy, who is an adult but doesn't quite act like one. He has a wife, Sally the water nymph, and a son, Fundy.

ConnorEatsPants The only son of Slimecicle and Grace. He is a massive sonic fan. If you asked life advice from him, he would tell you that the only problem with being faster than light is that you can only live in darkness.

SEMIGODS

Demigods, except it's not a 50/50 split between God and human. Other races can also be added.

Fundy The son of Wilbur and Sally. He is 25% God, 25% Human, and 50% water nymph, but most importantly, 100% furry.

Michael The son of Ranboo and Tubbo. 75% God and 25% human. He's good friends with Technoblade because of their shared pigman-ness.

NYMPHS

Mythical and elemental creatures.

Sally A water nymph. Married to Wilbur and the mother of Fundy.

HBomb A rock nymph. Often helps Foolish with his builds.

Alyssa An air nymph. She's been wandering around the outskirts of heaven for an eon with Callahan.

Callahan An air nymph. Wandering with Alyssa.

Minx A fire nymph. Best friends with Schlatt and Niki.

ANGELS

Heavenly servants.

Punz First archangel. He's currently the Trinity's bitch, but if you offered him enough money he would absolutely betray them.

Purpled Second archangel. He just follows Punz around and helps him with his tasks. He isn't very devoted to his job. He was the one who came up with the idea of space.

Red Velvet Third archangel. He has fleed heaven with his boyfriend Antfrost. He's working as a baker on earth.

Michael McChill Replacement third archangel. He was created out of a necessity for three archangels, and he isn't very well adjusted. He has no motivation and has only talked to Philza.

Vikkstar The guardian angel of all the demi/semigods. When he's not watching over them, he is hanging out with Lazar.

Lazarbeam The general of the heavenly guard. He slacks off very much, and often hangs out with Vikkstar. Aggravated easily.

Clara The first angel, and the most wise. She is seen as an oracle and is prayed to as frequently as the gods. She often hangs out in Tommy's dreams.

Sam Nook An altered copy of Sam, made to be a nanny to Tommy, Tubbo, and Wilbur. Now he takes care of young Fundy and Michael.

HUMANS

Just like you and me. Except some are dead.

Kristin Married to Philza and mother of Tommy, Tubbo, and Wilbur. When she died, Mamacita offered her a job as the Grim Reaper so that she could hang out with Phil more often.

Grace Married to Slimecicle and mother to Connor. Is the second Grim Reaper, alongside Kristin.

Ghostbur Human clone of Wilbur that Foolish accidentally made when fooling around with the demigods. Has since died and chills out in the animal sector with his sheep, Friend.

Lani Tubbo's sister from his old foster family on earth, who he lives near. Knows everything about everyone in the Pantheon, somehow.

Corpse Husband The janitor of the Underworld. Was a massive sinner when he was alive, but managed to convince Mamacita to let him work for her instead of suffering for eternity.

Mr Beast A generous billionare who runs a private church for the rich in his town. He communes with Karl on the condition that he won't try to gain things for himself using him.

5up A turnip farmer who died and now hangs around Fundy.

.....

Alright. That's it. So. Much. Typing. My fingers hurt. I accidentally deleted all my progress around the halfway point but I persevered. Also, this blog will be used for designs of the AU characters I'll be making. Thanks for reading this far!

Bye. Thanks again.

Oh wait now I have to add a shit ton of tags ughhhh

[btsslowburnfic]

Chthonic Love Chapter 6

A Greek Mythology AU featuring Yoongi/Suga as Hades and reader as Persephone

Previous Chapter: Chapter 5

Olympian ruler Namjoon has delivered you, Persephone, as a gift for his brother, lord of Death, Yoongi. You find yourself enjoying spending time with Lord Yoongi

A/N: SO FLUFFY

The two of you exited the library. "Hold on, I need to grab something," you said as you turned around and ran down the hall to your room. You opened the wardrobe and grabbed Yoongi's cloak. You jogged back down the hall and saw him propped up against the wall right where you had left him. You took this opportunity to admire his slim yet powerful silhouette. You felt your cheeks get warm as he looked over, noticing you staring at him. "Thanks again, here you go," you said, holding the cloak out. He smirked a bit and took it. And then proceeded to put it on you once more. “Hey…" you protested as he fastened it under your chin. He smiled as he did it, "It's going to be cold out there again today too.” he turned to walk, “Besides, it looks better on you.”

Is he...flirting with me? You wondered. Everything up until that point you could have chalked up to kindness. You felt your heart flutter a little as you followed him out of the castle.“Are there any cities in the underworld?" you asked as the two of you headed down the path.

"No. Not like on Earth. And it's not like Olympus either. There are of course the different places the human souls go to. For the few of us who live here, there's just the Palace. Did you live in the Spring court?" he asked, offering an arm as the two of you approached the Desert of Sorrow.

You took it and smiled at this small ritual that was forming. "Sort of. Sometimes. I have a room there. But, I'm practically feral. I think this is probably the longest I've gone without twigs in my hair and dirt on my feet. But," you lifted a foot up, "I guess the sand counts."

“Really? You don’t strike me as the feral type.” He teases.

“Well you've only known me for a day, give it time.”

Time? Like she’s actually going to stay here? Yoongi found himself thinking. He cleared his throat, "Your garden is beautiful by the way. I've never seen anything like it."

"Thank you. I hope you don't mind, the courtyard just looked so sad and empty. And it's good for me to use my energy. Do I have to name that too?" you playfully nudged his arm.

"Ah nope." he grinned. "I already named that one."

"Oh yeah? Your boring rock courtyard had a name?" you teased as the two of you approached the shoreline.

"It does now: Persephone's garden," he pulled away from you to go summon the ships.

You smiled and you found yourself hoping that Charon doesn’t have a letter for you today. As long as Hoseok knows you’re alright, there’s really no harm in staying here for a while. You played with the cloak while waiting for the ships, flapping the arms out. After a minute, you saw the ships arrive. There were several more this time. You walked over, “Why are there more ships today?”

“In general the afternoon reaping is bigger. You came to the evening one yesterday. People wake up and go to work, people get into accidents during the day. It’s just more chances at dying.” he sighed. “The morning one is pretty steady. Older people dying in their sleep. And the evening one is always less. No one wants to die in the evening, they’ve got to hold on and see their families one last time.”

“Hmmm...I guess I never really thought about the intricacies of when humans die.” you said as the two of you began to head towards the gates.

“Well death isn't something most people think about. I believe humans find it unpleasant. And most Gods and Goddesses for that matter don’t even want to consider that maybe they’re not actually immortal.”

You shrugged, “Death doesn't scare me. Every flower I've ever created or animal life I've nurtured, dies. It’s why a real flower is more beautiful and appreciated than a glass flower. The ephemeral nature of it. Death gives meaning to life.”

Yoongi looked over at you, left speechless by what you had said. You looked over at him, oblivious to how your words had moved him. “So today do I have to wait here or can I come with you?”

He took a second to process the shift in conversation, “Yeah. Now that I know Holly won’t eat you, you can come with me.”

You scoffed and rolled your eyes as the two of you walked to the gate, “You thought he would eat me?!”

Yoongi laughed, “I mean...not to get too graphic but he has definitely caught some people escaping Charon, and he definitely ate them.”

“Ewwww.” you responded. But then your morbid curiosity got the better of you, “How does he decide which head gets to eat a person?”

Yoongi turned back and looked at you with his eyes wide, “You go from ‘eww’ to asking me that question? Really?” he joked.

“I told you. Feral. Wildcard.” you pointed to yourself, while grinning. “I can’t help it.” You walked over towards Holly, muttering as you passed Yoongi, “Going to let your dog eat me…”

“Cerberus, not a dog.” he laughed. “Open the gate Holly,” he yelled. Yoongi waited for Holly to grab the chain. I can’t remember the last time I laughed this much.

You had wandered over to the cavern and were experimenting with creating moss on the walls while Charon and the ships started to pass through the cave. It was your first time seeing the dead being ferried up close. You wish you wouldn’t have looked. These ships had children on them and a baby. You took a deep breath. Yes you accepted death. Yes you knew it was inevitable. But things like this reminded you of why you hated the Olypians so much. The unnecessary amounts of human death caused by their meddling and bickering and encouragement of war was unforgivable to you. The algae and moss you had created turned black and died as your thoughts turned unpleasant. You sighed and headed back to Yoongi and Holly.

Yoongi was petting Holly when you walked back over. You leaned into Holly's side, resting on it and closed your eyes. "Are you OK?" You took a deep breath in and out, feeling the pressure building in your face as you tried not to cry. You shook your head 'no.' Yoongi cocked his head to the side and came closer to you. "Did something happen in the cave?" he became worried Charon or one of the corpses had said something to you.

"How do you do it?" you squeaked out. "There were like ten kids and a baby on that boat." the tears flowed freely now, slightly dampening Holly's fur.

Yoongi bit his lip and looked down at the ground, "Ah. That. Yes. There's nothing I could say or do to make that better. And it's bad, but I don't even look at who's in the boats anymore; I can’t. Which is not necessarily a good thing." He wasn't quite sure how to reassure you so he gave you an awkward arm pat. Holly whined.

“Sorry about your fur," you sniffled.

"He is a fearsome Cerberus. Goddess tears aren't going to hurt him." Yoongi tried to joke around with you. You pulled away from Holly and looked at Yoongi. How many times had he seen those same images? Enough that he couldn't do it anymore. You closed the distance between the two of you and wrapped your arms around him. Yoongi stood there for a moment, frozen. Was this real? He blinked his eyes and returned the embrace.

"I'm sorry you had to see that," he says gently stroking your back.

"You've had to see it every day. Three times a day for centuries." you sniffled into him.

"It's my job. Like I said, I don't even notice anymore. It's fine." he said trying to reassure you. He rested his chin on top of your head.

"It's still awful." you respond quietly.

It is." He acquiesced.

Holly stood up, alerting you both to the arrival of Charon. Yoongi stayed like that for another couple of seconds, not wanting it to end. He forced himself to pull away and without thinking, he ran a hand down your face, wiping away a tear. He gave you a small smile of reassurance and turned toward the gates.

"Any news?" he asked as he approached the ferryman. The skeleton shook its head. “Very well. I'll see you this evening." he dismissed Charon.

Charon moved his head slightly so he could see you and then he waved his bony arm in your direction and it looked so weird it almost made you laugh. You waved back. “Thanks again for delivering my letter," you yelled. He gave another slight bow and then began to row.

"Good boy Holly." Yoongi said. He felt awkward now and didn’t quite know what to do. He looked over at you. Your eyes were still a little puffy but he still thought you looked beautiful. And soon she’ll be gone. He heard a little voice in the back of his head say. Yoongi frowned. He knew that. He did. But for some reason, it really bothered him.

You hugged your arms around yourself, the image still replaying in your head.

“We should head back,” Yoongi said as he started to walk towards the cavern.

“I don’t want to go back in there.” you immediately stated. “Sorry. It’s just..”

“It’s fine. It’s fine,” Yoongi said, not making you explain yourself. He understood why. “I’m always up for a stroll across the Desert of Sorrow.” Especially with you.

You nodded and started to walk back toward the dunes, wrapping an arm around his when you got to the black sand. You shivered.

“You’re going to need a heavier cloak.” he commented absentmindedly.

“Yeah I guess. Does your seamstress make those or do we need to collect Holly’s fur?”

Yoongi chuckled. “I’m sure Holly would willingly donate to the cause, but I’ll check with Arachne first.”

“Arachne, like the spider-lady that pissed Athena off?”

“The one and the same.”

“She lives in the palace?”

“In the catacombs beneath the palace technically. She and her children keep the less friendly creatures of the Underworld at bay.”

“Huh,” you remark. “Any other secret parts to the palace I should know about?”

“Nope. The rest of it is delightfully boring.”

“Good. It’s a nice break from the drama of the Olympic and Mortal realms.” you said. The two of you had arrived at the bridge but you didn’t let go of his arm. You told yourself that it was because you were still cold but you knew there was more to it than that. You wanted to be close to him. You felt a dull ache in your chest. You had to let go for him to open the door. To your surprise though, he grabbed your hand.

“Come on, let’s get you warmed up,” he said, leading you through the great hall. You saw Lethe in the corner. She stood up, her eyes not missing for a minute that the two of you were basically holding hands.

“Master Yoongi, Lady Persephone.” she bowed.

Yoongi kept walking. “Tea in the office please Lethe.”

“Yes sir,” she smiled as you looked at her while being dragged along. The two of you walked down the corridor to his office. He opened the door and let go of your hand. Lifting his arm he cast a fire into the fireplace.

“You. Warm. Go.” he pointed in that direction.

“Thank you,” you said quietly. The stack of furs you had assembled yesterday were still in the same place so you curled up on them.

Yoongi walked over to his bookcase, shopping for something to work on. He pulled out a few notebooks and stacked them on his deck. He poked his tongue against his cheek as he went back and browsed for something for you to read. But maybe you didn’t feel like reading. Maybe you did. He couldn’t quite decide what to do. Fortunately for him, there was a knock at the door. “Come in.”

Lethe entered carrying the tea tray. “Here you go.”

“Thanks Lethe,” you turned around to say. She smiled at you and took her leave. Yoongi was still book shopping so you got up to grab the cups of tea. You grabbed them and walked over to the bookcase. “Here,” you handed him one of the cups.

“Thanks.”

You walked past him and towards the back of the office. “Do you play?”

Yoongi looked over to where you were gesturing. “Yeah. I play the harpsichord pretty well. The Lyre, it’s more tricky.”

“I’d like to hear you sometime,” you commented as you walked back towards the fireplace.

“Well you know, I might not actually be good. I don’t think I’ve ever had an audience.” he stated modestly.

“Oh that’s true. You might be awful.” you teased. “You could play for me and I could let you know just how bad you are.”

He smiled shyly. “Maybe tomorrow. Give me a chance to practice.” And an excuse for you to stay another day.

“Hmm...I suppose I’ll allow it.” you raised your eyebrows and smirked. It was so easy for you to tease him and joke around with him. You forgot that he was a King and the Lord of the Underworld.

“You are too kind, m’lady” he joked back, feeling much more at ease now. “Did you want anything to read?”

“No thanks. But, if you have some blank paper, I wouldn’t mind drawing.”

“Oh? Sure.” Yoongi reached into one of the chests in the room and pulled out some parchment and charcoal. “Umm...do you need my desk?”

You sat down on the furs, “No, this is fine. Remember? Feral.”

He smiled and brought the supplies over to you. “Well, if you change your mind, let me know.” He walked over to his desk and started to write, occasionally looking up at you. My stupid brother was right. Shit. NEXT CHAPTER

[strangertheory]

How do you think people in Stranger Things would react to Will being THAT powerful??? His allies (friends, family), his enemies (Lonnie, Dr. Brenner...), other psychics (would they be jealous?) MIKE??? Would he still want to be with him? (I know he's been with Ell, but wouldn't he be too scared to be with someone THAT powerful?) And finally WILL HIMSELF?

Hello there! Thanks for Asking! ^_^

So - I believe that the context of your question is that you are assuming that my understanding of the Stranger Things universe is that Will Byers’s mind created the Upside Down and the monsters and the “Russians” and that in this sense he has “god-like” psychic powers just like @kaypeace21 explains in many of her blogposts. Correct?

Yes. I believe that Mike and Joyce and Jonathan would still want to stay with Will. I believe that his friends will ultimately choose to stay with him, too. I personally believe that El will also ultimately be an ally to him just as she always has been since season 1.

Jealousy, in my opinion, would be inappropriate and ignorant. Will’s powers are nothing to be jealous of since they stem directly from the abuse and trauma that he has been through and they are fantastical manifestations of his mind attempting to do everything it can to protect itself. But I suppose it's always possible someone would be jealous and ignorant about his powers nonetheless.

Currently Will does not have conscious control over these events. Not that we know of yet, at least. They also appear to be tied to his anxiety, his emotions, and his trauma that is buried in his mind. Of course people in Hawkins would be intimidated and afraid of Will if and when they figure out that his feelings and traumas are manifesting themselves in their world and are creating dangerous circumstances for everyone in Hawkins and the world-at-large. Of course. But it’s important to remember that he is not choosing to cause any of it, and it is not his actions but the actions of those who hurt him that are reaching out and spreading and incidentally harming the town as his mind tries to process what has happened and deal with everything and, ultimately, protect him.

However. I want to also add a tiny bit of my own speculation regarding what these supernatural and fantastical occurrences could represent within the theory that Will has dissociative identity disorder:

As you have probably noticed - I am a huge fan of @kaypeace21‘s theories and I agree with her on many, many observations and ideas about what is going on in the Stranger Things universe. But sometimes I might have slightly different ideas of my own here and there. I go back-and-forth on many of them. They tend to not be as well-organized or cohesive as @kaypeace21 ‘s interpretations, but I do have a collection of “maybes” floating around my mind most days.  I’m not committed to any of these rogue thoughts, and I change how I feel about them every single day and so I haven’t wanted to share them. But I will mention one of those thoughts in this answer to your Ask:

I continue to go back-and-forth between whether or not I see this story as one about literal monsters attacking a very real town and creatures that have emerged from Will’s mind in the flesh, or whether this entire story could be a story-within-a-story. Might there be a real-world, realistic-fiction version of everything happening that is hidden behind this curtain of fantasy? Could there be a version of Hawkins itself that is an internal world with alters and introjects and NPCs living in it? Was Will “going missing” really El fronting in a DID System for a few weeks because Will was afraid and “hiding”? Did Mike yell at Max for allowing El to show up at the Mall and say “You know she’s not allowed to be here!” because he’s worried it’s not safe for her at the mall for reasons that don’t involve the Lab or Evil Russians? Were we supposed to pick up on Will tapping out Morse Code to Hopper and saying “Close the Gate” in season 2 as being a method of communication that Hopper had taught to El for when she needed to reach him? I don’t know. I do think about these details and these possible hidden layers sometimes, though. These are just some thoughts that nag at the corners of my thoughts some days.

But whether Stranger Things is a fantastical retelling of “What Happened to Will Byers and How His Friends Helped Him Defeat the Monsters” written by author Michael Wheeler or not, I think that much of the conflict with supernatural elements in Stranger Things is still functioning on a very metaphorical level and will be resolved within the emotional and psychological aspects of the story getting resolved.

To return to the heart of your question and how his friends and family might feel about him being “so powerful” :

Yes. Will’s friends and family and all of Hawkins will probably be afraid of him at first just like (sadly) people in the real world are often afraid of those that are dealing with trauma and mental illness and those that behave “strangely” and are different compared to others that they are used to understanding. I think that their reactions will probably be analogous. We have already seen how Will (and El!) is treated as different and ostracized socially in many ways, both intentional and unintentional. Will is known to be not like other kids. (”He’s not like you, Hopper! He’s not like... most.”) Will is anxious about being treated like a baby and like he can’t handle things on his own by even his friends. Will is bullied. Everyone at school, even high schoolers that aren’t Will’s classmates, refer to him as a “freak.” Jonathan was referred to as “the freak’s brother” at one point. Can you imagine? Will is mocked so widely by the town that even high school bullies take jabs at him in casual conversation when insulting someone else: his older brother. He’s mocked. He’s bullied. He’s ignored. Will is already treated as someone different that the town is uncomfortable with and doesn’t respect. His “powers” growing or Will suddenly becoming more aware of his situation as someone that is different and called a “freak” will surely be a very hard thing for him to deal with while he is also met with increased ostracization by the people he knows and loves.

Hopefully those that love Will are going to ultimately realize that his “powers” and his condition are not a threat to their safety, and that the true danger and evil stems from the person (or people) who have hurt Will and who need to be brought to justice. Helping Will heal from everything that he has been through will surely be the key to banishing the monsters from Hawkins and allowing Will himself to realize that he doesn’t have to see his life as ruined by his condition or his “powers” and that he can truly have a happy, fulfilling life with those he loves. On that note: I highly recommend @kaypeace21‘s response to this blogpost (click here to read the thread) in which she discusses how important it is that storytellers create narratives in which survivors find happiness and love in spite of everything that they have been through because too often the lie and the damaging trope that mental illness inevitably condemns people to misery and death shows up again and again in pop culture. It’s important that we reject the lie told to us by society that the mentally ill are incapable of having happy lives.

(Thank you for Asking!)

[kanene-yaaay-o-retorno]

The Colors of my Soul(mates) [1]

[Second oneshot]

[AO3 link]

Kanene’s Notes:

Nope, I do not regret the pun. Okay, okay! I’ve plaining this AU for almost an year so I’m pretty excited to post it!! dfghjsdfrtyucfvgbhjv yaaaay!! Thank you very very much @olliedollie1204 for such a positive feedback and awesome ideas. it helped me a lot!! 

Warnings, fun facts, random things and stuff:

* That fanfic has Virgil, Logan, Patton and Roman (only a brief mention of Remy) in a platonic relationship (yet), but it can be viewed as romantic, if you wish. 

* Warnings: A bit of swearing and depreciative thoughts. It’s mostly fluff and hurt/comfort, tho.

* This characters do not belongs to me. They all belongs to the amazing Thomas Sanders in his series of Sanders Sides.

* Something around 4.500 words. -w-)b.

* Sorry for any spelling, pontuation and grammar mistakes! Any advice is very very welcome!

* Tô com preguiça de postar a versão em português brasileiro aaaa! Thankys for reading, my lollipops! Say to someone important how much you love them, be safe, talk with the one that you love, drink water and sleep well! Byeioo!~

                           [~*~]

What can do a creature if not, between creatures, love?  - Carlos Drummond de Andrade

  - What the fu-

 Virgil only discovered he had more than one Soulmate when he was twenty years old, more specifically the exact moment he took a wrong turn and kept going even knowing he was in the wrong way because one hour it would lead him to somewhere Virgil would recognize before his mortal being inevitably starved to death in the middle of nowhere and his eyes got dragged from the visions from thousands of futures created by his mind to a Teddy Bear Store - they seemed to replicate worse than bacteria during Valentine’s Day - and two bears from the crimson shelter suddenly dyed themselves in two milliseconds as he slightly glanced at them.

 Two of them. Virgil felt his entire face burn in hot shades of embarrassment with drops of disbelief, almost as if all the people running, stumbling, locked in their own worlds and swearing while walked in the sideway because ‘some stupid teenager decided to just stop and block their way’ could, by only looking at him, stare deep into his soul and realize the one staring astonished the store already carried in his fate another one more Soulmate at home.

One completely different in shape and form, even if also blue, however in a light, sky blue completely opposite shade from the new navy one staring him down - Virgil knew plentily their link wasn’t bonded yet, albeit he was equally sure that the person behind those black glooming teddy bear’s eyes were already judging him, - wondering why, between all the people, he was their soulmate. The other red one was very much likely crackling in his face when an employee came and pointedly turn the adult’s attention to the sign in big, graphed words clued in front of their store:

 “You dye, you buy.”

 Virgil signed, pushing his hoodie down further, wondering how much time it would take of him hitting his head on the wall to finally pass out. This option sounded much more attractive when he realized that this new ‘discovery’ about himself would cost all his month’s saves.

 He asked, to the Universe, the stars, the Earth and whoever was seeing him in that exact moment: why?

 Was it a kind of prank? A punishment from fate when, years and tears ago, Virgil lifted his chin up and dared the Universe to give him more soulmates as he locked all his uncolored – although never really free of some weak drops of paint from what one day they came to be – simply stuffed animals, - and nothing more, anymore, - away and promised he would never, ever allow himself to go all through this shit again?

 But… That had been… years ago. Almost a decade since that soft voice he got to know so well, the impulsive acts, long conversations and warm feelings.

 But…

 Time has passed, that is true. Nevertheless, deep down has he really changed?

 Virgil stared at the bag carried so close to his chest since his bare hands were sweating and shaking way too much for this task. Yes, he knew his Soulmates won’t feel anything until both of them decided to ‘give the First Step’, accepting to link their souls and fates, for the longest as it lasts. However, he didn’t want to risk it, because what if they felt? What if he in some way broke the Soulmate System when got two at the same time and now everything was messed up and they could already feel his touches even through the bag and the first impression Virgil would gave to them was ‘That anxious, weird boy and his creepy, sweaty hands’ and-

 A girl almost hit him as she passed running at his side, making his arms protectively hug further the teddy bears closer to him, arms protectively involving them, the soft touch somehow calming his tumulted thoughts. The lost man took a deep breath.

 Clear your mind. Rational thoughts. Focus on the two sides of the coin. Three people wouldn’t be able to break a millennial, unknown system, don’t matter how good he was in screwin… No, a voice that sounded suspiciously a lot like his psychologist calmly pointed, not like that. Virgil huffed, trying again. He was a magnet of problems and bad…Okay, also wrong. Neutral thoughts, focus on neutral thoughts. Come on. Come on.

 It was okay.

 They wouldn’t feel him until they gave the first step. Right, that… sounded like a start. He didn’t do anything. Now, what Virgil needed to do was go to his house, clean his bed in order to find a good place where he could put and ignore them and then he would get his headphones, listen his playlists and wonder where the fuck his life was going.

 It was okay. Everything would stay okay as long as he didn’t give the First Step.

 Virgil unconsciously hugged tighter the teddy bears, his fingers finding way and drowning themselves in the soft, cozy fur, combing them in light, soothing touches as he continued his way.

 Okay. Everything was okay.

 [~*~]

 Plurinfanto, or Multiple Souls, it’s the nomination used for the cases when a person has diverse soulmates at the same time and in a same period.

 The first known case was with Pharaoh Cleopatra when multiples of her woolen fabric started to dye themselves in various colors and shades. In Ancient Roman, it was believed that the occurrences were blessings from Venus in a sign of prosperity and abundance. Grand, longstanding parties were executed through days nonstop in order to get together those intertwined souls. When the connection broke and the colors disappeared, it meant that days of pain and foreboding were waiting forward.

 It is not known for certain the exact moment when the meaning changed, albeit researchers believe it was around the fall of the Roman Empire, when all the invasions resulted in a cultural reconstruction which led to the loss from much of their costumes.

  CLICK HERE TO DISCOVER HOW TO HAVE THE SOULMATE OF YOUR DREAMS!!!!  

 [~*~]

 The computer made a soft ‘click’ as Virgil closed it and sat on his bed, adjusting slightly his position to stare the three vivid, brilliant stuffed beings contrasting to the general dark theme of his room.

 Virgil growled, resting his back on the cold wall, the shivers calming his flowing thoughts about all the variants this whole thing had. No to mention that people change with time, leading to the souls who they “relate” to change as well, meaning that you can have someone in your life for years and then, one month, or weeks or the next day, you can wake up only to discover you and the said person don’t “match” anymore.

 And NO ONE talked about this just because it was a freak tabu to doesn’t have ‘an only one soulmate who will be with you until the end of your existence’. Oh, for fuck sake. Virgil ran his hand through his hair, wincing when he accidently pulled some tangled strands. That sounds like a line of commercial, does anyone believe that bullshit for real?

 “Hello dear, newer fellow!!” The popping thought broke his line of reasoning, jumping excitedly in his mind and automatically pulling him out of his wanders. It has a strong and full of… about everything, tune demanding attention. Virgil felt a warm kiss on his forehead, meaning one soulmate – a deep part of him turned his attention to the red colored teddy bear, - had given the First Step. The one who in some moment changed his position so now he was sitting on the floor felt his face get hot again, heart thumping strongly in his chest as his arm moved, fingers stopping inches away from the fur, questioning if he was ready to retribute the gesture.

  [~*~]

 Many history icons have reports of being Pluriers, as shown in the book ‘The Romance in the History of Those Who Wrote It’, by historian Henry Senyura. The subject is also beginning to gain more visibility after the protest from the teacher Joan A. in 2010, who got touched towards the situation of some of her pupils being forced to choose only one among their Soulmates for the six-month annual exchange, by the end of that period most of them lost or weakened their bonding due lack of communication, small changes of personality and continuous absence. She held a protest at the front of the school, stating that no one had the right to interfere in ‘matters of the heart’.

 A lot of fiction works are beginning to address the topic more frequently, as in I’m Not One, a movie directed by Devon Stan; The Seven Colors of Rainbow, a book written by Lílian Lee and the psychological analysis Life’s Watch, recently found between drafts by the famous writer Robin Green, published after their husband’s authorization, Josué Green.

 [~*~]

 Logan hummed. As it seems, this was a relatively common thing, since the concept of Soul Mates surpassed the barriers of unity and time, being ‘souls who in a way or other intertwined themselves in some part of their life. Sometimes it didn’t necessarily mean a romantic relationship, as the majority of society and media pointed, but it also didn’t hold any assurance that all of them were platonic.

 He massaged the bridge of his nose. Remy wasn’t in the dorm so everything was silent enough for him to hear his own thoughts.

  It has been a remarkable amount of years since he got his last soulmates, - except for Remy, however they both considered this occurrence as a separate incident - well, until, of course, this day. At least it was a good thing he always carried in his bag extra easy manageable stuffed animals or else maybe the System would dye one of clothes, what would be less than ideal for him in the middle of his philosophy debate. But things got even more interesting when, after his classes, as he arrived at the small, pleasantly well-organized store next to his university, one more stuffed animal colored itself right before him.

 He didn’t exactly understand why. Logan considered himself an owner of a… quite strong, strict personality, this added with his difficulty in managing his and one another emotions usually tended to bring some complex tribulations in his rela-

 Anyway, that is beside the important matter. The one laying his chin on his crossed fingers undid his pose for a bite of time in order to adjust his glasses, barely fixating his gaze on the two plushies in the desk before him, his third – Pat - resting a few centimeters away, closer to Logan’s fingers, who were barely touching. Mind running. Asking, reflecting, wondering what was the exact amount of time to be acceptable to give his First Step?

 ‘The First Step’.

 Logan never really understood from where and how that expression emerged. It didn’t come from the words’ etymology nor some semantic detour. His most concrete hypothesis consisted of the phrase being derived from old romances.

 “Did you know it used to be called the ‘First Kiss’?! But that confused a lot of people who really believed that, to be able to talk and interact with their soulmates they would have to kiss each other, like the Sleeping Beauty! I always got confused in this movie when I was a child, by the way! That ended up messing with a bunch of relationships before they even started, since a lot of peeps don’t feel comfortable enough with strangers kissing them. However, they also speeded up a bunch of them as well…” Logan blinked, his attention escaping from his previous thoughts to the light sky blue plushie of Baby Yoda, for a moment surprised with the sudden input. He felt fingers carefully holding his arms and a bit of ghost movements as Pat probably moved his representation to somewhere else, a hug and warmth engulfing the one yet absolving the new information moments later.

 “That was… enlightening.” His voice danced across the room. Even though he was completely aware they could chat telepathically, the childish act of saying the words out loud still comforted him, in a way. “Thank you for your contribution.”

 He took a deep breath and closed the tab of research on his cellphone, internally thanking from the escaping of his turmoil of thoughts, his free hand carefully combing the Baby Yoda’s head fur, almost methodic.

 “Looo, no!” The other protested with no heat in his tune, leading a toothless smile to resurface in Logan’s features. “Stop doing this. You know I end up sleeping every time!”

 “Oh no, what a tragedy.” He deadpanned, already plugging his phones and changing to a most relaxed position on his chair, his eyes traveling across the countless movies on the device before him. “In which episode did we stop?”

 “I’m going to fight you.” Pat sounded like he was pouting.

 “How so?” Logan asked, trying to hide his amusement.

 Silence followed his words.

 “Pat?”

 “What is the skeleton’s favorite instrument?”

 “Pat, don’t you fucking da-”

 “Language! It’s a xiloBONE!”

 Logan audible growled, fast in his final decision. “I’m going to drop you out the window.”

  “I’m going to hug you!” And immediately the one rolling his eyes felt himself being squished in a strong bear hug, huffing only half annoyed.

 “You are an incorrigible heathen, let me go in this exact instant.” His answer was a ‘butterfly kiss’ – as Pat was fond in calling them – on his forehead. “Urg, affection.” Yet he smiled and mirrored the act, lightly poking the other’s side.

 “We’re on episode 19.”

  [~*~]  

Roman stared the paper, his pencil’s tip stopped in the middle of the biggest petal’s flower, his eyes narrowing in the hope of a clearest way of how to convert the vague idea he had in transforming the night full of stars in a flower. No to tell he also would need to choose a good pallet of colors indication for it, later, and probably re-do all the process over and over and over until got the best result as possible. A yawn found its way from his lips and the designer stretched, getting up to drink a bit of water and rubbing his eyes, wondering if it was really worth it to make a black tea to help him through the night.

 A glimpse of color caught his attention. The navy blue teddy bear on his couch, the main inspiration of his newest tattoo. Roman wondered why it wasn’t resting in front of him while he drew. A corner of his brain, obscured by the tiredness, telling he had a previous good reason for this choice although his actual self carried absolutely no idea of why.

 Well, if he couldn’t remember it, it means the reason wasn’t THAT good, right?

 Roman held the stuffed animal, spinning with it across the room for a couple of minutes, imagining who would be the person behind it. A king, a queen, a non-binary royalty? Did they like Disney? Musicals? Sing? Would they chat for hours at first with a few words exchanged or would they take a bit to warm at each other? Was navy blue their favorite color or…

 Or…

 Navy blue.

 Oh.

 He fixed his glare on the plushie, his hands feeling and slowly drawing in the soft fur of it.

 Navy blue, huh? A humorless chuckled flew in the air. It could have no significance, it could be a world of it. It probably didn’t mean what he, for a moment, a so silly, stupid moment, wished it meant. Of course, one day this would happen, right? It was something normal, something expected. Not the magical, right out of the story books or his old daydreams, occurrence.

 This wasn’t a second chance. The Universe doesn’t give you second chances. He wasn’t the same boy from eleven years ago, holding his own costumed teddy bear crying his eyes out, hugging he – No, it – the closest as possible, wishing with all his heart and soul for the color, the voice, the thoughts, the rambling, their bickering, the forgiveness to come back again.

 No, he grew up. He moved on. He got better.

 Then why did a part of him still felt this way? Like he was about to hear the excited giggles, the soft reprimand, that lovely, deep and so truly -and sometimes boring, Roman had to admit – questions? Why would a part of him still say that he could have it all again if he just… waited long enough, hoped high enough, dreamed long enough…

 …If he was enough.

There aren’t more than seven billion colors in the world. Roman would be stupid if he really believed there was a path where he wouldn’t stumble in that so (un)fortunate well-known shade of blue again.

 Roman growled, his forehead making a loud, dry thumping sound as hit his desk. The one who should be asleep hours ago had absolutely no energy to battle against those thoughts, again. At least for now. He rubbed his eyes and stared at the teddy bear laid on the cold tabletop before him. Well, what a better way to get rid of your own means thoughts than put some stranger’s unpredictable thoughts in the middle of it? Roman slightly pushed the bunch of flowers and some warmup sketches he had out of the way, carefully carrying the representation next to him, nodding. Honestly, that was the best idea he had for a while, why did he even put the lovely thing away?

 Awake Roman was so silly, thinking that… something he couldn’t quite recall right now would be a bad idea, he pointed as snorted softly, pressing his lips on the teddy’s forehead, the quote he knew by heart flying from them in a natural flow.

 “It is not immortal, since it’s flame. But let it be infinite while it lasts.”

 A warm sensation rested on his own forehead moments later, leading the sleepy form to hum happily.

 “Is it… poetry?” Oh shit, Roman widened his eyes. His soulmate heard that?? Oh, shit. Oh, fuck. Roman mentally facepalmed himself. So that was why he usually said it before the First Step!

 “Uhh, yeah. Of course. Fidelity Sonnet by Vinícius Moraes.”

 “I see. Classicism, I presume. A literature of very soundly pleasant rhymes, indeed. The first sonnet was probably created by the humanist Italian poet Francesco Petrarca, although it got even more known in the western literature after the works of Camões, who- ”

 “He is from Modernism, actually.” Roman didn’t know why he suddenly sounded so defensive. Logan felt a cold feeling run his body when the other’s hands let go of him, for a piece of second wondering if it was supposed for him to do the same with the red narwhal plushie on his hold.

 “A very common mistake to make due the lack of context.” He retorted, unable to formulate another answer. He had, of course, thought, balanced options and chosen the best topics to discuss with his new soulmates when they bonded. However, his fingers firmly gripped the pen, its tip tapping on the first topic written in the notebook partially forgotten in front of him, the poetry figuratively threw him out of his tracks, leading the decision to be the most impartial as possible due his… not so impartial past memories with that specific shade of red an even more difficult task than it already was.

 “Yes. Sure. Sorry, I- I’m just… very tired right now.”

 “You should go sleep, then.”

 The other snorted with the direct, immediate response. “I should, shouldn’t I? Gotta work, though.”

 Some part of Logan’s brain registered the new fact, separating and keeping it in a special place so he would remember to write it down in the new folder he bought, later.

 “I see.” … poetry? That wasn’t a hard topic to talk about. The one now nervously cleaning the very clear lenses twisted his mouth. He could talk about this for hours. No, correction: he already had previously talked about this for hours non stop.

 Logan strangely felt the urge to rub his face and scream. It has been years, - eleven years and 10 months to be precise – and exactly eight years since the one wearing glasses learned poetry because of him. Because of his constant habit of reciting Shakespeare before they would go to bed, until Logan brought himself to research and decorate all the poems he could muster, taking the task to now wake Prince – the name still carried a strong taste in his tongue – in the same way every single day. Before they realize, that becomes something between them. There were times when both didn’t talk, content in only reciting some verses and hear the other complete them. A part of Logan, that illogical and unfortunately full of feelings one wondered how their rap battles would be if they found each other right now.

 Did Prince even maintain his liking the same things he one day did? Does he still recite poetry? Does he maintain the same dreams? The same habits?  Does he even remember about him?

 Highly improbable.

 “You can call me Lo.”

 Roman slowly blinked, getting out the fog surrounding his brain to realize he was mindless staring at the pan’s boiling water, surprised the other still there. Well, it seems like he hasn't screwed terribly everything yet.

 “Lo? Like Lowrance?”

 “Even though my name does contain ‘Lo’ in it, no. It’s ‘Lo’ like Logic. I came to believe it’s a good idea the nomination after a predominant characteristic, since we can’t actively exchange our real names through the Soulmate System.”

 Roman’s breath hitched, a memory with yellow-ish edges and nostalgic smell unrolling in front of him.

 …

 ‘I think we should choose you a name with more personality in it, ya know?’ He threw himself on his bed, kicking his legs on the air before immediately scoping the plushie and laying it on his stomach. ‘Like a characteristic!’

 ‘I don’t see what is wrong with the nickname I choose.’

 ‘No, no! There is nothing wrong with it! But that could be something just between us!’ Then he gasped, picturing that, if he was inside a movie there would be a lamp shining right above his hair in this moment. ‘We could call you Ro!! You wanted to be a robot, right?’

 His soulmate growled and Roman felt a few pokes on his arm, the verbal protest doesn’t taking long before accompanying it. ‘I was three years old!’

 ‘And I’m never letting you live this down.’ He beamed, both knowing the annoyed scoff he got as response held no real heat. ‘Besides, we could even match our names!!’

 ‘That would be very counterproductive.’ Roman felt his hair being softly smoothed, a usual indication the other was losing himself in his thoughts. ‘Nicknames are supposed to help us. Having two equal names is not the most efficient thing.’

 Roman dramatically scoffed, picking the stuffed animal and half hugging it, his free hand occupying itself in making a couple of gestures to no one, since his soulmate couldn’t exactly see them. ‘It’s not about being productive, Bear! It’s about feelings!!’

 ‘And since when,’ a light poke was delivered on his belly, making him squeak and mess with the teddy bear’s hair in revenge ‘Everything isn’t feelings for you, your highness?’

 …

 “Okay,” Roman and his self past disappearing with the fading memory said, in synchrony “You shall call me by Prince, then.”

 Suddenly he felt himself falling, his hands quickly holding on the tabletop as the cold, nauseous feeling took over his stomach, more like a punch on it, his veins being filled with amounts of adrenaline for a glimpse of a second.

 “Excuse me? Warn a guy next time you decide to just drop his representation, dude! Damn.” Roman shook himself, trying to bring his body to calm down.

 “Sorry, I got… startled.” Logan gulped. The word ‘Prince’ echoing on his mind as a broken vinyl disc. What were the chances? That couldn’t be such a common nickname, right? Nor color. Nor interests. What were the chances? What could be the chances? Maybe he was just projecting, being played, tricked by a dangerous partnership between his own brain and emotions. Maybe he was just jumping to conclusions due the nostalgic feeling fogging his actions, his thoughts. Perhaps-

 “Hey, Lo? Are you there?”

 “Yes.” Logan answered, his fingertips colliding quickly with the fabric of his pants as he visualized his options. “Yes, I am.”

 “Hm. Okay, then. I’m… glad to know.”

 Silence. Logan took a wobbly breath.

 “Time hath, my lord, a wallet at his back; Wherein he puts alms for oblivion; A great-size monster of ingratitudes:”

  “Those scraps are good deeds past; which are devour'd; As fast as they are made, forgot as soon.” Roman continued without even noticing until the words danced in the air, just like the years haven’t passed.

 Then he understood.

  His heart stopped for a second, his eyes widening and his voice disappearing, as if his whole being was afraid to break the moment, the spell; as if this was a dream and a miscalculate step would make everything fade.

 “Bear?” Roman felt a light poke on his cheek.

 “Hello, Prince.”

 Roman choked a laugh, quickly crawling the teddy bear next to his chest, hugging it both firmly and yet so caring, curling around its - no, him - feeling an equal warmth involve his form as he hided his face on the soft fur, giggling and hugging, feeling so happy, so alive and right and good and he would never, ever, ever again let him go.

 “I missed you, bitch. Never scare me like this again.”

 “I… missed you, as well.” Logan tried to not let the emotion take over his tune, his hand petting the narwhal plushie softly, the words had abandoning him, as it seems. “This reunion is a… good surprise.”

 “Oh, shut up, I know you’re having a blast somewhere in that logic soul of yours, too.”

 Logan huffed, grinning. “Stop crying on my hair, your troglodyte.”

 “Make me, I dare you.”

 “Always so dramatic.” They both rolled their eyes, letting the moment be bathed in the deep waters of a comfortable silence.

 “Eleven years.”

 “We have so, so much to talk about!! Oh, my goodness gracious, I’m going to get my tea. Do you remember about that play I wrote about zombie princes and a dragon witch? You will NOT fucking believe what happened with it!”

 “Good thing I have you to explain to me then.” Roman stopped, a gigantic smile taking over his features as he closed his eyes to feel everything even more.

 “Yeah, I agree.”

 Somewhere in the world Patton and Virgil smiled during their sleep, unable to control themselves when a gigantic wave of pure joy and delight filled every corner of their hearts, coloring it on the most brilliant gleam, just like their stuffed animals resting peacefully on their grip.

[pet-genius]

Benedict - A Tom Riddle One Shot

Benedict lived in a forest in Albania, where he had magically fashioned for himself a dwelling place that seemed untouched by man, yet offered every convenience and dignity magic could afford a wizard.

He had a forest elf who cared for him, Adriel, and very little company. Wild elves were known to be very selective in their choice of company, attaching to the worthiest wizards if at all, to give companionship rather than service. They regarded the breeding of house elves an insult to their kind and a crime against magic. Benedict was a philosopher of magic who had written about the Dark Arts, and of the very few visitors he had had, none had come from England; not since Albus Dumbledore had become the Transfiguration Master and Deputy Headmaster of their School of Magic. Regardless, he was as comfortable speaking English as any other language, and he accepted Tom Riddle with cordial respect.

"I am surprised to see a Hogwarts alumnus here. I didn’t know the library still carries my books now that Dumbledore is a teacher there."

"It's not the only magical library in the Great Kingdom,” Tom said. "You've heard, perhaps, of the Rosiers and the Dolohovs?"

Tom had been to their libraries, had “borrowed” copies of the books they owned, had seethed at the paternalistic denial of true magical knowledge.

"Yes, the Dolohovs. I know the Karkaroffs, who are related to them by marriage. Many scholars in that family, though I've not had the pleasure of meeting any of them in person."

If the Karkaroffs were scholarly, all the Dolohovs Tom knew were interested in books only insofar as they could be levitated and dropped on an opponents' head. He was sure the books he had stolen from them would not be missed.

Still, he nodded. “Gossip is beneath us – I do not wish to waste your time. I have come to study the Dark Arts, Sir. You are the foremost authority on this subject. You must know I'm worthy, as I’ve broken every curse and passed every obstacle you placed along the path to finding you.”

Tom despised these pleasantries and longed for the day his reputation would precede him. To come here had already required him to use location spells, apply his knowledge of the magical creatures and plants of Albania and how to escape them, and crack ciphers and anagrams and secret passwords. "Those who walk the path deserve to climb the mountain," he continued, quoting out of Benedict's own magnum opus to the author himself.

Benedict summoned his elf, and Adriel returned with a mirror that he held so reverentially its surface remained as smooth as water, even in the forest - not a speck of dirt was allowed to touch it. "Have a look," Benedict ordered, and Tom looked. Only his own reflection stared back at him. Adriel and Benedict exchanged inscrutable glances and after what seemed an arbitrary length of time, Benedict closed his eyes and lowered his head.

"I shall teach you. Not since Gellert Grindelwald have I encountered a soul such as yours. You possess extraordinary power, Thomas (Benedict stressed the "mas"), and you must exercise it with great caution. The Dark Arts are as dangerous to those who use them as to those they are used on, and best wielded by those who have true power. Do you know why Dumbledore removed them from the curriculum? It is not kind to speculate, but I think the tale is worth recounting."

"Please, Sir.”

"Very few people know what I know, and even I don’t know everything, despite the privilege of having spoken both to Dumbledore and Grindelwald. I am an old man, but my memory is as keen as it ever was. I first met Gellert when he came here to supplement his education after having been expelled from Durmstrang. They never should have expelled him, I say – the difficult students are the greatest test to educators - but I digress. He has family in England, perhaps you've heard of Ms. Bathilda Bagshot?"

As the story unfolded, Tom concealed his surprise: The purebloods had always whispered vague allusions in hushed tones about Dumbledore, the old bachelor who deflected questions about his private life with expertise, but he never would have imagined that he had once been Gellert Grindelwald’s lover. In a sense, it was unsatisfying – it felt so utterly banal.

“I was not so wise as I am today, Thomas; I had been taken in by Gellert's recounting of the events. Dumbledore himself filled me in on the sordid details, with great, great shame. I had warned him – he had made a mistake, changing the curriculum. To simply avoid the Dark altogether is impossible – it is in all of us. Students of age need to know that only true masters ought to broach the Darkest of the Dark Arts. Censorship and a shroud of mystery only make them attractive to precisely the wrong sort of wizard. But alas, Dumbledore did not listen. I speak, of course, of mastery of the self, Tom. I wonder – do you agree, or do you find yourself questioning your choice to come here and listen to an old and solitary man?”

"No, Sir. I don’t agree." Tom surprised even himself. Normally, he would have lied and said he agrees wholeheartedly with this nugget of wisdom. Mastery of the self seemed to him a contradiction in terms; he wanted mastery of the world and everyone in it.

"True freedom means serving the right master, or the right cause; not aimless wandering in quest of new appetites to sate. The wild elves know this, but the wizards have not learned. Are you a wizard or a pig, Thomas?"

Tom did not know this, but his eyes flashed a shade of scarlet. He wondered if this was some sort of test.

"With all due respect, Sir, I believe that the Dark Arts – in the right hands, can make so-called mastery of the self redundant, obsolete. Wizards do not have to succumb to death, pain, dependence. It is only our self-imposed constraints."

"Once you have drunk all the wine and tasted the flesh of every animal and the fruit of every tree and conquered every man and every woman, I think you'll find, Thomas, that you are quite mistaken. I have taught Gellert. He was not unlike you, and I venture to guess that he is freer and wiser now than he had ever been, since in the prison of his own device, he had to learn to control his wants and desires. The Indians the Great Kingdom conquered know that life is suffering. Even if you are the most powerful wizard, the most feared, you will never get what you truly lack.”

“Perhaps I do wonder why I came here. Certainly not to listen to a man at death’s doorstep spew nonsense. I can only assume you are testing me,” he smiled.

“Oh, you have already been tested. Life has not always been kind to you. You’ve lost so much not two hours after you were born, raised in abject conditions, in the dark about your true self. And yet you seized the first opportunity you had for betterment and discovered that your roots in the magical world run deep. Your path was paved to become Minister of Magic in your native land in record time, and yet you chose to come here. Not a lot of politicians come here, as I’m sure you know. There is no need to test you any further. It will not do you good.”

The void that Tom could never elude for long threatened to clutch at his heart again.

Benedict turned sympathetic. “You must be wondering how I know all this. My mirror – my proudest magical creation. I used to specialize in making magical lenses and mirrors, long ago. I’ve thrown all my magical might into this mirror, but all I could ever see in it was myself. It is how I found myself on the road that led me – and you – here. You, because our story is one, Thomas. No witch or wizard could tell me what I had created, until I despaired and started asking magical beasts. They thought I had gone mad, naturally. A man seeking the advice of creatures of the forest! But the wild elves saw that to the right eyes the mirror reflects the state of the soul. Adriel kindly told me a great deal about you, Thomas.”

Tom contained his indignation.

“Once you’ve conquered the world, and unless I’m much mistaken, it is only a matter of time – once you’ve accomplished everything you ever wanted, maybe you’ll see that you can never bring your mother back to life or force your father to love you. You can never have what you truly deserved, and you will forever seek more power until you will make the inevitable misstep. You ask me to teach you, and it is not too late. You can still learn, you can still undo some of the damage you’d done your soul, Thomas. If you allow me to, it will be my greatest accomplishment, and we both know that’s saying something.”

“I cannot believe it. In Albania and England alike, the same self-righteous foolishness springs in the heart of every man when he is near death. Perhaps it is only men like you who convince themselves they long to be reunited with their mothers and beg them for a hug, because you did not have the foresight and courage to stave death when you were at your prime.”

Benedict smiled a weak smile. “I’m not afraid to die, Thomas. Or to kill. I am a master of the Dark Arts, and I have the presence of mind to kill. But I know what you have done. And several times? Not even Gellert – No. The only thing I can do for you is to ask you to reconsider. You can still be saved.”

Tom could not keep from laughing. He did not need saving, and the idea that he did almost insulted him. He did not even resent the waste of time. Only mortals concerned themselves with that. “Saved from what, Sir, a bit of looking glass and platitudes masquerading as noble truths?”

“You’ve killed and torn yourself apart when you were only a boy. You’ve terminated your own growth. You will be infinitely powerless, the man with a touch of gold who went hungry. I can still help you. You came all this way – don’t let the chance go to waste. It’s the last chance you’ll get, Thomas.”

Tom smirked. On his long journey through the forest, to find this place, and meet this man, he had come to respect Benedict’s penchant for anagrams, and he had made one of his own.

“My name is not Thomas,” he corrected. “My full name was Tom Marvolo Riddle. I am Lord Voldemort.”

He drew his wand, and though Benedict was a powerful wizard, he was an old man, and he had wasted his effort defending himself against a much more powerful curse than what Lord Voldemort had decided, in a split second, to use against him – a mere Petrificus Totalus. The killing curse, he used on Adriel, and he savoured the look of helpless terror on Benedict’s immobile face, and laughed.

“Your elf can’t help you now, and I don’t imagine many wizards will be able to find you here. You say that Grindelwald is free in his prison? Now you are freer even than him, to starve to death.”

Lord Voldemort placed a permanent levitating charm on the dratted mirror, positioned it so that Benedict would die staring at his own reflection and at the mist of his breath condensing and evaporating from his greatest magical creation, and stepped over the wild elf’s body as he left, knowing that he had just defeated one of the greatest wizards of his age. If he had anything more to learn before his true life could begin, it could not be much.