#I really REALLY wanted it to be true that the devs just didn't do research & unfortunately were inspired by old comics

[newtafterdark]

in reference to my most recent reblog - I am so fucking mad and exhausted at the same time. Fuck those devs.

[trisockatops]

Okay I lied, one more post about the blatant antisemitism that isn't getting as much as attention as the creator's cissexism.

Thread from Unsidhe, Artist&Vtuber|Illust/Live2D OPEN on Twitter:

cw: antisemitism 1 of the 'goblin artifacts' you can find in That Wizard Game is literally just a shofar, a Jewish musical instrument, described as being 'used to annoy witches and wizards'. In it's description is the year 1612, which was when the Fettmilch uprising took place.

This uprising was followed by an outright massacre of Jewish people. If you STILL think it's just "a coincidence based on unfortunate folklore about goblins" and not literally an antisemitism propaganda simulator, fucking BLOCK ME. I want nothing to do with you.

People are trying to tell me "but it's not a shofar because it's painted" like, you're grasping at straws for excuses at this point.

Learning that they wrote 'stuffed with gorgonzola to silence it' about the horn, and finding out that gorgonzola specifically is not a kosher cheese... when they could have just written 'stuffed with cheese' for the Haha Funney Points really says a lot someone had to think.

/end thread

Thread from Yonah Gerber on twitter:

For those saying Hogwarts Legacy isn’t antisemitic, the game devs made it canon that goblins use shofar

“Generally annoy witches & wizards” literally the text in the game is that Jewish practices are just an annoyance like what the fuck

To address the dumbassery in my responses: assume good intentions must be earned. If this was the first time a Rowling property has been antisemitic, that's a woopsie. But it's not.

Here's the facts as they exist: - The object is a war horn - The artifact in the game is located at a place named after a pig & stuffed with dairy products to stop its music - The year of its most famous use is also the year major antisemitic pogroms happened in Germany

If ONE of these things were true, but Rowling & the franchise otherwise hadn't made any major missteps, that's when we give the benefit of the doubt. But I'm not willing to give said benefit when considering all the in-game context AND ALSO prior antisemitism in the franchise.

At a certain point, "benefit of the doubt" becomes "any plausible deniability is sufficient to ignore all context to the contrary" & to me, & to many Jewish folks, we are way past that point.

Hogwarts Legacy is not the first time the Harry Potter franchise has been accused of antisemitism. If the franchise & its creators wanted to avoid further accusations, they could've done some basic historical research to make sure these alleged coincidences were not included.

Once you have harmed a marginalized demographic, it's on your as a creator to prevent *further harm*. If you're using an IP that another creator once used to harm others, then I'm sorry, you do have the responsibility to undue that harm where you can in your own work.

EVEN IF these are coincidences, had the development team made a point to avoid antisemitic caricatures & educated themselves on that history, this wouldn't have happened. They chose not to care. And that's not much better, really.

Obviously I don't know what the team at Avalanche thinks or believes & frankly that's not my business. What matters to me is the end product & that end product either is purposefully antisemitic or was made by folks who don't care if they're accidentally antisemitic.

However you twist this, there's a tremendous lack of care going on here, & a choice to perpetuate cruelty that didn't need to happen.

Don't yell at folks in my mentions who genuinely don't understand the layers of context here. This is a great education opportunity. Block the obvious trolls, I sure am, but some folks have only seen a piece of the whole, & education is the best solution to ignorance.

Deleting my last tweet because I saw the point on Mastodon, but I can no longer find the post. I don't want to share what I can't currently verify.

To add, though: - The shofar is located at the Hog's Head (aka pig) Inn - The music of the shofar is prevented because a wedge of gorgonzola was used to stop the music, & while many cheeses are kosher, that one is not Take from that what you will.

/end thread

Thread from moby dickgirl on Twitter:

// CW: antisemitism; discussion of Islamophobia Concerning Gorgonzola (expanding on a comment in Yonah's thread) N.B. Once again, I am speaking as a gentile

It's a really common trope in right-wing propagandistic fiction for the "heroes" to desecrate the graves of religious enemies by putting profane items in them. The example I'm most familiar with is endless post-9/11 masturbation about putting pig products in Muslims' graves

I understand that there's a prohibition, deriving from a law given by Moses at Sinai, on seething a kid in its mother's milk, and that this is generally interpreted pretty broadly as meaning having meat and dairy in the same meal, or otherwise combining them, is unkosher

Some cheeses are kosher. Traditionally, Gorgonzola is not. This is because the production of Gorgonzola requires the use of a complex of enzymes called rennet. Using animal-derived rennet to make cheese is unkosher because of the prohibition mentioned above.

Now, this doesn't always apply to Gorgonzola today; you can get Gorgonzola made with non-animal-derived rennet which I understand may be kosher. However, this was unequivocally not the case in 1612. Gorgonzola made then would have been made with animal-derived rennet.

It's also been noted that the year of that goblin rebellion is 1612, the first year of the antisemitic purge called the Fettmilch Rising in Frankfurt. Both the real Fettmilch Rising and the fictional rebellions may have been based partly on allegations of financial misconduct.

There is, however, a shorter path. A distinctive quality of Gorgonzola — unique to it as far as I can tell — is that it's made with unskimmed milk, that is, milk with the milkfat still in it. The German word for "milkfat" is "Milchfett" — "Fettmilch" with the syllables reversed.

(I've heard that "Fettmilch" is literally a dialect German word for "unskimmed milk," which would make the link even more direct, but I don't have a sufficiently comprehensive German–English dictionary on hand to confirm this. German speakers are welcome to chime in.)

/end thread

Not to mention that the basic plot of the game is suppressing the rebellion of a canonically oppressed race that has always been an antisemitic caricature (hooked nose, beady eyes, hoard money, apparently control the wealth, manipulative, sneaky, greedy). We didn't need to look far to find the antisemitism, and yet here it is, ratcheted up times ten.

[pinechips]

Tilda's Art Collection

If you haven't seen the making film about the Rijksmuseum collaboration, it's really fun and interesting! I want to leave my thoughts on Tilda's story and connection to her collection and hope to hear your thoughts as well. Especially, if you're familiar with art and paintings, please share your insights!

0. How I read this scene

(From the making film above) This scene is designed for Aloy to understand Tilda's personality and motivation without any background information. Given Aloy has never been to a museum in her life, I assume Devs don't expect us to look up research papers to interpret each painting. So all the hints should be in the dialogues.

There will be two aspects - how Tilda reads it and how Aloy reads it. Tilda explains her side story by showing each painting to Aloy - this is all about Tilda. Aloy's comments/questions show how she thinks about Tilda and the difference between Tilda and Aloy (maybe also Elisabeth). Look at the emphasis on Tilda/Aloy's relationship - they're supposed to understand each other by reading art together.

The scene naturally drags the player's gaze in zigzags and it seems to follow Tilda's life.

You can find the full dialogue script here, thanks to @mehoymalloy.

Woman Reading a Letter, Johannes Vermeer, ca. 1663 + Woman Reading Music, Han van Meegeren, 1935 – 1940

Tilda's early life, before meeting Elisabeth.

This painting has many layers of context... I know it can be interpreted as a clone-related symbol, like Aloy/Beta compared to Elisabeth - but before that, I believe this is to show Tilda's life agenda from her beginning. She was fascinated by the deception of a good forger. I guess she wants to do the same thing so that she can fool other people into believing she is who she wants to be. Like, she carefully designs herself based on her "imagination". That's her foundation. Aloy asked why she does that ("it was a lie, and you knew it.") and Tilda answered that's how she got the right evaluation from other people. This also implies Tilda thinks she can't be valued enough with her true self - a bit sad moment to me.

The 2nd point is the difference between a masterpiece and an imitation. Here, the focus is more on how Tilda tells a difference between the two. This can be applied to Aloy/Elisabeth. Tilda brings the image of the left painting (masterpiece) to the base, and you can see it appears when Tilda is mentioning Elisabeth during the conversation with Aloy. Tilda said if it tells her more, she feels less. If I need to guess, Tilda feels more when she can't really see/read/predict the other person's thoughts. That evokes her imagination, maybe? In the storyline, Aloy doesn't allow Tilda to predict her next move and keeps twisting Tilda's plan. Think Elisabeth was also the same way. Beta, on the other hand, is different from Elisabeth/Aloy in this manner. Maybe that's why Elisabeth was the true masterpiece to Tilda.

Of course, there's a meaning of longing for someone like the woman in this painting. Aloy feels the "emotional burden" (of Tilda), which can't be put down.

2. Selene and Endymion, Gerard de Lairesse, ca. 1680

Tilda's relationship with Elisabeth

This is an interesting description of Tilda/Elisabeth's relationship. Aloy asked if Tilda sneaked up on Elisabeth and Tilda said it was a secret visit. We all know how Tilda approached Elisabeth. It feels like Tilda had a certain reason to approach Elisabeth, possibly wanting to dig into Elisabeth's work or personal life. Guess it didn't go well as Tilda planned, given Elisabeth already knew who Tilda exactly was. I think that was why Tilda felt a strong interest in Elisabeth if we think about what makes a masterpiece to Tilda. Also, isn't it strange that Elisabeth was welcoming to Tilda even if she knew who Tilda is? Err, maybe Tilda was just Elisabeth's type? Anyhow, they fell for each other.

What interested me more was that "two must remain apart" and "Selene is not supposed to fall in love with Endymion". Why? Because Selene took a vow of chastity. Is this about Tilda's internal conflict in a relationship? Or, Tilda was not supposed to fall in love with Elisabeth? Did Tilda (or Elisabeth) have a reason to hide their relationship? Was that why they needed to find a way to come together but briefly? After seeing this, I realized Elisabeth also didn't talk about Tilda at all to any of the ZD members or even to the GAIA.

Aloy seems to be confused about this. Why couldn't you be together? Why didn't you break your vow? Tilda didn't answer these questions but just said her love will forever burn regardless of the circumstance. Maybe Elisabeth asked the same question to Tilda and her answer was also the same.

3. Jeremiah Lamenting the Destruction of Jerusalem, Rembrandt van Rijn, 1630

Tilda realized the world's ending and tried to save her collections.

As clearly mentioned in the dialogue, Tilda said she saved the collection like Jeremiah. I find two points interesting. The first thing is Jeremiah was a prophet and saw a vision of the city's fate. Tilda might have known what was coming from her sources, earlier than other people saw that. She decided to save the relics, not the people. This could be a major difference between Aloy and Tilda. Aloy is bothered by Tilda's priority and pointed out that Tilda just picked the winning side. Of course, Tilda doesn't agree because she actually saved all the wonders and hence has no regrets. Also, she still sees hope for the future.

I think this moment can be the time when Elisabeth and/or Tilda realized they can't be together anymore. Thinking about Elisabeth's effort to save life on earth, Tilda's choice would be a deal breaker for her. Elisabeth might have blamed Tilda in the same way as Aloy does ("you calculated which side would win a battle").

4. Titus in a Monk’s Habit, Rembrandt van Rijn, 1660

Tilda lost Elisabeth.

Aloy seems to start learning how to read paintings! At first, she doesn't understand why Tilda showing this to her but after Tilda explains the feeling of loss, Aloy fully relates to it. This is connected to both Aloy's loss (Varl) and Tilda's loss (Elisabeth). Tilda expressed her condolences to Aloy - Aloy accepted and decided not to blame her.

About Tilda's feelings - I was sad when she explained how Titus became the only family for Rembrandt and finally is lost as well. That's exactly how Tilda took Elisabeth. Elisabeth is the only and last person Tilda cared for and is lost from Tilda's life. Here, Tilda wants to be honest (very rare moment, right?) about how she feels, and maybe this is the moment that Aloy and Tilda really understand each other's feelings.

5. The Night Watch, Rembrandt van Rijn, 1642

Tilda joined Far Zenith.

Great masterpiece. Many portions of the dialogues focused on the painting itself. The other focus is on the girl - Tilda in Far Zenith. Tilda is saying she's seen something. She is underestimated but she keeps some secrets. I personally think that is not about her love for Elisabeth (or Aloy/Beta). It should be something bigger than just her life. Hope we can see what it was in the next game.

Also, it's interesting that Tilda said "what's real in a painting?". What's real in Tilda's life?

6. A Ship on the High Seas Caught by a Squall, Known as ‘The Gust’, Willem van de Velde (II), ca. 1680

Tilda went to space with Far Zenith.

This painting is deeply connected to Tilda's Dutch ancestry. Exploring the world at great cost but always turned to their home. Also willing to face dangers to make their fortunes. Now their life's work remains here with Tilda.

7. Lidded ewer for the Amsterdam Goldsmiths Guild, Adam van Vianen (I), 1614

Now Aloy moves to the upper floor, which implies she's getting closer to "now". Tilda mentions Elisabeth for the first time in this scene ("How like Elisabet you are - function over form"). Then they talked about how Tilda got these collections from the museum and why she decided to keep them on earth. They are finishing their moments to understand each other and are being ready to talk about real matters.

8. Bacchant, Adriaen de Vries, 1626 + Frenzy, Artus Quellinus (I) (attributed to), na 1648 – in of voor 1662

Tilda doesn't say anything about the two statues - these are symbols of Aloy and Tilda in a current state. Aloy understands why Tilda is showing these so not many words are needed more. Aloy feels how much Tilda suffers from grief, almost madness, and is sorry for her. If we think about how Aloy didn't want to deal with emotions (whether it's hers or others), it is a unique moment for Aloy to understand how the other person feels without any resistance. This is a safer way for her to do so. Wait, is that why Tilda wants to show the gallery first to Aloy before meeting in person? Because Tilda already knows how Elisabeth would react if she brings up her emotions?

This was a long one to write... but I really enjoyed this scene and the Guerrilla team truly did amazing work. I'm pretty sure after a few hundred years, humanity will take video games as one form of art. I hope we can see more thoughtful narratives from games so they leave something in our hearts after playing.

If you like this type of thinking, I also created another post about Aloy and Tilda's first conversation at Tilda's house after this scene.

Lastly, here is the little flow connecting this scene and the next scene from Tilda’s lines.

"Now, lo and behold, here I am". (smiling at Aloy) "There you are."

[krissiefox]

BLACK SNOW (HALF LIFE 2 MOD) (PC) REVIEW

Black Snow is a survival horror mod for Half-Life 2 that takes place on a huge floating chunk of arctic ice. You play as a researcher who seems to be the last survivor in the outpost, after it was attacked by a strange force. Throughout the story of the game, you'll learn more about the base, your fellow (but now very dead) researchers, and a little bit about the strange life-form that attacks when you're in pitch darkness. Eventually you'll find a vehicle that can help you escape this nightmare, but first you need to find fuel, a key, and parts for it - thus your quest begins….

(spoiler warning)

Without giving too much away, I will say that I like how the "monster" in this game is something you can't see, which makes it quite terrifying. It is manifested by some sort of fungal colony that was unearthed (un-iced?) by the research team, and can only thrive in pure darkness, so as long as you keep the lights on, you're safe.

Many story points are kind of vague, but I did enjoy the tried and true survival horror formula of reading computer entries and written notes throughout the game to learn more about the world. The ending was vague and kind of confusing, so I didn't much care for it since I had gotten invested in the game's world and was rooting for the protagonist to escape safely.

(spoilers end here)

Using Half-Life 2s source engine, the game shines with the same level of gorgeous atmosphere that HL2 itself does. The ambience is wonderful and eerie, and whenever you're outside the buildings it feels genuinely chilling. The graphics are very nice, outside of the occasional visual bug (some doors open into a strange blinding light and there was a broken wall model that looked jarringly disconnected from the wall it had been added to). While it does borrow some visual assets from existing source games, there's plenty of original sound and art assets to make it feel unique, too.

The game-play is mostly good, but does occasionally suffer from clunky controls on certain puzzles. I don't want to be too harsh on the devs with these controls - as annoying as they were - because it feels like they were doing the best they can to simulate a custom menu in source engine, using some odd trickery. Most of the custom menu screens would display the controls at first, but then they'd fade and not come back alter - I think ti would be better if they'd stuck around, because I really struggled in places like the x-ray puzzle. It may have helped to make these menu-like puzzles work in a "physical space" instead, something like the occasional physics puzzles Half-Life 2 had. There's a bit of a screw-up in that the game tells you that you can check your inventory as soon as you start, but the button for doing so doesn't actually do anything until later in the game. One game-play theme I did quite like was how progression in the game sometime consists of finding a way to light up previously dark and deadly areas - making an area that was once terrifying and unknown now feel safe and explorable was a cool way to keep growing the game world as the player progresses.

One thing that did really hurt my enjoyment of the game was the over-use of darkness. Ominous dark shadows make for great spooky scenery, sure - and with the monster needing shadows to be able to move around, it makes sense that the game doesn't give me a flashlight. But nevertheless - In the games very first area, I got stuck, not because I had trouble with a puzzle, but because the environment is so dark I couldn't even see the items I needed to pick up to get out of the first building. Later in the game, I encountered an area that expected me to navigate several stairways and find a door in pitch blackness while being attacked by the monster. At this point I almost gave up because I wasn't scared or excited anymore, just annoyed. Thankfully, I did find a source engine console command "create_flashlight" which will spawn a light source in whatever area you're standing in. I didn't like having to cheat like and ruin the atmosphere just to get past an area, but I play video games for fun, and being stuck in a game because you simply can't see anything, isn't fun.

Overall, I do still recommend Black Snow because it does have a great atmosphere, some solid scares, and lots of interesting backstory to explore, but it does also have some very clunky moments that I don't think you should feel bad for using cheats or a walk-through video to get by. If you enjoyed the cold and isolated feeling of the Penumbra horror games, or perhaps John carpenters The Thing, you may dig on this one, too!

You can download the mod here:

Also, since I liked the ambience in this game so much, I will be doing some recordings of it, too - so keep an out for those if you like spooky source engine soundscapes! post,

[guyrowlinsonfmp]

Evaluation

Media And Techniques

I researched some post processing effects, Which i have never done before because I saw games like borderlands3 and The Bloodborne Demake. I learned a decent amount from this project about using materials and post processing in my game. These features saved my game artistically as I don't really like the art elements of game dev, yet with post processing its code and made my game look very uniform and kept all the assets looking similar and consistent. Research Meant. I was able to get a good idea of an aesthetic in my game. Having mainly taken influence from hotline Miami for my top down character, and games like doom/ Wolfenstein for my side of character. The Games Portal-2 and It takes two Were a good look at how coop can be correctly executed. These puzzle experiences inspired some of my thinking and subsequent approach to making my game. A Lot of the knowledge I gained from all of my research was just being able to take a step back and ask myself ‘why?’ before doing something. All of these games and pieces of media have strong core themes and goals.

Purpose/ Theme/ Concept

When looking back on my proposal and thoughts I definitely ended up taking the game in a bit of a different direction. Unfortunately due to time constraints my game ended up devoid of a lot of the story and narrative that I thought of. Rightnow the player is kinda just thrust into the facility. The gameplay still is narratively accurate. With the player being able to infer that the human is in an enemy facility to get the turret. Although there isn't much indication of a final goal other than to escape the facility. An apparent greater motive/ objective would help my game engage players and give them reason to engage, Yet sadly that wasn't possible. To think of what I did achieve: I think that I was able to do a good job of meshing the two players and making my game work as a coop. I Spent not too long on the sprites and other art aspects this time compared to past projects. This was a good thing for me as I find myself being a lot more efficient at coding/ polishing my game than art. Late into the project I had a revelation, that my game at that state didn't feel fun. I wrote a blog post detailing how even after adding the sprites my gameplay was lacking. So I spent some time tweaking the basic combat to make it feel impactful and not like you were fighting punching bags. This was a good realisation as I'm now much happier with how the basic gameplay feels. And i think that it was good to realise that if the basic gameplay isn't fun what's the point of all the art and everything else

Outcome:

The game definitely meets my initial expectations considering what I have learnt over the last few months. In my proposal I stuck much more to my initial mantra of not sinking as much time into art, sound and hud elements and instead left those till the end in order to prioritise a good base game and think about what makes the game fun.

As I said at the start of this project, I didn't want this game to be a single player experience with a second player tacked on. The differing perspectives and how i layed out the mechanics and levels makes the game feel true to what my initial concept of my game would be. I think that i somewhat achieved that with the mechanics i made that involve the players having to think and problem solve together, But next time I could certainly think of better and more interesting mechanics that fully utilise the subject, theme and environment of my game.

Conclusion:

When looking at what else could be done. A better focus on story and a bit of exposition in order to better engage a player. The key point I managed to learn from this game was in the later stages of development when I realised that despite the mechanics I had made, despite the art I had done, my game lacked a good feel and general gameplay that felt satisfying and engaging. So that concept really opened my eyes to how important getting other people to play my game is and the general subject of user experience. After Getting some external opinions from classmates and teachers I was reaffirmed that I had a good idea yet I could have better used the co-op and the different perspective in some more engaging mechanics and ideas. Yet What i have made currently is simply a demo that shows off the initial concept through some basic mechanics. And more in depth Challenging mechanics that better demonstrate the idea that I have. My Art was lacklustre and mainly saved by post processing and other technical aspects. This was, although ‘planned’ because I made a point of not spending too long on art. I could have better done the animations for the characters. I'm still struggling with animating Movement for the human character. And i should probably spend some time figuring out how to better animate humans.

[iaintyourbro]

As much as I ship Cloud and Tifa, I personally think that if Cloud didn't love Aerith, he wouldn't have beat himself up constantly about her death in Advent Children. I don't think it was just about guilt for being unable to protect her because he frets around so badly about Aerith to the point that he's unwilling to even LIVE anymore. Tifa loves Cloud, but I don't think that Cloud loves her back, and that sort of disappoints me.

Canon resources say otherwise.

Nothing ever confirms Cloud loves Aerith. Nothing. The closest you’ve got is her loving him - stated in Lifestream White - but nothing confirms he loves her. People can twist, erase, and ignore whatever they want, but it’s not there. The most I’ll give you is maybe he had a crush on her in the OG during his SOLDIER!Cloud time. Aerith tells us that any feelings he may THINKS he has AREN’T REAL in Remake. These are all part of the compilation. You can’t pick and choose lines, parts of scenes, and sentences to prove something as canon. It’s the whole picture. 

I think you missed the entire guilt thing that they’ve tried to clarify. The guy also has geostigma. He knows a lot about it. He’s spent a ton of time researching it. Tons. He knows there’s no cure. So on top of EVERYTHING ELSE he’s going to die now too. He doesn’t want to die. 

And look, even if he did - his BEST FRIEND and his BEST FRIEND’S GIRLFRIEND are there... sounds like he wouldn’t get too far. He also calls her Mom. Zack and Aerith also act like he’s a child that’s too big to adopt. I feel like they really tried to drive some of these themes home. 

Also - I’ve said this before. You all always forget about Zack. He’s got a lot of guilt and sadness over Zack. You all also forget that Zack and Aerith treat Cloud like a child that is too big to adopt. My husband immediately said during that scene that people must ignore this because clearly it isn’t romantic in the way they portray it.

Hell, I’d say his reaction not only to Zack’s death, but his reaction to Zack’s appearance in AC are FAR more emotional than anything regarding Aerith. 

Rationally, what you say makes no sense. Cloud tells us his feelings in the OG. In CoT he’s clearly happy and then goes down the path of guilt. People close themselves off in cases like this - not everybody talks about it and, yeah, that makes it worse. Top it off with a sick kid that - because you think you’ll get forgiveness - you really want to cure, then YOU get it, so in your mind, nothing can be done because the research you’ve done shows you this - it sucks. 

This isn’t romantic. Nothing about his relationship with Aerith in AC is romantic. If it is, then you need to say his relationship with Zack is too. Period. 

But you won’t, because for some reason, it’s only opposite sex people that get this treatment. Because I guess a guy and girl can never just be friends. 

And in that case, Clack wins. There’s more history and more of a relationship built between the two. I know people just hate to hear that, but it’s true. He knew Zack for longer and he knew him better than Aerith. 

Also, do you really think Cloud intentionally is going to shut off the woman who pretty much saved his life? Is he going to try and motivate her to keep going (early in Case of Tifa) if he really didn’t care for her? Would he freak out and stomp all over the flowers to get to her? Would he find out from Reno and Rude that the kids are missing and refuse to leave her side? 

The OG told us who he loves. 

I feel like a broken record here. I’m sure this is coming off as brutal, and I try very hard to keep my tone calm in some of these posts, but I’ve gotten WAY too many of these questions in the last few days and they’re all similar. 

Cloud is 21 years old. He is mentally 16 years old. Cloud has major trauma. He has amnesia and other shit going on in his head. He knew Aerith for a month. His focus was not just Aerith for that month. I know people for some reason think that’s the case, but I think they IGNORE everything else in the game. 

On top of it: ZACK WAS CLOUD’S BEST FRIEND.... I cannot in a million years think that once he remembers Zack and Aerith finds out he knew Zack that they’d be okay with getting together. I just don’t. 

They’re clearing up all this shit in remake. They’ve already made it clear that SOLDIER!Cloud also has a thing for Tifa. If you play Chapters 1-7 and 10-18, you’ll see a lot of that interaction. 

The devs have also said the characters are being portrayed as they were in OG. We just have the added features of voice acting and body language to make things even more clear. 

Please, next time you think about this undying love that he supposedly has... Ask yourself:

Would you be okay if your 21 year old son gave up on their life for a girl they knew for a month? When they were mentally unstable? Let’s just ignore anything past her death. Nobody would be okay with their kid doing that. Most people WOULDN’T do this on their own. Even Cloud I can say wouldn’t do it. Once he gets his mind back, it’s TIFA TIFA TIFA. There’s NOTHING that will change that. 

I’m not answering anymore of these questions that say Cloud doesn’t love or care for Tifa or that Cloud doesn’t deserve Tifa. I’ve answered enough. My answer will not change. You can believe whatever the hell you want, but going forward I will delete and block any of these types of ask. 

I didn’t write the story. If you don’t like it, don’t play it. It’s simple.