#the inherent crisis of identity that comes with knowing you were one connected to a now dead god

[dark-elf-writes]

I’m just saying with Veilguard being set twenty something years after the end of the Fifth Blight it’s totally possible for a “Kieran as Rook” au and all the wild implications that come with being the former vessel of an “Old God” and the grandchild of a piece of Mythal would bring

[bisexualpositivity]

Hi! I'm submitting an ask mostly to... Maybe seek some validation for how I'm feeling and out of curiosity if anyone feels similarly.

So, I am a bisexual woman, that much I'm certain of. I've only ever had romantic relationships and been intimate with men, not due to lack of wanting to, more due to lack of queer femmes I was attracted to and that were also attracted to me. I'm in a long term relationship with a man - although he is very accepting and has said he doesn't mind if I want to sleep with other women (and not because he thinks it would be hot either, just because he doesn't want to stand in my way if I want to explore the "other side" of my sexuality) but I'm not really a casual hookup kind of person, so I have no plans of actually doing that. I'm mostly pretty confident in my identity even without having the experience. Anyways, all that is besides the point but maybe it's relevant. Idk.

If I had to define my identity more specifically, I guess I would describe myself as biromantic and demisexual, but it's a bit more complicated than that still.

Basically, I feel like I am demisexual only when it comes to my relationships with men. I am not/only very rarely sexually attracted to men when I have no romantic interest in them. It's very rare for me to see a man in the street that I am immediately sexually attracted to. I may have an aesthetic attraction to them, but it's not sexual at all, it's more like looking at a flower or a beautiful sunset. However, it's different with women. It's much more frequent for me to be immediately not just aesthetically but sexually attracted to a woman I see, even without any romantic interest. As for folks in between, I generally tend to be attracted to androgyny and femininity more than masculinity, on average.

Part of me wonders if it's because as a woman, I subconsciously feel more "intimidated" when it comes to being intimate with men, so I need a certain level of connection to feel safe enough to even consider getting to that point, whereas another woman feels more "safe" and less likely to hurt me?

And another part of me feels some sort of guilt about it, like I'm unfairly sexualizing women the way society likes to do to us. I don't approach the people I feel this way about, of course, I just wonder if there's a societal conditioning aspect to how I feel, like I've seen women be sexualized more throughout my life while men were the romantic interest, so is that why I inherently think of women as more sexual/physically attractive than men? Because that's how I've been taught to see women? I wanna think I don't objectify anyone, and it's not inherently objectifying to be physically attracted to someone, right? But what if this is me subconsciously doing that thing where some people don't value f/f relationships the same as m/f ones, and don't take it seriously, reduce it down to "it's hot" and that's all?

That's the point where some doubts creep into my identity, I guess. Since I have no romantic relationships with women under my belt, can I really know? (The old familiar questions we and other people constantly ask ourselves! Which I hate!!) I've had some crushes, but due to lack of any possibility of pursuing (most of my girl crushes were very much straight) they always ended up being kinda surface level. So... what if I only see women sexually, not romantically? Like if I were to try and date a woman, what if I realised that romantic part just wasn't there? And if that was the case, would that be wrong?

Basically, I know I'm bisexual, for sure, but sometimes I wonder if I'm somehow bi for the wrong REASONS if that makes any sense. It's like bi imposter syndrome or something.

Okay I'll wrap up this wall of text- sorry for using the ask box to have my little identity crisis lol

I'll try to respond to individual parts of what you've said here.

what if I only see women sexually, not romantically?

Are you familiar with the split attraction model? It's definitely not perfect, but what you're describing would definitely resonate with a lot of the people who use it. The SAM was originally created to better explain how someone can be asexual but not aromantic and vice versa. You may have heard terms like "biromantic asexual" and "aromantic pansexual" - those terms make use of the split attraction model.

(In fact, you yourself used "biromantic" and "demisexual" to describe the way you currently identify ^^)

if I were to try and date a woman, what if I realised that romantic part just wasn't there?

If that's a description that best fits your personal experience, I don't see a problem with it at all. While it's possible you might be suffering from internalized homophobia and/or your feelings might change someday to include romantic attraction to women, there's really no rush to figure out these things for sure.

Some gay men will meet a woman they're attracted to and no longer identify as gay, vice versa with lesbians. Plenty of gay people in that exact situation will choose to see those men/women as exceptions to the general rule of their lack of attraction to that gender. Neither of these groups are in the wrong.

Point being, you're the one who decides which labels fit you best, imposter syndrome be damned. Nobody else can make the decision for you, and that's one of the most beautiful things about being queer 💗

[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.

[cyokie]

Jack Vessalius as a Symbol for Depression

Ever since I first read PandoraHearts, I have interpreted Jack Vessalius as at least a partial symbolic representation of depression, especially in his relationship with Oz. 

(Skip to “keep reading” to go straight to the analysis; this beginning portion is little more than a disclaimer.)

Jack is a complex, fascinating character, and it is precisely due to this that I believe any number of interpretations regarding him contain merit. Whether you view Jack as an abuser, a manifestation of mental illness, or an extraordinarily-written character that does not require a figurative understanding to be interesting, I think this is valid. 

I am saying this first and foremost because I want to be clear: this is not a persuasive essay. I am not trying to change anybody’s minds about liking or disliking Jack Vessalius, nor am I trying to devalue any other interpretations of this extremely nuanced character. Some points may be a bit vague and connections disjointed, though I attempted to minimize this. Any discussion of mental illness and abuse is based on either my personal experiences or those of people I know. I do not intend to offend anybody. 

This post is simply the product of years of disorganized yet in-depth thoughts about this concept. I hope some of you will be interested.

Major spoilers for the entire manga below the cut. Manga panels are from the Fallen Syndicate fan translation. This...is going to get very long.

Emotional Abuse

Jack exists within Oz’s mind. When these two interact, it almost always occurs within Oz’s head, providing every conversation with an inherently emotional and symbolic element. 

Jack initially appears to Oz as an unknown but crucial figure. Whether he is trustworthy or even harmful remains to be seen, but his input is necessary. He is the only insight Oz has into his lost memories; he knows something Oz does not. Oz is suffering an identity crisis, realizing he has endured something he does not completely understand, something that could potentially change his entire life once he does understand it. And yet, this mysterious voice within his head understands it.  

This desperation makes it almost irrelevant whether Jack is credible, whether his advice is well-intentioned. Normally a rather cynical and distrusting young man, Oz follows Jack from the beginning despite wanting answers. He does indeed receive answers, but they are perhaps not quite what he bargained for, in more ways than one.

Once Jack’s true nature is revealed, the extent to which he has used Oz’s memories and emotions against him becomes apparent. Jack does present Oz with new insights into his experiences, but he only ever provides Oz with enough information to convince him to act a certain way. He never willingly gives a fair, all-encompassing portrayal of an event from Oz’s past. He manipulates Oz’s perceptions of his memories to fit a particular emotional narrative, one that is inevitably perplexing and demeaning to Oz. 

This bears a resemblance to the way depression warps how we view past events. When we look back at our experiences, we don’t see the entire picture--though we are convinced that we may. We see a skewed version of an incident that actually occurred. Perhaps this incident proves little to nothing about ourselves in reality, but viewed through the lens of depression, everything about it seems to scream that we are useless. And it is nearly impossible to try and perceive these events any differently, because when depression overtakes our minds, this perspective appears to be the only one through which it is possible to examine any of our pasts. 

By the time Jack’s intentions have been exposed, he is also explicitly emotionally abusive towards Oz. It is easy to recognize Jack’s statements as not only psychologically damaging, but disturbingly similar to what we hear in our own heads when suffering depression. Think about these assertions without the very literal plot elements that support them: Jack declares Oz less than human, insists that nobody loves him, and claims that he has no future because the only thing he’s good for is hurting those around him. He convinces Oz that he is useless, hopeless, and worthless. 

Jack drills these ideas into Oz’s head when he is at his most vulnerable. This is when Oz breaks down and becomes convinced that all of Jack’s statements are true. He is not who he thought he was; he never has been, and so his life is meaningless. 

This is arguably when Oz reaches his all-time emotional low. While it was already addressed that he had been struggling intensely with his mental health and was probably suicidal, up to this point, he always retained some level of self-preservation (however slight). Now, he silently accepts that the world would be better off without him and offers no physical or emotional resistance to his own execution. Jack’s words worm their way into his heart and corrupt his self-image to the point where his only reaction to Oswald’s sword swinging towards him is a blank, unflinching stare. 

Trauma Response

It’s not uncommon for Jack to manifest during catastrophic moments--that is, whenever a situation triggers (or comes close to triggering) overwhelming memories of Oz’s trauma. When Oz is losing control over his emotional and physical faculties, Jack often encourages him to make the trigger disappear using the quickest and easiest method available. Unsurprisingly, this method generally takes advantage of Oz’s extraordinary powers. In other words, the “tactic” Jack advises Oz to use is simply mindless destruction.

In the second half of the manga, Oz is at his least emotionally stable. It is not a coincidence that this is also the point during which Jack gains the ability to completely hijack Oz’s body. This development allows Jack to commit impulsive acts of aggression through Oz, while Oz himself retains little to no control.

Jack overwhelms Oz with unnecessary flashbacks to traumatic events and makes an excess of harmful connections between past and present circumstances. Oz’s panicked, distressed responses to this are tools he uses to further coax Oz into acting in a self-destructive manner. These tendencies may not only connect Jack to the concept of depression, but the concept of post-traumatic stress disorder as well. 

Identity Crisis

Although Jack is introduced extremely early in the manga, one of the story’s main mysteries is the exact nature of his connection to Oz. This relationship shifts several times, especially with regards to who is “in control” and who is the true “owner” of the physical body. 

Once it becomes public knowledge that Jack is “within” Oz, the identity of the former overcomes the identity of the latter in the eyes of the general populace. Figures who never before gave Oz a second glance begin to pay incredibly close attention to him; many directly address him through his connection to Jack rather than as a separate entity. 

Oz is deeply troubled by the way others ignore him in favor of an aspect of his identity that he feels does not truly represent him--an aspect of his identity that is at least partially out of his control. However, he is also relatively resigned to being judged in this manner. He lacks knowledge of how to change this circumstance because even he does not truly understand the extent to which he and Jack are connected. 

It is true that at this point in the story, Jack is practically worshipped. His destructive actions and devastatingly selfish nature have not yet been exposed. Because of this, Oz as Jack’s “vessel” is typically viewed through a positive lens. Still, this situation reflects how people with depression are sometimes reduced to nothing more than a mental illness by their peers. Because others do not understand (and mental illness is stigmatized), they start to see us as “different” in some indefinable but undeniable way, and our existence becomes that particular part of ourselves in their eyes. 

As time passes, the line between Jack and Oz becomes more and more blurred. Questions are raised about whether they are the same person or, on the contrary, whether they are similar at all. At what is arguably the climax of the manga, Jack declares that Oz’s body is, was, and will always be his possession; he claims that in reality, there is no “Oz,” only “Jack.” 

This thought haunts Oz intensely and sends him into a rapid downward spiral. Like the sentiments expressed near the end of the “emotional abuse” section of this analysis, the idea that Oz’s body belongs to Jack is backed up by rigid, literal plot elements. However, if we view this emotional catastrophe using a symbolic perspective, it is a representation of yet another common struggle endured by those with depression.

We come to ask ourselves who we really are. Was there truly a time when we weren’t “like this?” Could we truly escape this misery in the future? Who would we be if we were to stop feeling this way? Do we even exist without depression? Does Oz even exist without Jack?

Visual Symbolism

It is a classic literary device to represent hope through light and despair through darkness. The manga is rife with this exact type of symbolism, utilizing it to describe how the Abyss has changed throughout time, Break’s dwindling eyesight, and the oscillating emotional states of various characters. 

As I stated previously, Jack and Oz interact almost exclusively within the latter’s mind. The landscape drawn in the background of these conversations initially possesses a watery, clear appearance. However, as it becomes increasingly clear that Jack’s presence is deeply damaging to Oz’s psyche, this same landscape becomes overwhelmingly tainted by dark, ink-like shadows. 

Closer examination reveals that this “pollution” originates directly from Jack--and it reaches its peak once Jack’s intentions have been fully disclosed. Not only is Oz’s mind visibly corrupted by darkness, but Jack himself appears as an almost inhuman figure composed of these shadows. 

There is another level of visual symbolism as well--namely, the fact that Jack becomes increasingly physically aggressive and disrespectful towards Oz. In the first half of the manga, he primarily speaks to Oz from a distance, occasionally reaching out a hand in his direction. This is clearly not so in the second half of the manga, at which point Oz begins to defy his influence and it becomes vital that he subjugate him as quickly as possible.

By this time, Jack is almost always seen either restraining or caressing Oz. Even in the latter situation, when his touches are lingering and vaguely affectionate, they are possessive and constraining. In other words, though they appear different on the surface, both actions are ultimately methods of forcing Oz’s submission. It can be said that this represents his desire to gain complete control over all aspects of Oz’s being, as well as his total lack of respect for Oz’s physical and emotional autonomy.

It can be argued that both of these aspects of symbolism reach their pinnacle even before this point. Oz realizes his own worth when Oscar says he loves him and reveals that his greatest desire is for him to be happy. When Oz is at last able to grasp that he is loved and there is hope within his life, Jack immediately reaches out to grab him. And in one of the manga’s subtlest but most poignant moments, his hand crumbles to dust upon touching Oz. 

What follows is an extremely impactful display of Oz’s character development. He recalls Jack’s previous statements declaring his achievements worthless, denouncing the love he received from others as fake, and degrading his worth. Then he furiously rejects all of them, thrusting out a hand to push Jack away from him and consuming Jack in an explosion of light. 

The conclusion to be drawn from this is that Jack essentially lives off Oz’s misery. When Oz understands and is able to accept that he is not worthless, Jack is suddenly rendered utterly powerless. 

The manga culminates in a scene that coincides with this symbolism. This late into the story, Oz has succeeded in transcending Jack’s influence almost entirely, but Jack is not quite ready to let go. Though they stand together within a void, glimmers of light linger around Oz--despite everything, his life has come to be surrounded by hope and love. 

As Oz floats towards the path of light above, Jack reaches out and takes hold of his wrist. But his grip is feeble and hesitant, representing how little control he truly holds over Oz at this point. Perhaps attempting to provoke guilt or regret, Jack asks Oz if he is certain that he is prepared to move on without him, but Oz has grown too much to succumb to this manipulation. 

Without delay, Oz replies that there is no reason for him to stay, and Jack finally releases him. He escapes into the light--into a world full of people who care about him, into a life where he is happy to be alive. 

[bigskydreaming]

Dick has said it out loud explicitly, to Damian, that the mantle of Robin was his to pass on. Why do people still feel entitled to talk over him?

IMO? For the exact same reasons that people harp on so much about it being a retcon that Robin was Dick’s mother’s nickname for him and that originally he based the name on Robin Hood. To be perfectly honest that doesn’t make a damn bit of difference in regards to the fact that either way the point is still that Dick created Robin and it wouldn’t exist without him.....but the constant attempts to minimize its emotional significance to Dick and any kind of special attachment to it that he has and that the others can’t claim to share....

IMO these are just attempts to distance Dick from the mantle and make him seem less relevant or important to its very existence....freeing up people to focus on the importance of Robin as a symbol and a mantle to everyone else but without having to attribute any special credit or significance or respect to Dick as the originator of the mantle and the character that the other Robins are literally the legacy characters of.

It’s pretty annoying and very shortsighted IMO as actually, emphasizing the connection Robin has to Dick’s first family just enhances the weight and poignancy of Dick ultimately giving each of the other Robins his blessing when he didn’t have to and thus literally choosing them as his new family even without having to rely solely on a connection to each other via Bruce.

Of course people don’t seem to really want to do that either....given how rarely Dick’s blessing even gets acknowledged amid all the angst about who replaced who and who was fired and who wasn’t. It’s kinda ironic...I know so many fans HATE the version where Bruce fires Dick and so whatever they can not to acknowledge it and dismiss it as a retcon....and the ironic thing is? I get it. I totally see why it’s not something they want to run with and to be quite honest I can take it or leave it myself. I like exploring versions of events where Dick was fired, I like exploring ones where he wasn’t. Both have room for digging and delving imo.

My only beef with people who are soooo loud and quick to always dismiss the firing as just a retcon that doesn’t count.....is that in the pre Crisis version of events where Dick voluntarily gave up Robin and decided it was time to move onto a new identity....he gave Robin to Jason himself. The significance of that version of events isn’t JUST that it was Dick’s own choice to move to a new identity and that there was no conflict between him and Bruce about it...it was equally of significance that the Robin mantle was still viewed as inherently his, made by him, and his and his alone to pass on to a successor.

There is no version where Dick gave it up voluntarily but had no role in choosing Jason. The very premise of that mix and match honestly makes no sense because why make such a fuss about Bruce not having overstepped and fired Dick when it was never his place to say what he could claim as his identity or mantle on his OWN (fire him as his partner, sure that was always Bruce’s right, but tell Dick he couldn’t be the hero persona he created for himself? Fuck off Bruce LOL).

But my point is that mix and match makes no real sense because why preserve Bruce’s character from stepping between Dick and the mantle he created to honor his first parents....only to then turn right around and have Bruce still treat it as a Wayne family hand me down that Dick had outgrown when it was only EVER a Grayson family hand me down whose only connection to the Wayne family was through Dick being a member of both families and a bridge connecting them?

Whether Bruce fires Dick as Robin and gives it to Jason or JUST gives it to Jason without Dick making that choice....the one isn’t any better than the other because in both cases the actual offense is still the same: it was never Bruce’s to do ANYTHING with other than what Dick wanted done with it. Take on a new partner? Sure. But give him the mantle made of Dick’s work, Dick’s past, Dick’s every action as Robin? Nope.

So really the mix and match only serves one real purpose, for anyone who is intent on dismissing the firing as just a retcon but sees no need to uphold Dick choosing to give Robin to Jason instead of Bruce doing that...when Bruce doing that is literally part of the exact same retcon they’re so intent on discarding!

The only real purpose that mix and match serves is to keep Bruce centered in the Robin succession with his choice to give it to Jason being the basis of Jason associating Robin with Bruce. It keeps Bruce as the person Jason thinks of and feels connected to every time he thinks of why he’s Robin at all....because Bruce is the one who gave him the symbol that was already well known and full of meaning when Jason stepped into those shoes.

And then of course at the same time the mix and match also ‘lessens’ Bruce’s offense to Dick in taking Robin against his wishes WHILE also suggesting that Dick has less basis of feeling resentful of Bruce passing it on to someone else without his say so because it’s not like he was using it anymore right? And that was his own choice right?

But so what if it was? That doesn’t make it any less his creation and his legacy. It doesn’t make it any less a Grayson family connection and somehow more a Bruce Wayne family connection.

And that’s my beef. That’s the big irony of how flat out counter intuitive the mix and match retcon thing is and always has been. It only accomplishes half its objective....keeps the later Robins more connected to Bruce via it than they are to Dick via it....because it ultimately still runs through Bruce. But it fails to accomplish its secondary objective simply because refusing to acknowledge that Robin is intrinsically tied to Dick Grayson and not Bruce Wayne like....doesn’t actually make it any less true.

And that’s why imo the question should never have been “does your fic go with the version where Dick gives up Robin or the retcon where Bruce fires Dick” ...no, the right question in my mind should have always been “does your fic go with the version where Dick gives Robin to Jason or the retcon where Bruce gives it to Jason.”

And here’s the sticking point:

People always point to Bruce and Dick’s initial connection as the basis of their entire Dynamic Duo partnership. They understood each otrher via their parallel experiences losing their parents to murder. Bruce saw himself in a young Dick Grayson and he wanted to help Dick figure out a way forward to life after his parents’ death by drawing upon his own experiences.

But at the same time, they aren’t the same. Even with Bruce guiding Dick forward through his trauma and grief by following a map made of his own prior experiences, the end result was not the same for both....but it still used some of the same road marks on their respective journeys.

And this is why the Dynamic Duo were always emphasized as partners, as complementing each other, balancing each other....things they could only do because they were not the same and even using similar coping mechanisms to deal with their PARALLEL tragedies....produced entirely different results.

Both used their tragedies, their traumas, their PAIN to fuel their pursuit of justice and desire to help protect people. Both built new personas for themselves to use in their shared missions here....personas which embodied what they wanted to accomplish in these guises while at the same time reminding them why they were doing this.

But the personas they created ended up looking very different despite being born of similar crucibles...because they prioritized different things....and because they were honoring different people.

No matter how much Bruce and Dick have in common due to circumstances they are very different people who are both products of the families and places they come from....and thus even when using similar PROCESSES to build something out of their parallel tragedies, what emerged from the fires once they were done creating from their traumas.....don’t look the same. Aren’t interchangeable.

And neither are their creators.

Bottom line, it in my opinion flat out does not work to attribute more connection to Robin and the succession of that mantle to Bruce than Dick.....because Bruce would never, COULD never create that specific mantle out of his grief and pain any more than Dick ever would or could have created Batman out of his. Because they are too different. They needed different things out of their journeys forward, they were commemorating having had different journeys behind them, they were walking a shared path side by side but you can’t switch the clothes they made to wear going forward anymore than you can switch their footprints beneath their feet....they don’t fit into what the other made because it wasn’t made BY them and it wasn’t made FOR them.

So riddle me this, Batfandom: how does it make sense to focus on their parallel tragedies and how they moved forward from those in similar ways and on a shared trajectory, emphasizing how this is the entire basis of the Batman and Robin partnership from its very inception.....

Only to then view the role Bruce’s grief, his loss, his pain played in birthing the Batman mantle as something sacrosanct, undeniable....these things go hand in hand, there’s no separating them even when others end up wearing the Batman mantle as well, even through multiple generations....

But at the EXACT SAME TIME....treating Dick’s grief, HIS loss, HIS pain and the role all THAT played in birthing the Robin mantle....as something that barely comes up as a footnote the second you put the costume on anyone other than Dick? Something the others never even feel inclined to THINK about when reflecting on the mantle they’re wearing and where it came from and why it exists?

Why is the one rated as so less significant than the other....if the entire point of Batman and Robin is that both heroes were born from the ashes of tragedies so similar they understood each other in ways most other mentors and sidekicks never came close to?

How’s that work exactly?

Look, you’ll never catch me arguing that Bruce isn’t and shouldn’t be central to the Batman mantle, mythos, succession, etc. And I loved Dick as Batman too. But it ultimately should always come back to Bruce no matter how many people add to it in their own ways. Because it’s not just about what Bruce made.....it’s why he made it that matters too. The act of creating Batman is as important to the story of Batman as the created Batman.

And those very same reasons are precisely why Bruce shouldn’t be regarded as central to the ROBIN mantle, succession, etc.

To dismiss the Graysons as not being definitive to the greater Robin mythos is to say Thomas and Martha Wayne bear no special significance to the Batman mythos.

I love that being Robin connects these siblings and ties them all together as part of the same family. I love it being a shared family tradition that encompasses all of them and marks this family of choice as having been specifically chosen by not just it’s patriarch but each other.

But it’s not Bruce’s family tradition and it’s not a Wayne or even a Batman hand me down.

Because it doesn’t even come from Bruce’s family.

It comes from Dick’s. He brought it with him. It’s what connects him to what came before life with Bruce because as everyone knows but so many people often forget to give MEANING....

Dick Grayson, for as much as he is Batman’s son and is undeniably Bruce’s family, had a life of his own before he ever met Bruce.

He didn’t begin with Bruce Wayne. He didn’t come from Bruce Wayne.

And neither did Robin.

[kindness-ricochets]

ur thoughts on wylan and kaz? as characters or ur general hc's for them together after soc or anything else. just ur general thoughts on these characters in tandem.

In writing my response, I rambled for a bit and may and may not have actually answered your question... so while I hope this interests you and is what you meant, feel free to drop a line if I completely missed the mark!

They’re perfect opposites—by which I mean entirely different in all the ways they’re the same.

Wylan and Kaz share an almost absolute emptiness of coherent thought regarding themselves, Wylan emotionally and Kaz physically. Kaz always pushes himself too hard, he never sleeps, he’s basically made of coffee and spite. Wylan can overlook any level of mistreatment because he is so thoroughly conditioned to it, except that he genuinely believes this can be a form of love.

As a result, both deal with grievous personal wrongs using a loved one as a proxy.

Kaz has every reason to hate Pekka Rollins as the architect of his trauma and sometimes he does acknowledge this. He’ll have lines about Pekka taking everything from him. That he “had a lot of things”. It’s about Jordie, always. Avenging Jordie’s death is a perfectly valid motivator, but Kaz takes it to an extreme degree. (This is an interesting contrast between him and Inej, too. Inej recognizes that what was done to her was wrong; though deeply traumatized by it, she is able to recognize that she was mistreated, that she can seek revenge for herself and others like her.)

Wylan has every reason to hate his father. But he doesn’t. Not only doesn’t he, he blames himself every time. Jan wanted a real son, a proper heir, it’s Wylan’s fault; who else would love him enough to be honest with him? It’s only when he learns about Marya that Wylan can begin to process what his father truly is. Eight years of abuse culminating in attempted murder and public humiliation is one thing… not at all intended to downplay the horror of Marya’s situation, not at all! Just that it’s the only way Wylan is able to begin to process his feelings toward his father.

Maybe as an aspect of this, maybe as a coincidence to it, both are very conscious of the people are them—it’s just that Kaz’s consciousness is ruthlessly pragmatic while Wylan’s is sweet. Kaz is always aware of every player, how to use them, and how to manipulate them. Wylan is concerned—about Jesper losing his guns, about Nina catching cold in her skimpy outfit, about Alys who was sweet and silly and meant no harm to anyone. A perfect example is their conversation about Jesper.

[“]Who knows? Jesper may even win his revolvers back.” “I hope so,” said Wylan as they hopped onto a browboat crowded with tourists and headed south down the Stave. “You would.” “What’s that supposed to mean?” “Someone like Jesper wins two hands and starts to call it a streak. Eventually he loses, and that just leaves him hungrier for the next run of good luck. The house relies on it.” Then why make him walk into a gambling den?

Both have a personal connection to Jesper; Kaz does his closest approximation to loving him as a brother, while Wylan’s little crush is starting to feel like maybe something more. And they have opposite approaches to his addiction. Kaz uses it. Ruthlessly. (Granted, this is Kaz at his lowest, but it’s not especially different from how he treated Jesper in the beginning of Six of Crows.) Wylan wants to acknowledge his problem and help him avoid his addiction. He doesn’t want Jesper to have to suffer the loss of something important to him. This also shows in how Wylan and Kaz think about each other. Near the end of Six of Crows, Kaz essentially thinks that he doesn’t care about Wylan’s dyslexia because Wylan has other talents, other uses. Wylan thinks near the middle of Crooked Kingdom that he knows Kaz had other motives, but he still helped Wylan a lot, and is a friend. Kaz’s evaluations are weighed by use, Wylan’s by emotional impact.

Now I’m going to get nerdy. Even more so. When I did developmental psychology, my favorite was always Erikson, who essentially broke human development into stages of crisis and resolution. The 4th is “industry vs. inferiority”—basically, competence. And they resolve to extreme opposite ends of the spectrum. Kaz is industrious, competent and capable, determined from the moment he was reborn in that canal. He doesn’t stop. He makes plans and acts on them. Wylan feels inferior, and often struggles—even with things he knows how to do, he needs to be told to do them, or can’t quite put two and two together about the situation around him. (The fact that Wylan’s crisis comes to a more positive resolution, that he begins to develop competence, throughout Crooked Kingdom is… frankly, wonderful. Wylan wasn’t inherently bad at things. He just didn’t have support to grow.)

These opposite resolutions also relate to where they fall on Maslow’s hierarchy of needs. Kaz is left without the most basic things, physiological and safety needs, things like food, water, and shelter. He has to adapt and he has to adapt fast—because he’s alone. And if he’s going to survive, if he’s going to see Jordie given justice, he needs to get to work. Wylan has those needs met, placing him at the point of psychological needs—belongingness, love, esteem. Jan took care of Wylan’s basic needs, but dealt him blow after blow toward his psychological needs through isolation and emotional abuse. This highlights another difference: Kaz’s damage wasn’t dealt by someone who hated him. Pekka was just indifferent. The Barrel was full of lost children who would take a mouthful of bread from a weaker boy because they needed it to survive. It was indifference, for Kaz. But for Wylan, it was at best disdain, at worst hatred.

This sets them apart from the other Crows. Inej was 14 when she was taken by slavers. Jesper was around 16 when he was sent to Ketterdam for university. Nina was 16 or 17 when the Fjerdans took her captive. Matthias was I think 11 when he lost his family, which places him just on the cusp of two of Erikson’s stages, but the relevant resolution is to the fifth stage of identity vs. confusion—basically, “Who am I, and who can I become?” Those four developed competence in a more or less healthy way (purely in terms of competence since two were basically child soldiers, but still). Whereas Kaz overcompensates with relentlessness and Wylan freezes up. Both have this sort of jagged place inside them at exactly that point, that the others simply don’t have.

To me, this explains why Kaz and Wylan have the weakest balance between personal and professional lives. Kaz is always plotting, scheming. He has to learn to take a break from the monster and be the man. Wylan is locked up in his own mind. In his first narrated chapter, his first narrated page, he tells us that he feels out of place and doesn’t even know where to put his hands to look normal. Kaz is ready to take over the world while Wylan just wants to exist in his own little corner of it.

[foryourinformationmd]

Advice from a Professional Doctor, Asher Nitin.

Ignore all the portrayals of life in medical school by your pre-med lecturers. If they begin a med school narrative with, “My nephew is a doctor and he told me…,” instantly disregard it. His nephew did not tell him that. He told him much more. Those are merely the parts he wants to remember. If it isn’t a recently-graduated doctor telling you what life in med school is like, it isn’t going to be anything like what they will tell you. So what is it like instead? Grey’s anatomy? House, M.D.?

Neither. Med school is more like Scrubs and The Knick than it is like Grey’s Anatomy and House, M.D. Unlike Grey’s Anatomy, you and your fellow medical students will not be that good looking. You will not sleep with each other as much. You will not cry over your patients (you’ll have a hard time remembering their full name). And you will not monkey around with barely-tested experimental procedures. Ever. If you do, it’ll probably be the last thing you do because good-bye medical school. Unlike House, all medicine will be diagnostic. Your professors will only appear to be brilliant (it’s really just decades of specialized knowledge and experience; with their subject and with your type). Diagnosis will be algorithmic, and even that algorithm won’t be your own. But you will still get a kick out of it. Like Scrubs and The Knick, your medical school will be your life. You will eat, sleep and dream medicine. Your entire social circle will consist of your colleagues. Your family will be the one stable point in your life. You’ll date your colleagues.

Speaking of dating, your sexy does not go up when you become a doctor. I mean this practically. Theoretically, I’m told doctors are hot. I can see why. They undeniably have inherent value: social standing, (the promise of) money, proof of intelligence (actually, no) and actual power over life (more than you know). But practically speaking (especially if you’re male) your dating life will not get better as a medical student. That is because the demands of medical school will swamp you. You will come home tired. Your pool of prospective partners will mostly consist of your medical colleagues. So while your newfound status as a doctor might have value in non-medical circles, it will mean nothing because you will almost never frequent those circles. But within the circle you’re in, your status as a medical student means nothing, because so what? Everyone is one too. “But Asher!” you say, frantically gesturing at me to pause, “I’ll be smart and date outside of medical school.” No, dummy. You’ll be a dummy if you do that because…

The more friends you have outside of med school the harder it is to excel. Med school is about an ethos. You’re not just part of a course. You’re part of a community. This is now your primary identity. All your self worth are now belong with us, bi*ch. There is this neurological phenomenon seen in people trying to study. When you’re focused on something, if you break off and engage with something unrelated, your brain takes up to twenty minutes to fully refocus on the original task once you return to it. In life as well, broadly speaking, I’ve observed a similar phenomenon. I’ve known three students in med school whose circle of friends mostly lay outside of med school. One hung out with mostly dancers and choreographers. One was a socialite. One hung out with the sons of politicians. They all were (and still are as of now) the worst doctors I have ever seen. This is because they constantly take breaks from the ethos of medical life. They miss out on the rhythm of life in the world of medicine. So you should know that…

You will leave most of your old friends behind, and you won’t even mind. Of all the various professions, I’m told, physicians tend to default the most on school reunions. That is partly because they don’t have the time, but also because they don’t care. It isn’t that we become arrogant or unsocial. It is that the act of medical education deeply changes you. It makes you more functionally intelligent. It makes you less prone to fake drama. It makes you calmer in crisis. All these after-effects will permanently drive a wedge between you and many of the people you used to know. This is a surprising side-effect no one anticipates; least of all your elders. And that is an amusing paradox. They anticipate your becoming a doctor because they know medical school is elevation. They don’t realize the side effect of this elevation is you will now talk down to them.

Your most important subject in pre-med is physics. Look, pre-med isn’t really about information continuity. The organisms you will dissect in pre-med will be phylogenetically disconnected from med school. You dissect a plant stem, a plant root, an earthworm, a cockroach, a frog, and then… a human being? See? You won’t be seamlessly connecting domains of knowledge. Pre-med isn’t even about building a conceptual base. Many things you learn in pre-med biology will be repeated in so much greater detail in med school that your prior knowledge will only partially help. Pre-med is about picking up mental skills you will need. Let’s talk about those.

You need to learn to form a train of thought fast. The great thing about learning to solve problems in physics is that you learn to solve problems in general. You learn to quickly identify variables and constants. Sometimes there will be constants in the problem that would normally be variables in real life. You learn to work with those too. Physics allows you to become mentally agile with concepts. If you get fluid mechanics, you can handle the physiology of hypovolemic shock. If you get lever mechanisms (in different orders), you can handle applied anatomy in orthopedics. If you get optics, you can handle a lot of neurology and ophthalmology. In my experience, the students who have the hardest time in med school are the ones who didn’t learn to think on their feet within a fixed framework of time.

You hate memorizing? Actually, you don’t. It’s all about the context. Literally none of us salivated at the prospect of memorizing taxonomies. We hated it and struggled over it and were glad when we were done with it. That was because it was something we knew we would never use. In med school, you will do a lot of memorizing. But you will enjoy it (or at least you can, if you choose; I’m a huge nerd). Many doctors will tell you how easily drug classifications embed themselves in their brains. This is despite the fact that the latter are more complex than zoology taxonomy charts or botanical floral formulas. The difference is that your knowledge of drug classification will impact what you will say to your aunt when she confronts you over her persistent back pain over Christmas dinner (poor posture, it’s always poor posture; she sits like a potato). So you will memorize a lot. It won’t be anything like memorizing was before. Rest easy. You will find it easy to like it.

Your persona does not matter. Caring for people and being compassionate and wanting to cure disease are the least important things in medicine. You need to be able to meaningfully link vast amounts of information to come to a correct diagnosis as per established algorithms. You need to perform surgical procedures within a reasonable amount of time with a decent degree of success. All else is secondary. When most of your non-doctor relatives tell you that a doctor’s personality matters, they’re doing something called argument from ignorance. You see, the world of medicine is so big and so complex that most of it is technically incomprehensible to the general public. So they latch on to the few aspects of a doctor’s life they are mentally capable of understanding (and commenting upon; remember their first reaction to meeting someone with an education superior to theirs is to give them tips). So they will talk about a doctor’s personality because it is the only part they can presume to have some expertise on. Even that they do not. Don’t ever do stupid things like falling in love with your patients or building deep and personal relationships with your patients. You will never last in medicine. This is not because the emotional trauma of losing them will wreck you. This is because you will go bankrupt fighting lawsuits accusing you of patient preference. You will feel the pressure in the things non-doctors will say behind a good doctors back. “He’s so boring at parties, he can only talk work stuff.” If that is your destiny, so be it. Own it. They find you boring? So what? You were not put on this earth to entertain the illiterate at parties. You were sent here to be a lifesaver; not to have a personality that appeals to the lowest common denominator.

I’m telling you it does not matter. The practice of medicine is life on the edge of reality. All personalities are welcome because medical school is a personality in itself.

The materialists among us are taught the value of wisdom and the ascetics among us learn to knot a Double-Windsor.

The atheists among us will pray frantically and the religious among us will find no time for church on Sunday.

The loudmouthed learn to whisper in the NICU and the soft-spoken learn to yell, “Stat!” in the ER.

The type-A personalities among us learn to break the news of a patient’s passing to his relatives and the type-B personalities among us learn to argue medico-legal cases.

The clumsy among us learn to suture wounds and the nimble learn to administer CPR.

Materialists. Ascetics. Atheists. Theists. Loudmouthed. Soft-spoken. Type-A. Type-B. Clumsy. Nimble.

In medical school, we all meet in the middle.

PS: Photo not mine. Credits to the rightfully owner. 

[kagemajaya]

Unripe Expression - High school romance and friendship done well

Misughan Pyohyeon - 2016, Aga - 9/10

Jaewon and his boys - my favorite harem yet

I’m not much of a manga reader, if you don’t count BLs that is. BL manga is one of the very few things that can pull me out of boredom, and I consume on average one volume a day. Korean webtoons are definitely a part of this comic devotion of mine. They are almost always easy to consume (not something I can say for manga) and the format lends itself to binging extremely well. Many a night, starting a new 80+ chapter webtoon has been a grave mistake for me, as I end up welcoming the sun with whatever couple I’m on a journey with at the time. Another feature of most BL webtoons is that somehow their drama never suffocates me, no matter the seriousness. Albeit a huge generalization, even when they make me cry rivers, they never feel quite so pessimistic as their Japanese counterparts. I always know what sort of an emotional reaction I’ll get out of them - which is not a bad thing if you are reading romance as a enjoyable pastime.

Unripe Expression, while seemingly just another one of the cute high school romances with some light drama, changed my mind as it built towards something subtly different. Throughout the majority of the story, I had two main feelings: that the story was ordinary but very involving, and that the main cast was individually superb characters. They were well-written and had lives and feelings of their own, and they were all extremely sympathetic even after they made mistakes. At the end, my feelings on the boys remained strong, but another thought struck me. The story was their desires, interactions, overall relationships, and characterization otherwise. The romantic pursuits and the friendships that Aga showed us were nuanced and alive, and I love each and every one of them.

Jaewon, the MC, is a sweet guy and first and foremost I wanted his choice to be realized, and this was in spite of Junseo being my best boy. While Jaewon had agency in the narrative, and he had a choice from the very beginning, the romantic plot never revealed what it had in store for us at the end. This is a 70 chapter comic, and I only knew who the lucky guy was in the last 2-3 chapters, a truly unpredictable gem. This can rattle a lot of people, and perhaps, if I hadn’t been convinced by the relationships of Jaewon and the boys, I’d have felt the same. Looking up some reviews after I finished the story, I found that not a lot of people were happy about the ending, so this might not be one of the stories you choose to read when you are in the mood for wish fulfillment. Speaking for myself, it fulfilled my wishes in terms of great relationship development on all counts, so even if I felt sad for the unlucky ones, I was completely satisfied with the way this particular story turned out. I bought every one of their plotlines, and that none of them were tools for fanservice to the audience. I was reading the real lives of a bunch of good high school boys, and what I wanted for them was not really their concern. Aga certainly has the qualities of a writer that I respect passionately. They seem to be writing for art and not the reader. Having said that, I’m still a weak human, so I’d love to see a continuation story for the other boys who couldn’t get Jaewon. [Big spoilers past this point until marked otherwise.]

Is it gonna be him or him or him? An embarrassment of riches...

First and foremost of those boys is of course Junseo, the reason for the public outcry in reviews. Junseo is the most well-built character and it is perfectly natural to be on his side as he helps Jaewon through his identity crisis and romantic troubles chasing Karam. He is sweet, loyal, a great friend, and as we witness him support his friend wholeheartedly, he falls in love with him in the process. The fact that he had already had a very intense relationship before high school and was broken hearted over it adds to our deep sympathy for him. His own transition from friend to boy in love is believable, and the story helps us support him in his quest through the first half of it - until we start getting a bit more into how Karam sees Jaewon (well at least me!)

My journey in what I want for Jaewon was quite shaky. In fact I’d say I’d have probably felt okay with whoever he ended up with. However, my top choice changed throughout the story; first Karam, then Junseo, and Karam again. I never stopped loving Junseo the best and feeling for him, but as mentioned, I wanted Jaewon to have who he wanted. We knew Karam was slightly interested in him from the beginning but the nature of that was not entirely clear. As we got further away from understanding him, my heart was turning towards Junseo and giving him what he wanted. However, Aga eventually turned the story back to Karam, with a new tool in the game - Jaewon’s first love Yoonsung. Yoonsung didn’t only trigger Karam to understand his own feelings better, he also showed us that Jaewon’s feelings were fully mutual. Karam can come across as the least developed of the group, and he is certainly the “less exciting” choice, but his own struggles with his feelings were gripping. Despite feeling that Jaewon was special, and despite being confessed to, he turned down Jaewon and still wanted to stay with him. This trope of being scared to lose a friend can come across as ordinary, but in this case the execution was superb. Karam wasn’t actually scared, and without respite, he kept sticking to Jaewon and flirting with him and doing everything in his power to stay in his heart. He didn’t want to lose Jaewon’s love for him to Yoonsung. The inherent selfishness of this is also inherently titillating to me - as long as Jaewon was only looking at him, he didn’t want to bother with the troubles that come with romance. Thankfully, Yoonsung came across as a very open threat to his possessive love. Little did he know, the real possible competition was Jaewon’s best friend Junseo.

Yoonsung himself comes across as the easy boy, the playboy who is playing games, and why would we ever root for him? The truth is we’ve read plenty of BL where the childhood love of the hero returns and has had a transformation of his own and gains the heart of his love again. Yoonsung is a charming boy, and from his perspective, the story is a sad one. The boy he’s loved all his life doesn’t pick him, and he doesn’t even make it simple. Jaewon’s protests against Yoonsung’s advances are flimsy at best. In the space of a few days, he gives hope to all three boys with his actions. Karam has already been confessed to, Yoonsung is allowed physical closeness, and Junseo emotional closeness. Jaewon’s relationships with each of them make these interactions believable and not-unlikeable. They are all a part of the natural flow, and in the end, as a boy who has been turned down, his confusion is natural. I find the final choice of Karam incredibly realistic, as he’s never stopped loving him. And luckily for Karam, he wasn’t too late to fix what he had almost undone. Unlucky for Junseo of course, because given enough time, I have no doubt that he could have made Jaewon forget about Karam’s rejection. Just the timing wasn’t right. Poor Yoonsung, on the other hand, was entirely too late. His time had been almost ten years ago. His unintentional rejection of Jaewon as a well-meaning child was the final chance he was ever going to get. 

Jaewon is the wholesomest slut in the world of BL

Another entirely doki doki element of the webtoon is that throughout the story no one ever finds out how close Jaewon and Junseo were. It was their own world, making their friendship particularly special - and make no mistake, it was a friendship, of the best kind. A huge strength of this webtoon was that despite most of the boys being in love with Jaewon, it wasn’t only about romance. It was very much about friendship, friendship of people who might have romantic connections as well. Whilst in many romance stories, friendship can be neglected, it is even rarer to see lovers or love interests portrayed properly as a friend. The perfection of how Junseo was equally in love and a loyal friend is one of the biggest draws here. Of course, we don’t only have Junseo as a friend but also Jaehee, who was the only straight boy in the crowd, Jaewon’s other best friend. Jaehee had a smaller role compared to the others, however, from his initial reaction to how he got himself forgiven and how he silently watched over his friend without wanting to make him uncomfortable, he had a subtle and sweet character development of his own. He was the less complicated friend-the one who was always there, unlike Junseo who had to leave at the end. And that choice was probably the one that made me the saddest. It was clear to me that Jaewon wasn’t only a crush for Junseo, so seeing him throw away his friendship was particularly sad. Jaewon respected his choice in the end, as he had briefly been there with Karam and didn’t appreciate the situation he was put in (once again showing that Karam is not such a goodie two-shoes.) In the end, this made the ending particularly bittersweet - not only because best boy Junseo didn’t get the boy but also because they had lost their best friends in each other as well. If we ever get a sequel, I would love to see Junseo get a boyfriend of his own, and back to being friends with Jaewon - and close friends at that! If I had to complain about anything at all, it would be that friendship does come behind romance as the main theme, and this means that once the romantic plotline ends, we don’t get to see any “side stories” to see where they all end up. Given how important friendship is to the rest of the story, it would have been more fulfilling to have one for the road.

Spoilers done!

In the end, Unripe Expression was a great success - telling a heartfelt story of love and friendship of five sweet boys, all of whom you could route for, for their own happiness. Harem is a particularly difficult structure to realistically execute and Aga did it perfectly here. None of the characters’ interest in the main character felt forced and I never found myself thinking, oh my god, why does everyone like this one boy! Even if the last choice may be controversial to some, Unripe Expression tells the story of Jaewon’s romantic escapades in a heartfelt and well-constructed fashion. Hopefully, you’ll give this beautiful (and extremely bingeable) webtoon a shot and Aga will one day grace us with more of their imagination and more of these boys’ friendships.

[woozapooza]

Why Sayid Jarrah’s s6 storyline makes perfect sense in theory even if the execution wasn’t perfect

(This is a post I started working on last year during my first re-watch of Lost. I got distracted and put it aside for a while, so I don’t remember everything I was originally going to say, but I really wanted to finish this post, so here it is! Warning: it’s Looong. Like, over 2000 words long.)

“Evil is not a thing. It is not a condition. It is a choice. You are only what you choose. That alone is what makes you.” - Reign 1x15 (YES I’M STARTING MY LOST META WITH A QUOTE FROM REIGN DON’T JUDGE ME oh hey gifset idea!)

While rewatching “Sundown,” I was struck by the scene in the flash-sideways in which Omer asks Sayid to deal with Keamy once and for all:

OMER: Sayid, don't forget who you're talking to. I know what you did in the war. You were an interrogator for the Republican Guard. I know what kind of man you are.

SAYID: If you think I'm going to hurt someone just because you made a bad business decision…

OMER: No, this is not about me! Our life savings... it's all gone, Sayid, all of it! We could lose our home! Please! Look, I know you care about Nadia. If you care about us, about her, you will do this, Sayid.

Omer takes two different, seemingly contradictory approaches to convincing Sayid. When he says “I know what kind of man you are” in the context of Sayid’s history as an interrogator, we can assume he’s implying that Sayid is, if not exactly bad, then at least capable of things that most people would consider bad. Note the phrasing: it’s not “I know what you’re capable of,” it’s “I know what kind of man you are,” implying that Sayid’s actions as an interrogator represent an essential part of him. It’s reminiscent of Ben telling Sayid, “It’s what you are. You’re a killer” (”He’s Our You”). It’s also reminiscent of Sayid himself saying to Ben, “You want to know who I am? ... I am a torturer” (“One of Them”). But then Omer appeals to Sayid’s loyalty and compassion to get him to confront Keamy. 

This is very similar to the approach Dogen takes in the same episode when he tells Sayid to kill “Locke.” (Side note: “Locke” eventually deduces that Dogen's real agenda was for him to kill Sayid, but even if he’s right that Dogen knew there was no chance that Sayid could kill “Locke,” it doesn’t really matter for my argument, as Sayid doesn’t realize that this is Dogen’s real agenda until “Locke” points it out to him.) Dogen enlists Sayid to kill someone—i.e. to commit a morally difficult act that also happens to be one of the things he’s best at—with the argument, “You say that there is still good in your soul. Then prove it.” It’s a lot like what FS!Omer argues: doing a bad thing—thereby giving into the proclivity for violence and cruelty you’ve dealt with all your life—is the only way you can prove that you’re actually good. While Dogen doesn’t explicitly describe violence as an inherent part of Sayid’s identity, surely his instructions would nonetheless have that implication for Sayid. There really isn’t a right answer in either of these dilemmas for Sayid. He can give into his worst tendencies for the greater good or he can resist his worst tendencies at the expense of the greater good. There is no option that won’t leave him feeling like a bad person. It’s predetermined and presupposed that he’s bad.

And this connection in turn got me thinking about Sayid’s whole storyline. My first impression of his storyline was that his central conflict was whether he’s a good or bad person. Now I see another, parallel conflict: whether he gets to decide whether he’s a good or bad person.

Sayid isn’t the only Lostie with this conflict. Kate killed her father because she hated him for making her worry that she was destined to be bad like him. Similarly, Jack’s FS is about him discovering that he’s not destined to be like his father. Sawyer implies that he has no choice but to be a bad guy when he says “a tiger don’t change his stripes.” When Locke says “don’t tell me what I can’t do,” he’s not specifically saying “don’t tell me I can’t be a good person,” but he is protesting against the idea that anyone else gets to tell him who he is. There are two main strands to the Losties’ psychological conflicts: good people vs. bad people and free will vs. the absence thereof. (I phrase it like this because the alternative to free will isn’t just fate. It’s all external pressures, whether they come from fate or from genetics or from other people’s actions.) Sayid is the point at which these strands overlap the most thoroughly.

As a kid he kills a chicken (“He’s Our You”). It doesn’t necessarily mean he has no compassion for the chicken, just that he knows they have to eat. We know it’s not merely the way he was raised, or Omer would have been able to do it. As an adult, the violent promise he showed as a child comes to fruition when Kelvin teaches him to torture (“One of Them”). He says he’ll never do it again, but Kelvin knows he will, and Sayid later confesses to Ben in the same episode that while he “was a good man” when the American army came to Iraq, “there was a part of me that was always capable [of hurting people].”

So on the one hand, we know from the opening scene of “He’s Our You” and Sayid’s words to Ben in “One of Them” that Sayid is naturally gifted with…not exactly cruelty, but the ability to do things that could be perceived as cruel. On the other hand, we know from something he says to Nadia in “Solitary”—that he can’t desert or his family would be killed—and the flashback with Kelvin in “One of Them” that he would never have started torturing people if he hadn’t been coerced into doing it.

In order for Sayid to really come face-to-face with himself, the element of coercion needs to be removed. Sure enough, on the island, for the first time (as far as we know), he tortures someone (Sawyer) completely of his own volition, and I think that’s the main thing he’s dealing with when he goes off on his solo trek—not just that he can’t break the ol’ torture habit, but that he resorts to it even when no one is making him. That’s just my interpretation rather than something that’s spelled out or even heavily implied, but I think it makes a lot of sense. If you think about it, Sayid’s self-imposed exile is sort of a strange reaction to what he did. After all, Jack was complicit in what Sayid did to Sawyer, and he doesn’t even seem to regret it, let alone punish himself for it. You’d think that someone who heals people for a living would be more torn up about about causing harm than someone who hurts people for a living, yet Sayid is the one in crisis. It’s counterintuitive, but it makes sense when you consider that Jack has no reason to define himself as a torturer, whereas Sayid absolutely does, and that’s what takes him beyond the guilt of doing something you don’t want to have done into the shame of being someone you don’t want to be.

So Sayid has two major struggles throughout the show: “am I good” vs. “am I bad” AND “is it up to me to decide whether I’m good or bad” vs. “is it up to other people to pronounce me good or bad.” In “He’s Our You,” when Ben tells him he’s a killer by nature and shouldn’t try to resist his nature, he’s using this lifelong struggle of Sayid’s to his advantage. When this plot of Ben’s rebounds on his younger self at the end of the episode, we see Sayid finally make the choice to let himself be a bad person. He gives in, both to the idea that he’s a bad person and to the idea that someone else (Ben) has the right to identify him as a bad person. (“You were right about me. I am a killer.”) Still, I would argue that even in this episode, Sayid’s arc hasn’t gone as far as it could go. For one thing, he could make the argument that he shot Ben for the greater good, just like he killed the chicken in the flashback at the beginning of the episode for the greater good. More importantly for the point I’m trying to make, Sayid makes the choice to pull the trigger. He concedes that a killer is “what he is,” but his actions are still clearly his own. I mean, after all, he’s messing with the established timeline. It indisputably takes free will to do that. So if he’s going to figure out beyond any doubt whether he has the power to decide that he’s going to be a good person, he needs first to be pushed further into the realm of doubt.

The real culmination of his struggle is when he gets the “sickness,” then Dogen declares him evil, and then finally, after resisting a little, Sayid gives up and teams up with Smokey. He makes his choice: he’s bad AND it’s not his decision. By giving in to the sickness, Sayid gets to give up on the struggle to be a good person and the struggle to convince other people that he’s a good person. But in addition, he gets to give up trying to figure out whether he’s the one who gets to decide if he’s a good person. Remember what he says to Miles: “Apparently I’m evil.” Sure, he says that line kind of sarcastically, but his subsequent actions show that he’s taking that judgment as the gospel truth. He gets to accept that whatever diagnostic Dogen ran on him can measure his moral quality as accurately as a scale can measure his weight. Then he gets to hand control of himself over to someone else (“Locke”).

That’s what makes his ultimate sacrifice so powerful. It’s a combination of the fact that he overcame the “sickness” AND the fact that the “sickness” arc was really just the culmination of his central internal conflicts. If he hadn’t done it, he’d have had an excuse—a supernatural excuse, nonetheless! But he did it, and that means everyone who made him out to be a “killer” or “evil” (or a “terrorist"—thanks, s1 Sawyer) was wrong, not because he was inherently good but because he had the power to CHOOSE to be good, and he used that power. Remember “Enter 77,” the highest-rated Sayid-centric episode? “We are all capable of doing what those children did to this cat. But I will not do that. I will not be that.” I doubt the writers knew at the time what purpose that episode would serve in the grand plan (I use the term “plan” loosely, lol) of Sayid’s arc, but in retrospect, the flashbacks in "Enter 77″ serve a purpose greater than simply breaking everyone’s heart and letting Naveen Andrews act his heart out. They serve a purpose even greater than just explaining why Sayid chooses to stop Rousseau from killing Mikhail at the end of the episode. This episode foreshadows Sayid’s final act by establishing that both good and evil are choices that everyone is ultimately free to make.

In “The End,” Hurley, the character who is probably the most consistent voice of morality on the whole show, declares Sayid “a good guy.” He acknowledges that “a lot of people have told you that you're not. Maybe you've heard it so many times you started believing it. You can't let other people tell you what you are, dude. You have to decide that for yourself.” This is a very succinct, powerful summation of Sayid’s arc. Hurley acknowledges the power other people have to shape our perceptions of ourselves, perceptions that become self-fulfilling prophecies, but also states unequivocally that you write your own story, even if you’re someone like Sayid who has ample reason to give up on themselves. Listen, I agree with fandom that Sayid’s s6 storyline wasn’t handled very well, but I can’t agree with the people who think Sayid should never have turned evil in the first place. His redemption is just way too powerful. When Sayid snaps out of his zombie state with Desmond’s help (the power of friendship!!!), he’s not only deciding that he’s a decent person, he’s realizing that he can make the CHOICE to be a decent person. And in a show with so much destiny nonsense (I mean that lovingly) it’s extremely important to me that my main man gets an arc that affirms that you get to decide who you are. <3<3<3

[whitehotharlots]

So we’re just gonna straight up embrace conservatism?

A few months ago I came across the story of a group of young trans activists who wrecked up the opening of a feminist library in British Columbia. To avoid accusations of taking sides or whatever, here’s what the feminists had to say about it, and here’s what the trans activist kids had to say about it. (Direct link: https://www.facebook.com/notes/gag-gays-against-gentrification/response-to-vancouver-womens-library/379623995740078 )

Both sides agreed that the activists physically disrupted the opening of what was purported to be a feminist space, caused several hundred dollars worth of property damage, threatened physical violence against the library’s proprietors, and demanded that a dozen or so books be removed from the shelves.

I decided not to write about this. Firstly, because engaging with trans discourse in any way other than nodding politely guarantees you will be accused of Literal Murder, and I just don’t want to mess with that. More importantly, I felt I couldn’t say anything that wouldn’t amount to a simple, maybe even pedantic observation: namely, it’s kinda weird how we’ve begun to fear subjectively perceived, metaphorical “violence” so intensely that we’re willing to accept literal, physical violence as a response to it. It’s easy to make fun of people who say that using gendered pronouns is a direct cause of murder or whatever, but these people aren’t just obscure cranks anymore--they control the discourse; we’re living in the world they’ve built. 

Here’s a sample of what I tried to write:

Here, in the interest of objectivity, it’s traditional for a writer to point out the tremendous amount of danger faced by those trans people who committed violent acts against the cis feminists and have demanded that the cis feminists radically alter their own space. A writer should re-cite the oft-cited statistic that over twenty trans people were murdered in 2015--and that, no doubt, at least half of them were beaten to death with a copy of Andrea Dworkin’s Pornography. And I don’t mean to be facetious: should a trans activist suggest that these books were being wielded as literal, physical weapons, there might at least be a smidgen of logic behind their demands. But such a connection, however tenuous, is never proffered. We are left instead with a vague implication by association: the trans activists understandably don’t like trans people being murdered and they also don’t like books they assume question the essentialist foundation of their self-understanding, therefore a responsible author will make sure to establish a sense that the former is indeed caused by the latter. Or, if it’s not a case of actual causation--since obviously it’s not and no one would ever be so daft as to suggest that it is--at the very least we should respect the trans activists’ sensitivities toward literature they find upsetting, seeing as they’re acting out of a sense of extreme fear that they at least believe to be justified. Criticizing them at lashing out would be like getting mad a cornered raccoon for showing its teeth.

Just… can you believe this? Honestly? Here, very real violence and property damage is excused simply by putting in the context of the emotional state of those who committed it. Can you imagine any parallel situation taking place in contemporary America? A black man would have a much more solid case in going down to his local police station and wrecking up the place. Police violence against black people is an actual, direct, and literal thing--no flimsy metaphors are required to explain it. If such a thing were to happen, however, the black guy would be killed or imprisoned and his actions would be condemned in all but the most radical of spaces (try to find a mainstream publication that supported Chris Dorner. You can’t). Or more on point: let’s say a group of radical zionists entered a store the specializes in classical music, so at to disrupt a talk about Wagner. They post threats on social media. They wreck merchandise. They tear down posters, shove some elderly classical enthusiasts, cause several hundred dollars worth of damage, and leave a manifesto demanding that certain naughty works be banned. Again: they’d most likely be arrested. They would find no defense within the mainstream press. Their sense of victimhood would certainly not be used as justification for their actions, and no serious person would yield to their demands that certain works of music be banned from stores.

So… yeah. I was having trouble not sounding dismissive. But since then other shit has gone down, and it’s dawned on me that this tendency to prize the metaphorical over the literal isn’t new. It’s very old. It is, simply put, the general grounding of the American conservative worldview. It just happens to be coming from woke people now. 

For an example, take a look at a piece about trans activists vandalizing a rape crisis center with death threats. The vandalism was, of course, denounced on all sides. But check out the phrasing here: 

Trans people face employment and housing barriers, Jenkins said, and the graffiti could be a product of a trans person’s pent up frustration. Vancouver Rape Relief, she said, is a visible organization at which to point a finger.

“A lot of the actions of Vancouver Rape Relief through exclusion of trans women I think are symbolic of society’s disdain for trans people generally,” she said.

“So I can understand that for someone who is having a really hard time generally, this is a symbol of everything that is wrong with the world that is treating me terribly — which is no excuse, but I can see how someone could get to that point.”

Just… fucking seriously? Again, can you imagine this kind of even handedness being afforded to any other marginalized group? The only time you see violence regarded in such an apologetic or celebratory manner is when cops and soldiers do it. 

But, oh, it gets even weirder and stupider:

More graffiti adorns the sidewalks of Commercial Dr., further east from the Vancouver Rape Relief location. In support of trans people, the message “Trans women are women” appeared on sidewalks near Grandview Park earlier this summer.

Another message reads “Lesbians unite,” coupled with a double Venus symbol. Claire Ens, president of the Vancouver Dyke March and Festival Society, said the two Venus symbols are a coded threat to trans people.

“The two Venus symbols, that may seem innocent and to some even a call for lesbian rights and women-power, but in fact it is the opposite,” she said.

Two Venus symbols, side-by-side, is a larger symbol for “biological essentialism,” she said, a belief that peoples’ identities are determined by their genitals or chromosomes, which is inherently discriminatory to trans people who may have genitals that don’t match outdated ideas of what it means to be a man or a woman.

“The Venus symbols are meant as a warning sign to trans women, to state that trans women are not included nor welcomed, and is a perfect example of ... ‘dog whistling’ (because it is) innocent to those who aren’t in the know about it (but) harmful and hateful specifically to trans women,” she said.

Oh... oh dear. 

I’m reminded of the time when I was in 8th grade and my best friend did some weird art project where he put an arrow through a George Jetson doll he won at the carnival and painted the wound with a red marker. His mom found the doll. She spoke with her evangelical busybody cunt friends at work, who informed her that the “ritualistic sacrifice” of stuffed animals was a surefire sign that the boy had been brainwashed by Satanists. She then had him involuntarily committed. A state official determined him to to be depressed but not under any demonic influence, and so he was released under the condition that he start going to cut-rate therapy, where yet another evangelical busybody cunt informed him that the doll was, in fact, a sign that at least one satan lived within him (possibly several) and advised his mother to throw out all of his cds and videogames and keep him under constant watch. Oddly, this did not help with my friends’ depression. Made it a lot worse, in fact. Kicked off about a decade of severe substance abuse. But that’s neither here nor there--the point is, he did something objectively harmless that a bunch of hateful conservatives found offensive, and demonizing and bullying him was a small price to pay to get him to stop doing said harmless-but-offensive things. He might not have meant the plush art project to be a sign of aggression. A dispassionate observer would most likely not regard it as such. But the subjective, spiritual harm suffered by his mother engendered a violent reaction, and the cruelly conservative social structures of our community prized her perceived victimhood over any actual harms, and so they therefore encouraged her to damage the boy so as to make herself feel more safe. Nobody wins. Everyone was worse off. But the woman got some momentary catharsis, and that’s what was important.

Uhh… shit. I was gonna try to connect this to something else, but I think maybe I made my point. If you don’t agree with me yet, you’re never going to. But just remember, pedantic as this argument may be, there’s a reason censorship has historically resided in the conservative purview. There’s also a reason why it used to be considered virtuous, in liberal spaces, to not regard your own tastes and pet peeves as moral issues that warranted vicious remediation. Conservatives are conservatives, regardless of their color of their skin, the people they like to fuck, or whether or not they regard themselves to embody the gender they were asigned at birth. Cruelty is likewise always cruel. A cunt is a cunt. And there’s nothing to be gained by denying these basic truths.

[firelxdykatara]

ohhhhh fuck, that’s why ladybug has to purify the akuma after she defeats the villain of the day.

marinette being the one to have a crisis of faith also makes an extreme amount of sense.

because for adrien, becoming chat is freedom. he can get away from his father’s expectations and rules and the gilded cage that is his life (especially at this point, which is a flashback to his origins as chat and before his father evidently relented and allowed him to go to school and have marginally more freedom). it gives him an alternate identity where he’s not gabriel agreste’s son--he’s just himself. saving paris on a regular basis is a nice bonus, as is getting to be around ladybug (can you really blame him for crushing so hard??? she’s pretty miraculous amazing), but i think the real reason he adjusted to being chat so quickly is because he never gets to just be free, and it’s a goddamn rush, which he’s not going to want to let go of any time soon.

for marinette, on the other hand, being ladybug is a duty. it’s the right thing to do, and she’s the only one who can, so she stepped up--but then, from her perspective, she messed up. it wasn’t her fault, of course--it was her first time out, and she didn’t know all the specifics. but as far as she’s concerned, her inherent clumsiness made her incapable of being the hero paris deserved. so she tried to quit. tried to hand the miraculous off to someone who she thought would be a better fit.

but then her friend was in danger. a girl she’d known all of two days, but it was enough--it was the kick she needed to say ‘ok, i’m still not sure about this, but i’m the only one who can save everyone right now, so i need to step up and fucking do it.’

and she did. she still has doubts, because of course she does--ladybug isn’t freedom for her like chat is for adrien. ladybug is a job. it’s a mask, which protects her real self from discovery by the villains she defeats, and it also has the benefit of anonymity, which allows her to be a little bolder, a little less gunshy, but still at her core she is marinette--just a little more.

which is, i think, part of the tragic irony of her falling for adrien, while adrien fell for ladybug--and, by the way, the end of part two with that adorable moment in the rain and marinette having that ‘oh shit i think i love him’ and adrien being like ‘oh my god i have a friend’ was the sweetest goddamn shit i’m still crying about it (and then the echo of ‘those two are made for each other’ by the one person in all of paris who knows who ladybug and chat noir are--and who they are to each other, which even they haven’t fully realized yet, was amazing)--because when marinette is ladybug, there’s a certain... distance.

there’s a wall she throws up as soon as she transforms--because it’s a job, it’s a mask, it isn’t the real her in the way that chat is more of the real adrien--and so she doesn’t allow herself to react as marinette. the people who fawn over ladybug are fawning over her superhero alter ego, but not the real her, so it doesn’t mean as much. ladybug has fans, but it’s only marinette who has friends, and that’s an important distinction for her in a way that just doesn’t exist for chat.

that said, i don’t think it means she doesn’t care for the real adrien just because she doesn’t react to chat the way she does to her classmate and friend--i think, again, it’s because of that wall she throws up when she transforms. it’s because she doesn’t think of ladybug as an intrinsic part of her own identity, and i think she unconsciously projects that same distance onto chat. he flirts because that’s what he does as chat, that’s his ‘persona’, but it’s meaningless because he’s wearing a mask, just like her, and when he takes it off, the emotions must come off too. what she doesn’t realize is that chat is being the realest self he possibly can with her--and that adrien is only a part of the whole.

and, of course, some of it comes down to neither of them knowing each other’s biggest secret. if she understood why adrien feels most free and real as chat, i think she’d be able to feel more of a connection, because it wouldn’t seem like those emotions were played up for the mask but were really coming from his heart. meanwhile, if adrien were to realize that ladybug was marinette, i think he’d come to realize that he’d separated his feelings for these two girls in a way he’d never needed to-because ladybug, his love, was also marinette, his friend--and it’s a lot easier to go from friends to lovers than from virtual strangers to anything else.

....tl;dr i’m 17 episodes in and way too invested in this fucking show already. send help.

[queernuck]

Who Is Mayor Pete?

an interesting phenomena surrounding that post that criticizes the supposed homophobia of backlash to Mayor Pete on grounds of how difficult it is to read him as gay, how much he comes across specifically as an assimilationist, as an example of what exactly many of us hate seeing in that community, is that there is a certain way that it resonated with TERFs which I think is important to consider. it taps into a great deal of rhetoric around the way that transmisogynist violence is enacted, how the creation of hostility in communities to ideas of queerness, faggy-ness, how the sanitization and creation of a fetishized notion of butch/femme culture has been a project of so many TERFs unfortunately, the way all of these converge into the yearning for the exact image that Mayor Pete fits: one of an incredibly assimilated, boring figure which refuses typical libidinal flows, who almost reads with a kind of sexlessness that dovetails quite nicely into the sort of policy goals that he most typically holds.

while discussing him as a Republican is perhaps not quite accurate, the way in which he is reminiscent of a recent letter to the editor where a gay man talked about how the transition from Obama to Trump impacted him little but a transition to Sanders (he fears) would ruin him due to his career as an investment banker, Buttigieg typefies this idea, the archetype of the successful gay man who has rejected all of these signifiers of gayness, who has divided himself cleanly from any kind of notion of “queerness”, of faggish tendencies, who almost more closely resembles an embodiment of the sterility and structural prescriptivism that “homosexual” would imply. He is not violating any sort of taboo except insofar as his violation thereof affirms the mirrored process: in becoming-gay, Mayor Pete does such in a way that affirms the mirroring of that process in the dominant subject, is part of a series of desiring-machines through which the libidinal flows of numerous Democrat voters may be actualized. For many, the idea of Mayor Pete as Their Gay Son is a kind of fantasy, a point in the questioning of why their own children cannot manage to just be “normal”, cannot have jobs in finance or join Naval Intelligence or become mayor of South Bend.

There are many men that outwardly appear like Mayor Pete out there, and I can hardly blame them. However, just as Mayor Pete is not Pete Buttigieg, is rather a kind of second-order simulacra intended to relate to other candidates and to voters in a certain fashion, they resemble him only in that they have these rather carefully constructed personae which they use in order to gain the advantages that apparent assimilation brings with it. In their real lives they may be fathers and husbands and have relatively normal, “basic” tastes but at the very least, if they are sexually active even with only a single partner, they violate at least some kind of taboo and become an unsuitable subject. The hate the sin love the sinner ideology is very much prevalent in ideas of even a married gay couple, where the idea of two men being married to one another and having a happy, fulfilling sexual relationship is itself revolting. 

When one throws in various different scenes and communities such as PNP/Chemsex, leather, even simply going out to the wrong sorts of parties or gay bars, and what is seen as a kind of salacious and enticing possibility for heterosexuality is now a condemnation, is too much for being a violation of far too many taboos at once. That some gay men have open marriages is an indication of degeneracy. This is true, as well, for many trans women: simply enjoying sex, having sexual partners, is seen as a sort of unsuitable deviance, as part of an inherently sexual identity and moreover the reduction of trans women to fetishes, the notion that we cannot exist at all except while evoking kink, that us, gay men, lesbians, bisexuals are all constantly evoking sexuality through mere existence even when heterosexual identities are allowed to imply or mimic our own while being outwardly validated, being understood as separated from these behaviors.

A comment that particularly sticks with me from this cursory (but rather unsurprising) investigation of transmisogynists getting angry about the idea that Pete isn’t Queer Enough is an insistence that one does not want to share community with “the BTQ, you are freaky and not in a good way” as one person put it. Going beyond the usual “drop the T” rhetoric, the concentration on just lesbian and gay identities is a kind of reactionary turn toward using taxonomy and ideological fetishism to create notions of what our community should be rather than looking at who it has been, who we have found solidarity with, and moreover why this solidarity is so important. The way in which Mayor Pete most openly seems a figure of heteronormativity is not in being happily married, especially given that so many happy marriages and engagements I know of consist of two people who would be marked deviant just by their identification. It lies, rather, in the same kind of turn of separation and separatism that so many transmisogynists generally and TERFs more specifically accept as part of their ideological positioning, are eager to use as part of maneuvering into a position of accomplishing the most important parts of their ideology. 

The reactionary red-brown alliances one sees TERFs willing to make (that is, if they were even really all that red to start with) are hardly accidental, and do little to advance the causes they supposedly stand for except through empty signification of a progressive simulacra of the reactionary ideology they support. The aforementioned discussion of a sort of fetishization of butch/femme identity is the means by which reference to an imagined past, one which includes these roles and imagines lesbian bars, spaces, identities is so often cleansed of any meaningful history, any connection to radical politics beyond being left-wing by the liberal standards of the current Democratic party, any kind of actual look at how and why communities of LGBT commonality were formed and realized and lived and continued and developed to this day, is used as a means of recapture for transmasc identity in order to affirm the biological determinism that their ideology necessitates. This turn is used to insist on trans men as something lesser, something denatured and not to be understood as a “man” while trans women are absolutely, ontologically men in a sense that can never be changed, that persists as the kind of marker which ignores any experience of transness in order to instead whip up a false frenzy of ideological maneuvering against vulnerable women. The conservatism of clinging to particularities of past expressions of “butch” and “femme” rather than looking at how they deride current and contemporary communities which contain plenty of butches and femmes, which contain other expressions of gendered performativity, which navigate the tensions of the sexed body through these performative creations of identification and shared space within, and most of all how many of these spaces are ones where liberation is seen as shared, as including justice on grounds of fighting antiblackness, supporting antiracism, intensely personal accounts of anti-antisemitism and anti-Islamophobia and anti-Xenophobia action, a paradigmatic antifascism, opposition to colonialism, a philosophy of anticapitalism, how vital the turn against assimilation therefore is, that the idea of assimilation as a whole involves abandonment of these ideals and instead an acceptance of the very structures that Mayor Pete most ardently advocates for, is what makes him so frustrating.

His prominence is defined so much by his assimilationism not because he is a relatively boring person with a husband. That describes plenty of people who still at least passingly validate the necessity of how LGBT histories involve anticapitalist struggles, who may themselves hold these views. There have always been people like Mayor Pete: they were the landlords driving up rent in Greenwich Village during the AIDS Crisis. They were the ones saying that bills could only pass if they dropped protections for trans people. He is a representation of the way that so many politicians only turned to supporting gay marriage when a certain arbitrary threshold was crossed by public support for the idea. The way that criticism of Mayor Pete as a politician who holds incredibly reactionary views, who has presided over violent police action and brazen codification of antiblackness within police work, who willingly joined a colonial war machine and uses that as part of his sales pitch, one who will defend the interests of capital to his dying breath as part of his campaign, one who somehow manages to propose a more cumbersome healthcare plan than Obama’s ultimately ended up being, this is the kind of candidate we have at hand. 

And he is fucking awful.

[quicklyseverebird]

Adoption arguements

I am posting the full history of this conversation to give context, and leaving off the name of the speaker because I don’t want this to be a hatchet job or have it look like I want this person hassled.  Ultimately the position is what I want to address, not the person, who is undoubtedly sincere.But sincerity doesn’t mean right. This came about from a post discussing the value of adoption where this individual pointed out many adoptees have complaints. I choose to do this this way mostly because I don’t want to feel limited by the PM system, and because I have very strong feelings following this exchange.

 Them:

If you can, check out the following links to see what I mean. https://twitter.com/DebbieGarratt/status/1188565960061378560?s=19 https://twitter.com/DebbieGarratt/status/1188585006311989248?s=19 https://twitter.com/DebbieGarratt/status/1188592298021404674?s=19 Also, their living status doesn't outweigh adoptees' complaints about their adoptions if they're almost 4x more likely to attempt suicide.

And this too: https://adoptionsurveysblog.wordpress.com/2017/10/14/results-in-adult-adoptee-perceptions-in-closed-adoption/

[for reference, the twitter posts says this]:

Me:

I'm a little bit confused as to what you are debating? That adoption carries hardship and some mental trauma? Sure. Life has that too. Would it be better if adoption took place within the family? Of course! I think anyone would agree with that so long as family isn't abusive or drug ridden. I HATE what that woman said in the twitter. What kind of monster do you have to be to say that to a child? Talk about causing mental trauma... And no, the fact that they are alive definately outweighs any other factor. Unless you're going to argue that a higher percentage of suicide means they are better off dead to begin with? If so, will you advocate for the death of transgender people who have suicide rates 20 x the national average? That's absurd. Adoption comes with hardship, absolutely. hardship increases chances of suicide, matter of fact. I would like to see those graphs plotted against a random selection of the population to see how they compare to norms. I didn't happen to see the 4x figure. but then I'm trying to get to bed now, lol. I'm just confused as to what your position is. Abortion is better than adoption?

Them:

No, I am a pro-lifer and so is Debbie and some of these adoptees. We just don't think that claiming another person's child as your own is a beneficial or necessary way to care for a child from a crisis pregnancy. It's because many pro-lifers believe that it is that many adoptees are turned off by the pro-life movement. Legal guardianship is a good way to take in a child who doesn't have any relatives who aren't willing or able to care for them, but adoption is not necessary and can and often does cause a lot of the trauma that's described in those links.  As for what kind of monster would say that to an adoptee, it's the same kind of monster who will say to a homosexual, "that 'love is love' and 'born this way' lines are nothing more than propaganda and I was a fool to believe otherwise". This is what adoptees will say because they know this first-hand and they know that they're far from alone in this.

Me:

I just...I can't fathom ever saying that kind of thing to a child. Talk about destroying a child's confidence and self image and making them suicidal. I can't think of a single child that line could ever help. The lines to a homosexual are bad because they are wrong. Telling an adoptee they are special is not only kind, it is also true. After all, they ARE special. Each one is special to God, and each one is made special by the love of others for them. They WERE chosen, literally! To say to a child, "no, you were unwanted and not special, but that's ok, you're not less than anyone else..." I mean, that literally sends two opposite messages. I don't know if you are a Christian, but God himself says that we, as believers are adopted sons and daughters of God. The term is applied to us. And once again, if there is someone in the family that could take them in, that's great. We agree on that, certainly. And I believe the courts do as well. That's a form of adoption, in fact. But if they can't, then adoption outside the family would be the next step. Any family will have its issues, but I believe adoption is a net positive outcome situation. I don't...I just don't understand what you are fighting against.

Them:

You're misunderstanding what we're talking about. The grown adoptees are not saying to an adoptee that he/she isn't inherently special or chosen. They're saying to him/her that his/her parents didn't adopt him/her for those reasons, but because it was their last resort after trying to have children of their own. They're pointing out the selfish and covetous reasons for adopting a child that have little (if anything) to do with the child's best interests at heart. That's the reality with many adoptive parents and adoptees are sick of them trying to pretend otherwise. As for what we're fighting against, you're confusing taking in a child and caring for him/her to always mean adoption, but that's not the case. Adoption, as it is defined in the adoption community, is only one way of doing it. Another way to do it is with legal guardianship even if the child isn't related to the family. The difference between that and adoption is that adoption involves the extra step of the family severing the child's ties with his/her original family and claiming them as their own. That is the thing that adoptees and their allies find problematic and unnecessary and different from biblical adoption (which only involves adults being adopted for inheritance purposes) and that's what we're fighting against. Despite what adoptive parents and adoption agencies will tell you, blood ties are important because they make up a huge part of a person's origins and identity. It's one thing to choose or be chosen as part of a spiritual family, but it's another thing to completely severe ties with your original family to try to replace them with someone else. God wants us to honor our parents, including our biological parents, and that's really hard to do when our connections with them have been cut in all but DNA and our blood ties have been rendered insignificant.

Me:

Ok, you've given me a lot to think about and I believe I understand a little better what your position is, but before I reply, I need you to answer a couple questions to help me understand better how to do so. Were you adopted? Do you have children?

Them:

Neither, but I do know people in and outside my family who were teen/single moms and some people in real life who were adopted. And I used to have that pro-adoption mindset, until I saw some things that helped me understand what adoptees must feel about their parents rejecting/abandoning them. And not long after, I started doing research and reading a lot of testimonies from adoptees and bio moms (who are not always mutually exclusive, BTW) about the trauma that they've experienced from the relinquishment. There are whole blogs about it on Facebook and all over the Internet with a bunch of testimonies from writers, followers, and commenters. You can Google them and see what they have to say. And when you do, please just listen to them instead of trying to argue with them about adoption because they've already been through that and they're sick of it. There's also scientific research about it with biology and social science fields that you can also Google.  Also, take note that just because some adoptee may seem happy with their adoptions doesn't mean that they actually are. They might actually be hiding their true feelings, in denial about it, or not having processed the trauma that they experienced at a young age. Many of the dissatisfied adoptees that I've heard from were once in that position.

  Ok, deep breath.  

First off, I think you are over-simplifying things enormously.  And I think you fail to keep things in perspective.  Are there bad parents, whether they adopt or not? Yes.  Do some people adopt for the wrong reasons, or because they have no other option?  Yes. Do some people have kids of their OWN for the wrong reasons?  Yes.  I think you are so focused on this one aspect of family life that you fail to remember that there are $****ty people everywhere. That parents can mess up, that kids can get hurt, no matter how they became a part of a family.  Everything you say about adoptee kids above, can be said by natural children.  You speak about how many websites there are from adopted kids talking about their hardships.  Did you ever check to see how many websites there are about natural children talking about their families?  Heck, that’s practically a rite of passage and a badge of honor these days for kids to complain about how much their families messed them up.  If you wanted to make some kind of definitive statement about the value of adoption, you need to compare it to a baseline, which I don’t see that you have.

Now, I agree with you that separating kids from their families is a hardship. Would it be better for them to be “adopted” (by whatever form, or however you want to call it, becoming a part of a new set of guardians) within their extended family so they retain a sense of their roots?  Certainly. However, that is not always possible, or even desirable for a multitude of factors.  Would you force the family to keep a child they didn’t want for the hypothetical value you think it would gain in being part of such a family?  I would hope not.  I think you oversimplify the types of adoption there are too.  Not everything is closed.  I have friends who adopted a child through the foster system that regularly sees his biological grandparents, even though the parents didn’t want him. There is a whole spectrum of adoption formats, each having their own unique dynamics and struggles.

Now I also agree with you that adopted kids are likely to have some unique struggles of their own.  Some hardships that natural children aren’t going to have.  Some will be unique to their circumstances, such as feelings of abandonment and issues of self worth because of their birth mother giving them up. Some will be due to the genetics or condition of their birth.  You talk about adopted kids having a suicide rate 4x higher than the norm.  Assuming that’s true, there are other factors at work here that could contribute to this apart from them just being “adopted.” Many women who give up their babies have medical, genetic, mental or drug issues that lead to their not only giving up the child, but having it in the first place.  How many adoptee kids are born with damage due to their mother’s drug or alcohol use?  How many kids are given up because they themselves have medical issues their parents don’t want to deal with?  My pastor adopted a daughter who has had lifelong struggles with medical issues almost certainly due to her mother’s lifestyle and who was surrendered for adoption in part because of those medical issues.  These things are present in a higher concentration among adoptees than the general public, which itself would lead to a higher risk of mental illness and suicide.  You are only looking at one factor, adoption, and making a simplistic correlation:  If X is with Y than Y is caused by X, ignoring factors A, B, C and Z.

Once more I want to freely admit that people can adopt for the wrong reasons.  Absolutely true.  But, how many people have babies for equally wrong reasons?  Which child has it better: the one who was adopted by a loving family because mom was a crack addict and got knocked up by her pimp, or a child conceived and kept by the biological mother so she could collect child support from the baby daddy?  Chances are, over all, the adopted child has it better.  While there is value in knowing where you come from, good or bad (think about the huge popularity of ancestry.com and similar sites, even if knowing your ancestors came from 20 different countries has no meaningful effect on your day to day life), it is not a magical panacea that cures all things. Often, that knowledge can be just as damaging, or moreso, than ignorance is.  Substitute “child” for “adoptee” in your comments above and the result would be equally true.  Not to mention you fail to consider the dynamic of “The Review.”  When you’re looking to purchase an item online, you will check the reviews to see what people think.  The problem here, is that, statistically, the only people who tend to comment are the ones who either had a GREAT experience with it and want to share, or the people who had a horrible experience and want to vent.  The vast majority don’t bother and continue on with their lives.  Only the vocal ones are seen and noted.  Its why anecdotal evidence is meaningless.  Now your statistical data has some value, but without a comparison to a control, it’s useless.  Some 30% or so of them have considered suicide in the past.  Ok, but what % of people in general consider suicide at some point in their life?  I did myself, and I’m not an adoptee.

Now to get to the issue that has me fired up.  That quote by Debbie and your claim that telling kids “the truth” that they aren’t special has some value.  Now I understand that what you mean is, telling kids they weren’t adopted BECAUSE they were special.  But saying that to a child, and telling them they were adopted because they weren’t wanted by their parents, and the adopted parents wanted them because they couldn’t have kids of their own is….is…

I want to be clear here. I am not using hyperbolic language. I am not trying to be dramatic.  I am giving my diagnosis of such an approach, as a mother with a teen daughter.

This.  Is.  Evil.  

And I don’t mean that in a nebulous, general sense.  I mean, telling that to a child, any child, at any age, or even an adult, is doing the literal Devil’s work.  This is beyond despicable, beyond selfish.  This is wicked, horrible, evil and cruel.

Now you and Debbie couch it in terms of, “well it’s just the truth, give up the fairy tale.”  No.  You are missing the point entirely.  Even if everything you said is technically true, and they were given up because their parents were horrible people, and they were adopted by horrible people, you’re still wrong.  Someone is not made special because of who gave birth to them or who adopted them. They aren’t made special by their family.  Every single woe you declare present in the life of an adopted child would be made worse by them hearing such a statement.

Now before you respond with indignation and outrage, saying “but what we really mean is…”  I want you to think about how this would sound if said to a non-adopted child.  Because in large part it can be.  Everything Debbie said could be applied to many children:

“You aren’t chosen, you aren’t special.  You were born even though your parents didn’t want you, couldn’t afford you, or were forced to.”  You can even riff off of this same idea with, “You were just born because your parents forgot to wear a condom, or Mommy was trying to get Daddy to marry her, or they were drunk one night, etc, therefor you aren’t special.”  Same exact energy.

If I said that to a child from the inner city, living with his single mother, you would be horrified. It doesn’t matter if I followed it up with a:  “Oh by the way, you’re not less than anyone else, you aren’t here because of a sin and you deserve to be here.”  The only thing you or that child is going to hear and remember is the first part, and it, quite frankly, refutes and negates anything said in the second half.  Saying that to a child will scar them.  Because, in fact, that child IS special, regardless of the circumstances of its birth.  And it quite likely is wrong anyways, since it’s based on a host of simplistic assumptions.

Seriously now, you talk about the hardships adoptees face due to their circumstances and you honestly believe telling a child, or even an adult, who is already struggling with self worth and their identity, what Debbie says, is going to help them?  Are you insane?  If someone is struggling with depression, will telling them they aren’t special, but buck up anyways, is going to help?  Will it help someone who is part of a population with 4X the suicide rate?  Will it help anyone?

The answer is no. Because it is a lie framed as a “brutal/honest truth,” and to say it to anyone, especially a child, is literally evil. Even if it WERE true, as the Bible says, “speak the truth in love.”  There is no love in that statement.  Adoptees face many struggle, by your own arguments.  You aren’t helping.

[postmodernmulticoloredcloak]

About the Musca, Cas, Dean and (queer) sexuality in 14x06

There are many little callbacks to season 7 in the episode, from Harper’s deception that reminds of Jeffrey with his demon to the very slogan ‘reading is fundamental’ inside the library, and I am pretty sure that the very specific choice of black goo as the characterizing trait of the Musca is supposed to remind us of the other famous black goo monster we’ve met in the show, the Leviathan. In an episode where we are subtly reminded that the Charlie from the apocalypse world never had to deal with Leviathans, because the Castiel there never opened Purgatory and Richard Roman was never possessed by anything... she and Sam have to deal with a different black goo monster. (Slightly out of topic, but also interesting how Sam was ‘well and truly alone’ at the end of season 7 and now he praises the benefits of being among others to Charlie.)

But the Musca doesn’t really have much in common with the Leviathan, when we consider the monsters themselves. A human-fly hybrid who tends to stick inside hidden communities except for the occasional bad egg... shapeshifting cannibalistic monster divided in multiple bodies... we have to widen the scope of our perspective to see what kind of parallel hides here.

The Leviathan were (was?) a mirror for both Dean and Cas. This is not the place to digress in this direction, but the split-in-conflicting-parts, shapeshifting, self-devouring creature represented Dean’s issues with identity and mental health, and Cas was counterposed to Dick Roman in multiple ways. The Leviathan can be even seen as an allegory for their relationship - they get out of Purgatory as Dean and Cas’ relationship shatters, they get defeated by Dean and Cas working together as they reconcile.

What about the Musca?

A creature ‘hybrid between a man and a fly’ who has left his community just reminds me of Cas, who for all intents and purposes is currently a hybrid between a man and a fly angel, and has left heaven. But of course, the similarities just highlight the differences. Cas didn’t leave heaven because he couldn’t find a mate, but rather... because he has found one, but, unlike for the Muscae, that’s not what he was supposed to do.

“When a male fails to find a mate, he abandons his community and starts using people's bodies to nest” - in Cas’ case, he’s used a person’s body because that’s how angels function. Muscae are not supposed to behave like that, but are supposed to stay among themselves, mate within the community, and mind their own business. Angels instead are ordered to go on earth to perform tasks on behalf of heaven: that’s why Cas had to possess Jimmy in season 4, or the lady in 1901. Angels pick vessels because heaven sends them on earth to interfere with humans’ business.

The way Charlie and Sam speak about Muscae is reminiscent of how Dean and Sam and Bobby spoke about angels in 4x02. They appeared in books, but supposedly no one had seen an angel in a very long time... Charlie and Sam also doubt that Muscae exist because supposedly no one has ever seen them, but it becomes clear that someone must have seen them, otherwise where would the information in the book come from? We learn the same about angels - Dean might not believe they exist, but plenty of people have seen them before or interacted with angelic things in some way...

So the Musca is an anti-Cas of sorts. This Musca left a community that cared about him, even though he’d abandoned them, and lived in isolation and squalor, just “pining” (hello, little scented trees) for companionship. Cas has left a community that didn’t care about him as a person, and has chosen a loving family instead. He’s been doing his fair share of pining, of course, but in a completely different context.

His angelic ‘family’ cared about him when he acted like ‘an angel’s angel’, and shunned him when he started acting more human-like... which was his real personality all along, but he simply had not had the opportunity to explore that part of himself. This journey been coded as a coming out/transition of sorts, and Cas’ human family as the found family that welcomed Cas while his ‘biological’ family would not accept his truth regarding his identity and relationship choices.

Sort of like the Musca, he could not find companionship within his original community, but unlike the Musca he found genuine companionship outside of it. He’s been pining, it’s not been perfect and it still not is, but he has found love, not death and squalor. From the perspective of a ‘regular’ angel, though, living among ‘mud monkeys’ is not really that different from the Musca living in filth and dead people. But Cas knows better.

What about Dean? Now, keep reading if you’re not the kind of person who dismiss interpretations of a text as a ‘stretch’, when in fact text means fabric and a fabric that doesn’t stretch tears, so a good text is a text that can be stretched in multiple directions.

Also warning for mention of gross homophobic stereotypes and the Aids crisis.

The Musca’s isolation is textually linked to sexuality. He can’t find a mate, so he abandons the community. He lives in squalor and dirt, surrounded by corpses. Things have changed a bit lately, but if you go back not too many years this is the picture that a homophobe would paint of homosexuality/queerness. A man who won’t marry a woman (non-monogamous bisexual men or men who can be in relationships with women but not in a heteronormative, ‘proper’ manner also count) and becomes isolated from his community as a result (of course, for homophobes the only ‘real’ community is their own heteronormative society, as they don’t believe queer bonds are real or positive) and chooses a lifestyle of loneliness, filth and death, which is something I’m having a hard time even typing but homophobia’ll be like that.

In support of this kind of interpretation we have the other subplot of the episode. In the Harper-Vince-Jack storyline, there is a theme of ability/inability to create a family. That’s the card Jack tries to play in order to change Harper’s mind about having Vince kill him - that she’ll never be able to have a family with Vince: “what would it be like to be with someone alive? Who could walk you down the aisle in front of the whole town? And start a family with?”.

Interestingly, he also talks of a love that can be lived openly and publicly, which has all sorts of subtextual implications. Homophobic ideas of same-sex relationships are exactly those - you cannot have a normal marriage in front of the whole town, you cannot start an actual family. ‘But you won’t be able to get married and have children’ is a typical homophobic response to someone coming out - especially from parents who want their kid to give them grandchildren. Of course those are bullshit because hiddenness isn’t inherent to queer relationships/identities, but is due to the threat of homophobic violence (physical, emotional, economical...) and plenty of same-sex couples would get married and have/adopt children if there weren’t laws that forbade them to.

A lot of parents also act grief-stricken when their child comes out to them because they’re genuinely convinced that being queer automatically means a life of suffering and loneliness (and don’t get me wrong, in many places and situations being queer not a walk in the park, but it’s not an automatic sentence to pain and desolation).

Basically, the life of the Musca after leaving his community is pretty much what homophobes think of life and relationship as a queer person (especially a queer man or a queer amab person). A “bad egg” (a bad egg is an egg that has no use for either reproduction or nourishment) that leaves his community to pursue a lonely lifestyle inextricably linked to death.

But what about Dean? Let’s jump back to season 1.

This post is already pretty long so I’m not going to delve into detail here, so let’s just get to the point: the show establishes in the first couple of seasons that Sam feels like a freak because of his own direct connection to the supernatural. He doesn’t feel like he fits among ‘normal people’ because of his personal and family history. Dean, on the other hand, feels like a freak who cannot fit among ‘normal people’ because... he embraces the lifestyle his father has put them on, because he can’t stand the idea of losing his father’s approval because without his father approval he’d be alone, because people always leave him, because... you know the drill.

Unlike Sam who tries to fit with the normal people, Dean rejects entirely the idea. He knows he’s not normal and won’t ever belong in a suburb. He seems to embrace the hunting lifestyle, no connections, just fun hookups with no strings attached... Obviously we find out pretty soon that Dean craves for connections, that he clings to the concept of being a ‘good son’ because he fears that everyone leaves him, so he tries his best not to be abandoned by his father. He is haunted by the idea of being abandoned by everyone until he remains alone. And he clings to family because he’s convinced that he cannot really have anyone else other than blood family, because who would want him?

And over the course of the show, he finds people. He loses many, but he keeps collecting new family members - not tied to him by blood, but found family. He learns that family doesn’t end in blood, and then he also learns that it doesn’t start there either. He redefines family. If people didn’t keep dying, he would have pretty much a commune by now.

He’s not arrived to the culmination of this journey yet (I’m assuming there’s a culmination of a journey because this is storytelling and it’s not random and intricate as real life is) but he is nowhere near that young man who clings to sticking to the ideal conduct his father expects from him because he thinks that if he loses his blood family he’s lost it all, who is terrified of loneliness and deep down suffers how he’ll never be able to settle down with a respectable wife in a nice little house.

He used to think that he couldn’t have love because love was for people who could get married and have children and a dog and a white picket fence. Now he acknowledges that love comes in all shapes and forms and can be ‘crazier’ than something already pretty weird. He has realized that family can be found outside of blood relations, and that blood relations alone don’t make family; and he has realized that love exists in many forms, including weird, crazy forms. He can have family and he can have love even if he doesn’t fit into certain schemes.

I’m not sure I’ve made justice to the topic with this post but I guess it’s long enough for now, I’ll end it here :)

[fluxanddragons]

Recently got round to playing and completing Dragon Age 2. I went into this knowing nothing about the game and almost instantly loved Anders. (I played the introduction a few times to get a feel for the mechanics and the classes)

So there I was a Snarky rogue helping Anders in any way I could I felt sorry for him and empathised with the whole getting possessed to help others thing. It was an opportunity to actually save lives. (He also is a cat person, which is nice)

Maybe because of films, games, and History I took Templar's to be bad people, So killing them seemed like the right thing to do. Add that to Bethany and Anders talking about the circle and the Templar's the more I sided with them. Ser Thrask and Emeric helped make them seem human and not just Over Zealous Bastards. This Eventually lead me to play as someone who believed that the circle wasn’t inherently bad just very flawed and, wherever possible, I would try to compromise.

And Even as more and more instances of Blood Magic occurred I felt that the mages felt they needed to resort to the forbidden schools just to be free. During an Act of Mercy I sided with the mages but only distracted the Templar. Even as the acts of blood magic got worse I didn’t falter in my resolve. I kept going middle ground all the way.

Then I was in the Quest all that remains and after finding out Leandra was missing I actually got scared. (As mentioned previously I started some characters to get used to each class and pick a favourite in that time so I played Birthright for each class. This meant I felt that I had a connection with her) As we followed the blood trails I had the same tone as Hawke, Utter Terror. But Even as I completed All That Remains I was almost in tears I actually stopped to collect myself. But this was the act of one man. A pathetic man focused on his past. I didn’t let it taint my view of magic.

Of course there were comforting scenes from Anders and Aveline and a less comforting but accurate portrayal of grief by Gamlen. Which helped and I continued the game.

Then Act 3 came around and boy was it difficult there was the Blood magic, Working for Meredith, The Mood Whiplash with the Emile just trying to have fun then the poverty stricken woman just trying to feed children and the power hungry Elf. In fact All of ACT 3 felt like an emotional roller-coaster there was hardly time to stop it just seemed to be a non-stop punch-down by emotions.

The there was Anders Quest Justice. I was feeling hopeful. Anders had seemed like had come down to Earth and become more rational especially when he said he wanted to separate from Justice. So I happily helped collect ingredients and was curious what he needed from the Chantry, Though I thought he was collecting something special from Elthina’s office. I loved his new coat being a fan of Black myself. Then there’s the scene with Anders and Varric, I thought it odd but in hindsight it was obvious why he was doing it’s just he seemed so content and happy with our romance and while disgruntled I would never have thought Suicidal. What makes this heart-breaking is have experienced what Anders was doing with Varric myself and have been in the same emotional state, sans spirit, myself. So the fact I missed it completely is...just...I don’t know.

And of course the Climax the heated  argument between Orisino and Meredith made me think I would need to start being a diplomat for them that Elthina maybe able to help. And then Anders started monologing to everyone and starts glowing and Then the Earthshaking explosion, The Complete and utter portrayal and the hands of the man I Love it shook me to my core. I felt my stomach sink the realisation of what I had helped him do it was crushing. Then the killing of all mages whilst Anders just sat there.

And despite this I couldn’t kill him. I know what he did was wrong But I couldn’t do it. I lost my Father before the Game My Brother to an Ogre My Sister to the Grey Wardens and my mother to Magic I couldn’t lose Anders too I couldn’t.

This Game was by far the best/worst game I have ever played.

The only reason it is the worst is how emotional taxing it was, with no information or foreknowledge and romancing a terrorist It caused a minor existential crisis I lost my own Identity when I spared Anders. Everything he did was wrong and for almost the right reasons. It hurt and I felt betrayed and lost.

On the other hand this game was amazing in every sense. The Romance the Gradual build to each climax, Especially the last one. It felt natural Growing tensions between Everyone and the Qunari and Mages and Templar. The fact that we couldn’t save Leandra or stop civil war was a well executed change to the invulnerable hero who Always Saves The Day It made Hawke Human, The emotions of the characters The Grief they show. Even Male Hawke gets scared and sad. The scene with Leandra dying was well written and believable the numbness shown by Hawke at the Estate was very relatable. When someone you care about dies the world feels wrong as if you’re living someone else’s life you’re floating in void. I feel Bioware created a good sense that, that was what Hawke felt. And No compromises was hard, having to pick a side, a lesser of two evils where both end up killing everyone. Like choosing between six rotten apples or half a dozen apples full of worms and maggots.

TL:DR “Dammit Anders”

[morfinwen]

For the Hard Character Opinions: #1 for Meaghan, #6 for Leah, #8 for Aidan, #15 for Ash, #22 for Ian, and #23 for Lauren, please!

1. Makeup and wearing jewelry; does Meaghan think such things are superficial? Would she wear makeup and jewelry herself? Should only certain people wear make-up and jewelry?

Makeup and jewelry are often symbolic. They communicate things about who a person is, where they come from, what their station is, how they see themselves, how they want others to see themselves, etc. Even when all it means is “I think this is pretty” or “I wear this because this is what society expects me to wear”, that can say a lot about someone.

Meaghan usually doesn’t wear any makeup or jewelry. On the rare occasions that she does, it’s going to be very low-key and not flashy, and probably because it’s expected by someone she doesn’t want to offend more than she feels the need to dress up like that.

There are times and places where makeup and jewelry are inappropriate, but she doesn’t consider there any rules on who can never wear makeup or jewelry. Unless there’s some alien species allergic to the stuff, but even that’s more of a “shouldn’t” than “can’t”.

6. Are blood ties more important than bonds of friendship? Does Leah always put family before friends? Is your family always related by blood?

Even before the bomb, Leah would have said blood ties are not more important than friendship. Ties of family or friendship are inherently equal, with the strength of the individual relationship determining how it should be prioritized: supportive friend > indifferent parent > distant cousins > abusive co-worker, for example. She would have placed a slightly higher value on family -- all other things being equal, put family first -- whereas post-War Leah would put it on family-of-choice, whether that’s made up of some blood relations, all blood relations, or no blood relations.

8. (Aidan) Is technology, and the rise of technology, good or bad? Are traditions important or is change moreso?

Technology is largely good, no question. Sure, it gets misused sometimes, but that’s the fault of people, not the tech itself. It kind of bewilders him that people are still so wary of it, especially as so much of what they consider “normal” was scary advanced technology a few decades ago, but after all this time he’s learned to expect it.

Tradition has a value he finds it hard to put into words. Part of it is the identity crisis he had not too long ago, but traditions help him feel connected to a world that sometimes he feels he’s just floating intangibly through. Aidan feels that some traditions, even ones that don’t make a visible contribution to society, or are less efficient than new methods, have some other value that he can’t identify that makes them worth holding onto over new ways. Change and adaptation are a necessity, but kind of a necessary evil.

15. Are there exceptions to the law? Or is no one above the law? Is justice or mercy more important to Ash?

At best, the law is an imperfect attempt by imperfect people to enforce certain behaviors. It doesn’t define what is right, only what is permitted. While it would take a heck of a lot to get Ash involved in a full-blown revolution, he would say civil disobedience is often moral, and sometimes the only moral option.

Justice and mercy -- this is a bit more complex for Ash. Intellectually, he would say that mercy is an important part of true justice. And while he really does believe that, his instinctive response to injustice is much less understanding and empathetic. Part of the reason he tries so hard for non-violence is because he’s a little afraid of the person he’d become if he gave in to that instinctive forceful response.

22. What is the worst thing someone else could do to Ian–both in reality, and what he believes is the worst thing someone else could do to him.

What he believes is the worst thing: This isn’t something Ian would ever think about, so his answer wouldn’t be very imaginative. Something along the lines of kill all his family and friends, or torture him, or make him wear white after Labor Day.

The actual worst thing: Forcing him into a situation where he has to be serious and/or responsible, 100% of the time -- some kind of leadership role, or just anything where anything other than a perfect image at all times can have catastrophic results. Ian is perfectly capable of being a rational, responsible adult, but being put into a position where he can’t make jokes or goof off from time to time, or has to be constantly aware of his duties, would eat at him like nothing else. Absolute worst-case scenario -- winding up in that kind of position with no means of getting out of it, ever -- it could possibly kill him, indirectly at least. Ian isn’t a hateful guy, but it would take a gargantuan effort on his part to forgive anyone who did that to him.

23. What does Lauren value in other people? What does she shun or hate or dislike in other people? What gets under her skin, and what does she look to for inspiration in others?

Lauren values the ability to demand respect -- not force it, but command it in the same way that mass commands gravity, or the sun commands light. There’s only a few people she’s met in her life that can get almost anyone to do just about anything without screaming or threatening, and she’s both astounded and envious of how much they were able to get done with it. I’m not sure yet if that’s what she wants most, but it’s certainly one of the things she wants.

Lauren hates cruelty. There is no faster or longer-lasting way to end up on her bad side than to be cruel to someone in her presence. Lots of things make her angry, but her anger eventually subsides. Deliberate malice with no point other than to cause pain doesn’t stoke her temper, it invokes her contempt, and that might very well last till the end of the world.

Whining and self-pity get under her skin. So your life’s been tough, boo hoo. Lots of people have it tough. Lots have it worse than you. If you’re not going to try to do something about it, suck it up, buttercup.

It might be a little strong to say Lauren finds patience and calm optimism “inspiring”, but those are two qualities she has never had. Sometimes she finds them irritating, if she’s particularly angry or upset over something, but she knows patience isn’t a synonym for inaction, and that just because someone is calm or hopeful doesn’t mean they’re blind to their circumstances. She has a grudging respect for both qualities, but while her life would certainly be easier in some ways if she had them, she’d have about as much success trying to become that kind of person as she would trying to be a 14th-century Japanese emperor.

Thanks for asking!