#I know this scene is a little heavy

[poorly-drawn-mdzs]

Average Drama Enjoyer observes some peak drama.

[starry-bi-sky]

Blood Blossom Au: before the nightingale sings

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for my batdad blood blossom au, the one where Vlad poisoned Danny with blood blossom extract and Danny ran away from him and ended up tumbling into the care of one Pre-Robin Battinson Batman :). A quick oneshot telling the tale of the tragic deaths of the Fentons

TW: Major Character Death Warning

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Not all deaths are created equal.

That is a valuable lesson in life to learn. One that Danny learns when he is eleven years old, standing in the pit of his parents’ creation; the culmination of their life’s work. The portal to the other side, the realm of the dead. To the infinite. 

He learns that when he’s eleven years old, in a hazmat suit that sags on him, and boots that clunk when he walks because the only ones that fit are his mom’s, and even those are too big. In gloves that he has to clench his fists in because otherwise they fall off. In goggles that slide down his nose even when he’s tightened them the farthest they can go. 

He learns that when he’s eleven years old, choking on giggles that harmonize with the laughter of his friends’ who stand at the mouth of the tunnel. Sam’s holding a polaroid in her hand. They’re just being kids. 

They’re not laughing when Danny’s hand hits the safety lock — the one with faulty wiring, the only one in the tunnel. The only one he could possibly hit. They’re not laughing when the portal buzzes to life, and the lights inside switch on row by row as the generator begins to rumble and hum. 

They’re not laughing when Danny dies. They’re screaming. They’re not screaming when he comes back.

Not all deaths are created equal.  

Some are poetic, beautiful. The satisfying close of a book as it comes to an end, of the hardback thumping soft against the pages like the sound of a door closing. A train run its course.

Some are violent; unsatisfying; unfair. The unexpected shattering of an egg as it rolls off the countertop when nobody is looking, the unmistakable crack as it falls to the floor. It is abrupt and messy. 

But most are just… unremarkable. Unintentional. Clumsy. 

Danny’s family dies one night in late January. He is thirteen years old, barely a month away from fourteen. It is unforeseen. It is preventable. It happens. 

It happens like this: 

Their water heater breaks one Monday in January. It’s old, sitting in the garage, and has dealt with nearly sixteen years of Fenton-grade chaos and shenanigans. Of parents tossing scraps and junk into the garage as brief storage to come back to later. Of illegal tune-ups on their vehicles that result in something exploding. Of little children running around and knocking things over, playing with poles and sticks they find on the ground, on the shelves. Of being lived and used.  

Something had to give. 

Jack Fenton notices it immediately when he comes upstairs that very afternoon — his children at school, his wife downstairs — to grab something from the garage. The very same scrap and used material they store like squirrels to use later. 

He stops what he’s doing to fix it.  

It wasn’t supposed to be permanent. 

Despite what many believe, Jack Fenton is not the idiot people make him out to be. He knows what he’s good at, he knows what he’s not. He knows he can be passionate and obsessive and single-minded about things. He knows that he is a scientist, an inventor; an engineer. 

He knows that he is not a plumber. That fixing water heaters is not something he knows how to do, not safely. And he loves his family. What he does is only meant to be temporary — a fix meant to only last a few days until they can call someone in who can fix it for them. 

So Jack Fenton futzes with the water heater, gives it a temporary stitch to last a short while, and reminds himself to call a plumber later that day to come in and fix it. He turns and leaves the garage with the part he came for —  a sheet of metal for his wife to melt down — and disappears back downstairs. 

He does not make that call; it slips from his mind. 

It is not his fault. 

One day passes, then two, then suddenly it is Thursday. The water heater has still not been fixed, the water heater has been forgotten. It is nobody’s fault.  

Danny asks his parents at breakfast if he can stay over at Tucker’s house for the night. Just one night. They’re going to study for their math test and then play video games until midnight, but he only tells his parents that first half. 

He’s been doing well in school. Really well — better than he has in a while. There’s been a delightful lull in ghost appearances for the last few weeks. The living don’t know why, but Danny does. The Winter Truce always calms the dead down for a while, something about how the Zone cleanses itself twice a mortal year and that fresh wave of ecto clears out the old and brings in the new. 

This year Danny got to participate. He’s feeling the effects of it too, and he’s been sleeping consistently well for the first time since the accident. 

It’ll never happen again. 

His parents agree under the condition that he doesn’t stay up late, and Danny harmlessly lies through his teeth and agrees. He goes and throws overnight clothes into his school backpack, and when he leaves for school with Jazz his parents are already departed into the lab. 

The last conversation he has with his sister is in her car on the drive to school. Inane, mindless conversation to fill the air and pass the time. Jazz comments on how relaxed he’s been lately; Danny tells her about the Winter Truce. She listens in rapt attention. 

She tells him that she’s glad to see him so well-rested. She thinks her little brother’s been growing up too fast these days. She thinks he’s been too tense. Too caught up with the spinning of the world around him that he forgets about himself sometimes. 

When they reach school, before Danny can get out of the car, Jazz looks to her little brother and says; “I love you.” 

Her little brother’s cheeks turn an embarrassed shade of red. He makes a scrunched up, grossed-out face, but can’t hide the smile pulling across it. “Don’t be a sap, Jazz. I’ll see you later.” He tells her, yanking his hood up over his head. She hears the bashful, ‘love you too’ before he walks away. 

That is the last conversation she ever has with her brother. 

Thursday is unremarkable, passing by in its normality as it always does. There’s one, maybe two ghost sightings; shades lurking around in curious infancy that are easily spooked away by the presence of a greater being. Danny doesn’t even have to go ghost. 

Thursday evening is even less so. Danny goes to Tucker’s house — Sam has a prior arrangement with her slam poetry club — and the two of them study for an hour before they toss their textbooks aside and reach for the game console. 

Danny sleeps in Tucker’s room with one of the extra blankets on his bed, curled across the room in one of the bean bag chairs. It shouldn’t be comfortable, but to Danny it is. He sleeps throughout the night, the portal shut down by his parents before they’d gone to bed. 

Early Friday morning, before the sun has even risen yet, before it’s even so much as a concept to grace the horizon, the water heater breaks again. It was supposed to be fixed. 

Carbon monoxide is a silent killer. Odorless and scentless, it kills within minutes. It fills the house like a shadow casting over the ground, creeping into the rooms. 

Danny’s family die in their sleep; painless and unaware. 

It’s not Jack Fenton’s fault. He didn’t mean to.  

Nobody wakes up with their alarms. 

Danny wakes up to Tucker Foley’s alarm on Friday morning, and he turns his head intangible and shoves it into the beanbag chair like an ostrich hiding its head in the sand. Tucker gets up before him, and throws a pillow at him as he reaches for the alarm. 

There’s laughter, messing around. The both of them get dressed, and Danny has breakfast with the Foleys that morning. He takes the bus to school with Tucker, and they meet Sam by their lockers. 

To him, everything is as normal as it should be. There are no ghosts for him to fight right now, school is as school does, and he’s on top of all his schoolwork. 

He does not see Jazz at all that morning, he doesn’t notice. Their schedules are so different, their routes on different paths, that it’s not uncommon for Danny to not see Jazz until he gets home some days. That’s if there’s no ghost attacks. 

At lunch, he gets approached by her friends. Worried creases between their brows, they ask him if he’s seen Jazz. She hasn’t shown up to any of her classes. She’s not answering their texts. It’s unprecedented of her; unheard of. 

Danny doesn’t admit to the concern that swells in his gut when they tell him this. He shrugs at them, and says he hasn’t seen her either. But it was probably nothing to worry about; she might just be sick and sleeping it off. 

He offers to text her and let them know if he gets a response, and that seems to ease her friends enough that they shuffle away in uncertainty. He keeps his word, and does exactly that. He pulls out his phone and opens her contact, and shoots her a message.

‘Where are you?’ 

He doesn’t get a response back, Danny is left on sent. He puts his phone in his pocket, and with a sense of unease creeping in the back of his mind, goes on with his day. He gets no response by the time the final bell rings; and he tries not to be worried. 

The house is quiet when he opens the door. Unusually quiet. He drops his backpack to the floor, it lands with a hearty thunk, and begins to take off his jacket. “Mom! Dad!” He yells. He hangs it up, and slips his shoes from his feet. “Jazz skipped school today!”

A laughable untruth that would get his sister all riled up normally; she should be able to hear him from the front door if she was in her room. The house just stays dead silent. 

He can’t even hear the usual banging and crashing from the lab. His unease returns. He reaches for the intercom that leads directly down to the basement, and presses the button to turn it on. A burst of static, and then he speaks;

“Mom? Dad?” 

Danny lets go, and waits for a response. He gets none back. That never happens, not when the house is this quiet. Not when he knows they should’ve heard him. 

Something sickly and fearful borns in the pit of his stomach, and begins to snake upward. He heads for the lab. The cool metal of the door is familiar in the grooves of his hand, and he doesn’t even need to think about the code as he punches it in;  he simply lets muscle memory guide him. It’s been the same since he was little. 

The door hisses as the pressure is released, and he swings the door open. He takes the stairs down two at a time. Something is wrong. His parents aren’t answering him. His feet pound against the metal. 

“Mom? Dad?” He calls again, more worried, more frantic. More scared. His voice echoes down the stairwell, and he reaches the bottom before it’s fully faded. The lab is empty. The portal is still shut down. 

It was four in the afternoon, they should still be down here. 

Danny races back upstairs, fear-raised nausea coiling in his throat. “This isn’t funny you guys!” He yells when he reaches the top, shoving open the door with more force than necessary. His head swims, his voice cracked. 

He checks the garage, the car is still there. 

“Mom!? Dad!” His voice bellows out throughout the first floor, loud enough that it bounces back at him and rings against his ears. He’s never raised his voice this much — mom would scold him if she heard him. But she doesn’t show up. “Jazmine!” 

Finally, he goes upstairs, and he can’t tell if what he’s feeling is anger or terror. Something is very, very wrong. 

He swings the door of his parents’ rooms open first, and there they are, with the lights still off and the curtains still drawn. As if they hadn’t left their bed all day. Some of Danny’s fear lifts from his shoulders just by the sight of them, but he’s still trembling. Something is still wrong — the room smells… off. Not good, not bad. Just… off. 

He swallows dryly, his throat still thick, and steps into the room. “Mom, dad?” They do not stir. “Didn’t you guys hear me yelling?” 

There is only room static. Danny’s heart shrivels in his chest with a tenfold return of terror, he feels ill. He remembers, just now, that they’re not heavy sleepers, and his dad should be snoring like a freight house. 

Danny reaches their bedside in seconds, hand outstretching for the covers, “Momma? Dad?”

Not all deaths are created equal. 

But many of them are accidental. Unmeditated. Shocking.

Danny Fenton finds his family dead in his childhood home. He runs to his neighbors in hysterics, inconsolable, in tears. Nine-one-one is called, but there is nothing that can be done. They were dead for hours by the time Daniel Fenton returned home. 

He sits on the front steps of the neighbor’s house beside FentonWorks, his jeans slowly becoming wet from the snow that was unable to be scraped off, and watches the paramedics cart out his family beneath white sheets. There are police cars blocking off the street, yellow tape blocking off his house, red-blue lights lighting up the block, an ambulance on the scene. He is wrapped in a shock blanket, and he is missing his jacket and his shoes. His tears are freezing onto his face, he can’t feel the chill. 

Not all deaths are created equal

But all of them are unforgettable. 

[firestorm09890]

FUCK what I said about the majority of significant changes to dialogue in Re:CoM being to adjust Axel's characterization, the most egregious change is actually this

(GBA CoM)

(Re:CoM)

if I had to guess, the reason for this change was because in GBA CoM, The Superior was a spooky, unknown being at the head of this Organization we had very little knowledge on, and for Vexen, the guy who runs his mouth constantly about how much better he is than the others, to be terrified of him, he must be some pretty scary dude. But then after kh2 we know him, it's Xemnas, he's very dramatic, he likes to talk to the moon, and the effect of your mind filling in the gaps about what "The Superior" must be like is gone. So it wasn't really necessary anymore, right?

(rest under cut because it's long)

Except... the way they changed it is so weird. In the GBA version, what's happening is pretty clear:

Marluxia tells Vexen that his project is a failure

Vexen demonstrates that he does not give a shit about Marluxia's opinion

he does care very much about The Superior's opinion, though, and Marluxia uses this to blackmail him into eliminating Sora- an action which is nonsensical, as the entire point of what they're doing needs Sora alive, making it clear to everyone in the room that he is deliberately sending Vexen to die

and then after that, when Vexen shows up to fight Sora, he goes "if you want to fight me for real you've gotta do it in the memories from the other side of your heart lol bye" and Sora goes "huh? other side?" and then it cuts to a scene on the top floor:

and then this gets more into subtext but here, Vexen has realized he's totally fucked and his only hope is to mess directly with Marluxia's plans (well, they were the Organization's plans, but it's pretty obvious by now Marluxia's abusing his power for his own purposes) by giving Sora more information than he should know. This does get the traitor gang worried enough to send Axel to go kill him (as opposed to just letting Sora take care of him, which was presumably the original plan)- he very specifically cuts Vexen off to keep him from saying too much (this is retained between the original and the remake)

Anyway, what happens in Re:CoM sort of follows the same order of events, but everything is changed slightly in a way that just makes things more confusing.

Marluxia tells Vexen his project is a failure and Vexen demonstrates that he doesn't give a shit about Marluxia's opinion, as before

Marluxia threatens Vexen with a weapon, rather than threatening to tell the Superior

this, notably, does not seem to faze Vexen very much. he continues to run his mouth while having the scythe pointed at him.

Xemnas is still leveraged- Marluxia points out it was the Superior who entrusted him with the castle

...even though reasonably Vexen would already be aware of this, and has still demonstrated that he has zero respect for Marluxia despite it

the lines about betraying the Organization being a capital crime are retained, probably because it's super relevant later, but then that line of thinking is abandoned in favor of Marluxia and Larxene just taunting Vexen instead

The part where Marluxia says "do it. you won't" could be seen as a sort of threat... if not for Axel's line: "You give a challenge like that to Vexen and he'll seriously want to eliminate Sora." It frames it all as though Vexen went to fight Sora out of some sort of pride.

And look, Vexen may have a temper and a superiority complex, but he's not stupid. They're obviously baiting him. Plus, what happened to him seeing himself as above the others and countering things he doesn't like with "well actually I'm higher ranked than you and also you're an idiot"? Is he that insecure in his fighting capabilities? I could deal with characterization changes doing him dirty if it didn't also make no sense in the context of the plot.

So now we have Vexen going to try to kill Sora, something that really makes no sense to do, out of pride. What was the purpose of sending Sora to Twilight Town? Also pride, over the fact that he managed to get that information? Giving the writing the benefit of the doubt, I could say that these nonsensical actions can be explained as evidence that Nobodies can have hearts and people with hearts do strange and rash things, but that just feels like a reach, which is bad because what they had in GBA CoM worked perfectly fine and made sense without any reaching for the "idk emotions make you do strange things" explanation.

It continues. After Vexen gives Sora the Twilight Town card in Re:CoM and Sora wonders about what the "other side" means, this is that version of the conversation the top floor members have:

...what? "If Sora disappears, that would mess up the Organization's plans"? what are you worried about? the only reason Sora would disappear is if Vexen killed him. there's no way they think Vexen being in Twilight Town would give him an advantage, right? they know he's a pathetic fighter. "Vexen has clearly committed a treasonous act against the Organization" HOW? HOW IS IT CLEAR? they don't express any worry about Sora learning too much, up until Axel says "I came to stop you from talking too much" when killing Vexen- and that being there makes it seem like they were worried about Sora learning to much, but if that's the case, why would they replace the perfectly serviceable lines in the above scene? it's just... baffling that they would want to lean into the narrative that Vexen going to kill Sora (which he'd been goaded into doing) is the problem here, because it just makes so little sense compared to what it was originally.

once again giving them the benefit of the doubt: Marluxia's real plan was to take over the Organization, and he saw an easy way to pick off one of the members, so he took it. the motive for stopping Vexen doesn't actually matter.

buuuuut it's the same as with Vexen earlier. Marluxia may be too self-absorbed and power-hungry to notice Axel is scheming against him, but he, too, is an intelligent man. he's plotted for a while, getting into Xemnas's good graces in order to be put in charge of the Castle. this is incredibly sloppy for him. I guess it could be said that getting so close to his goal would make him sloppy, but again, if they'd just left things the way they were in GBA CoM, I wouldn't even have to be saying this

in conclusion: GBA Chain of Memories' intra-Organization strife subplot is so tightly woven with calculated moves on all sides that Re:CoM changing certain things without taking into consideration the consequences makes certain parts of the plot fall flat and become far more confusing than in the original story

[fictionadventurer]

I didn't realize just how much Little Town on the Prairie meant to me as a book. I've barely started and every bit feels iconic. This one and Little House on the Prairie feel more like home than most of the other books do.

[krytus]

he was a witch, caravaggio. did you know that?

[cream-and-tea]

i love love looooove doing whatever tf i want with structure in lay me down BEYOND belief. have just decided that chapter eleven is basically a romcom montage except it’s set in the evil apocalypse library and also there’s no romance and it also uhhhhhhh makes me want to cry ❤️

[devotedlystrangewizard]

the school arc to me is so good because it drags ciel out of his position as a powerful figure and literally places him in the shoes of the person he could have been. the circus arc ALSO drags him out of his position as big bad queens watch dog/head of the phantomhive estate but the school arc feels like a mockery of a future that never was. this is what he could have been had his parents not died. and even then its NOT because he will never be that kid.

he never was.

[canibalistic-brownie]

I have to keep reminding myself that none of y'all know me in real life and even if you think what I'm writing is cringe, its not for you, its for me. But h-h-h-h-holy shit is it hard to get out of that mindset of anxiously wondering what other people will think of your writing the entire time.

[crimsonfacets]

@grandvizier asked: 🐶

munday no-no and yes-yes list

Let me think..

Send  🐶 for a role play related pet peeve.

Folk who come around just for romantic shipping purposes. It's happened to me a few times and it feels just awful to deal with. I love shipping, I do, but the chemistry needs to be right, or my friendship with that person needs to be pretty old for comfort's sake. Respect & understanding of our characters relationship needs to be a two-way street between us writers when we're that far down the road.

I don't apply this rule to muses who are flirty and/or sleazy by default, casanovas and the like - that sort of behavior is expected and I am totally fine with it. Goodness knows I have a few myself! And naturally, this doesn't apply to characters who are married/together by default in canon (Trisha & Hohenheim for example). But, I can usually tell who comes around just for ship plugging. Can't do it!

[marypsue]

I get why everybody always focuses on the Russians - the movie is, after all, called Goncharov - but I wish we’d stop collectively sleeping on the Italians. That scene with Ice Pick Joe and Giacomo the cheesemaker? Pure gold. And the dinner party, after Laura learns that Lo Straniero, the man her father’s been working with all this time, the man he trusted enough to invite into their home, the man she believes she’s falling in love with, is actually Goncharov, the head of the rival mafia that’s been infringing on their turf, trying to topple her father and take over his operation from inside? And she has to decide which of them to betray? Best moment in the movie, tbh. 

[megaclaudiolis]

柄本 佑 || 「光る君へ」 (2024) · 第十五回 「おごれる者たち」 ​​​

[funshinebf]

i think one of my problems is i have chronic poet disorder so like. i cant describe someone in basic descriptor words like "funny" or "nice" because it doesnt feel strong enough. so i end up telling my beloved friend "youre like the patch of sunlight coming in through a window that animals love to lay in" instead of something normal

[mejomonster]

I finished final fantasy vii rebirth and. Some mixed opinions.

The main good points: as a Sequel to original FF7? Its good. The women are all written well (which was a concern considering Kairi and Lunafreya in past games), and everyone was in character just fleshed out more (with 2 slight exceptions). What the game did best was accomplish an open world game, world spanning adventure, stick fairly well to some main highlights from original ff7 (which is what people wanted for ages) and with new stuff thats fun if you like the world, very little wasting of player time (so much better than ff7 remake). It did open world well, pacing well, side quests and mini games well, characters well, combat well, and overall gave the feel of what square enix was maybe Hoping and Wishing to successfully accomplish in a mainline game for years but either hasnt been able to achieve on a technical level or fumbled in the past. (So no time wasting dungeons like ff7 remake, fleshed out open world with stuff you enjoy doing so more than ff15, open world so more than ff13, and combat that feels like things theyve learned and improved on well). How it feels to play? Great, fast paced, no dead time, all enjoyable game you came to play. (With the exception maybe of Cait Siths box mandatory mini game and the aerith in ancient temple magic platforms thing but they both werent too difficult to push through if you dont enjoy them).

The bad? Mostly... if you treat Rebirth as a SEQUEL to original ff7, these arent major issues. They just annoy me as a player of the original ff7 game. Because i know plenty of people will ONLY play ff7 Remake and Rebirth etc, and never know the original characterizations. So 2 characters were slightly unlike their original ff7 selves, and instead more like their Advent Children (and general non ff7 appearances) selves: aerith and sephiroth. Sephiroth's character being NOT like ff7 originals is more irritating personally. Because yeah... i get it. As a sequel to original ff7, this Remake/Rebirth Sephiroth might be from the future (so he is Advent Children esque version of himself), hes had time post losing his way to really get all mysterious and hyperfocus on cloud and be a looming vague pest. But the thing is... in the original ff7 the reason we learn hes used to be a SOLDIER war hero, is so the cast and you are confused why he kills Shinra people. Then you and the casy figure: well cloud remembers sephiroth finding out hes a monster cause of shinra, justifiable for sephiroth to hate shinra. Unflrtunately Sephiroth also decided to hate ALL HUMANS. Then you later find out maybe Jenovas controlling Sephiroth/one with him etc. But the key here is you find out at some point in original ff7 that sephiroths goal is mainly Destroy World because Hes not Human. Rebirth... does not clarify this very important and very BASIC point ever. Maybe it assumes its so basic that as a ff7 fan you should know.. but plenty of new players wont. Rebirth clarifies yes sephiroth may be Jenovas kid... but the whole MOM, im an ancient like Jenova! Oh Jenova isnt an ancient oh well fuck humans anyway! Either way fuck humans ill kill them all! None of those Very basic sephiroth motives are clarified much. I felt Rebirth did good explaining the Gi and the black materia. But to make Sephiroths motives so vague, why he wants to end the world SO VAGUE, why hes in clouds head (the black robes are everywhere but the game HINTS theure sephiroth clones but never actually spells it out eevn though its a BASIC KEY DETAIL). Now... because Rebirth is a sequel, it makes sense... if hes Advent Children Sephiroth he already knows he isnt an ancient, knows hes Jenovas kid, knows he wants to fuck with Cloud specifically now and the world generally but not necessarily so singlemindedly desperate to just kill all humans. So yes, Sephiroth is in character for his future self... but i feel like even with him less SINGLE MINDED and freshly with Jenova, clarifying some basics of his Original old timeline motives... would be helpful to new fans. So it annoyed me. I think the biggest Not Good writing decision in Rebirth was to never fucking clarify Sephiroths original basic goal: im not human like mom, hate humans, kill world. I suspect the writers either thought players KNEW so hinted instead of being on the nose (but to new players theyll just be CONFUSED), or they plan to explain those basic things in game 3. Which seems stupid to me and shouldve been explained earlier.

And Aerith. As a sequel? She remembered the other timeline which explained some moments she was calmer than original ff7. She forgot, then toward the end of Rebirth she seems to have remembered the other timeline again and that she needs to die and X happens etc. So her being calmer based on the plot they wrote for Rebirth? Makes sense. However... i deeply miss her Original FF7 personality where as an Ancient she freaks out a bit LIKE sephiroth, paralleling him, that shes not human, a freak, that it all rests on her as only one ancient left. Their overwhelm parallels each other. Aerith is more scared in original ff7 of being the only ancient, of what it means, of finding out more. That fear is slightly there in Rebirth but WAY LESS. its only a little in cosmo canyon and almost gone in the Ancient Temple. In ff7 expanded universe theyve changed her character over time to a calmer wiser goddess type like in Advent Children, and so yes in Rebirth when she remembers the alrernate timeline it makes sense she'd be calmer like her future self. However... i miss original ff7 aerith. I miss her initial shock, loneliness, fear of the weight on her shoulders, not being sure what to do. Her and Sephiroth, because of Rebirth writing them to know more, act more like their future selves and so. While it is in character and logical to the Rebirth plot. Its also sad to me that anyone who only plays Remake and Rebirth simply wont see what they were like WHEN these revelations were brand new shocks to them, forcing them to react and grow and fear. I dont think Aerith is written bad, i just think because this game is in reality is a Sequel im just personally mourning that it didnt have that as much of the original Aerith's personality who was afraid and discovering. Mostly her Rebirth personality is similar to original ff7s. But in some high tension moments shes way calmer and wiser than in the original. I miss getting to see some of that before to after character growth.

Oh and. The aerith dies scene. Does it make sense in context of Rebirth written as a sequel? Sure. Is it impactful? Not as much as the original. In Rebirth, theres a scene where Cloud is losing control and listening to Sephiroth and attacks Tifa, causing Tifa to fall into mako. That scene is high stakes and emotional and lands WELL. Later in Rebirth, when Aerith actually dies, Cloud has not lost control and isnt the one who killed her. Its fine, as a sequel to ff7 i get the choice to make him able to stop himself from hurting her. But it does make the scene less impactful: now cloud will NOT be blaming himself for her death, will not be struggling with the guilt and fear, and will not be as terrified of losing control again. Since he wasnt the one who attacked her. And since he saw her ghost/something post death, hes not even sad or grieving her. He thinks shes fine. These 2 things will result in a WILDLY DIFFERENT cloud moving forward than the original ff7 one who very much was distraught and horrified he did that. So like... as a sequel its fine these changes were made. But death wise... i wouldve prefered like, cloud drops her from up high qhile struggling with whispers, or doesnt get to her in time and sephiroth stabs her when shes too far away. The way Rebirth did it, cloud was near her, she gets stabbed anyway. It seemed to me almost like the writing was trying to vaguely or softly kill her, like somehow making it vague would make it hurt less. Yeah it did hurt less... but id rather if a character i love dies that its a Worthy Scene for them to die in. A strong meaningful scene that makes me cry, that felt like the loss it is. The Rebirth scene... couldve done its plot as intended and just make Cloud farther away or something and it wouldve been better to me. Maybe the writing point was Cloud thinks its fine, and its still not, and he cant even feel distaught because he cant tell if she died or if things are fine? Thats the only angle i can see where maybe the death scene did what the writers wanted? Anyway. Aeriths moms death made me sob, Aeriths death did not. It is what it is. I feel like Tifa, crying in my heart off screen, the game acting like Cloud like its fine and it looks fine to him but im confused like Tifa aa to why hes (the game) treating it that way. Lol.

Overall? Um 4/5. 8/10? Really solid square enix game, Amazing as far as final fantasy 7 SEQUELS go. It has one main weak spot in treating Sephiroth fully mysterious when a few clarifying details could help the game stand on its own Better (and make Sephiroth a stronger enemy character instead of a vaguer one). The other weak spots are more my personal preference and mourning the parts of ff7 original i miss and had wished were in this, but as this is a Sequel in a parallel timeline i dont feel the parts effect Rebirth on its own merit. It IS the best Square Enix game ive played in ages, at least since Final Fantasy X or XII. I thought it was better than FF13, FF15, definitely better than ff7 remake (i hate time wasting dungeons and bad pacing its a dealbreaker), and than kh3 (although kh3 was quite good for a kh sequel). I get to play FF16 next, which will hopefully be as good as Rebirth or better! Since its also on the PS5 and clearly from Rebirth, the square enix main team can do excellent combat, open world, level design, mini games, side quests, and good pacing now. So i'll just have to see if ff16's story is better. And i am guessing it hopefully will be, since Rebirth as an ff7 sequel has some weirdness to its plot quite typical of ff7 extended universe stories like Crisis Core and Dirge of Cerberus. Whereas ff16 is a brand new plot, so they have nothing preventing them from a tight excellent written story except themselves. I am curious how BIG ff16s world will be though. Because ff7 Rebirths world was MASSIVE and very full of stuff, tons of mini games, cool stuff to find or do or little character side quests. If ff16 also takes me 60 hours to beat the main story its gonna be thw longest final fantasy main title ive ever played.

Rebirth is very replayable if you enjoyed it. I will probably replay ff7 original soon.

[hlvrai-stuck-together]

...You're really sure they both forgive me for what happened? Cuz I fucked up really badly this time.

I'm sure. It wasn't your fault, Bubby.

...

Well then, I forgive Gordon for stealing my chips that one time too, then. And the dip. And for leaving crumbs all over the couch. And for not washing his damn hands before touching the remote.

I'm surprised you even remember all that, but umm? Thanks?

You're welcome, fucking nasty little sewage boy.

Hey!

*(The fire continues to shrink in size, becoming a much smaller version of what it was before.)*

I have the blanket! Apologies for the holdup, I had forgotten that we had taken the large one with us upstairs last night and had spent a rather lengthy amount of time looking for it down here! Hopefully this can help!

...I may have overestimated the size of the fire. Do you still need the blanket?

Yes, please. Thank you.

*(The large blanket is thrown over the stovetop. Without the fire in the way, the dials behind it become clear- they're all turned off. Dr. Coomer is able to hold onto the blanket with his limb enhancers, and keeps it in place for a moment while they wait.)*

Thank you, Harold. Sorry about the mess.

It's no trouble.

Just maybe let me do the cooking for a little while.

Fine, I can do that.

*(Dr. Coomer lifts the blanket. The fire is gone.)*

[sharkneto]

My favorite thing that you've written has to be Nice Things Can't Last Forever (They Still End Too Soon). I've reread it so many times at this point, the raw emotion in it is so good. The scene I think about is when Five answers all the questions Klaus asked in the beginning and Klaus wishing that he asked more. It makes me cry every time I read it and it's honestly just so good.

Man, there are scenes that I've written that have also just Stuck With Me and that is one of them. NTCLF(TSETS) is a fic that is near and dear to my heart, it's very special to me, it has a lot of very personal emotion that needed an outlet. I'm very proud of it. And that bit, Five answering these questions Klaus had for him hours after being asked hits me Just Right. He didn't forget, he recognized that, while Klaus was just giving example questions for things they don't know, they were still genuine. Klaus wanted to know him that little bit more, and they don't have more time, but Five can still give him that little bit. His favorite color is chartreuse. He loved seeing India. He likes dogs. Sprinkled donuts are still the best donut. It's not enough - it will never be enough - but it's the best he can do. He actually gets to say a goodbye, this time, and he's trying to wrap up as many loose ends as he can. It hurts, but in the best way.

[shopcat]

literally nothing against people making era accurate Only playlists but i have never done that in my life except for that one time like it's not my fault these characters were born too old to hear this song that's about them now