#and feelings on the matter as well as having a deeply caring and ambiguously intentioned

[ferociouslycreativemystery]

Anyone who wishes to understand the murky depths of my psyche only has to watch Merlin, Dirk Gently's Holistic Detective Agency and Good Omens. they reveal something fundamental to my very being that I cannot quite put my finger on

[susansontag]

it's true that a lot of people online give themselves permission to say "dramatic" things about strangers because it's sadly very normalized here. but i don't think we necessarily need to swoop on the lowest level attainable and choose between different forms of violent speech every time we are really angry about something, emotionally mature people are capable of expressing strong opinions without wishing violence on the person they disagree with. instead of diverting with the whataboutism, you could just answer the question if you really care so much. what did you mean by what you wrote and if you didn't mean it at all then why not admit that you misspoke? what could the consequences possibly be?

I can see you're really clinging to this and I understand because I've done this before with bloggers on here too especially women. but I was not saying dramatic things about any targeted stranger, I was introducing a hypothetical and then giving an example of the kind of - imo - unhinged behaviour I meant. it must be kept in mind this was a throwaway joke post, made in about a few minutes or so

this is a very personal admission and shouldn't be taken as anything more than musing, but I actually have a type of obsessive compulsive disorder that used to make me feel very, strongly guilty about even saying 'I want this person to die' (and I could be talking about a world leader whose policies are responsible for killing millions of people!). I avoided any sense of moral ambiguity in anything I said because I was truly terrified this meant I was a 'bad person' who 'condoned violence' etc. but the truth is, I've given myself the permission that other ordinary people allow themselves all the time, to just say whatever it is I think, no matter if it's a bit silly, or hyperbolic, or whatever; because I should be allowed the grace in interpretation that other people are afforded when they say throwaway comments like this, too. from others (though you don't always get it, which is fine), but also from myself. the reason being is that it's not actually a huge deal or something to get so hung up on

so yes, like you, I have certain standards of conduct; I rarely (or perhaps nowadays never?) say people should 'kill themselves', for example, because this feels personal to me as someone with mental health issues who cares deeply about these topics. I can assure you, if I had even remotely been alluding to domestic violence against women when I quipped 'should be slapped', it would not have been written. I would have deleted it and written something else. this, of course, doesn't insulate me from the interpretations of others who take it a different way, either maliciously assigning significance to it that wasn't there to try and get the upper hand in an argument, or because they truly misread me and are perhaps upset I used language like that. I hope, at least, I've been able to clear up my intentions here

that said, I won't be apologising for the throwaway comment. I have considered it in writing this post and have written nothing that troubles me or my values. I'm sorry we disagree, but I still don't believe it's a big deal. you ofc don't have to accept that and can hold yourself to whatever standards of, well, discussion, posting, articulating yourself, idk, that you like. but you can't get someone else to repent for misbehaviour just because you wouldn't allow yourself it or dislike it. there was no literal person or even a concrete group against which I was threatening an actual act of violence; it was purely hypothetical to get a point across about how silly and ridiculous I find something. I believe to most people this came across loud and clear

[juliabohemian]

oh dear

I have noticed a number of posts circulating which imply that ANY character being mean to Loki EVER and for ANY reason = abuse.

I will admit that I initially felt mostly irritation at what appeared, on the surface, to constitute such a complete and utter lack of critical thinking. What I’ve realized, though, is that people who make such posts definitely believe what they are saying. And like everything people do and say, there’s a deeper reason for it. The fact is, traumatized characters attract traumatized fans. And not all of those fans are in a good place, emotionally. And those people are perfectly valid, even if the conclusions they draw are not.

When it comes to fiction, good characters are complex. That means they are conflicted and flawed. They make mistakes. They lash out when they are afraid or hurting. They sometimes hurt other characters. Loki fits that bill very well. It’s one of the reasons he is so popular. Not just with traumatized people, but with people in general. He’s relatable.

The problem comes when fans relate to fictional characters, but really aren’t conscious of why, because they aren’t all that conscious of themselves. They haven’t done a whole lot of self-reflection. Maybe because they aren’t ready, because their trauma is too fresh. Or maybe they are still living in crisis and don’t have the freedom to self-reflect. Those possibilities are all valid.

But very often, when a person goes through trauma and doesn’t have the luxury (and yes, it is a luxury) of working through it, their reasoning skills can become flawed as a result. Trauma, especially childhood trauma, tends to have a negative effect on our ability to socialize and form intimate relationships, because it damages our ability to interpret the intentions of others. We call this hostile attribution bias.

The problem with hostile attribution bias, is that it makes it difficult to tell when people genuinely mean you harm. If a person’s words, actions, or facial expressions are ambiguous in any way, they will be interpreted as being hostile in nature. This keeps one on the offensive, constantly, always anticipating the next blow. Very often, no such blow is coming. But it doesn’t matter. Fear is real, and the experience of it is real.

It stands to reason that someone who struggles to interpret the intentions of real-life people would also experience the same difficulty with fictional characters. For instance, fans who identify with Loki because they perceive him as being a victim will have a hard time seeing him as anything else. Thus, anyone who harms Loki in any way is just further proof that the universe is against him and always will be.

This is referred to as an external locus of control. It means that a person sees life as something that is happening TO them, and that they are powerless to affect the outcome. It’s also important to note that people with this mentality struggle deeply to heal from their trauma. They are stuck in a sort of Groundhog Day scenario, living the same thing out over and over again. Because of their flawed perception, everything that happens to them feels like an extension of that initial trauma.

So, it would make perfect sense that a person with a history of trauma, who suffers from attribution bias, and who has an external locus of control, would be extremely uncomfortable watching anything bad happen to Loki. In fact, it would probably be traumatic for them.

And while their feelings and their experience of those feelings are 100% real, their perception of reality is not entirely accurate. In other words, what they think is happening is not necessarily what is happening.

Loki’s initial trauma, believe it or not, was just being abandoned as an infant. Even though he can’t remember it, that experience alone can result in lifelong emotional struggles. In real life, we refer to this as an attachment disorder. A person with an attachment disorder usually develops major issues with abandonment. They also suffer from (wait for it) attribution bias. And that bias absolutely affects their perception.

Loki’s next trauma was being raised in a dysfunctional family. Not only were they dysfunctional, but they weren’t a very good fit for Loki. Loki was a quiet, contemplative person. He was a thinker, an intellectual. He would rather read or do magic. So, not a good fit for Asgardian society. The combination of Loki’s initial trauma, with his inherent temperament, and his dysfunctional family is what led to the inevitable breakdown that is regarded as Loki’s “villain” arc. I’d like to point out that, in reality, such a person would have probably suffered a breakdown much sooner than that. Typically, prior to reaching adulthood.

Loki’s next trauma was encountering Thanos. Now, we have no idea exactly what happened between Loki and Thanos. We know only that it wasn’t good and that it resulted in Loki being absolutely terrified of him. Other than that, details are fuzzy. I think it’s fair to assume that whatever mistreatment Loki endured probably qualified as torture. Whether it was physical or psychological, we cannot know for sure.

While Loki’s Thanos-related trauma was NOT an extension of his family-related trauma, his decision to entangle himself with Thanos was a product of that trauma. By which I mean that his willingness to align himself with someone like Thanos came from a place of desperation, and a desire to prove himself to someone who he perceived as being qualified to validate him.

So, fast forward to the LOKI show. Our version of Loki never returned to Asgard in chains, was never told that it was his birthright to die, nor endured any gaslighting from Ragnarok-Thor. He never got his neck broken by Thanos. He never went through any of that. He arrived at the TVA, fresh off his failed attempt to take over planet Earth. He was all fired up and defensive, as anyone in his situation would probably be.

Now, here’s where we need to put our critical thinking caps on. Because, I hate to tell you this, folks...but unlike most of the Loki content we’ve gotten prior, this content is actually well written. It’s VERY well written. And while it might be tempting to respond to it with pure emotion, it is imperative that we don’t abandon all logic and reason. This show is not an extension of the gauntlet of trauma we’ve watched Loki endure since he first appeared on screen. The creative minds involved in this venture ALL care deeply about Loki’s character and want to see him succeed (whatever that means for him).

Enter Mobius. He’s a cog in a very big machine. He likes to think of himself as being more than that. He establishes a rapport with his boss in the hopes of distinguishing himself from his peers. His interest in his work is personal. He likes what he does.

From Mobius’ point of view, Loki is an asset. He has information that could help solve the bigger puzzle. But Mobius exists in a world that affords him access to multiple realities. He has probably met dozens of Lokis. And he has probably seen hundreds of people casually pruned or executed or reset. It’s just part of the world he happens to be in. And he doesn’t question it, because he has been brainwashed.

So, does Mobius attempt to manipulate Loki? Absolutely. Just another day at the office. And it works, because he knows Loki better than Loki knows himself, has studied him and other Lokis. And it’s hard not to be mad at Mobius for causing Loki pain. Especially when that is followed up by Loki eagerly taking Mobius up on his offer to help track down the other Loki variant.

I think some people might find Loki’s enthusiasm disconcerting. And there are certainly aspects of it that can be considered such. Loki, at his core, just wants to be told that he is doing a good job, that his contributions matter. That part of him is definitely a product of trauma. But is Loki motivated entirely by his trauma? Not really. Despite his manipulations, Mobius offers Loki the closest thing to warmth and compassion that he has seen for a while. Some of that is genuine and some of that is not. And faced with the reality that everything he knows is gone, Loki does what most people in his situation would do, he tries to be productive. He gets busy. He distracts himself. Because at the moment, little else is under his control.

Despite all of that, you simply cannot have compassion for Loki and none for Mobius. Because Mobius is a victim too. He was abducted from his own reality. He is living a lie. He is part of something that, upon deeper reflection, he realizes he doesn’t agree with. He is so very much like the Loki we first met in 2011. He is such a well-written and multi-faceted character, I thoroughly enjoy his on screen time with Loki.

But I understand that there are people who are not in a place, emotionally, where they can overlook such plot devices. And I sincerely hope that those eventually people find healing. In the meantime, let’s try to remember that this is a work of fiction. And unlike real-life trauma, when it becomes upsetting, we can turn it off and walk away.

[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.

[inevitably-johnlocked]

Hey Steph!🌟Do u have any fics with smut that is feelingy, ie more focused on the emotional aspect & how they're feeling while doing it than the phy sensations & descriptions? Hope u get wt I'm saying. Thx in Advance!💖

OOOOO Nonny! 

I’ve got just the list for you! and it will give me an excuse to do a part two to another list of mine!! <3 

I do have a Sensuality list in the works, so look out for that in a while, but I think for now this list and the “see also” is perfect for you! 

Feel free, friends, to add your own!

EMOTIONAL LOVE MAKING Pt. 2

See also: Emotional Love Making Pt 1 || [MOBILE POST]

Just Like That by sussexbound (E, 8,442 w., Ch. 1 || First Time/Kiss, Frottage, Virgin Sherlock, French Kissing, Anal, Emotional Lovemaking, Enthusiastic Consent, Tenderness, Crying John, Bathing/Washing, Insecure John, Toplock) – John doesn’t want to talk anymore. He wants. Oh dear god, how he wants. For the first time in what feels like years he WANTS.

My First, My Only, and My Forever by vintagelilacs (E, 6,220 w., 1 Ch. || Post-ASiB, Virgin Sherlock, Pining Sherlock, Sherlock’s Bum, John’s Scar, Sherlock POV, Body Worship, Fingering, Bottomlock, Promise of Forever / Proposals, Misunderstanding, First Kiss/Time, Loss of Virginity, Virginity Kink, Seduction) – Sherlock narrowed his eyes. He was missing a vital piece of data, he was sure. John had been looking at him oddly ever since they left Buckingham Palace, and the ensuing incident with Irene Adler had only exacerbated his erratic behaviour. What was it? Why would he care that Sherlock was a virgin? There was nothing reminiscent of mockery or pity in his gaze. And then it hit him. John Watson was aroused.

The Haunting of 221B Baker Street by earlgreytea68 (M, 10,388 w., 2 Ch. || Post TRF, Halloween / Ghosts, Pining Sherlock, Ghost Sherlock, Stroppy Sherlock, Sherlock POV, First Kiss/Time, Angry Sex, Ghost Sex, Love Confessions, Open / Ambiguous Ending) – In which Sherlock Holmes is a ghost.

To be loved by Strange_johnlock (E, 12,436 w., 8 Ch. || Post S3, Established Relationship, First Person POV Sherlock, Pet Names, Soft Sherlock, Mild ADHD, Protective John, Captain Watson, Body Appreciation, Bottomlock, Rough Sex, Travelling for Holidays, Introspection, Sherlock Loves John So Much It Hurts) – John is so deeply integrated into the work, both as my conductor of light, and as a great shot with a vicious right hook who tackles men -and women- no matter their size all in my defense. He protects me with all he can without question, and this loyalty is surely more than I deserve. Or: Sherlock is counting his blessings.

The Invocation of Saint Margaret by Ewebie (E, 15,831 w., 1 Ch. || POV John,  Crossing Timelines, Light Angst, Fluff, Series 3 John / Series 1 Sherlock, The Matchbox, Mushy Romance, First Time, Bisexual John, Pining John, Bottomlock, Love Confessions, Sensuality, Emotional Love Making, Snippets of Time) – When Sherlock Holmes opens the matchbox from The Sign of Three and John finds himself years in the past, back to that first dinner at Angelo's with a much younger Sherlock Holmes. Is he dreaming?

The Palmyra Atoll by elwinglyre (E, 16,609 w., 3 Ch. || TSo3 Divergence / Episode Fix-It, Stockholm Syndrome, Kidnapped John Watson, John Whump, Evil Mary, Angst, Cuddling & Snuggling, Toplock, Limited 3rd John POV) – As John's preparing for the wedding, Sherlock is preparing to have his heart broken, and Mary is prepared to do the unthinkable. Intervention required. Enter Sherlock. Set before Sign of Three with a far different outcome. John is drugged, kidnapped, and left on an island, but not just any old island.

Permanent Fixture by vitruvianwatson (E, 18,836 w., 9 Ch || Post-S4, Parentlock, Slow Build, Friends to Lovers, They’re Good Parents, Blushing Sherlock, First Kiss/Time, Explicit Consent, Sexual Content, Emotional Hurt/Comfort, Mutual Pining, Big Feelings, Crying, First Kiss, Fluff, Anxious Sherlock, Inexperienced Sherlock, Emotional Communication, Love Confessions) – Now, as Rosie sat curled up against Sherlock’s side, John watched and wondered exactly how he had ended up here. Domesticity had never suited him before, not at any point in his life. His disastrous marriage had been proof of that. But somehow, here in the warmth and safety of 221B Baker Street, here with Sherlock Holmes reading medical jargon to his daughter, Sherlock’s bony feet nudging against his leg, John couldn’t imagine anyplace that would make him happier.

Division by MrsNoggin (E, 19,542 w., 11 Ch. || Coffee Shop AU || First Kiss/Time, Fluff, Barista Sherlock, Clingy Sherlock, POV John, John’s Limp, Bed Sharing, Fluff, Sleepy Cuddles, Sensuality, Touching, Virgin Sherlock, Insecure John) – John likes mysteries. And every morning he dips into the local independent coffee bar with his newspaper and ponders another... one Sherlock Holmes.

The Wisteria Tree by SilentAuror (E, 29,773 w., 1 Ch. || Post-S3, Emotional Love Making, Amnesia/Memory Loss, Sherlock Loves John So Much, Sherlock POV, Romance, Angst with Happy Ending, First Times, Hurt/Comfort, Est. Rel., Retirement) – Sherlock wakes up from a month-long coma only to discover that he has no memory of the previous six years to his own shock as well as John's...

Only To Be With You by SinceWhenDoYouCallMe_John (M, 40,768 w., 4 Ch. || Black Mirror / Future AU || Character Death, Future Technology, Sickness/Cancer/Illness, Heavy Angst with Happy Ending, First Person POV John, Pining John, Heart-Wrenching Angst) – I tell myself that next time I’ll come near this same place again. Wait around for the mysterious stranger in his coat to dash past me, hot on the heels of a new criminal in black. I think this all the way back to my Exit, planning where I’ll wait and what I’ll say when I see him. Scheming on how to get his name. It’s only once I reach the Exit Point door that I realize two hours and forty-five minutes have passed, and I realize that this won’t be the last time I Visit. It won’t be the last time at all.

Guidelines by WithLoweredVoices (M, 43,018 w., 15 Ch. || Winglock || Angels, Fantasy, Angst, BAMF! John, War, Jealous Sherlock, Possessive Sherlock, Jealous John, Falling in Various Ways, Needy Sherlock) – The Good Soldier, one of the oldest and strongest of the fallen, is offered a bargain: to live as John Watson and to Guide a fledgling archangel so that he will stay on the path of good. Of course, Sherlock Holmes has different ideas about his destiny. Fantasy AU. Warnings for violence, occasional gore, and a whole load of hurt and angst.

Anchor Point by trickybonmot (E, 49,856 w., 80 Ch. || Truman Show AU || Psychological Drama, Suspense, Slow Burn, Dark Characters / Fic, Alternating First/Third Person, Protective John, Anxious/Worried Sherlock, Tender Moments, Love Confessions, Hand/Blow Jobs, Cuddling, Jealous John, First Kiss/Time) – The world tunes in nightly for Sherlock, the ultimate in reality TV: Sherlock Holmes, a real person with a legendary name, unknowingly lives out his life in a staged setting contrived by his brother. Things get complicated when a retired army doctor joins the show to play the part of Sherlock's closest friend. This fic borrows its concept from the 1998 film, the Truman Show. However, you don't need to have any knowledge of the movie to enjoy this story.

The Four Horsemen of the Apocalypse by SilentAuror (E, 50,635 w., 1 Ch. || Post-S4/S4 Divergence, Case Fic, For a Case / Reverse Fake-Relationship, Conferences, Marriage Equality, Travelling / New York, Pride, Homophobia, Bottomlock, Marriage Proposal, John POV, Sexuality, Love Confessions, Emotional Love Making, Public Hand Jobs, Blow Jobs, Passionate Kissing, Needy/Clingy Sherlock, Virgin Sherlock, Touching / Hand Holding, Bed Sharing, Little Spoon Sherlock, Intense Orgasms) – John and Sherlock go to New York to attend a conference run by the National Defence of Traditional Marriage Coalition in order to investigate the potential bombing of the annual Manhattan Pride parade. As the conference unfolds, John finds himself repulsed by the toxic ideology being presented, which becomes relevent to his own unacknowledged issues and his friendship with Sherlock...

Points by lifeonmars (E, 53,791 w., 42 Ch. || PODFIC AVAILABLE || HLV Rewrite / Canon Divergence, Married Life, Pregnancy / Baby Watson, Drinking to Cope, Boxing / Fisticuffs, Clueless John, Angst, Minor Medical Drama, Tattoos, Christmas, First Kiss/Time, Eventual Happy Ending, Love Confessions, Doctor John, Sexuality Crisis, Slow Burn, Case Fic, Drugging, Blow/Hand Job, Emotional Love Making, Parenthood, Passage of Time) – What if His Last Vow never happened? This fic picks up a few months after John and Mary's wedding, in an alternate universe where Magnussen doesn't exist, but Mary is still pregnant. Life continues -- just in a different direction. And slowly, Sherlock and John find their way to each other.

Isosceles by SilentAuror (E, 56,609 w., 7 Ch. || Post-S4, POV John, Original Male Character / Sherlock Dates Another Man, Love Triangle, Jealous John, Virgin Sherlock, Sexual Coaching, Angst, Romance, Domesticity, Unrequited Feelings, Miscommunication, First Kiss/Time, For a Case, Friends With Benefits, Bottomlock, Love Confessions, Spooning) – After solving a case for a major celebrity, Sherlock gets himself asked out. When John asks, he discovers that Sherlock has no intention of going, at least not until John agrees to coach him through whatever he might need to know for his date...

The Thing Is by TSylvestris (E, 56,743 w., 21 Ch. || Case Fic, Dev. Rel., Anal/Oral, Blow Jobs, Meddling Mycroft, Drama, Romance, Humour, Casual Encounters, Pining Idiots, Possessive Sherlock, Orgasm Delay, Rough / Alley Sex, Public Sex, John Whump, Drugged John, Emotional Love Making, Awkward Relationship, Marriage of Convenience, Switchlock) – The problem with living with Sherlock, John thought, was that you never, never, ever knew the significance of anything. Like your flatmate's nose buried in your hair. Whilst you're in bed. Part 1 of Nitroglycerine

White Knight by DiscordantWords (M, 69,840 w., 13 Ch. || S4 Compliant/Post S4, Marriage For a Case, Jealous John, Pining John, Janine / Sherlock Fake Relationship, Serial Killers, Case Fic, Undercover as a Couple, Weddings, John is a Mess, Misunderstandings, Wedding Planning, Jealousy, Drunkenness, Love Confessions, Angst with Happy Ending) – Green. The word green was used to convey a great many things. Illness. Envy. Inexperience. Standing there amidst Janine's chattering bridesmaids, watching Sherlock furrow his brow and study fabric swatches, watching him smile and simper and flirt, John thought it a remarkably apt colour choice. Because he felt quite sick to his stomach, he feared the source of said sickness might very well be jealousy, and he had absolutely no idea at all what to do about it. Or: Sherlock needs to fake a relationship for a case. He doesn't ask John.

Being John Watson-ish by elwinglyre (E, 69,902 w., 17 Ch. || Bodysnatcher AU || Author John, Cranky Sherlock, Angst, Sexual Tension, First Kiss / Time, Falling in Love, BAMF John, Past Soldier John, Feelings, Inside Someone’s Brain, Shy Sherlock, Sherlock Loves John, POV Sherlock, Switchlock, Slow Burn, Internal Dialogue, Mental Turmoil) – When consulting detective Sherlock Holmes steps on one toe too many at a crime scene, he's consigned to a desk job in an archaic office on the seventh-and-a-half floor of the New Scotland Yard. It’s in this bleak office that Sherlock discovers a portal into the mind of renowned author John Watson. Grander than his mind palace, this new wonderland affords Sherlock new vistas of experimentation. To learn more about the mystery behind the portal, Sherlock seeks out and befriends Watson. But then it all goes wrong when others find the secret portal door—including the man whose brain he visits.

Gold Rush by ShirleyCarlton (E, 71,783 w., 17 Ch. || Post S3 / No Mary, Friends to Lovers, Mentions of Past Sexual Abuse, First Kiss, Case Fic, Slow Burn, Alternating POV, Switchlock, Angst with Happy Ending, Marriage Proposal, Implied/Referenced Child Abuse, Abduction, Anxious/Insecure Sherlock, Miscommunication, Emotional Lovemaking) – John has divorced Mary and pops round to 221B one evening to find Sherlock in the middle of a case. As Sherlock tries to find the identity of a young woman’s stalker, John realises he can no longer deny his feelings for Sherlock – which then, to their befuddlement, turn out to be mutual. Shy kisses and tentative embraces ensue. But will Sherlock be able to cast off a shadow from his past that he thinks might prevent John from wanting to stay?

Two Two One Bravo Baker by abundantlyqueer (E, 114,574 w., 27 Ch. || Military AU || Afghanistan, War Story, Thriller) – Captain John Watson of 40 Commando, the Royal Marines, is assigned to protect and assist Sherlock Holmes as he investigates what appears to be a simple war atrocity in Afghanistan. An intense attraction ignites between the two men as they uncover a conspiracy that threatens everything they’ve ever known, but Sherlock is as much hunted as hunter, and everyone close to him is in deadly danger. Can he solve the case in time to save himself and John? Part 1 of Two Two One Bravo Baker Universe

Not Broken, Just Bent by Schmiezi (E, 87,585 w., 43 Ch. || Pining, Love Confessions, Rape/Sexual Assault, Torture, Hurt/Comfort, Heavy Angst, Villain!Mary, Suicidal Ideations, Main Character Death, Sherlock First Person POV, Parentlock, Sherlock’s Mind Palace, Grief/Mourning, Emotional Love Making, Possessiveness, Depression, PTSD, Kidnapping, Virgin Sherlock, Eventual Happy Ending) – "For a second, I allow myself to remember teaching John how to waltz. There is a special room in my mind palace for it. A big one, with a proper parquet dance floor. For a second, I go there. I remember holding him, closer than the World Dance Council asks for, excusing it with the fact that we are training for a wedding, not for a competition. For a second, I feel his hand on mine again, smell his sweat, hear the song we used. For a second, I allow myself to love him deeply. For a second, only a second, that love reflects on my face." Fix-it for S3, starting at the end of TSoT. Evil Mary.

Kintsukuroi by sussexbound (E, 91,823 w., 20 Ch. || S4 Compliant / Post-TLD, Grief / Mourning, PTSD, Internalized Homophobia, Therapy, Past Abuse, Alcohol Abuse, Nightmares, Emotional Hurt/Comfort, Depression, Anxiety, Bed Sharing, Love Confessions, Cuddling, Suicidal Ideation, Masturbation, Minor Character Death, Sexting, Frottage, Inexperienced Sherlock, Rimming / Anal / BJ’s, Emotional Turmoil, Finding Each Other) – “I love you.” Sherlock sees the words hit John with almost physical force. He reels back a little, jaw twitching and eyes filling. “I love you,” he repeats, a little softer, a little more gentle, as earnest as he possibly can. Because they’ve been teetering on the brink of this thing for years, and it had become painfully obvious over the last few months that they were at a tipping point. This had to happen. Now it has. Now they can see where they end up. The tears in John’s eyes spill over, and he wipes at them angrily. “Do you even know what that means?”  

Northwest Passage by Kryptaria (E, 95,157 w., 27 Ch. || PODFIC AVAILABLE || Canadian AU ||  BAMF!John, Canadian John, PTSD, Anal / Oral Sex, Rimming, Emotional Hurt / Comfort, Drug Rehab, Falling in Love, Pining Sherlock, Love Confessions, Sherlock’s Violin, Panic Attacks, Switching, Anxious / Protective Sherlock, Hugs for Comfort, Suicide Mentions, Healing Each Other) – Seven years ago, Captain John Watson of the Canadian Forces Medical Service withdrew from society, seeking a simple, isolated life in the distant northern wilderness of Canada. Though he survives from one day to the next, he doesn't truly live until someone from his dark past calls in a favor and turns his world upside-down with the introduction of Sherlock Holmes." Part 1 of Tales from the Northwest

Against the Rest of the World by SilentAuror (E, 151,714 w., 20 Ch. || PODFIC AVAILABLE || Post-TRF, Hiatus Fic, POV First Person Sherlock, Present Tense, First Kiss/Time, Big Brother Mycroft, Escaping from Capture, Soft Sherlock, Toplock, Insecurity, Infidelity, Travelling, Introspection, Pining Sherlock, Depression, Fantasies, Yearning for the Past, PTSD Sherlock, Suicidal Ideation) – Sherlock has been away from London for nine hundred and twelve days and counting, and has no idea what sort of reception to expect when he finally returns.

Proving A Point by elldotsee & J_Baillier (E, 186,270 w., 28 Ch. || Me Before You Fusion || Medical Realism, Insecure John, Depression, Romance, Angst, POV John, Sherlock Whump, Serious Illness, Doctor John, Injury Recovery, Assisted Suicide, Sherlock’s Violin, Awkward Sexual Situations, Alcoholism, Drugs, Idiots in Love, Slow Burn, Body Image, Friends to Lovers, Hurt / Comfort, Pain, Big Brother Mycroft, Intimacy, Anxiety, PTSD, Family Issues, Psychological Trauma, John Whump, Case Fics, Loneliness, Pain) – Invalided home from Afghanistan, running out of funds and convinced that his surgical career is over, John Watson accepts a mysterious job offer to provide care and companionship for a disabled person. Little does he know how much hangs in the balance of his performance as he settles into his new life at Musgrave Court.

[scarfdyedshadow]

The Unveiling of Ibaraki-Douji’s Character Across FGO (2/2)

This is now officially a sequel to my earlier post on the subject, since enough new information has come to light on Ibaraki’s past for it to be worth making a second post about. In fact, we at this point essentially have the complete picture of her relationship with Watanabe no Tsuna, but I’ll discuss how it was still to a certain extent meted out over the past week regardless. Note that direct spoilers from Lostbelt 5.5 will follow.

Defeat 1 Is this it for me...Ibaraki...sorry.

Like his Bond CE, Watanabe no Tsuna’s lines also indicate some degree of emotional relationship with the oni he should be emotionlessly slaying like any other, to the extent he apologizes for dying and leaving her alone.

Victory 3 Ibaraki...you're... And they likewise indicate Tsuna is aware of some aspect of Ibaraki’s identity.

Dialogue 4 It appears...Ibaraki Douji is here... No, we shouldn't meet...if we did, I could end up ruining everything she's built here... Still, one day the time will come when I must slay her. My life and my sword exist to slay her someday. Even as Servants, that will not change. (If you have Ibaraki Douji)

Further indicative of the relationship between them is that Tsuna doesn’t want to ruin the life Ibaraki has built for herself, that he wants her to remain happy, yet regardless feels that the time will inevitably come when he must fulfill his duty as an oni slayer and kill her.

Dialogue 6 These men and women also have oni blood coursing through their veins...what a harsh life they must have led. Hm, "Why don't you kill them?" you ask? If we're to distinguish between oni and humans based on blood, then the moment the person runs rampant is when you can say that they have fully converted into an oni. If the person is trying to live normally as a human, then they are not an oni no matter how you look at it. (If you have a Servant possessing oni blood)

And the final line of note is that Tsuna draws a distinction between humans and oni based on how they live their lives rather than possessing oni blood in of themselves, which may well be relevant to Ibaraki living a rather human life. I also initially read this as him saying he also possesses oni blood, and while that might yet be the case, future information leaves that in ambiguity.

Moving onto 5.5, first off we get a scene where it’s made clear that Ibaraki doesn’t remotely want to consume humans. It’s a continuation of what’s been stressed throughout GO, that Ibaraki’s fundamental nature is of a human, and that she’s forcing herself to be an oni. @xenodile​ was quite right in predicting and commenting on Ibaraki having an ingrained distaste for human flesh.

The first significant exchange between Tsuna and Ibaraki in it makes several things abundantly clear. The first is that contrary to her boasts, the implication continues that she simply hasn’t eaten humans.

The second of course is that Tsuna is well familiar with her past, no matter how she denies it, familiar with the circumstances of her birth, how she was raised, and something she did to a person at a mansion.

And right thereafter, Ibaraki is deeply shaken by having unintentionally mortally wounded Nursery Rhyme. Is it that she’s never killed a child before? Is it that the specific sight of a bleeding child, a child bleeding because of her, resembles far too strongly the past trauma she’s had to bury? Whatever the case, the continual buildup of the idea that Ibaraki is pushing herself to be an inhuman oni continues, as she desperately tries to justify her actions based on that.

After the climactic fight with Tsuna, it’s revealed that he blames himself for some tragedy in the past, and that he never again wants to endure loss, that this time he would protect the people that he wants to, to the extent he even prioritizes his Servant’s life over his own.

The reason he entered the Holy Grail War of 5.5 was to perhaps undo the loss of a person he deeply cared about. And now comes the full truth.

Watanabe no Tsuna once knew a woman, a daughter of a noble possessed of great beauty but who was deliberately isolated by her father for reasons unknown. Rumors swirled about why this was, and also a particular rumor arose that she was pregnant. Incidentally, ff one might remember Tsukihime, that sort of isolation is part and parcel for those with the blood of demons.

And finally he came to meet her again under the circumstances of her tragic death, of everyone in that mansion having been killed by an oni. And yet, the footprints of the oni led directly away from her. And yet, the footprints of that oni were particularly small. And yet, that oni didn’t devour anyone.

And with that, it all comes together. It isn’t as the police speculated, a little oni somehow infiltrating the house through a Bounded Field set up by the great Abe-no-Seimei, but that the oni originated from inside the house.

An isolated woman, and a rumored pregnancy. Ibaraki was the daughter of Tsuna’s childhood friend, a woman he didn’t realize he held deeper feelings for her until she was already gone. Her mother in all likelihood bore the blood of an oni, and somehow or another circumstances led to Ibaraki inheriting it, inverting, and giving in to her destructive impulses, only barely holding herself back from consuming her very family.

It is small wonder he’s so conflicted and pained when it comes to her. She killed the woman he came to realize he loved, yet at the same time is the daughter of that very same woman. When his Bond CE very specifically comments upon her golden locks, it is perhaps the case that he’s thinking of the golden locks of Ibaraki’s mother. Intentions to protect and kill mingle together.

It is a very human tragedy, despite the seeming inhumanity of those involved.

[clearlynotjanus]

Loceit Week Day 7 Teaser: Anniversary

This one got really long & admittedly I still need to give it one more pass through before I can be really happy with it, but for all intents & purposes, this one's complete enough to be put here! I found myself really disappointed with how this fic unfurled over the last two months of writing it & I came to the conclusion that Loceit is just a ship that isn't well portrayed through the same kind of big conversational moments that Moceit shined in. That being said, I'm still proud of the writing & hope people enjoy it anyway!

Anyway enjoy this teaser! & as always, if you’d like to be on my tag list to be @’d in works like this as well as my fic related stuff, give this linked post a like or send me a message. If you have any questions or suggestions, my ask box is always open! If you would like to get the rest of this fic early access, please consider subscribing to my Patreon. If you’d just like to support my work or request a writing commission, please consider donating to my Ko-Fi. Thanks so much for being an awesome audience 💛

CW: Anxiety, crying Word Count: 5960 (Teaser: 1223) Genre: Hurt/Comfort Rating: Teen Ships: Loceit

@sanderssidesangsttrash​ @catalinaacosta​ @whatishappeningrightnow​ @anxiousbean4404​ @vexelore​ @the-dead-and-the-decaying​ @serpentinesomebody​ @poptartsaysurloved​ @robertdownerjr​ @dangitsbrightinhere​ @iamuncomffy​ @sanderdarksides​ @evertriedsoywithyourpopcorn​ @dragonfander @virgilstarantula​ @a-rudethude @indubitably-emo @gay-artist-626​ @cosplayhanna​ @edupunkn00b​ @wouldntyou-liketoknow​ @awesomerandomgirl1​​​

“What happened that day?” He asked in a hushed tone, respecting the intimacy of the topic.

“Remus never told you?” Logan replied, finding that hard to believe.

“He did. He told me how it went for him. Patton told me his experience as well.”

“So you already know.”

“I don’t know your experience,” Janus insisted and Logan’s brows furrowed.

“Are you implying that my experience differed from everyone else’s?” Defensiveness crept into his voice despite himself. Janus shook his head.

“Everyone’s experience differs every day,” He paused and Logan rolled his eyes at the ambiguity. “You were the youngest,” Janus conceded, spelling out what he meant. “Of course your experience was different.”

Logan sighed and pushed down his guard. Janus was right. It made sense that his perception of that day might contrast greatly with the others’, as much as he didn’t like to think it did. Logan stared at the floor, his eyes becoming distant as the scene of that day played out. 

The voices in the hall had woken him up. Logic blinked at his clock; it was just after seven, which was fine enough. The alarm would’ve woken him up in half an hour anyway. It was mostly Creativity’s voice he could hear, though nonspecifically. If someone was responding, Logic couldn’t make it out. “I woke up to Remus’ voice in the hall at seven-thirteen that morning,'' Trying to tune into the words echoing from outside his door, he sat up and felt his stomach lurch oddly. A sense of foreboding filled him. “I got out of bed and went into the hall.”

“You didn’t change first or brush your teeth?”

“No,” Logan blinked at the interruption, his tone suddenly tinged with offense.

“Why not?”

“I don’t know,” He rushed in frustration. “Why?” He flipped the question with venom.

“It’s just,” Janus shifted against the couch, his tone thoughtful. “You always insisted on doing that, every morning. Before you did anything else,” Janus chuckled at the memory. “You’d come out of your room, already dressed, and head right to the bathroom, no matter what was going on.” Logan’s forehead creased deeply; did he used to do that? It sounded very much like him, but the way Janus described it almost felt foreign. “So I’m just wondering,” his voice and expression gained an edge as he reached his point. “Why did you skip that on this particular morning?”

Logan debated the question. The answer that immediately came to mind was because he heard Remus’ voice and he had sounded angry, but Logan could tell there was a deeper response Janus was asking for. He attempted to recall the exact sensations of the morning; mild annoyance at being woken up, a stomach ache that crept up on him as the minutes ticked by, a slightly quickened heartbeat ...

“I was worried,” Logan realized in a whisper at the floor. He pulled in a quick breath as he met Janus’ eyes again. “Something felt...wrong, and I wanted to know what was happening first.” Janus gave a small smile and nodded deeply.

“Continue.”

Logan licked his lips and turned away again.

Remus stood over Morality, who was disheveled on the floor with strips of what appeared to be paper in his hands. Roman seemed to be half heartedly holding Remus back with a loose grip on his shoulder. The scene wasn’t incredibly new; Creativity and Morality rarely got along, though usually it was Self Preservation that intervened. Logic wondered sleepily where the older Side was, figuring it’d be wise to intervene in the meantime regardless. “I saw Remus, Roman, and Patton in the hall, outside where your door used to be.”

“Did you notice it was missing instantly?”

“No,” Logan whispered, shaking his head. “Creativity, what are you doing to Morality?” The tensions remained high as he approached with caution. Not even Morality looked up.

“Nothin’,” Remus continued to glare down at the crumpled teen. Confusion crossed Logic’s expression; clearly something was going on. Context clues provided enough evidence that it was Remus who instigated it, but Logic didn’t want to believe that. As brash as Creativity was, he wasn’t mean usually. If he was hurting Morality, there was probably a reason. “But you should ask him what he did with Pwezzi.”

“Self Preservation?” Logic looked at the empty wall finally, realizing chunks of the wallpaper were missing where his door usually stood. The drywall stared back at him solemnly. “Ah,” He said, deflating all the air in his lungs. Logic’s heart sank as he suddenly understood, feeling very stupid for not having noticed the glaring inconsistency sooner. “His door is missing?” 

“It...wasn’t until I had asked Remus what he was doing to Patton that I understood.” “Yupp,” Remus’ tone was caustic and impatient. Logic frowned. Why was he blaming Morality for this? Were they not equally upset?

“He blamed Patton,” Janus continued the scene from what he knew from the other points of view. “Did you?”

“No,” He answered automatically. “Well, there’s no need to hurt Morality for that,” Logic rushed, “I bet he has an explanation, you just haven’t given him time to say it,” At least Logic wanted to believe that Morality had an explanation. He wasn’t the greatest at explaining himself or anything in general really, but if he were the first to realize Self Preservation had gone missing, then surely he had something useful to say. “Morality?” Logic pressed, feeling his own impatience rise. He leaned to the side to meet Patton’s eyes, goading, or perhaps begging him to please, for once speak clearly. “Care to explain what’s going on?”

“I mean, yes, in a way and for the most part after a while, but,” Logan’s voice abruptly cut off. The words on his tongue tasted bitter like bile; like his insides were forcibly regurgitating a truth that had settled deep in his stomach lining, forming a heavy pit for the last fifteen years. Logan’s eyes burned again as he looked down at his white-knuckled hands. His lips quivered with restraint. Suddenly the room felt far too hot.

“Who did you blame at first?” Janus whispered and Logan exhaled a sob as his head fell.

Patton didn’t have anything to say that morning, or any morning as the days trudged on. In Logic’s young mind, the memory never made much sense, and no recount of the event was ever given. Days turned into weeks into months; mild misunderstandings with Morality turned into arguments into fights. Months morphed into years and adolescence had nothing good to offer for Logic who began equating emotions with childishness. He shoved his down and forced a neutral expression. The world was splitting; serious or silly, repressed or emotive. Though deep down Logic knew better, he lacked the nuance it took to convince Morality otherwise. A nuance that existed in another Side, one that was now gone. One that had, in all of Logic’s conceivable and unexplained perception of reality, left. The one that had left Logic alone to fend for himself against the wolves of black and white thinking. Doomed him to inadequacy. 

“You,” The word spilled out in a pitchy tone that Logan didn’t identify with as tears quickly fogged his glasses. Disdainfully he discarded them and in the same motion, Janus reached to place a reassuring hand between Logan’s shoulder blades.

continue reading

[dreamingsnowflake2013]

Chapter 47 is extremely important since it lays ground for major developments&storylines in Season 2, therefore I've decided to write a very detailed analysis, dissecting every gesture, every look and every hidden meaning. 

Painter of the Night is a work of visual art which tells a story via imagery, thus the visual component constitues the most important part of it. It stems from the fact that there is limited space for dialogues. Not only does it allow Byeonduck to make most of it with her extraordinary artistic talent, it also makes each sentence that much more poignant and important. Nothing is redudant, every word counts and is loaded with ambiguity, every sigh and pause hold a meaning, and even the silence resonates and speaks volumes. All this is even more crucial when the story takes place in an era where each piece of clothing, a person’s hairstyle or the place where they stood or sat in a room also revealed their place in society; and even more so, when both its protagonists are people who have difficulties expressing their true feelings and intention by words. The time Seungho and Nakyum spend in the master’s chamber in the morning almost seems mundane, but as always, first impressions are deceiving. They don’t talk much, yet their whole communication is loaded with meaning. And remember, communication is much more than mere words or their literal meaning. It doesn’t lead to anything sexual, still the air trembles with the attraction between them.

The crux of the issue is the social divide which separates Seungho and Nakyum I mentioned previously. During the whole scene the dynamic between the two men keeps constantly changing together with their literal positions in the room which symbolize their actual positions in the Joseon society and how those positions start to shift due to the feelings they have for each other. Seungho is almost unconsciously trying to bridge that divide by treating Nakyum more and more as his equal. It isn’t a deliberate behaviour on his part but instinctive. He sees the painter as his lover, therefore he treats him as his lover because, gradually, Nakyum’s social standing has ceased to matter to him. In the beginning, he had called him a lowborn very often, demeaning him, but he used it less and less until he almost stopped completely. The last time being when he got frustrated after Nakyum basically asked him to have rebound sex with him because Inhun had called him a prostitute. Thus, the ever-changing dynamic in this scene is the result of the nobleman trying to overcome the chasm which separates them and keeps him from being close to his young lover.

To start with, there is the mere fact that Nakyum is present during Seungho’s daily dressing ritual which is a deeply private and intimate affair usually only wives had the privilege and right to attend. However, a wife would never kneel in a position of subjugation on the hard floor at the far side of the room with her eyes lowered to the ground. And Seungho won’t have it because he is always observing Nakyum and never takes his eyes off him, noticing everything about him, including the painter’s blushing cheeks and the quiver of his lashes. So he starts to woo Nakyum even though it’s still only morning. 

First, he lowkey informs him that he doesn’t fuck anyone else, basically telling him “I have only you. You are the only one for me.” in his own way, and then he proceeds to actually ADMIT that HE LOVES NAKYUM’S BLUSHES, he loves when Nakyum blushes because of him. He genuinely tries to put into words his appreciation and affection and show them to Nakyum, albeit clumsily. At first glance, it might seem as his typical, teasing remark but it’s not. In fact, it sounds like a shy but intimate and sincere confession. 

We don’t see Seungho’s face when he admits he likes seeing Nakyum blush, only his robe, and together with the split second when he ponders Nakyum’s question about his kindness, IT IS THE ONLY TIME SEUNGHO LOOKS AWAY FROM NAKYUM, other than that Seungho never takes his eyes off him. During these two fleeting moments he reveals his vulnerablity while, at the same time, trying to hide it by turning his back to Nakyum so the painter wouldn’t notice it. I love how Byeonduck doesn’t show his expressions to the readers during these moments, but still gives them visual clues to uncover the truth if they read between the lines and notice Seungho’s body language. It’s not about discovering the visible but about seeing the invisible, what is hidden in plain sight. The same narrative means is used to show Nakyum’s reaction to Seungho’s explanation why he’s been so kind to him: we only see his chin, never his eyes or facial expression in that moment.

Of course Seungho immediately guesses that Nakyum hasn’t eaten yet, because at this point he knows him that much, and moves fast to remedy the mistake, because he already cares about him that much.

Talking about bridging the divide, when Seungho orders Nakyum’s meal to be brought along with his, he’s doing exactly that. Commoners don’t eat while sitting next to noblemen. It’s simply not done but that’s exactly what’s Nakyum doing now. At Seungho’s bidding, he moves from his kneeling position on the other side of the room to the nobleman’s side, making the distance between them smaller both literally and figeratively. He is sitting next to Seungho as his equal on a place which is reserved for honored guests, wives or family members.

What follows might be one of the most interesting pieces of dialogue in the entire chapter 47. Once again, we don’t see Seungho’s face, only the table with food which makes it appear as a mere small talk or an off-handed comment, but it isn’t. Being a manhwa, Painter of the Night lacks the acoustic mode therefore the reader has no way of finding out the tone, intonation or timbre of the character’s voice unless they see his facial expression. However, Byeonduck deliberately doesn’t show it to us at very particular moments. Those moments are rare but by hiding the facial expression, she paradoxically brings readers closer to the characters because suddenly, for a brief moment, they feel exactly like her characters: in those moments, the readers have no idea  what is going thorough Seungho’s mind and what he really feels, in those moments they are at a loss, or misunderstanding or left guessing just like Nakyum is during the whole scene. In those moments, the readers are not all-knowing and can relate to Nakyum because they feel the same.

So when Seungho mentions the erotic painting, and you don’t take the red herring and dismiss it as his usual teasing, you suddenly realize there is a double meaning to his sentence. First, the noble never really ordered Nakyum to come to him with his paintings in the morning. Is it possible that the blushing Nakyum actually used that painting as an excuse to see Seungho? Especially after being so needy the previous night? He himself admits that he can’t go anywhere without him and it’s not like he has any friends in the Yoon household he could talk to. His answer clearly pleases the noble, thus his satisfied smirk. However, more imporantly, it shows that SEUNGHO WANTS FROM NAKYUM MORE THAN HIS BODY and is making a genuine, if inept effort, to tell him. He is basically saying:”I know you think of me as some sex-crazed maniac/deviant and I don’t deny I’m horny and crazy about your ass, but I am not a beast who wants to fuck you all the time. Even I crave closeness and affection and I want more from you than your painting and your body. So much more.”

When his food turns inedible and Nakyum turns to leave to take his meal in the kitchen, he isn’t trying to use it as an excuse to leave but does it out of consideration so he wouldn’t disturb the nobleman farther during his breakfast. However, judging from his slightly pained expression and instant reaction, it seems Seungho misunderstands Nakyum’s consideration for an unwillingness to spend time with him. The person he considers his lover is trying to leave him and it seems he would rather share his meal with servants in a dirty kitchen than spend time with him. That’s how he probably perceives it. There is also Nakyum’s reaction which is really telling. Previously, he would be scared and skittish if Seungho asked him a question like that, plus, he used to be noticebly uncomfortable in his presence. However, now, he is blushing and bashful but he doesn’t look frightened or uncomfortable. If anything, it’s as if he’s gained a shy confidence and learned to speak his mind with Seungho.

And then comes another shift as Seungho takes more steps to bridge the divide between him and Nakyum. Not only does he openly agree with Nakyum that he has never been a servant, he even admits that he himself DOES NOT CONSIDER HIM A SERVANT = “You’re not a servant. The servants are unworthy of you. You don’t belong in my kitchen. Your place is by my side.”

Following this interaction, Seungho suddenly says:”...come HERE.” What does the word “here” mean here?  – “Come CLOSER. Come TO ME.” So once again, the distance that sepates them grows smaller, or rather, Seungho makes it smaller, reduces it until he can touch Nakyum and there is finallly no distance between them at all.

Some pictures are worth more than a thousand words. Seungho has used to claim that all he wanted from Nakyum were his paintings and sex, but now the gorgeous explicit painting of them copulating is left forgotten on the floor. Seungho doesn’t even spare it a glance, all his attention and thoughts belong to the real man in front of him. There is no ulterior sexual motive in the way he touches him or worries about his well-being. Thus, Seungho’s explanation that he keeps Nakyum to have sex with him and then portray it on canvas is the lamest excuse ever. And these open exhibits of physical affection and closeness that doesn’t lead to anything sexual have been appearing more and more.

This one image both showing them making love and their real selves completely lost in a world of their own perfectly illustrates all the dichotomy, nuance, emotions and complex issues that lie just below the surface. If the audience read Painter of the Night superficially, they will only see the “filthy” erotic painting, that is, only one dimension of the story and then they will disregard it as a whole, just like the servant who only sees the surface of the painting but not its beauty and feelings behind it, much less the growing love between its author and his master.

I already wrote I long piece about the way Seungho pampers Nakyum and goes out of his way to make sure that he isn’t injured, so I’m skipping this part. However, what no one talked about is how Seungho gives his place at the table to Nakyum because the significance of the gesture is huge, even more so in Joseon society where every piece of furniture and clothing denoted a person’s status and worth. That seat was reserved only for the master of the house and not even wives got to sit there. So once again Seungho makes the distance between him and Nakyum smaller as he gives Nakyum a privileged position, literally making him his equal by seating him on his place.

And it really is the sight of Nakyum being treated as Seungho’s equal rather than the erotic painting itself which causes the servant to dislike Nakyum so much. The painting is only a trigger. Because in the servant’s POV, here is a lowborn boy who is considered by the society even more lowly than himself but is treated better than noble wives. Nakyum has been elevated to a high position but he is left kneeling by his feet, collecting trash from the floor.

When Seungho tells Nakyum to leave it to the servant and eat, he basically publicly claims Nakyum as his equal and makes a distinction between him and the servant. It almost feels as if he were doing it on purpose, to show the servants what Nakyum’s position is, the same way he did when he ordered the kitchen maid that Nakyum was not to eat in the kitchen.

People often describe the servant as homophobic but that’s 99,9% of Joseon society. What is much more imporant here is that he is envious and bigoted. Because the main issue isn’t so much about the fact that Nakyum has been having gay sex with Seungho, but that he is a lowborn AND he actually does have any sex with SH since in that era having extramarrital sex was considered amoral. The truth is that had NK been a woman, the servant would have reacted the same. Also, if NK were a nobleman, the servant would never dare to even look him in the eyes, much less insult him in such a manner. So this really shows that one of the main obstacles which separates Seungho and Nakyum is the social divide between them. 

And from them two, it’s Seungho who has the necessary means and power to bridge that gap and offer his hand to Nakyum, whereas Nakyum needs to have the courage and confidence to take that hand, hold it tight and never let go.

[mc-critical]

What are your thoughts on Ibrahim? For me it went from indifference and dislike in season 1 to liking in season 2 and becoming my favorite male character in season 3 tbh. Actually the only good male character by season 3 (season 4 has many other options too). He is probably the most complex and well written character and I really sympathise with him. His arrogance was his downfall but if Suleyman wasn't such a bitch it wouldn't have been lol. He wasn't wrong in that imo. He was a slave, a fisherman's son but his intelligence and skill took him farther than anyone else and it's not wrong to be proud of such a feat. He deserved the pride more than just about anyone, even Suleyman. What I dislike the most about him is his treatment of Nigar after their relationship ended. She's my favorite character and although their relationship itself was my favorite in the whole show (other than Nurbanu and Selim) it ended really badly

Ibrahim is one of my most conflicting characters on the series: one time I feel like I don't get the appeal, especially not the stans in one Bulgarian forum, he doesn't elicit such a strong emotional reaction in me as he does in others, but then once he hits an incredibly strong arc and I begin to analyze his character and all its dimensions, I come to love him for what he is and realize how much effort has gone in conceiving and developing him. He's certainly the most well-written male character that isn't a sultan or a prince in the entire franchise. (the sultans aren't the brightest, but the bar is so high when it comes to their writing. There isn't any of them that is badly written. The princes are also well developed, but now that I think about it, Ibrahim surpasses some of them as well!) He's delightfully fleshed out with every detail; his actions, while morally ambiguous at times, are very understandable and you can clearly see the deeper, nuanced reasons why he does what he does. His arc was a sight to see from beginning to end and watching it reach its inevitable tragic conclusion was heartwrenching. At a point he became so important to the narrative, whether it was intentional or not, that the show (or actually, S03B in particular, because S04 was absolutely fantastic!) began to lowkey miss something without him. He had such a strong presence that couldn't be matched by anyone else after him.

[To be brutally honest though, I find his dynamic with Hürrem in terms of screentime to be kinda overrated. Not that it's bad or anything, quite the contrary - their chemistry was great, they were consistent and fun to watch, they had quite a few great scenes that were definetly more than Hürrem and Mahidevran's, I dare even say this is one of the most solid antagonistic dynamics of Hürrem's writing-wise, but I just find it sometimes gets way too much credit? It's weird, I know.]

The most interesting thing about him is, without a doubt, his fatal flaw that I... actually don't think is arrogance. It's not up for argument that Ibrahim can definetly come off as arrogant, but the arrogance is rather a manifestation of his fatal flaw, not his fatal flaw itself. I believe that it's precisely his inferiority complex that is the root of his vulnerabilities: as you said, he's been only a fisherman in Parga, and his background is both a source of memories where he can recall his more "innocent" days with his family and a tough spot for him where he is consistently reminded of something that is already in the past after all he has achieved. He did want to return to Parga, to see who he used to be one more time, but after that it's as if he never gets a chance to forget, to put it behind him. He pretends he has forgotten, but that consistent reminder of how he has started seems to be constantly haunting him to the point he begins to remind himself of it. It's not only people like Figani, Iskender Çelebi or the other members of the divan in early S01 that don't let him forget, it's as if he himself doesn't want to forget. It's undeniable that he had climbed up to heights he wouldn't dream of and the role of a grand vezier needed getting used to and to be dealt with with care. On one hand, we could argue that he reminds himself of Parga as a way to preserve his moral compass, in a way, to realize when and how he has screwed up or remind himself of the limitations of how far can he go, for Süleiman is his friend and companion who he wouldn't want to disappoint. But on the other hand, the more he rose in the hierarchy, the stronger became a wish for him to exceed these limitations placed upon him by everyone around. Süleiman is able to give him everything if he wishes, so why not let it happen? Then he's going to prove to everyone, prove to his inner demons, this sense of inferiority that he, in fact, can not only become the most politically adept grand vezier there is, but a person who has his own country within the country and can rule it with ease. The political arena ultimately becomes a target of his inner conflict where he projects more power than anyone else, is most influential and does the best in order to gain the goal, not only to gain SS's approval, but show that, yeah, he can do his best for the role he's put in, fixating on the Ottoman country he claims to be a ruler of and his apparently endless rights. It turns into a coping mechanism where he can escape his past and background and he gets so sucked in it that his self awareness becomes less and less. That's where his arrogance comes from and I feel that if he didn't possess that complex of his, he would've managed things way better and had more self control, as a result. He was a very good politician in the show, setting in motion many good strategies (his strategy gave them the Mohacs victory after all), having a strong, pragmatic mind and many innovative ideas and if he didn't try his hardest to convince himself he's worth something that isn't just the story of the fisherman in Parga, Hürrem wouldn't stand a chance against him.

This inferiority complex is the reason for his infidelity, too. He loves Hatice dearly and he never expected that she of all people would do the very thing he dreads the most. Her pulling rank on him came as such a shock for him that it seemed he would never forget or forgive. It put infinetly more salt to the wound, deeply hurting his ego and the self-esteem he was just beginning to gain. That's why he let himself in Nigar's hands for so long, for she would only want to please him, for that relationship would have no limitations whatsoever and wouldn't restrict Ibrahim in any way. It was something that was his, something the dynasty would never touch or learn about. I love Nigar and Ibrahim's relationship, too. Principally, I'm not a fan of love triangles at all, but that one is a notable exception for how wonderfully, but crushingly psychological it is. It wasn't added in only for the sake of the drama, it was set up for very long and it was like the characters actually got there through their own actions and they had to truly face that struggle to flesh out and evolve. But there wasn't genuine love there, not in Ibrahim's part. That was his biggest weakness speaking, causing the illusion of love, not the real feeling of it. He wanted to preserve this relationship as the fisherman in Parga, but to me, it felt like he showed something more similar to his own confident assertions of the power of a grand vezier than actual regard for Nigar's feelings. It all was a lie he wanted to believe, because of his ego's denial, and he believed it so much he told Nico that Nigar was the person he truly loved in E51. And when he did get out of the lie (the monologue in E57), see how he reacts differently in front of her now - he turns off every single try of hers to give him affection, he reacted very badly when he learned she was pregnant, it was as if he wanted her to wake up from the dream and move on, too? And due to his inner conflict that perpetuates his arrogance grew even more in S03, he got over Nigar, but not over her child. Esmanur's birth made him return to and enforced his old habits that made him consider that child as another piece of solace, something out of the dynasty, also only his, trying so desperately to have her live with him and Hatice. The infidelity and the way he treated Nigar after he realized the error of his ways are ones of the worst things Ibrahim did, along with Leo (now, I get he wanted to knock Hürrem down a peg, but that was admittedly much for me.) and while I understand why these events and interactions came to fruition, I can't justify him for them.

I agree that had Süleiman not given him as much power, his inferiority complex would be highly downplayed, at the very least. He underestimated the possible consequences of Ibrahim's rise and it really doesn't look like he knows him as much as he thinks he does. Whether he did it to test him (SS's lasting reminders that Ibrahim gets closer to death) or because he loves him dearly and wants to embrace his potential ("I want you to use that mind only for me!") or both, it's like he gave him both too much freedom and too many boundaries at once. I mean, I understand why SS executed Ibrahim: his affirmations, no matter their backstory and how metaphorical they are, pose a definite threat for a padişah and along with his growing paranoia of betrayal, he couldn't be sure how far he was going to go anymore. It's as if Ibrahim crossed every line, openly acting like he controls the padişah and his state in front of the fellow pashas, efendis and ambassadors and that couldn't be controlled anymore. It's as if he had done his best efforts to bring him down to earth, but since none of it was working, he decided to act accordingly. The many "failures" of Ibrahim have been piling up in the narrative in the span of 81 episodes and I get why SS would finally snap for what was the final straw. However, doing so much unprecedented stuff for a grand vezier was bound to bring disasters for the padişah due to the chance in his mind that he would try to question or prevail over him, hence Süleiman should've realized that it was only natural one would want more and more. And that happened with S03 Ibrahim - he fought more and more with his inner demons, hence wanting to have more and more to be validated by the others and by his own ego that perhaps wouldn't feel satisfied regardless.

While his fatal flaw underlines his complexity, it also gets complimented by his many positive qualities: his love for Hatice was very sweet in the beggining and after the Nigar plot, it turned out to be really genuine - their reconciliation was very telling in that aspect; his relationship and loyalty to Süleiman deserves respect, even though his inferiority complex came in the way, he still would never give him up and never once lost hope in his recovery when he was in his deathbed and while that may become up for debate in S03, he would never openly stand against him and would gladly try his best to please him; his bond with Mustafa is amazing, too - I love how he practically raised that kid and gave him sound advice as well as his mother; that said, his relationship with Mahidevran deserves more appreciation and it is one of the most reciprocal and understanding, soft and "carefee" dynamics of the show; I love his dedication to his family and how he loves them as much and remembers them with the same fondness as ever before. In short, when going in depth, this multifaceted character has so much to offer, like, wow!

Okay, when I first watched the show, there was that point where I felt Ibrahim overstayed his welcome and I even wanted for Hürrem to finish him already (heh, those were the days! 😅) but now when I've rewatched and reexamined MC many times, I see that despite of his few negative traits, everything about this character flows so well and so organically and it's one of the characters in the series that have aged really well with time in my eyes. And I respect him so much for that.

[lifeofkaze]

An Art of Balance #18

Orion Amari x MC

A/N: Fabulous Judith belongs to the even more fabulous @judediangelo75​

Word Count: ~ 2.300

_______________________________________________

Chapter 18: Ambiguity

As she rounded the corner of the hallway where they had held their team meeting, the rest of her team was already coming in her direction. Most avoided looking at her, except for Everett who gave her a smug grin and a wink that made her want to punch him in the face there and then.

Judith was walking behind him, Lizzie’s sentiments mirrored on her own features. Her golden eyes found Lizzie’s and worry crossed her face as she took in the pallid complexion of her friend.

“Are you okay?” she asked, her voice radiating warmth and comfort. Lizzie nodded curtly; her attention were fixed to the door of the classroom the others had just left; it still stood slightly ajar.

Guessing her thoughts, Judith inclined her head in the same direction. “The captain’s still back in the meeting room if you... want to sort things out, I suppose.” She offered Lizzie another encouraging smile and continued her way back towards their Common Room.

When Lizzie carefully opened the door to the classroom, Orion and McNully were still in front of the teacher’s desk, just where Lizzie had left them what felt like an eternity ago. They were deeply immersed in their discussion; Murphy was talking insistently to Orion while he animatedly gestured with his hands to drive whatever point he had home. Orion, on the other hand, had his head bowed and his face was brooding; he nodded at his friend’s words and only interjected him every now and again.

Lizzie closed the door behind her as quietly as she could; she breathed deeply one last time, trying to ignore her somersaulting stomach and then cleared her throat.

Both their heads perked up at the sudden sound and Lizzie’s eyes quickly dropped to the ground as they fell silent. She could feel the heat rising to her face as she buried her clammy hand in the pocket of her jacket, the other still resting on the door handle as if ready to run from the room at any moment.

She drew a shaky breath. “If this is a bad moment…“ she spoke up hopefully. Her attention was fixed solely on Murphy; she didn’t dare look Orion in the face.

But the blonde commentator shattered her last chance at an escape as he gathered up his playbooks from the desk and stacked them on his lap. “No, not at all; I was, in fact, just leaving.” With a short and sympathetic look at Orion he rolled out of the room. As he passed Lizzie, he gave her a warm, encouraging smile she couldn’t quite reciprocate in her current emotional state. The door falling shut behind him sounded unnaturally loud to her ears and made her jump; the silence it left them in was even more deafening.

Plucking up all of her courage, Lizzie stepped further into the room and raised her eyes to meet Orion’s.

He looked at her apprehensively, the palpable tension hanging between them mirrored in the way he carried himself; although his dark eyes were unwavering as they met her own, his shoulders were squared and his jaw locked.

He said nothing, waiting for her to begin the conversation; much like the habit Lizzie had adopted herself, his fingers were slowly twirling the round pendant of his necklace.

Lizzie walked towards him with shaky knees and sat on the edge of the desk. The way he regarded her was too intense for her to maintain the eye contact; she dropped her gaze to her feet, that couldn’t quite reach the floor and were dangling in the air.

She knew she couldn’t put this off any further, so she ignored her burning wish to just dart out of the door again and turned towards Orion with a sigh.

“Captain, we need to talk.”

He let go of his necklace and pressed his palms lightly together. It was apparent that he was equally as reluctant as she was to have this conversation. “I think we do, Chaser.”

“You need to let Skye play on Saturday.”

Baffled at her unexpected choice of topic, Orion didn’t respond. He tilted his head to one side and watched her curiously as he tried to comprehend her thoughts. Lizzie tried very hard to not let herself get distracted by the way his long, black hair fell into his face.

“That you try to fend for Skye time and time again speaks of your great loyalty towards your friend,” Orion replied eventually, thankful for the more innocuous topic. “But my answer is no. Skye has disrespected me and my decisions from the very beginning.”

He caught her eyes again and Lizzie almost flinched at the hurt they were showing at the realisation his faith in Skye may have been misplaced all along.  

“I have always let her express her doubts without reprimanding her, so as to allow her to unfold her full potential. But even the calmest of waters gets stirred if the storm is only strong enough.” She could hear the change in his voice, showing just how serious he was. “My patience with her has ended; she actively endangers the unity between all of us. If I want the energy of our team to remain undisturbed, I will have to stick to my decision.”

Lizzie hadn’t expected Orion to be so unwavering in his resolve. Apparently, Skye’s punishment hadn’t just been a reaction to what she had said, but rather an issue that had been bothering him for longer than Lizzie had imagined.

“What good is a united team when we lose the last chance we have to reach our common goal?” she asked in return.

Orion slowly shook his head. “I told you before, the ends don’t justify the means.” Her chest tightened at the allusion to their nightly talk in the Common Room after the Christmas break. ”There is more to Quidditch than winning.”

Now it was Lizzie’s turn to shake her head. She had stopped dangling her legs at Orion’s words and gripped the edge of the table. She had to make him understand.

“To you maybe, but not to our team; they burn to win the House Cup and frankly, so do I.” His airy appearance might have fooled others, but she knew him too well. ”And whatever you say, I know you do as well. Don’t take this away from us.”

She jumped off the table and started pacing up and down. “I know Skye overstepped her boundaries today, but please, please, have some more patience with her.”

Orion raised an eyebrow sceptically but didn’t interrupt her; Lizzie took that as a sign to go on.

“She gets a lot of pressure from her family and isn’t thinking straight, but I made some progress with her; she sees now that she shouldn’t have challenged you in front of everyone. I know, this is no excuse for her behaviour but I don’t think you kicked her off solely because she is an annoying little prat,” Lizzie took a deep breath, ready to jump where she didn’t want to take this, ”but because she got personal.”

Her eyes flickered towards him for a moment; his face was unreadable, his steady gaze following her movements as she stopped her pacing, gathered herself and turned towards him. “You are our captain; we respect your decisions and trust you to do what’s best for us, regardless of any personal involvements. The sake of the team should always come first.”

Orion considered her calmly. “I value your defending her with the uncompromising fire inherent to your spirit. Skye can consider herself lucky to call you her friend. But as noble as your intentions are, I must tell you that I disagree. This is for the sake of the team.”

He was wrong; why wouldn’t he see that they wouldn’t stand a chance against Slytherin without Skye beside them?

Lizzie took yet another step towards him. They were now close enough for her to see the stubborn resolution in his eyes.

“Orion, we need her,” she repeated emphatically, her own eyes pleading now. “Please, let her play.”

His features softened; he could see how important the matter was to her as he took in her words. “I won’t promise you anything; but I will take your words into consideration.”

Relieved, Lizzie let out the breath she hadn’t noticed she’d been holding. Only now she realised how close they were standing together. It would have taken only the smallest step on her part to give in to the nagging voice in the back of her head and to close the little distance left between them; to bury her face in his chest and drown all her worries inside his arms.

Shaken by her suddenly unruly thoughts, Lizzie quickly took a step back.

The atmosphere that had grown more relaxed while they had been treading on neutral ground started to charge itself again as neither of them made a move to speak; Orion and Lizzie were both very aware of the unsaid things hanging between them.

It was Orion who chose to break the silence first. With a sigh, he clasped his hands in front of him again.

“I know which thoughts trouble your mind, Chaser. Do you want to talk about them?”

Lizzie could feel his eyes on her; she was careful not to look into their unfathomable depths, or she would have been done for good. She watched how the round pendant of his necklace gently rose and fell with every breath he took, instead. The tips of his fingers rested against each other in front of his stomach as he waited for her answer.

The sensation of how the back of these hands had felt against her cheek flashed up in her mind, how rough the skin of his knuckles had been as her own fingers traced the up and down of them.

With a huge effort, she drove the memories away and shifted her weight uncomfortably from one foot to the other. Her hand had come up to her throat and was playing with her necklace again; she didn’t even notice until the corners of Orion’s mouth twitched into the smallest smile. She dropped it again.

“Is it true?” It was more a whisper than a question.

Orion took his time to pick his words. “I can’t give you an answer to this.” He sounded pensive, as if he had thought about this question before but still hadn’t reached a satisfying conclusion.

“You are a true friend to me and I have always admired you, as a player and even more so as a person. However, I’ve had the fortune to get to know you better than I did before, and I cannot deny that I feel like there might be an unexplored potential for a greater harmony between our spirits.”

Lizzie blinked in confusion as her mind took a moment to decipher the meaning of Orion’s words.

“That is not exactly a ‘yes’,” she replied tentatively.

Orion’s gaze trailed out of the window for a moment where the storm was slowly starting to wear off. The broad, crooked smile that always made Lizzie’s heart stutter was forming on his handsome features as he turned his attention back to her.

“It’s not a ‘no’,” he smiled directly at her.

The dipping feeling in her stomach, that Lizzie had tried to ignore since the moment she had stepped into the room, intensified tenfold, before making room for an overwhelmingly fluttery sensation spreading through her body. She opened her mouth for a reply but her mind had gone completely blank and she couldn’t think of a single word to say.

She leaned against the desk once more, her mind racing with conflicting thoughts. Her emotions jumped from giddy to shocked to elated to terrified.

Seeing her obvious preoccupation, Orion decided to leave her to her thoughts. As he stepped around her on his way to the door, he stopped and put his hand under her chin, raising her head slightly to make her look at him. He could see the emotions raging inside her beautiful eyes, darkening them to the colour of a stormy sea as they met his own, soft brown ones.

“Whatever thoughts are running through your mind, I want you to remember that first and foremost you are my friend,” he reminded her tenderly, “one of the truest and closest friends I’ve ever had. I would never risk losing you over anything, you hear me?”

Something flickered in his eyes as they dropped to her lips for a split second. He immediately let go off her and took a step back. Offering her one last, sincere smile, he went and left her to her thoughts.

Lizzie had no words for what she felt, no thoughts to even remotely describe the chaos he had plunged her into.

The instant Orion had touched her a surge of electricity had been running through her body and she could have lost herself in the endless abyss of his eyes. The urge to throw all caution overboard and just give in to her desire to wrap her arms around him had been close to overwhelming. It had been like when they had been dancing all over again; she could feel the ghost of his gentle touch still lingering on her skin.

Lizzie dropped down on the chair behind the desk and covered her face with her hands. His words were ringing in her ears as she felt the tears well up in her eyes. She shut them tight and took deep, shaky breaths, trying to calm down her racing heart; it was beating against her ribcage so hard it hurt.

She didn’t know what to do. She didn’t know what to think.

But she did know where she had to go to work it out.  

[talenlee]

The Johnlock Conspiracy Conspiracy

First of all this is going to be building off a point first cast into relief for me by Sarah Z’s video on The Johnlock Conspiracy. She is both directly connected with the experience of this space and did the research into the actual history of the people involved, a sort of on-the-spot observer recounting her experiences ethnographically. If you want a longer form deep dive on what The Johnlock Conspiracy is, check out that video. I will be providing a quick summary.

I’m also going to talk about fanagement, which I wrote about last year, which is about the way that fan engagement was seen as being a thing that corporate entities could deliberately engage for commercial ends. Fanagement isn’t necessarily an inherently evil or corrupting thing, but it’s something to know about as something that exists, and knowing it exists can colour your relationship to the media created in response to fanagement.

There’s this idea of ‘The Johnlock conspiracy.’

In the agonisingly mediocre BBC mystery drama Sherlock that ran from who cares to also who cares, starring in the loosest sense of the word Benedict Cumberbatch and Martin Freeman (a man ‘renowned’ for this, The Office and the Hobbit trilogy, on a scale of poisonous influence to actual outright evil), as a modern day re-imagining of Sherlock Holmes and John Watson that has some interesting ideas that it absolutely does not use well, mysteries that are not interesting and a relationship tension that was making itself up as it went along. Much ink has been spilled about how this series is not very good, and that’s good, because it’s a very expensively made bad series that banks on the reliable draw of the same fistful of boring privilege.

Part of what made it popular, sort of, was the tension of the relationship between John and Sherlock. See, they were both men, you see, and what if they kissed.

Now, tumblr is, by volume, mostly connections to other parts of tumblr. If you make something popular, it becomes amplified and exploded and brought to the attention of others and curated into lists. Content that gets shared is the very sinew of what Tumblr is, which means that doing things people share around is a strange form of primacy on the site. Making content is powerful, heady, druglike. Commanding curation where you determine what does and does not get shared is even moreso. It is a space for an audience that is engaged deeply with the concept of being engaged, and in this space, fandom happened.

There’s not a lot of Sherlock. There were big gaps between the seasons. When a season came out, it did not explain itself or deliver on its promise at all. It is, as I’ve said, bad. But it was well made and used actors you’d heard of and was treated as being prestigious and so, when the show came out, and because people liked the idea of what it could be, fandom struck on a conspiracy:

What if this terrible show is secretly great?

And I understand the impulse. It’s heart to a lot of fandom. I can’t possibly have spent this time and energy on something I don’t like, it must be that the thing I like is secretly this thing I really like. And so scaffolding comes out to buttress the idea. We’re not taught that fandom is right – we’re taught that fandom is something that justifies itself by being right. If you have a story in your heart about a Dark Fuckprince and his soft bean injured Watson, that story is real and right, and doesn’t need the official endorsement of the BBC to be good.

Without that armour of love, though, instead the fandom turned into this endless oroborous of hostility centered around three people, who seem to just be total dickheads, great job you. This resulted in the blossoming of what was known as ‘the Johnlock Conspiracy,’ where through thousands of pages of well intentioned fumes, these fans huffed themselves into believing that Steven Moffat and Mark Gattis were secretly building up to exactly what they wanted, and they were the smartest people ever for noticing it. The lack of payoff of their beliefs and the active hostility Moffat had to their ideas and positions in person, that was all part of the conspiracy.

Oh, by the way, that idea – conspiracy – is when you have an unfalsifiable conjecture. If you can’t prove it false, no matter what, that’s when you’re dealing with a conspiracy theory.

The dramatic conclusion to all this was the series ended, their conspiracy was wrong, they theorycrafted themselves a few more months of content, and then most people let it drop.

But what if I told you there was a conspiracy?

Because there was. It just wasn’t the conspiracy they thought.

See, a conspiracy is a real thing: it’s a secret plan to do something harmful. And the BBC, since they published the work that Matt Hill described in Torchwoods Trans-Transmedia: Media Tie-Ins and Brand Fanagement, worked with the parameters of their experiment aggressively.

The idea, as I outlined in my article about Fanagement was that making the program so it could engage fans directly, and give fans feelings of creative ownership over the work would drive viewership and the kinds of engagement they liked (like, paying for things). Fanagement sought to make media ‘gifable’ – low saturation backgrounds with cuts of under a second so you could break a scene apart easily and conveniently. It wanted to make fan media easy to make, and to minimise hard declarative statements.

The lessons learned from this paper included things like ship teasing as a deliberate task – and I do mean teasing, with the idea that you had to do it in deniable and ambiguous ways. Making things definite wouldn’t get you as much fan engagement as keeping things ambiguous, because fans would make an inference based on what you show them, talk about it, then other fans would watch it again to make sure they could argue with you about it.

A mystery show like Sherlock was perfect for this kind of treatment. Treating the series as if there was some really deep, thoughtful question at the heart of it meant that there was always a reason to keep from ‘revealing’ the secret of the story, to string the audience along, like they’d believe or tolerate it, if it was all in service of a clever explanation. You get it, right? After all, we gave you all the clues.

The toxic fandom of Sherlock did not form as much as it was fostered.

A lesson from this experience, a lesson easily escaping notice, is that it’s not that ‘fandoms are all the same.’ They really aren’t. They are wildly varying in the terms of their problems and those problems root causes. What they tend to have in common is dynamics, but those dynamics are expressed in a lot of different ways. It’s not that ‘fandoms’ naturally become toxic and awful. There are fandoms that are generally, quite nice, and they tend to be that way because of the values of the central movers and shakers and the conscious willingness of people who perceive themselves as part of the fandom as taking care of it. The dynamic is the same – you have common nexuses of community that people interact with – and the kind of behaviour that’s acceptable and reasonable is filtered through them. If the idea of asking people to modify their behaviour or respect people’s boundaries is seen as unreasonable, then you can get a toxic space.

Also, as I talk about ‘toxic fandoms,’ understand toxicity is relative. There is, after all, a very real, very unironic Hitler Fandom, and they are probably one of the worst fandoms out there. Being a mean lawyer on the internet is bad, and I’ve no doubt the fandom curators known now as the Powerpuff Girls absolutely wrecked some teenagers’ lives – like, there are definitely people with, I am not joking or being hyperbolic, some PTSD triggers about (say) Tumblr or whatnot, based on the kind of social force these people were leveraging.

And then remember that holding that lever at the high end, right at the top with the most power over it was a company that made TV shows that was trying to make sure you watched their shows.

Also: The tools for doing this are available to all the companies that read the paper.

My advice? Exhort and uplift queer creators. Be positive about it, not negative. Don’t make your time about attacking other people’s dark fuckprince. Bring what you like to life, and bring that life into the light. Share and love each other, rather than find reasons to be mad at one another for how you’re all playing with toys a corporation wants you to treat with respect and only play properly. And as always, the standard you walk past is the standard you accept – so make sure your fandom circles aren’t putting up with some Powerpuff Girls.

Originally posted on my Blog.

[catflowerqueen]

Hydreigon is an interesting character. I love him a lot, and how kind and genuine he is and how even he seems to undergo character growth in the short time you know him.

Like… I genuinely do not believe he thought everything through in regards to his plan to contact humans for help. And a big part of that is just because of his very nature as the Voice of Life (or at least one of them). We don’t know what form of sentience he had before assuming his current shape, I suppose, but it makes perfect sense that his first priority would be his own world—his own self, in essence, but I don’t think he was thinking about his own individual survival, either, simply because his nature would mean that he wasn’t really an “individual” per say? Not until later. But because of that, I doubt he was really thinking of long-term goals, or the deeper consequences of bringing a human in to help.

Focusing just on the effects to the actual Pokémon World for a moment… he might have known from the onset that the humans wouldn’t be able to stay after providing help… but I doubt he’d thought about the ramifications that come with the fact that they would still have to spend time in the world as they figured out what the problem was, and that it would mean they would be making connections—friends, allies, etc. We don’t know how much contact he actually had with the other humans before they fell for Munna’s trap, but he did seem to genuinely worry about them as people—at least as far as their general welfare went. Like… his being upset about their defeat seemed to go deeper than just “each one defeated is one more that can’t help me.” Which is nice. And then he did genuinely seem to grow fond of the player themselves, and were very happy and proud of how deep their relationship with the partner was.

And that’s part of why I think he was crying when he confessed that the player would have to leave. He’d grown fond of them, and he knew how much the others—especially the partner—cared (and could maybe even feel it in the world itself?) And he was genuinely, truly heartbroken at the fact that they had to leave, and that he would probably be the only one to remember them. Which is probably why he stayed with them for as long as they could while they journeyed out, agreed to take them to see Paradise one last time, and just felt so bad about not being able to do more. As well as why he tried so hard to get them back in the post-game.

As to other things he didn’t think through… mostly the ramifications it had on the human world that he was pulling so many people out of it. Yes, the population of humans is very large, and we don’t know exactly how many people he actually called out to (and for that many, how many accepted his call. Was he just pulling in anyone that could hear him? Because, like… he asked for help, but then didn’t really ask permission to take them, or get any formal agreement. At least not verbally—it’s possible there was something going on behind the scenes with souls or intent or whatever). But there was enough that people were taking notice of the strange lights in the sky—and considering how many the Pokémon of Post Town were seeing on the hill, how many more must have been in other places? After all, the humans can’t have all arrived in the same place, and the pokemon world itself is quite large. How long has this sort of thing been going on? We don’t know, but given the problem I would think Hydreigon would have tried to pull in as many people as possible, so that could be anywhere from… let’s say five (to account for the fact that the Post Town citizens saw multiple balls of light, in addition to the one the hero saw and the hero themselves), to something like a hundred. If not more.

And depending on where in the world he took them from, their ages, their jobs, what was going on in their own lives… this could have some pretty dire consequences, especially considering that the post-game makes it clear that time was passing at more or less the same rate in each world, in addition to the fact that it was a genuine worry of the partner’s that the hero’s friends and family would have noticed and been distressed by their disappearance. So even if it might not affect the human world on a large scale… Hydreigon definitely did not take into account how it would affect things on a smaller scale—namely, the lives the humans were leaving behind for the duration.

In addition to the trauma of having literally died/been so near death that it amounted to basically the same thing in order to actually return home… how many humans then returned to eviction notices, lost jobs, truancy alerts, etc.? How many missed once-in-a-lifetime opportunities, or deadlines? Was anyone on an organ donor list that was now once more at the back of the line because they weren’t there to receive the donation? Or had to reschedule other general surgeries/miss important appointments? Did anyone leave their own children behind, who then had no one to look out for them? Or was the only person in the office who had access to the important equipment/files meaning that now multiple people are out of work? Or was in the middle of doing something/maintaining something really important that crashed and burned in their absence and caused multiple other deaths or injuries?

The human world is complicated, and while it makes sense Hydreigon wouldn’t know about that or prioritize that—not that I blame him for it—it just… yeah, he didn’t think things through.

Which is why it is so genuinely heartwarming that the partner did. And, sure, maybe they didn’t understand the complexities of the situation either, but they at least could consider the ramifications for the hero’s immediate friends and family members if they never went home.

Honestly, it does bring up its own can of worms as far as how the hero will use their new abilities to travel between worlds—because, again, the complexities and bureaucracy of the human world don’t really lend themselves to someone being MIA for long stretches of time unless they’re independently wealthy/have someone willing to look after their stuff while they’re gone, so it might mean that the hero really will eventually have to pick a side, as it were, to stay full time and just the other one as a minor vacation spot (which… like, I hope Emolga was just joking when he said those lines to the hero in post-game about them having to work extra hard to make up for all the lost time while they were in the human world because… if that genuinely is his belief, then the hero isn’t going to be getting any chance to rest in between whatever jobs and things they have to maintain in the human world and their “job” in Paradise. Burnout is not pleasant).

But that’s probably getting too meta about things, anyways. It’s just that Gates is the only game in the series that actually brings those implications to the forefront, because, again, no amnesia for the hero, and the partner (and others) directly speculate about it a few times. Rescue Team was… well, the amnesia thing means that not even the hero knows what their life was like, so it is a… relatively simpler choice to make? In some ways? Yeah, maybe they are leaving some things behind in the human world… but they could just as equally have hated their life. They have no way of knowing, and just based on the new memories they created, they know that could have a good life in the Pokémon world. In Explorers, they didn’t really have a life to go back to afterwards either way. Again, there’s some ambiguity in us not knowing if they were actually from the paralyzed future, as opposed to just being taken their by someone else because of their abilities, but… either way, as far as they knew, they were going to disappear at the end and effectively be deceased. And then even after the fifth special episode, their options were still kind of limited to just the past/present from their perspective and living in the future. Which is fixed now, sure, but the only real connections they’d have to the place would be Grovyle and Celebi—who they only remember from their brief period travelling together over the course of the game. …And also Dusknoir and the Sableye, I suppose, but I feel like that would just be very complicated and awkward. And then I’ve already made myself abundantly clear as far as PSMD goes. Is the hero actually leaving a life behind? Who knows! Not them, thanks to the mind wiping, and even if they were, it isn’t like anyone bothered to give them options or think too deeply on the matter.

[flying-elliska]

Shadow and Bone Season 1 Review

Ok so I got distracted by a need to watch all of Ben Barnes' filmography (lmao) but here is my review : It was really fun to watch and it was clearly made with love which is already the main thing with YA fantasy, which is often turned into a soulless moneygrab when put on screen. The actors were GREAT. I did think that the Crows suffered from being mashed up with the Shadow and Bone story, but they were still a highlight. I also think it was a bit rushed, esp. when it came to Alina's training. The costumes were beautiful, I want a kefta now. Plus the crossover fanfic interactions btw the SaB characters and the Crows were just pure joy. Also Milo, obviously <3 I'm in hyperfixation mode so here, have an essay :

The "Shadow and Bone" Characters :

- Jessie Mei Li !!!!!! She really made me like Alina so much more than in the books, she absolutely is the 'human embodiment of literal sunshine' and she was a joy to watch. Her character's arc is cliché but her acting is so expressive and endearing, I really felt for her all the way through. (maybe I'm biased bc Jessie talking about her ADHD and seeing her thrive at the same time is like!!! i love them they deserve all the best.) I like that they made Alina more proactive - even though she does make some stupid decisions... but I just don't understand people who put that down as bad writing, like ??? have you ever met a real person who only makes wise, good decisions ?? a character like that would either be at the end of their story or just in the background because that makes them static. The things with the maps in the beginning does a good job of illustrating how she is just this one girl making rash, erratic decisions out of fear and loyalty and doesn't have a sense of the bigger picture, caught in the tide of bigger events. It works for her character. When it comes to the choice of making her half-Shu, I do think it really makes sense re: her character feeling like an outsider but I do understand the criticisms that the microaggressions felt too relentless and one-note. I am really looking forward to them introducing Tamar and Tolya and hopefully connecting to them over her heritage in a more positive way.

- Mal in the books was one of the most annoying YA characters I've ever come across, so I really liked that they made him much more of a loyal, devoted friend. I found his relationship with Alina cute, it really gives us the sense that these are two orphans who found a home in each other, childhood best friends (and potential sweethearts) separated by war, two army grunts and ordinary people caught up in the wheels of power and war that usually crushes people like them, it's a great way to introduce the dynamics of their world and it's a trope that always makes me emo. It felt a bit too one note to me, though, and too heavily on the nose, like Mal's only personality was his attachment to Alina (and his resentment towards the Grisha) and too much of her emotional arc also relied on him. Them hitting us over the head with the meadow scenes felt like pure telling instead of showing and it ended up being super repetitive and kind of annoying. I am willing to like this pairing, but I wanted more scenes of them just having conversations about things and really understanding why they like each other beyond the whole childhood friends bond that we're asked to accept exists at the beginning. So I hope there's more depth there in next seasons.

- Ben Barnes!!!! Just jksdfhgkdjghdf. I'm not a big villain stan usually and I hated the Darkling in the books but DAMN his performance is just amazing. They managed to make him more sympathetic and human while at the same time making clear the stuff he does is deeply horrible. There's the Magneto-aspect of 'well clearly his methods are fucked up but he's addressing a terrible injustice nobody is doing anything about' that makes it very tempting to root for him ; and again, well, like, Ben Barnes is so hot and charismatic it feels uncomfortable (which I guess is part of the point lol). His loss of humanity is, up to a point, understandable, brought about by despair, loneliness, grief and a sense of powerlessness - living so long he starts to see other people as disposable, losing so many people he stops caring, seeing over and over how hate never seems to stop, etc. It's a logical explanation for going insane.

But the hunger for power is also very much present as a motivation and this ambiguity is there constantly. Does he maybe come to genuinely care for Alina or is it totally bullshit ? I think he does, he's just so fucked up that it comes out as possessiveness and a need to control her. He wants Alina to be his equal but he's incapable of treating her that way. It's tragic, in a sense, but the show doesn't excuse his actions either. Like his monstrosity is a product of this world full of injustice, yes, and that warrants some compassion, monsters are always a symptom of their environment in some ways and dehumanizing them completely is an excuse ; but at the same time, he sabotaged his own cause anyway the moment he started to treat other people like things, as he does with Alina, because that just perpetuates the cycle of violence and hate. At some point he started feeling like he was the only solution and he was owed power for his sacrifices, and he's using his cause as an excuse. When Alina came to him, there was a possibility for redemption, taking down the Fold, and it's a test because there is finally someone on his level of power. But instead of seeking to remedy the power imbalance between them, he made it worse, by lying to her, manipulating her, etc, and the antler collar is the ultimate sign of this.

I love those scenes towards the end (the antler-based body horror has big Hannibal vibes, so messed up). I like Alina telling him they could have had this, that she had compassion for him and his cause, that they could have worked together, and he's the one responsible for screwing it up and this time his claim that he's the misunderstood victim ("Make me your villain") appears delusional and self-serving instead of somewhat justified. The almost-lovers to enemies vibes, the sense of lost potential, and the angst of the whole 'oh you could finally have been loved by people, too bad you fucked it up !', very juicy. There is this fundamental idea that power/respect/love is not something you are owed no matter how good your intentions are or because you're strong or you have suffered or you're willing to commit horrible drastic actions, you have to keep proving you deserve it, and trying to claim power without responsibility of care turns you into a monster. The thing with the stag was an excellent metaphor of the fact that there's things you can't take, they have to be given to you, and the wonderful power there is in understanding that is what allows Alina to harness the stag amplifier's power. This is really when she escapes his grim utilitarian outlook and a different way forward and owns her own power fully on her own terms.

Anyway I hope Alina gets to beat the shit out of him at some point that would be very sexy but I'm also looking forward to see how their arcs parallel and diverge from each other as Alina starts to grapple more with the implications of her power and the harsh dilemmas of war and her own dark side. I want to see him become scared of her, and I feel it will be more visible than in the books where he just has this cold aggressive facade all the time. This one feels a lot more openly emotional which is just a lot more interesting.

- As for the other characters ; Zoya mostly made me sad. The actress has the perfect vibes but I'm not sure I love their take on her character so far, it does make sense in terms of the later books - that she has internalized prejudice regarding her mixed-race heritage, that she is jealous of Alina because of how hard she's fought to get where she is and Alina kind of takes it away from her, etc. But I would have liked to see a bit more of her being badass and sharp-tongued in a clever (even if mean) way instead of spending most of her time being rejected by men and being racist towards Alina. I did like the ending though, of her actually seeing the monstrosity of the Darkling in action and the mention of her aunt. And her brief bonding with Inej was great, just because it was badass but also maybe because it could be a part of Zoya learning to accept her Suli heritage in turn, maybe not right away but in time, when thinking of that part of herself, she won't only think of her parents' ruined marriage and all the pain it caused, but also of that badass and brave acrobat girl who went toe to toe with these really scary monsters without even having any powers and !!!!!

- Also Leigh's cameo was so cute and as an aspiring writer this is just such wish fulfillment

- I honestly think that having the Crows there actually made the S&B story better ? Not only in terms of the much needed levity breaks but also in terms of themes. For instance, Matthias and Nina's story gave us a really raw and visceral view of how the Grisha are hunted. And Inej's relationship to Alina really gave us a sense of what Alina actually means to people who believe in the Saints in a way that doesn't feel just like 'ugh those superstitious people' because we know that Inej's faith is part of what makes her who she is and a person with morals, and something that saw her through the worst moments of her life. It feels so special that she got to meet Alina and given a sign that maybe the world is not completely shitty. And Alina's kindness towards Inej really gives you a sense that she might be, or become worthy of that belief in time, or at least that she wants to, that she's figuring out her power to really touch people's lives might be a good thing, and that she's starting to accept this responsibility more fully. And her arming Inej is a nice parallel to that. I'm very emotional about this scene, because one of the first things we see of young Alina is her taking out a knife to defend Mal from the bullies, because she's protective and brave, but she's also aware the world is a shitty place, and so her giving that knife to Inej is a sort of spiritual transmission and recognition of sorts, that she trusts Inej with that fighting power, that she'll use this knife to defend herself and her loved ones and not abuse it. It's so interesting. And a counter point to the Darkling's fucked up relationship to power that Alina might at some point get afraid she'll replicate. That you could see Alina trying to gather followers and using people's admiration for her like he did but instead she sets them free and empowers them. It's great. And I feel that when Inej takes to the seas, she'll think about Alina. (I do hope somebody tells her Alina's not dead at some point though god). Girls giving each other knives is my spirituality, honestly.

- And I also noticed an interesting parallel between Kaz and the Darkling in terms of being two emo dudes who like to wear black, are prone to violence and have a thing for two very powerful women they think are special and want to have at their side, but of course, they go about it in very different ways. The Darkling comes at it from a place of power while Kaz comes from a place of utter powerlessness, first of all, and he understands why it's important to set Inej free. Him spending the entire season trying to earn enough money to pay off Inej's indenture is the opposite to the Darkling putting that collar on Alina and while I do have issues with how the show portrays him, I do love that. Love is about setting the person you love free !!!! And that confrontation scene was so powerful, when Kaz tells the Darkling Alina was tired of being a captive ! Drag him !

- As for Genya, I liked the actress and her chemistry with Alina, but I'm not sure they did a great job of making her arc very clear, for instance what it means for her to get that red kefta, her relationship with the other Grisha, etc. Her and David are already very cute though. Also very much looking forward to see where that goes.

So yeah I think they did a great job with this bit actually, I enjoyed a lot more than I think I would and even though it is a very tropey story, there's plenty of depth there too.

The Crows :

- I'm a bit more nitpicky about this because I care about these characters so much. I think overall the problem is that the SaB story in the books happens on this massive scale with enormous stakes, and that next to that the Crows' issues feel less important ; it's like their impact is distorted by the gravity of the much larger story. Like for instance, Kaz in the books is very much at the center of everything, this larger than life trickster figure who knows and controls almost everything by sheer cleverness, and he has this sense of allure and mystique that can't happen here, and so his aura just shrinks. On top of that they're not on their home turf. Being introduced to these characters before they've reached their full levels of badass is weird - there is a reason why prequels generally happen after the main stuff, because they count on the love you have for these characters at their full potential to make you interested in their story when they were less badass and interesting. So I had several moments where I was like 'oh this feels wrong'. Tbh the idea that they would even volunteer to kidnap Alina in the first place, what with Inej's backstory, feels kind of wrong, esp since they had no idea of what would happen to her if they succeeded.

- But I still enjoyed a lot of it though, especially the fact that they were this force of chaos in the midst of this bigger narrative that's a lot more self-serious. The bits with the train, or the circus acts were very clever. A lot of the best moments in the show happen when they come to disturb the other plot in unexpected ways. I'm still dead over the whole 'Alina jumps into their carriage' scene, that was fucking gold. The team up at the end !!!! Alina and Kaz making a deal ! Inej stabbing the Darkling !!!! Them stealing the Darkling's carriage !!! They don't give a shit that the story is supposed to be super dramatic it's great.

- Jesper is the one character they completely nailed from start to finish and he's probably my favorite part of the whole show. He's very funny without being reduced to the role of comic relief ; he's just so! damn! cool!!!!!!! I honestly feel this is a thing they actually did even better than in the books, or at least Six of Crows where I felt Jasper kind of disappeared behind Kaz and they insist a lot on his flaws and issues. So before we dig more into those problems I love that they gave him time to be this ultra badass who saves the day several times ; while at the same time, hinting at further developments like his powers or his gambling issues. Kit Young is just perfect, confident without being arrogant, a bit cold when it comes to crime while at the same time being so obviously caring with Inej - I loved their friendship, that was so sweet. My main criticism is that they should have made it clearer he was bi because there are already people calling him gay and that's very annoying. I know some people had a problem with his hookup and like...I can see it's a bit of a cliché...the charming badass bisexual adventurer....it's a trope I kind of love though lmao and the scene itself felt kind of cute and fun. He's not the only person who is shown to have an active sexuality and he's also not the only queer person around and we know he's going to have a more substantial romantic arc later so eh. On a larger note I loved the little casual hints of completely normalized queerness - Nadia thirsting over Zoya, Fedyor and Ivan, Poppy, etc. Having grown up with fantasy where queerness was either completely erased or very tormented and problematic, this was refreshing as hell.

- Inej and Kaz...my faves... They have a kind of relationship which feels so rare and unique in terms of what exists on TV and while I don't feel they entirely replicated it, the core is still there - the mutual respect and building of trust, the longing, the repression, the trauma, etc. One thing I really like is their arc around faith - in the books, Kaz is dismissive of Inej's faith in ways that often feel really shitty and I like that he learns to be more respectful of it. It's very much linked to hope/survival ; Inej keeps this token from her parents and she hopes to find them again ; Kaz tells her it's no use and she'll survive better if she gives up. He believes Alina is a fake, while Inej wants to believe that myths can come true and there is hope for good things in the world. Kaz comes to accept that Alina is the real deal and, out of respect for Inej's faith, to stop pursuing her. I loved the bit about Inej struggling to kill as well - it's the dilemma of what her survival and that of the people she really cares about are worth in such a shitty world - her compassion is a good part of her but so is her survival instinct, and that's the part Kaz represents - that even after she's been through hell, broken in unfathomable ways, even if she gave up all hope and faith in the world, even she becomes dangerous and ruthless to survive, she will still deserve dignity, and to be treated better. And meanwhile she is willing to break her principles, which she holds so dearly, to save him, when he's never had anyone who cared for him like that - enough to keep him alive. That bit in the church !!!!! God !!!!!! Bye !!!!!!! And then him basically calling her his own version of a Saint, that he doesn't believe in miracles but he does believe in her !!! It's very emblematic of their whole arc ; he empowers her to survive in a ruthless world and loves her at her most dangerous ; but he loves her laugh too, he finds her a ship and her parents, he honors her capacity for love and hope even when he can't share it. And she sees that he's capable of doing better, that he's worth caring for. This whole thing kills me honestly and I can't wait to see where they take this next. I'm not mad they're a bit more soft and obvious than in the books, Kaz would just have come across as an an asshole otherwise.

- That said, there are bits of how they introduced their backstories I don't like. I get that making it so Inej was still tied to the Menagerie gave them a very powerful reason to want to kidnap Alina beyond greed so that they wouldn't look like very shitty people. But in the books Inej is terrified by the idea of simply seeing Heleen or the Menagerie and the way they have her interact with her feels weirdly casual and dismissive of her trauma. Also, in the books, the fact that Kaz had to convince Per Haskell to buy Inej's contract through a lot of effort, that he wasn't the one holding that above her head either, made the power dynamics more palatable. I especially disliked the scene where Kaz says he won't free other girls because just Inej is special, it makes him look like he has the power but he's just too much of a callous asshole to do it, and that he just freed Inej because he liked her which is absolutely not what their relationship is about at the start, it's a lot more about seeing Inej's dangerous side behind a facade of powerlessness and relating to her, in a sense, and this scene made it all feel cheap.

- Also, what was that about Inej having a brother ? Not a fan of that either. I'm afraid they're going to make her story all about finding what happened to him, and that's 1) too on the nose similar to Kaz's story and 2) it kind of cheapens her own arc, a female character realizing that what was done to her was wrong, reclaiming her own power and dignity and then making sure it doesn't happen to anybody else, harnessing her personal experience to save strangers, that's so powerful - making it about a family member at first, especially if it's about revenge, it's so much more simplistic and unoriginal and the perspective really annoys me.

- Also not a fan of Per Haskell not being there because he's a very important part of Kaz's evolution, so I hope he shows up eventually - and the way they introduced Pekka Rollins was kind of like...weird and out of place. I just found the Crows' introduction scenes stilted and not as cool as they should have been - well, Jesper and Inej were very cool, but we needed to see Kaz in action first, we needed to see why he's such a menace before we see him flounder later, and I just...I don't know exactly but it didn't work for me. Also this is a very petty thing but I wasn't crazy about the Ketterdam sets, I know this is probably a budget thing but in my head it looked like this incredible mix of Amsterdam and Venice - specific locations in the book directly remind me of parts of Amsterdam I know very well - and instead what we got felt like this very generic London-ish fantasy setting....so boring. Also a lot of scenes that felt to exposition-y. I don't mind that Kaz was a bit softer than in the books, like many people have said some things work in books and don't work on a screen, and you need to make the character's inner dynamics more explicit. But I do agree that, at the same time, he should have been more ruthless towards people outside of his group. Loved that scene where he faces the Inferni though, and how well they illustrated his disability and aversion to touch.

- I don't have that much to say about Nina and Matthias ; I'm still not super sold on the whole 'haha misogyny!' thing and I dislike that so much of Matthias' change of heart relies on the fact that he finds Nina hot. But I did think that the actors had enough chemistry to make their scenes together interesting and cute ; I loved the waffle scene. Even though it's disappointing that they didn't find an actress who was more clearly plus size for Nina, I still think Danielle does a good job bringing her bold, unapologetic energy. I'm really looking forward to seeing the Crows as a whole team.

So yeah, even though the season didn't feel like a perfect, coherent whole, it was just a lot of fun and I really hope they get renewed. In particular I feel like tying the first trilogy to the Crows' story could create such interesting parallels in terms of themes, about power, the cost of survival, hope, trauma, etc etc

[luckystarchild]

I was discussing this with my writing group earlier and decided that I wanted to collect some more opinions on this, so what're your thoughts on reviews that start out with "I don't really like oc-driven/centric stories, but―" or reviews worded to a similar effect/to the same tune? Personally I just don't find them to be as much of a compliment as the reviewer thinks it is, and wish people wouldn't preface a review with such info.

Soooooo there’s a lot to unpack here. I’ll do it in stages. Sorry if this is more than you wanted... I take asks too seriously sometimes. XD

Why do these types of reviews feel insulting?

The reason these kinds of reviews might not feel so great to the recipient is because they pair a compliment with a qualifier. And combining a compliment with a qualifier is how you structure a backhanded compliment.

Example of pairing a compliment with a qualifier, AKA a backhanded compliment: “Your old haircut was terrible, but your new one is much better.”

The “but” is key here. The compliment-giver said something nice about your appearance, yes, but now you’re walking around feeling badly about the last ten years of your old hairstyle, wondering if everyone who looked at you while you had that old haircut was calling you ugly behind your back.

When someone says, “Normally I hate stories like yours, BUT...” they’re using the structure of a backhanded compliment to pay you a (hopefully legit) compliment. They’re calling you an exception. You’re writing something that’s normally terrible, but you managed to squeak by with something acceptable (against all odds).

Even though you’re an exception, you’re left wondering if other people hate your story because of its sheer concept just like the reviewer initially did. And because they used the structure of a backhanded compliment to express their feelings, you’re left feeling like you did indeed receive a backhanded compliment, even if that wasn’t the reviewer’s intention.

After all, the recipient of a review can’t read a reviewer’s tone. All they can see is how the review was structured, and when the reviewer used the structure of a backhanded compliment, that’s what the recipient feels like they were given.

By pairing the positive with a negative, the reviewer has potentially cancelled out the good, leaving the recipient to focus on the bad. And since humans are hardwired for negative bias, it’s no wonder many people come away from a compliment + qualifier feeling like they’ve been insulted instead of complimented. They can’t help but focus on the bad more than the good, the insult more than the compliment.

What are reviewers REALLY trying to say?

Next we should discuss what reviewers are actually trying to say when they leave reviews of this kind. There are two possible scenarios to consider.

Possibility #1: They’re legitimately trying to pay you a compliment, but they aren’t thinking about how you’ll receive it or what they might be inadvertently implying by using the structure of a backhanded compliment. They actually, truly believe that you would want to know that you are an exception to their reading rules, and that this fact is a high honor. You’ve done something so well, they don’t even care what genre your story is! Your work is great, and the fact that they’d normally hate it due to its genre is AMAZING. You’ve changed their minds about a genre! You defied expectations! They were determined to not like your story, but it’s too good! You broke through their preconceived notions of what they like and MADE THEM LIKE SOMETHING with your writing skill. It’s not a feat all stories can achieve, so the reviewer thinks you should wear that as a badge of honor.

Possibility #2: They’re actually paying you a backhanded compliment and are hoping you’ll get upset. They want you to know they liked your work... but they secretly still think it’s silly, or stupid, or cringe. I won’t elaborate on this opinion because I think we’ll all fill in the blanks with our own worst fears, so there’s no need for me to do the heavy lifting when it comes to this kind of horror.

Which of these things do reviewers actually intend? I can’t say. This is obviously up to the receiver of a particular review to decide. I personally remind myself of Hanlon’s Razor whenever possible: “In misunderstandings, never assume malice where thoughtlessness will do.” It doesn’t necessarily amend the hurt I might feel, depending on how the review is worded and how severe the backhanded compliment structure is... but it does help me make peace with it.

What’s my personal opinion on the matter?

I’m of two minds.

Mind the First: It’s awesome to convert someone to a genre of story they previously hated. OC fics get a (frankly undeserved) bad rap, so I understand that an inevitable portion of readers will come into OC stories predisposed to disliking them. Knowing someone clicked on my story thinking they’d hate it, only to come to love it, is pretty great. It’s like you’ve given other OC fics a chance by being a good representative of that fanfic genre.

Mind the Second: In general, using the structure of a backhanded compliment to pay someone a genuine compliment is confusing and can be an example of poor communication if it’s not worded with enough clarity. Additionally, “I thought I’d hate your story” might be true for a reader, but it probably isn’t a necessary thing to tell an author. Just because you CAN say something doesn’t mean you SHOULD.

Personal Anecdote: A reviewer once told me of my main work, Lucky Child: “I clicked on this story to laugh at it and mock the concept, because it’s sooooo cringey, buuuut... it’s actually pretty great and I grudgingly respect the work you’ve done on it.”

The rest of the review was lovely and very complimentary, but knowing they came to my story intending to make fun of it, being told I wrote for a cringe concept, that they only “grudgingly” respected me... wasn’t the best. Largely because I am secretly afraid that people feel that way, so their review was confirming something I secretly dread. “How many other people are think my concept is cringey?” I found myself worrying. And the word “grudging” made me feel like they resented me for converting them to OC stories, which made me feel... not the best.

I genuinely believe they were trying to be nice and pay me a compliment NOW, but I will admit that I was somewhat unsettled by the comment when it first came in. There were better ways they could have communicated with me, for sure. Again, Hanlon’s Razor came in handy in this instance, and now I look at that review (and reviews like it) positively. But it did take me a while to put aside the negative implications. It helps that Lucky Child gets a comment like this every few weeks, LOL. At some point I’ve gotten used to them. Now I wear them as badges of honor and love receiving them. AGAIN, THOUGH: I’ve had practice. Authors less used to that kind of comment would likely respond the way I did at the beginning.

In conclusion?

In the end, I think using the structure of a backhanded compliment is confusing as heck when what a reviewer INTENDS to do is pay a genuine compliment.

So to reviewers who want to leave remarks like these? I’d say try to structure your comment in a clear way, avoid structuring a compliment like an insult, and be sure you’re not leaving room for miscommunication. Writers are notoriously sensitive creatures (myself included), and their command of language means they’ll read VERY DEEPLY into things if you’re at all ambiguous. Clarity, in all things, is key.

Honestly? Times like these are why I wish we taught more rhetoric in schools. The MANNER in which you communicate a thought can completely negate the CONTENT of your thought if you don’t use the right rhetorical device to communicate it, and using the rhetoric of insults to convey compliments is bad use of language. Mind your rhetorical devices, people! They’re important, especially if you consider yourself a writer.

To writers who receive these comments? I’d say to write down a version of Hanlon’s Razor and to repeat it to yourself often: “In misunderstandings, never assume malice where thoughtlessness will do.” I’m not saying all reviewers who leave this kind of comment are thoughtless, of course. But I AM saying that most of the time during misunderstandings (especially ones that take place on the internet, where you can’t read tone, body language and facial expression), people just don’t realize that their words can be misconstrued for anything other than what they intended. Most of the time, they have the best intentions. But since outcome is more important than intention, that can be cold comfort for those on the receiving end of a badly communicated review.

TL;DR for Reviewers: Don’t leave comments like these if you don’t want to be misunderstood.

TL;DR for Writers: Don’t take comments like these personally, because most reviewers don’t mean them maliciously.

I hope this helps, OP. Sorry if it’s too much!!

[aimeelouart]

Listen. LISTEN. When I say I’m stressed I mean I am s t r e s s e d. And stressed means I write painful things. So here you go and I refuse to apologize.

From @im-totally-not-an-alien ‘s prompts #45

7) Cloud winds up in the home of happy Sefikura and is drawn in by the sound of a crying baby.

He can't help but coo and care for them, saddened that these are the children he will never get to have, but greatful he got the chance to meet them anyway. He finished changing a diaper when this worlds Sephiroth quietly complemented his diaper skills from the doorway.

Baby Mine — 1474 words, Sephiroth/Cloud Strife, ambiguous angst

The painful staticky buzzing faded away and Cloud sucked in a much-needed gasp of air, working through a quick breathing exercise to quell the nausea that always accompanied his transition between dimensions. “Mmmfh,” he grunted, forcing his sticky-tired eyelids up. He would have to risk sleep again soon.

No immediate danger. No sounds of battle. Just the quiet rush of air from a nearby vent and the soft coos of a baby. Blinking away the haze of his exhaustion, he spotted the baby in question in an elegant white bassinet swathed in soft purple blankets. Even as he listened, the coos turned to whimpers, then to the whining hiccups that he knew from experience preceded a wailing fit.

Cloud was too tired to really think, so he just acted, padding across the soft white carpet to the bassinet. Baby-fine silver hair and teary, unmistakable blue eyes greeted him. “Oh,” he said softly, his voice suffused with wonder. Under other circumstances he would have been (had been) alarmed and disgusted, but there were no mako tanks and sterile cages here—just a soft, lovingly-constructed nursery done up in white and gray and purple.

“Hello there, sweetheart,” he said. “I bet I know what the problem is, huh?” With his enhanced sense of smell, he could easily tell that the baby needed a change. He didn’t think he was too far off about the baby’s parentage either, considering the way they quieted down at the sight of him.

He knew, somewhere in the fog of his physical and mental weariness, that he really shouldn’t touch someone else’s baby, even if that someone was a version of himself. But then he looked at the soft slope of the baby’s nose and saw his Ma, and...he couldn’t leave the baby to cry, not when he was perfectly capable of solving the problem himself.

He’d be gone in a few minutes anyway. The others might not even notice he’d been there.

“I wonder if you’ll get to meet Gramma Claudia,” he whispered, lifting the whimpering infant from the bassinet with steady, experienced hands. “She would love you. You’ve got her nose, did you know that?” The changing table was nearby, set up in a way he found inherently logical. It took barely any thought to go through the motions of changing a diaper. Along the way, he discovered that his counterpart had a daughter.

He didn’t (couldn’t) stop talking to her the whole time. “My goodness, it looks like the version of your daddy that I knew really missed out, huh? I bet you’re gonna grow up and be just as strong as him. You’ve got his hair already, little lady. I hope you grow up to be a rebel and cut it short. Though, hmm, maybe not, if you inherited my hair. You’d look like a little dandelion.” He smiled, tickling her chubby belly once he’d fastened the clean diaper shut. “A pretty little dandelion, but I’m going to guess that you won’t like that comparison so much when you’re older.”

She cooed at him, waving her arms happily. It didn’t take any thought at all to scoop her back up and cradle her against his chest. For a second, his eyes burned. He wished he could go home.

“Thank you,” said a familiar voice. “You are quite good at that.”

He reacted without thinking, dropping into a high crouch and holding the baby safely to his chest, turning to angle his shoulder toward the voice so he’d be ready to take any blows on his back while curled over the fragile little life in his arms.

Protect, his instincts screamed.

But then his eyes landed on the silver-haired man leaning against the doorframe in sweatpants and a tank-top and he knew he was being ridiculous. This was the baby’s father, and she was clearly well-loved. He didn’t need to shield her (or protect himself), but the instinct was too deeply ingrained in him to stop, even if this man was so clearly different from most versions Cloud had met.

The other Sephiroth didn’t miss a single thing. His eyes swept quickly up and down, cataloging every nuance in Cloud’s posture before they returned to his face. It was a little startling to see round pupils in mako-green eyes, but that alone was enough to relax the tense line of Cloud’s shoulders. He lowered his hand from where it had gone to grab his sword and thought it a little concerning that he couldn’t remember shifting the baby to one arm.

Gaia, he really needed to sleep.

Sephiroth’s eyes were strangely sad. Cloud couldn’t understand why he was so calm, much less sad. A stranger was holding his daughter. Why wasn’t he hostile? Why had his first reaction been to complement Cloud’s diaper-changing skills? Absurd. The man was clearly still a warrior. He should have known better.

As if he could hear Cloud’s thoughts (he couldn’t; Cloud checked), Sephiroth said, “it’s alright, Cloud. I think Claudia would know you no matter what form you took.”

In a split second, Cloud’s throat closed and his eyes burned and even as he wondered why are you taking this so well, he also thought Claudia, and his heart broke a little in his chest. “Well,” he said, coughing when his voice came out in a strangled rasp. “Well. I…” He didn’t know what to say to that. He didn’t know what he could say to that. “Don’t...worry. I’ll be gone in a minute. I just…”

“It’s alright,” Sephiroth repeated, though something uncomfortably like grief flashed through his expression. “She’s happy, so I’m happy.”

Cloud glanced down. Claudia was drifting off in his arm, tiny eyelids staggering up and down as she listened to the steady beat of his heart. Well. Fair enough, he supposed.

Sephiroth’s voice turned hesitant. “Did you...was she…?”

“No,” Cloud rasped, unable to look away from the daughter that wasn’t his. Or, perhaps, unable to look at her father. “No...it...didn’t take much to guess.” He laughed, quiet and unsteady and so, so tired. “Or maybe I would just recognize her in any form she took.”

Familiar tingling had started in his toes, slowly creeping up his legs. He was running out of time. He moved back to the bassinet and carefully put little Claudia back down, tucking the soft lavender blankets in around her. She drifted off to sleep as he gave in for just a moment and brushed his fingers across her rosy cheek.

“I’ll be gone in a minute, don’t worry,” he murmured, then turned and was startled by how close Sphiroth suddenly was. It took everything he had not to stumble back into the bassinet.

“Thank you,” the other man said. He reached out, pausing for a second when Cloud flinched, and carefully tucked his hair behind his ear. “Is there anything I can do to help?”

Cloud looked away, breath frozen in his chest. The tingling had spread up to the base of his spine. He had a few seconds left before the burning started. “No,” he managed to say, swallowing past the painful lump in his throat. “No, there’s...nothing anyone can do.”

He probably would have reacted very badly to the arms that came around him, had he not seen them coming. He didn’t understand it, he did anticipate it. Humans were such strange creatures, and this Sephiroth was unquestionably human, if also stupid enough to hug a cross-dimensional visitor with unknowable intentions.

“I’m sorry,” Sephiroth whispered into his hair. “I wish I could help.”

Cloud shook his head into the man’s collarbone, holding the rest of his body absolutely still as the customary burning sensation began to sear through his veins. “You don’t owe me anything.”

“I do. I do. I love you in all your forms, Cloud Strife, with everything I am. No matter where you came from, it hurts me to see you suffer.”

He should have stayed quiet, but his cynicism slipped through with the pain. “Stupid of you,” he said.

Incredibly, Sephiroth laughed, sliding one hand up to cradle the base of Cloud’s skull. “Perhaps. But I believe I shall do it anyway.” Lips pressed chastely against his temple, which was so utterly baffling that Cloud couldn’t figure out what to feel about it. “You are the strongest person I have ever met, Cloud. Whatever this is, I know you will best it.”

Misplaced trust, thought Cloud, but he couldn’t have said the words aloud even if he’d wanted to. Black, burning pain licked up through his throat and into his head. The last thing he felt before he faded into the spaces between universes was Sephiroth’s forehead pressed to his.

Hopefully the next world would make a little more sense, but he would settle for it being a safer type of painful.

[inspired-by-the-music]

For You: Stand By Me

Taglist: @jineunwootrash​

If you would like to be added to the taglist of any of this blog’s works, please ask!

Recommended Reading: For You: 4 O’Clock; these works have separate, independent, but deeply interwoven timelines.

Chapter 8: The Closet Confrontation

Lucas’s POV

I was minding my own business. While I was walking to dance practice in the S.M. building, somebody yanked me into a utility closet. Maybe yank is too strong of a word. Anyway, even though the touch wasn’t exactly rough, I yelped. My heart hammered against my ribcage, and it didn’t calm immediately after I was released.

My fear didn’t fade even when my abductor flipped on the overhead light to reveal his identity. For a split second, I thought my eyes were tricking me or something because I had never seen any member of EXO up close. None of them had talked to me before. Even after blinking over and over again, after my eyes adjusted to the light, Sehun stayed in front of me.

Sehun wasn’t much taller than me, but almost anyone (including me) would have shrunk under his gaze just because of his height. Panic melted into confusion the longer he looked at me.

What did he want? Why was he scowling down at me, sharp eyebrows arched and drawn together, when we had never even met? These weren’t the kinds of questions anyone should ask when faced with the kind of glare he offered me. Even I knew that. So I bit down on my tongue and waited for him to speak first.

“What are your intentions with Lei?” His voice was low, almost a casual sort of whisper. The only hint that he was upset about something was the dark glint in his eyes. His eyes were dark. The only person with darker brown (almost black) eyes was Lei.

Lei’s name, when it fell out of Sehun’s mouth and popped up in my thoughts, made me smile. Something warm spread through my chest as I bragged, “She’s the coolest girl I know!” Even Sehun’s pointed stare couldn’t kill that warmth no matter how hard it tried.

“Is that it?” Sehun raised a single eyebrow. He didn’t look convinced, and I couldn’t understand.

Nobody has ever believed that Lei and I are just friends. Maybe we aren’t. Maybe we never were.

Don’t get crazy! We weren’t in love. It’s just— from the moment we met, we were family. From the moment we met, we were inseparable. Not even her fear of scandal kept us apart because it was clear from day one, from the second we found each other by the vending machine, that we were meant to be friends.

Our relationship was always special. And it never occurred to me that it could have been romantic until Sehun dragged me into that closet, crossed his arms over his chest, cut his eyes at me, and accused me of feeling more.

My mind went blank. No, not blank. Just overwhelmed with reimaginations of Lei— my best friend— that I shook out of my head. My feelings weren’t like that. I mean, they could have been. They were always ambiguous. A heartbeat away from being something that would make Lei run. But I didn’t want Lei to run from me. That was always the most important thing to me; being someone she could count on.

If I liked Lei the way Sehun assumed or feared, he wouldn’t have had to point it out to me in that cold, cramped closet. And even if I had the tiniest crush on Lei, it wouldn’t have compared to whatever emotion set the fire ablaze in Sehun’s eyes.

“Hey.” Sehun snapped his fingers in my face. “Are you going to answer?”

The snapping annoyed me, but Sehun didn’t bother me as much as I clearly bothered him without trying. I wasn’t really a confrontational person, and I definitely wasn’t dumb enough to challenge an official idol as a trainee. There was no option but to answer his questions even though he was determined to doubt me.

Wondering when, where, and why Sehun got so attached to Lei— deciding that he wouldn’t tell me even if I asked— I nodded. “Yeah. She’s my best friend.” I squirmed, remembering his original question. “My intentions with Lei? I don’t have any, I guess—”

It’s like I told you. We became friends so quickly, and I was never really one to map out the future anyway. Still, I had to answer Sehun somehow.

“ — I guess I just want to stay with her for a while. Forever, probably.”

A line formed between Sehun’s eyebrows. “Forever?” He repeated the word like never heard it before.

“Forever,” I said again. Sehun kept looking at me like he wanted me to say something else, so I offered, “If you want, I can ask her if she likes you.” His eyes blew wide, and I almost laughed at having struck the nail on the head.

He grumbled, “That won’t be necessary,” but I could see the pink coloring his cheeks even in the dim lighting, and nothing he said would convince me that he didn’t like her.

“Seriously, it’s not a problem,” I promised. “I’ll just ask her when I go over to her house for our sleepover tonight, and—”

“Sleepover?” He wheezed. All color, even the blush, drained from his face. I nodded, and he shook his head, frowning. “I don’t believe you. I taught Lei better than to have sleepovers. She doesn’t get close to boys like that.”

That was true in most cases, but I was something like a special exception because I would never take the first step in blurring the lines between friendship and— well, I don’t like saying ‘something more’ because I’ve never thought that romantic junk was any better than friendship. I’ve never thought that holding hands or kissing was the ‘next step.’ All I mean is that Lei let me into her world because I never expected to do anything but laugh and watch cartoons.

While reaching for the door, I told Sehun, “She’s close to me.”

There was a tiny change in his expression— like the fire in his eyes flickered— and I knew I said the wrong thing. I couldn’t have taken it back even if I wanted to. One thing was plain to me from the beginning: Sehun didn’t want Lei to be close to me; he wanted her to be close to him. But there was nothing I could do about that.

After that, Sehun glared at me for years. It was obvious that he didn’t like me, but he never said so. I guess he was too polite for that sort of thing. All he said was, “You can go.”

Feeling lucky that he hadn’t yelled at me or punched me in the face— forgetting that I hadn’t actually done anything to bother him in the first place— I hauled ass before Sehun could change his mind. The instructor and other trainees glared at me for being late, but I didn’t really care because it was suddenly obvious why I was Lei’s only close friend. It was obvious why I was the only guy Lei didn’t hide her face from.

Somehow, Sehun taught her to be that way. Guarded. Mistrustful. Lonely. And I wasn’t sure how to forgive him for building the walls that applied to everyone but me— even to good people. I wasn’t sure how to forgive him for causing the wounds that I tried to bandage with laughter. I wasn’t sure if I could.

(Sehun/Donghae texts)

Although Sehun told me not to ask, I had to know if Lei liked him for my own edification. I wasn’t going to try to talk her out of liking him or anything just because I didn’t really like him after the Closet Confrontation as I like to call it.

Because Lei tended to be sensitive about these kinds of things, I approached the topic slowly just in case they had some kind of bad blood. In the months of being her best friend, I had never seen her talk to Sehun, and something in my gut warned me that there had been some kind of falling out.

So I waited until we were alone in an orange tent in the backyard of her house (which was practically mine too) with our plates piled high with s’mores and other snacks provided by her Mom (which was also practically mine too). “So what’s the deal with you and angry brows?”

She raised an eyebrow at me. A corner of her mouth raised slightly. In the beginning, that was the closest she would get to a smile. “Angry brows?” she repeated through a mouthful of melted chocolate and marshmallow.

When our friendship started, I had to talk her into eating junk food, but that night she ate without my urging. I smiled at her progress. “Yeah. Angry brows. You know, Sehun. From EXO.”

“Oh.” Her face turned bright red, and I didn’t have to wonder whether his name was the cause of her blush. Nothing had ever been clearer. Her heart probably fluttered or thundered as she drew her knees up to her chest. “I’ve known Sehun for, like—” she counted out the years on two hands— “seven years.”

“Wow.” I whistled. “That’s a long time.” She nodded. “So he’s, like, your guardian or something!”

“Yeah, he’s something like that.” She pressed her chin atop her polka-dotted pajama pants. “Why do you ask?”

I was almost reluctant to say anything that might threaten an old relationship. Quickly, I explained, “He pulled me into a closet at the agency building today and asked me what my intentions are with you.” Instantly, she frowned, and I rushed to defend Sehun. “I think he was worried that I’m gonna hurt you or something.”

“Well, you’re not,” she said flatly. I would have been happy that she trusted me so much if she had cracked the smallest smile. She dropped a half-eaten s’more onto her plate and combed the braid out of her hair with sticky fingers. “I don’t see how my relationships are any of his business anyway.”

“If you ask me—” I stuffed a s’more into my mouth— “he thinks it’s his business because he likes you.”

Lei choked. “You’re crazy, Lucas!”

“That’s what you always say!” I couldn’t help but laugh at her wide-eyed red-faced expression once she caught her breath because it was an exact copy of the face Sehun made in the closet.

“Do you ever think that I’m right about these kinds of things? I have a better understanding of the male mind, you know.”

“No.” She shook her head. “I don’t think you’re right. I think you’re crazy.”

I playfully argued, stealing the half-s’more from her plate, “Well, maybe I can be crazy and right when I say that Sehun definitely has a thing for you.”

She said, “That’s not funny, Lucas.”

And I swore, “I’m not joking or anything!”

But she wouldn’t believe me. She seemed to be chewing through her cheek when she said, “Sehun has always been too old to like me back. He’ll always be too old for me.”

I didn’t respond immediately. I gave her the chance to reclaim her secrets. But even after moments passed in silence, she didn’t try to deny liking Sehun. Then, when she forced an uncooked marshmallow into her cheek, I realized that it wasn’t a secret. She wasn’t embarrassed. She accepted her feelings and the belief that they would never be returned before we ever met.

Something about that made me sad even though she wasn’t quite frowning. I tried to tell her, “He won’t always be too old.”

“I’m sixteen, and he’s twenty-one,” she said matter-of-factly.

“So what?” I shrugged. “Maybe it’s a big gap right now, but someday, five years will be nothing, and—”

“It doesn’t matter.” She spoke so casually that I almost believed her. I would have believed her if she said it while looking me in the eyes, but her gaze was fixed on the patterns she was tracing on the blanket lining the floor of the tent. “I don’t like him so he’ll like me back. I’m not holding my breath or anything, so—”

She would have told me then and there that she didn’t just like Sehun like any sixteen-year-old might like an older guy. She loved him. We would have stayed up all night recounting all of their memories— the good and the bad ones— had Donghae not poked his head into the tent.

“So you are having a sleepover!” He frowned at us, and I almost felt like I did something wrong.

Mom was nowhere to be seen, but I heard her scold, “Leave my kids alone, Donghae! They’re innocent, and—”

Donghae tore his eyes away from us to stare at Mom as he argued, “A boy is a boy, Manager! We don’t know what his intentions are! He shouldn’t stay here!”

Donghae’s sudden appearance was no longer a mystery to me. Sehun sent him to lecture me because I mentioned the sleepover earlier. He distrusted me so much— or he was so jealous of my friendship with Lei— that he tattled to a member of Super Junior who was practically Lei’s dad. I wasn’t that shocked. I just figured, considering the Closet Confrontation, that Sehun would’ve wanted to confront us himself.

Anyway, the lectures about ‘my intentions’ wouldn’t have been so bad if I had actually been up to no good. They wouldn’t have been so bad if I was really interested in becoming Lei’s boyfriend or something.

After seeing the humiliated look on Lei’s face, I decided to just go back to my dorm. I was standing in the tent when Mom barked, “Lucas is staying, Donghae!” I sat back down. I only needed Mom’s permission to stay. “If you want to chaperone, feel free to set up the other tent.”

Nobody was surprised that Donghae actually went to the trouble to set up the other tent, but I was kind of shocked when he asked Mom if she would chaperone with him. It was an obvious attempt at flirting, but Mom shook her head. She was either uninterested or oblivious enough to respond, “My drama is getting good.”

And I realized that while Donghae might have been genuinely concerned about Lei, he had mostly come to see Mom when he followed her back into the house to watch the drama with her. I didn’t really blame him. Mom was hot.

Anyway, Donghae was in and out of the house, so Lei eagerly dropped the conversation about Sehun. I didn’t try to pick it back up. I didn’t need to. I learned what I wanted to know: whatever feeling Sehun had for her that escaped from his eyes as a glare pointed at me— Lei spilled it on every word she said about him every day until the first Christmas Incident.

Over time, Lei told me how they met by the vending machine, how he made her tenth birthday golden, how he helped her walk through the dark to find Mom after Heechul lost her at the drive-in and how he even stayed to watch Beauty and the Beast with her, how he helped her through trainee days with words of encouragement, how he bought her cotton candy on a trip to Puroland and promised to look out for her always, how he (and Donghae) bought the charm bracelet that I saw on her wrist every day of our friendship to celebrate her debut, how she forced herself out of the habit of following him “like a moth drawn to a flame” after he scolded her at a concert.

And then I understood why he was so protective— possessive, even. I understood that I was wrong to say that Sehun liked her once it was obvious— it was unmistakable— that he loved her. Maybe after knowing somebody that long, you can’t help but love them.

I can’t really tell the difference between, like, ‘brotherly love,’ or ‘friendly love,’ or ‘romantic love,’ and all that. I’ve always thought that love is just love. Wanting what’s best for someone. Some people just express it differently— by holding hands, or kissing, or staying up all night counting the stars, or sharing bouquets of flowers, or watching cartoons first thing in the morning, or laughing until sides split, or hoping for happiness from afar, or wishing to turn back time. Some people try so hard to fit their feelings into boxes, and I wish they wouldn’t. I wish they would understand that it’s impossible. It will only hurt them.

I guess it was easy for me to see that Sehun loved Lei too— probably just as much as she loved him if feelings can be measured like that— because I was an outsider. It always made me sad that Lei couldn’t understand his feelings because, as much as she denied it, she wanted him to love her too. And he did. He just didn’t express it in a way she understood.

I probably couldn’t have helped her to understand even if I tried, but I guess I’ll never know. I never tried to explain Sehun’s feelings because— well— they were his feelings. I didn’t have the words. And it wasn’t my place to speak for him. It was my place to tell Lei, “I think that you should follow him if that would make you happy.”

“That wouldn’t make me happy anymore,” she said, and I thought she was going to cry. “I’m afraid that won’t make me happy ever again.”

So I slung an arm around her shoulders and hugged her because I really, really didn’t want her to cry. “Then wait for him to follow you, Lei.”

She laughed an unamused, airy sort of laugh because she didn’t believe that would ever happen. She didn’t know that the days when Sehun would chase her were just around the corner.

But I did. And it didn’t matter that I wanted somebody less afraid of love for Lei. I wanted those days to start as soon as possible.