#and then they can look over them themselves in lieu of the form

[buried-in-stardust]

.

[audreyscribes]

Ω PJO DEMIGOD HEADCANONS: 🥂HEBE: Goddess of Youth and Forgiveness 🙏

Author's note: Hello everyone! In lieu of posting the major gods demigod headcanons, here is the minor gods version!As usual these headcanons will contain what it's like being claimed and what it's like for the respective god and cabin, followed by a small story between you, the reader, and the respective demigod of that god. Thank you for reading and please like and reblog! [PJO MINOR GODS DEMIGOD HEADCANONS MASTERLIST] Disclaimer: To new fans or strictly TV watchers of the PJO series, future spoilers for the entire PJO series books will be referenced. Read at your own risk.

When you get claimed, things start to make sense. You smell fresh, your skin is bouncier and smoother than usual. A cup appears in your hand, in a form that is familiar to you and it is filled with your favourite comfort drink. You take a sip and it makes you feel right at home and brings you vigour to you. 

Your half-siblings explain that cup is magical and is also your cup-bearer. It never goes empty, at its optimal temperature and freshness, and you can share your drink like a fountain for others to drink at your own will. The catch is it is limited to only one, non-alcoholic drink, which is the same drink that appeared when you got claimed.

They say the drink tells a lot about the individual, however, there have been some questionable drinks such as one child of Hebe who had a goblet that had never ending pickle juice. At some point, they had to get the drink changed by going to Hebe if they could have a different drink because of reasons that led to pickle juice incidents. 

It’s not just a never-ending drink beverage. It’s actually a pretty effective weapon. You see its potential use when you had the insane idea to create a flood and took a shot when you saw a horde of monsters. Like turning on the hose all the way, the drink shot out of the chalice like a firefighter’s hose, the strength of it pushing you backwards from the force of it, all the while a flood of your drink flooded away the monsters. Percy Jackson came forwards and was confused yet laughing his stomach off when he came over because of-said flood. 

Being a child of Hebe makes sense when you look at yourself. There’s a sense of youthfulness to you. You’re either baby-faced and/or have been mistaken regularly for a younger age. It may be convenient at times while also being very annoying to deal with, but at least the slight annoyance is smoothed over the fact that you are a child of Hebe, and from what you hear about your godly parent, it just makes sense.

To a certain degree, some children of Hebe can magically turn themselves to look younger than their actual age, but they can’t look older than they actually are. However, don’t do this too much because there’s a chance you might not be able to reverse it in a timely manner. Don’t worry, according to Hebe, the max limit you’ll be able to turn young is at 8 years old. Anyways, enjoy getting those sweet children prices and discounts! 

Though you also have a ‘childish’ trait that is just a part of you; either something like baby fat, soft baby-like hair, a childish voice- once you’re claimed though, you learn how to control it on command. You have no idea how useful it is as a tactic to deceive your foes by using a child’s like voice to drop down their guard to only attack them right after. 

Being a child of Hebe also means children are naturally drawn to you. If you’re not a big fan of children, don’t worry about it. There’s some sort of effect that makes the children around you be very well-mannered. 

You can also make people look more youthful; for a more powerful child of Hebe, they can make others look actually young. You can make a good business in giving people good skincare, which is revolving clients from the Aphrodite cabin . Or make great bucks from the Hermes cabin alone to make the campers look young and open a whole lot of more pranks. 

In all seriousness, the children of Hebe are probably let out on more minor quests by Chiron with the Satyrs looking for young demigods. If you don’t like being in school, I get it but you have an important task of seeking any potentially endangered demigods and protecting them from monsters that threaten them.

There’s a strange thing among the children of Hebe that isn’t even conscious. You know how sometimes parents will keep a memento of their child when they were little? Like the locks of their hair when they were a baby or your baby teeth? Well, all children of Hebe still have it and have them on them. Like the children of Tyche, it acts as their lucky item or in this case, their totem, amulet or what have you. You have heard many stories of how your fellow half-siblings have to protect your lock of baby hair from others to preserve their youthfulness to actually fighting off the tooth fairies. Apparently, children of Hebe baby teeth are very prized among the tooth fairies-

Hebe sends you guys arcade games or just ordinary games, regularly for you all to play, as she manages an arcade called “Hebe Jeebies”. It’s a blast to the past and you’ll find yourself transported back to your childhood. 

Speaking of childhood, children of Hebe are masters of childhood joy and nostalgia. This ranges from being able to name and make toys from anyone’s childhood to saying nostalgic memes, references, and such. You are abhorred when younger demigods don’t know “What is Love” by Haddaway. Good thing you know Rick Astley will Never Gonna Give You Up. 

With Hebe also being worshipped closely with her mother, Hera, you and your siblings manage Hera’s cabin-temple as proxy. If anyone is going to survive Hera’s wrath or one of her bad days, it’s the children of Hebe. Your cabin is treated like a hero because of this. 

If you’re a fan of chicken, well good news for you! Well, if you like the animal chicken and not actually eating chicken as a meat. Hebe’s sacred animal is the chicken so it’s not unusual to have a chicken coop. 

Not many people know that Hebe is also considered the goddess of Forgiveness. Like Aphrodite and charmspeak, you can talk to people to forgive themselves, and in others as well. You don’t tell them that they have to forgive and forget, that they’re allowed to remember but forgive, but at some point the burden will become too much and you can let go. 

When you get claimed, you feel slightly rejuvenated and giddy that you haven’t felt in a very long time. You almost felt like a super young again, before you were still unaware of the world of the gods. You weren’t sure if it was just the fact that you got claimed or it was Hebe’s blessing. Your skin definitely felt tighter, plump, and soft like a baby. As you were inspecting your arm and how smooth it was, you also caught the whiff of something like warm milk and baby powder?

You saw something shimmer in the sky and you squinted. The light seemed to blend a bit before it took a form. You saw what looked like to be a chalice before it floated down into your hands. As soon you grasped it, it became heavier. You inspected its outside appearance before you could hear something like liquid? You raised the chalice up a bit to peer the interior and then out of nowhere, liquid began to spill out of it. You let out a gasp and sputtered, pulling back the chalice as it filled with the mysterious liquid. 

Upon instinct, your tongue darted out to lick off what was on your lips before you wiped off what you could with your arm. Then the taste finally hits you. 

You blinked in confusion, smacking your tongue against the root of your mouth to gather the taste again before realisation hit you. You looked at the chalice, the liquid seemingly familiar to you before you tentatively brought the rim to your lips. You tipped the chalice just so and took a careful sip. The liquid poured out of the chalice and it flowed in a familiar way to you before and you gasped in glee at the taste. 

It was your favourite drink of your favourite flavour. It was the right consistency, the right temperature, and its peak state that you liked so much. You looked at the chalice in awe. Inspecting it and wondered how you even had it, and it’s appearance before you heard shouts. 

You looked up and saw a large boy with dark skin with remarkable features. You looked at him in awe and you faintly noted the Brazilian flag around his person. He greeted you with a bright white smile as he waved, before he began to speak happily. 

“Ola! meu nome é Paolo! filho de Hebe e seu novo irmão. Prazer em conhecê-lo!” he introduced himself. 

You understood what he was saying completely fine and waved, introducing yourself in your own native language. Paolo’s eyes lit up as he understood you fine as well, before he began to talk to you eagerly. You wondered if the children of Hebe all spoke different languages, they still understood each other properly. If this was true, you wondered if it had to do something with the language of Youth, how babies seemingly talked and understood each other, even if they had differences, yet seemed to share a deep innate language with each other.  

“Come, come, let me show you around!”  said Paolo, gesturing to you to follow. He happily helped you grab your stuff from the Hermes cabin and led you to your new cabin. 

When you entered it and felt a strong wave of nostalgia hit you, even though this was your first time in this cabin. There was just something about it that seemed familiar to you however. Even the bed you were given reminded you of your childhood bed, if not its appearance but how it felt. The entire cabin had bits of nostalgia as you saw stuff from your own childhood, as if the cabin had catered areas of pieces of your time existing. 

As Paolo introduced you to the cabin and showed you around, you both shared your own drinks from your own chalices, Paolo introduced you to a soft drink called Guarana, while you let him taste your personalised drink from your own chalice. He showed you his chalice in the form of a different vessel and showed you how to change your own chalice shape into your preferred form; whether it could be a regular mug, a tiny teacup, a kiddie cup, or whatever you so desired with any appearance and design on it.  

The two of you continued to share drinks and talk, letting you get to know more about each other; comparing your own childhoods with each other, your cultures, and the similarities and differences between you. 

a/n: Sorry to the Brazilians and Portguese speakers for the use of google translate. I've tried to remember of what I've heard before and reviewing the Brazilians speaking to get a sense of casual speaking when I was watching the QSMP but hope it's bearable. Please forgive me 🙏 if someone gives me a better way of saying it, send me an ask, I'll replace it with that

[slavicviking]

In the fall of 1983, Nancy Wheeler rejects Steve Harrington, thus sparing him from the terrifying world of the Upside Down. Until Summer of 1985, that is, when what was supposed to be mind-numbingly boring two months of slinging ice cream promptly turns into a task of decoding a secret Russian message with his two closest friends and a strange kid that never shuts up. Or, an alternative universe in which Steve Harrington gets to live his normal life for an additional year and a half, grow as a person, make new friends and fall in love along the way.

Project 212 for @steddiebang ❤️

author: @slavicviking

artist: @hullomoon

betas: @humangerbil, @lemoneight

↓ Read the snippet from the first chapter below ↓

Something strange is happening in the Royal Court of Hawkins High.

It’s in the air, Eddie can smell it walking down the cramped hallways,can feel the tension weighing down on the flakey paint scrubbed down the walls, pulling all the way down into the concrete floor below. Something is off, Eddie detects it in the fervid anticipation setting electric jolts at his fingertips. It tends to bring anything but good news for folks like him. Eddie is still curious.

The jocks seem even more intent on hating themselves and those around them. It’s clear in the way they impressively compensate for what they lack with bull-like posturing, shoulders set straight and rigid, lips molded into a permanent scowl that you can barely see with the way they keep their heads shoved so deep down their own asses. A dense cloud composed solely of varsity jackets sits itself at the usual table in the middle of the cafeteria, something that surprises no one except for the fact that one key element is missing.

Steve Harrington walks into the room a moment later, looking as though he’s seeing it for the first time in his life (maybe, in a way he is, his recent absence there has been noted), and instead of making a beeline towards his loyal subjects, sits himself by the only empty table, just next to Eddie’s DnD club, Hellfire.

Eddie silently raises one eyebrow at the rest of his table. Mutiny? Lover’s quarrel?

Whatever it is, it bounces from Hagan to Harrington and back, though it’s Hagan who seems intent on making his disdain and superiority known more than anyone else. 

Eddie wants to laugh. For the sake of keeping his face arranged the way God intended, he does not.

“Word on the street’s that Harrington got kicked out of the basketball team,” Jeff unsubtly whispers in lieu of an explanation, hand cupped around his mouth loosely.

Huh, is Eddie’s only thought but, the lunch break goes on and as much as he’d deny it till his last dying breath, his eyes are glued to Harrington’s measly form peeking from between Jeff and Grant. A part of him that he would like to bury deep within himself, that betrays the Munson Doctrine’s complete and total disregard to jocks and their inconsequential drama, feels…a bit bad for Steve Harrington. Eddie would like to forget that thought crossed his mind at all but, alas, the pathetic way in which Harrington’s usually perfectly puffy hair falls lifelessly over dark eyebags does something horrible and unexpected to his squishy insides. He does not like it one bit.

So – what? One popular guy doesn’t get what he wants this one time and Eddie should care…why?

Cry me a river.  

Except, Eddie can’t do that. Maybe because he knows how much it sucks to be suddenly so alienated and excluded from people he thought were his friends. Maybe because he can empathize with Harrington losing something he clearly enjoyed doing. Maybe simply because, at that moment, Steve Harrington doesn’t resemble the King Steve who roamed around Hawkins High for three years, head held too high to notice what his newest pair of sneakers trampled on his way to the top. Eddie looks at him, hunched and defensive, and sees something of himself there, too. Not all good but not all bad either.

Steve Harrington is no freak by any means, don’t get him wrong. He doesn’t belong to the Eddie Munsons of this world but, as things stand right now, he doesn’t fit in with Tommy Hagans either. It’s very strange and it seems that, on the following days, the whole school feels slightly off kilter. Harrington stands out like a sore thumb as much as he clearly wishes to be invisible - and isn’t that a thought to mull over in itself. Eddie can’t look away; maybe because, for the first time in his life, Steve Harrington doesn’t seem so terribly dull and lifeless, and Eddie wants to sink his teeth into him, see what flavor it gives now that he seems to have one. 

Tension builds, more and more, like a rubber band ready to snap.

And it does, of course it does. It had to. Eddie just didn’t expect to be in such close vicinity when it happens.

[brown-little-robin]

Club Recruitment Arc, pt. 2: Miasmas & Such

Kageyama Shigeo, age 16, is not exactly a member of the Salt Township community. He's more like a shadow that passes through town every few days.

Reigen Arataka, greatest miasma expert of the 21st century, keeps his disciple on the move. The pair of them sleep in strangers' houses two days out of three, so the house that officially belongs to the Kageyama brothers is mostly Ritsu's, really.

Ritsu isn't mad at Shigeo for leaving. (He might be a little mad at Reigen Arataka for being the one to take him—but not at Shigeo. Never at Shigeo.) He understands how it is, being busy, having responsibilities. He understands, too, that Shigeo needs distance. He went through a lot, and Ritsu isn't sure how much Shigeo remembers. He's just glad he has his brother sometimes. Ritsu's care is communicated in small gestures—he always greets Shigeo lightly, makes sure he has clean bedding to return to, and offers him the expensive milk he buys just for his brother. Shigeo always smiles back and accepts Ritsu's gestures. But they don't talk much, really. Shigeo is always tired, and he's always behind on schoolwork, of course. When Shigeo is home, he mostly just does a lot of schoolwork, late into the night.

Being gone so long at a time means that Shigeo has to ask his teachers to send homework with him and grade it in large batches. The teachers do it even though it's an extra hassle for them, because, first of all, they feel bad for him—the cure never worked quite right on him, but he's trying his best to serve the community anyway, which is all anyone in Salt asks of a child. And second, his big little brother, Kageyama Ritsu, is quite the important person in the education system now, and everyone knows he's protective of his brother to a possibly literally insane degree. When Kageyama Ritsu hears anyone even mention his brother, his eyes become the eyes of a cornered mother bear. And who can blame him?

Reigen would like to have seen Mob stay in school much longer. He would have liked to see Mob have a normal life, with parents to keep him in school and the same place to sleep every night. But that's not what was in the cards for the kid, and Reigen justifies their lifestyle to himself by reminding himself—reasonably—that Mob is learning a useful trade here. Mob is serving the community. Mob is getting rid of miasma. Reigen might not be able to see miasma clouds, and he might have no idea how Mob sees them, let alone how Mob "gets rid of" them (the kid is always vague about that part), but he mostly trusts that Mob is telling the truth about them. The kid's distress had definitely been real when he came to Reigen's office and asked Reigen how to stop "breathing out clouds". He'd only used the word "miasma" after Reigen had used it first.

Reigen hadn't know that miasma came from zombies' breath before Mob said so. He hadn't even known that miasma was real. But what he did know was that this kid, visibly a recent ex-zombie, was wringing his hands, stumbling over his words, ashamed and exhausted. And he was looking at Reigen with clouded-over eyes like Reigen was the first ray of sunshine he'd seen for a long time.

This is an apprenticeship. Reigen is teaching Mob by example how to live as an adult human. Mob is human, after all; it hardly even counts as lying to let Mob believe Reigen used to be a zombie. After all, Mob is human, and so he can learn to do everything that Reigen can. Everything important, anyway. Reigen despairs of teaching him to schmooze with clients. But Reigen teaches Mob practical skills. How to use that boost to strength he got from being a zombie in productive ways. They clean and maintain water systems, teach people to discourage pests, dig wells, clean homes, and harvest vegetables. Mob makes change when clients pay in money, and Reigen teaches him to invite themselves to stay the night in someone else's house in lieu of other forms of payment.

Ultimately, though, Reigen hopes he's teaching Mob to accept himself and ignore the people who sneer at him for his lingering zombie traits, which are just traits, not good or bad.

Reigen knows what Mob looks like to someone who doesn't know him for his personality, of course. Two years after the cure, at age 16, Kageyama Shigeo still looks like a zombie. He has permanent bags under his eyes. His eyes are an unsettling misty red. He moves a bit like a zombie. And when he speaks, which isn't often, he speaks unsettlingly slowly, deliberately, and quietly. Reigen knows the kid talks that way to enunciate clearly. The sores in his mouth never healed all the way, and he has to talk around them.

Reigen worries about the sores—open wounds!—in this world of infection, that's dangerous!—but there's nothing he can do about them. He gets used to how Mob's breath smells kind of like broccoli, and he even kind of misses it on the days he's not sleeping on a futon next to Mob's. (He always sleeps close to Mob, because he's the adult, and if there's any kind of attack, Reigen is going to protect Mob or die trying. This kid has survived enough.)

(Mob gets much more sleep when he's with Reigen. Being around a trusted adult makes his body relax easier. Reigen has no idea how much he does for Mob's insomnia just by sleeping on the next futon over.)

Over the last two years, Reigen has gotten more and more tired of how some people treat his disciple. Because he makes them uncomfortable, they treat Mob like an insect. They think they can get away with it because Mob is gentle and slow, which is where Reigen swoops in, making a huge show of announcing that AS A FORMER ZOMBIE, he will exorcise the influence of disease from their homes, and SINCE HIS IMMUNE SYSTEM IS SO GOOD AT DEALING WITH DISEASE, he is not afraid to enter their balefully infected basement and spiritually cleanse it, and AS AN EXPERT ON CURES,,, such as the cure of ZOMBIE DISEASE,,, he is uniquely qualified to perform his special technique: RELAXING SPA DAY CRUSH!!!. Reigen takes vindictive pleasure in turning people's expectations of zombies on their heads. Even if he is faking it.

And sometimes he sees Mob looking at him with such raw hope that he has to fake a coughing fit so he doesn't do anything stupid.

[swanqueeneverafter]

Something Wicked This Way Comes, Chapter 29

Aboard The Hispaniola. (With her guests still aghast at what they’ve just consumed and Zelena summoning all her willpower to stop herself from vomiting violently, Medea pushes herself up from the table and smiles.) Medea: “Now, if we’ve all finished eating, I do believe a costume change is in order. (With a snap of her fingers, Medea’s dress changes from black to gold, her eyes dancing with evil intent:) That’s better. It’s time for the main event of the evening. (Waving her hand, the dining table disappears, and Medea walks purposefully towards the stern of the ship. Throwing open the windows, Medea allows the cool night air to caress her face before returning her attention to her guests:) Now that you’re all fed and watered, allow me to present tonight’s entertainment. (She turns back to look out at the view before them:) A front row seat to the battle of the century.” (Despite themselves, Lena, Henry, Zelena and Hook slowly make their way over to the window to see that during their time aboard the ship, they have sailed to the Prosperous Lands. The glow of the torches held by soldiers from each army illuminating the battlefield for them.) Hook: (Shocked by the scene:) “No.” Medea: “Oh yes, dear Captain. In lieu of fireworks, I thought this would be much more exciting. They merely await my command.” Henry: “Look!” (Before Medea can even give the command for the battle to begin, two beams of magic soar across the sky above the Prosperous Lands. Much to everyone’s relief and Medea’s chagrin, the magical beams merge to form what can only be described as a protective bubble which stretches as far as the eye can see.) Hook: “They bloody well took their time.” Henry: (Smiling:) “My moms will always save the day... eventually.”

Chapter continues on AO3… Chapter 29

[mephitsguidetothemultiverse]

Hello. This is Archivist Jax. I was told a reference image was required for Skettil for this assignment. I do not have reference images of the Skettil because Mephit is behind on acquisitions paperwork for this project. Instead, have this drawing of an approximate shape of what a single Skettil looks like in their famous "compact" form. Don't be fooled, the model I sketched is the size of a bus and is hiding 250+ legs, pincers, claws, and various appendages underneath the portion of shell behind their head. I refuse to draw any unfolded version as each looks like a nightmare unless you're ready for it. A few more fun facts about these guys because they're one of my favorite things in the entire Multiverse:

Their mouth is on the bottom of their head. It is backwards facing so that the individual's appendages can grab food it walks over and push it into its mouth. When in space flight, they can depressurize their mouths to eat space gas and rocks, although they do not always eat at all. This is exactly as gross to watch as it sounds.

It is incredibly heavy. Like several hundred tons heavy. This makes fuel costs for transporting them expensive. As such, Skettil who have bound themselves as part of a ship's crew (generally navigation as they can survive in open space by curling into a pressurized multichambered ball and are also Ley sensitive enough to guide most ships) are one of three at most on average ships and ten at most on average space stations.

On a related note, all Skettil have wings and can perform Ley based space flight outside of a ship, but they are too heavy to fly very high or far. Instead, the Skettil have sophisticated and powerful rockets based on a fungal fuel engine they use to launch themselves for flight. If they are going spaceward, this then means they use the end momentum to fly to just below orbit. Next they release a held burst of air in a "shout" that acts and sounds like a jet engine to get all the way into orbit. Finally, they slingshot from orbit in the direction of the Ley Path or planet/moon they wish to go to next and settle in for long flight. The aforementioned space junk they eat in flight? Processed into a gas they shoot as jets to make necessary in-flight adjustments.

They don't always eat because they have three different sailcloth like organs they can spread to absorb solar, nuclear, thermal, and electromagnetic energy and process it. It is believed this was an adaptation to prevent their overeating as megafauna themselves. The Skettil seem to indicate this is how they became scavengers who process the remains of larger megafauna from Skettilex Prime into compost.

They all paint their shells in lieu of names as they have only a visual language and not a spoken one. However, since Skettil have a hierarchy of sorts based on age and size, and they never stop growing until they die, there exists one exception to this rule. The Elders, Sages, and Judges respectively are the categories of the third, second and first largest categories of Skettil. Each of these has a position of authority and a domain over which they are responsible for maintaining balance. As such, they have a sound of authority they make in order to announce use of their authority in the most trying of times. This sound, or rather its onomatopoeia, acts as a name for these esteemed Skettil.

Lastly and most importantly to me, they are all one gender. Each Skettil has a personal cycle of of going from asexual to an egg layer to asexual to an egg fertilizer. All of this happens by laying and spraying eggs in a method that is actually one of the least upsetting things to watch a Skettil do when not completely compact. That all said, Skettil have learned of other genders besides their unigender and have come to understand the concept of gender identity. The entire population of Skettil in the known universe have since come out as identifying as a race of men, despite having no genetic male of their species. Thus, these giant beetle puppies are also all transgender. As such, they have become a symbol of transgender pride in Universe 78735-Zala.

Last, if you're wondering why there isn't a catalogue number... Mephit is behind on acquisitions so I can't actually archive my own communications across the multiverse in our archive, ok? Not a big deal, I can just pin this to your local space time so you can read it anyways. Good luck, keep going, and goodbye for now.

[poet-with-a-quill]

Watching Self-Help Channels at 2 AM

listen, okay there's something about that time of the night the darkness brings with it a peculiar honesty, events of the day catch up and pull me under, the not-quite-day of it is a liminal space, a turning point, a chance

(if i stay awake, then it can't be tomorrow because generally, if i'm like this- tomorrow's probably dead everything washed-out, gray there is no future, and i wish today had not been i cannot be at peace, i cannot face the next day)

delay too far past 2 AM and the next day is forfeited, and any time earlier still feels too public for the black-sludge emotions and spiraling, the imminent breakdown, a tornado refusing to be reigned in

i look for help- at night, there is only the internet salvation appears on my phone screen in the form of strangers. for just one moment, virtually, i fling the caraccas of my emotional psyche to them, i shout "do with this mess what you will!" a tired mother passing on a tantrum child

in those moments, i cannot understand myself and in this dark i can admit i don't think i will be able to not by myself this is terrifying in itself- this defeat who will understand me if i sometimes give up?

impossibly, they seem to catch me messy me, barely-there me, tired me they can see me, they explain me to me they say: you are not alone this happened, because of this logical reason or maybe it was illogical, but you're only human after all and considering the circumstances, they ask, would you blame somebody else? and have you had some water today? have you gone outside?

they make me want to come to me like i am not a malfunction or a scrap part to be binned but flawed and allowed to be so that it makes perfect sense to be so

some of them are psychologists and that lessens the shame sometimes someone had to do a whole-ass degree to know all this the ancient Greeks said: it is hardest to know yourself i end up cutting myself some slack

but truthfully, many times its just someone on the internet sharing a little bit of themselves their fears, their tears, their ugly defeats even that is enough that connection can tide me over the realization of the number of their 2am's that must have preceded this video makes me feel less alone.

i hug my phone screen sometimes in lieu of hugging them when things go well, 2 am passes quietly, a crisis handled and averted and brings with it sweet, sweet sleep the next day still exists, and i am okay, i can face it.

-shums

[procrastinatorproject]

I posted 1,878 times in 2022

48 posts created (3%)

1,830 posts reblogged (97%)

Blogs I reblogged the most:

@tehriz

@regionalpancake

@thelaithlyworm

@jazzfic

@stra-tek

I tagged 1,875 of my posts in 2022

#star trek picard - 443 posts

#funny stuff - 442 posts

#cristobal rios - 152 posts

#star trek picard season 2 - 115 posts

#star trek - 110 posts

#picardpositivity - 98 posts

#i have such talented friends! - 90 posts

#picard season 2 spoilers - 85 posts

#cats - 76 posts

#tumblr - 75 posts

Longest Tag: 137 characters

#and how else are you going to share bits of stories that you won't post for months or years if ever because finishing things is hard 🙈😅

My Top Posts in 2022:

#5

I spent quite some time yesterday yelling about Star Trek with the wonderful @regionalpancake and @curator-on-ao3, and I need to share their comedic genius with the world!

We were talking about how, if the Zhat Vash are so extremely opposed to synthetic life and any form of AI, could they possibly manage to hack the androids on Mars and to cause them to go rogue? To which Curator commented:

“I’m an iPhone user and I couldn’t hack an android!”

This was followed some time later by a discussion about how in recent Trek, there has been an increasing distinction between People Who Matter and Those Who Don’t. And how its encumbent upon the people who are less significant for the fate of the world to sacrifice themselves for the Important People.

With regards to this, Pancakes observed of Rose (from Dr Who), a character who thinks she is unimportant and whom the Doctor tells that There Are No Unimportant People:

“If she were a Star Trek character, Rose would have been cannon fodder.”

Curator: “You mean... canon fodder? :D”

I don’t know if these are funny to anyone but me, but I laughed so hard I had to go find my asthma spray. So I needed to share XD

59 notes - Posted July 30, 2022

#4

Holo-Tech Database

Over the last seven or so months, I have watched through every episode of Star Trek: The Next Generation. It’s the first time I’ve seen the entire series, there were quite a few episodes in the later seasons I’d never seen before. Quite an enjoyable experience on the whole.

But because I’m me, of course I didn’t just watch TNG. Instead, I took notes every single time the holodeck or any other piece of holo-technology played a part in the plot, were the setting for even the briefest of scenes, or so much as got mentioned. Essentially, I’m building towards a database of every little scrap of canonical information about holo-technology that I can get my hand on. And this was a start.

I haven’t had the time or energy to look through all of my notes in detail. There is a lot of information in there already. Of course, I’ll only be able to draw any real conclusions once I add in all the data from DS9, Voyager, and PIC, (since I’m interested in the state of technology at the time La Sirena is in operation, because of course that’s what this is about), but it’ll be quite a while before I get there.

So, in lieu of any detailed analysis, here are some quick impressions of my first foray into holo-episode-tracking!

[Image ID: a table showing the number of total holo-episodes for TNG is 58, and breaking that number down for each season. Season 1 has 10 episodes, season 2 has 8, season 3 has 6, season 4 has 9, season 5 and 6 both have 8, and season 7 has 9 episodes. /end ID]

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65 notes - Posted January 27, 2022

#3

30 Days of Picard Postivity

With just over 30 days to go, the premiere of Star Trek: Picard season 2 (3rd March in the US, 4th March internationally) is fast approaching, and I for one cannot wait to get back into the world I fell in love with two years ago. Thirty days is quite some time, however, and even though new trailers and promo pics seem to be dropping daily, I felt like we could use something to tide us over until March.

After the long hiatus, I think this is the perfect time to revisit all the things we enjoyed about season 1. I’m sure I’m not the only one who has forgotten a lot of the details of those episodes, and who would love to see some of the wonderful characters, locations, and stories back on my dash. So, without further ado:

ProcrastinatorProject Proudly Presents:

30 Days of Picard Positivity

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70 notes - Posted February 1, 2022

#2

Massive Picard Season 2 Spoilers Ahead

So the latest episode of The Ready Room, the Star Trek recap show hosted by Wil Wheaton, had a preview of Season 2 of Star Trek: Picard. It's interviews with all of the main actors and they explain in some detail where they're characters are at at the beginning of season 2.

It puts a lot of shots from the trailers in perspective and I have a lot of thoughts that I want to share, but because this is a very, very explicit spoilery preview, I'm putting both the video and my initial reaction under the cut.

Anyone in the US (or with a decent VPN): You can find the full Ready Room episode on the Paramount+ youtube page, but I'm not going to link it here, because, youk know, tumblr 😋

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73 notes - Posted February 24, 2022

My #1 post of 2022

I just had a realization about why Agnes Jurati’s story in Star Trek: Picard season 2 feels so wrong to me, and I am going to inflict it on all of you!

Spoilers for the entirety of season 2 ahead! CW: Mention of depression, PTSD, anxiety, and emotional manipulation

Also: CW long post

(NB: I’m going to completely disregard the discrepancy in Agnes’s character between seasons 1 and 2. I think when you take Agnes’s story and development from the first season into account, her “arc” in season 2 falls apart completely. But for the sake of this argument, I’m going to meet the season 2 writers on their terms. I’m going to ignore the character of season 1 Agnes, and instead will simply look at season 2′s Jurati to explain why I think the story the writers gave her falls flat.)

I was taking notes for a way-too-long essay about my problems with PIC season 2 (which I may or may not write eventually), and I was trying to put into words why it always irks me when people say merging with the Borg Queen was a satisfying end to Jurati’s arc.

What I was never able to put my finger on until now is that when the Borg Queen and Jurati merge at the end of episode 9, that’s not actually the culmination of Jurati’s arc. It’s the Queen’s.

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74 notes - Posted May 20, 2022

Get your Tumblr 2022 Year in Review →

[todayisafridaynight]

It is from Jo's perspective! I don't read much fic myself, and even when I come across one I like I'm terrified to look at the author's other work Because Of The Nature Of AO3, so I'm only aware of the "original" 3 fics I saw, but... I can't even lie, those 3 were hugely influential in my conception of AraSawa. (Fair Warning, you have Unlocked Something here. Also sorry for infodumping this much about a fic you've probably never read, jesus)

2 of them were "end-of-life monologues" from Jo and Arakawa's perspectives covering the progression of their relationship. I mean, not that Jo's life is over, but he wishes it were, right. So there's a lot to chew on in terms of--exactly--getting a first-hand account of those complicated feelings and how they navigate them.

I'm incredibly, incredibly biased, but I adored their analysis. It's plausible to me that for Jo it'd primarily be about guilt, gratitude, respect, giri; there's love in there somewhere, but would he recognize it for what it is beneath all that? While for Arakawa it's more straightforward, more "pure," this sentimental and "innocent" yearning for the future he was robbed of: getting to raise his son(s) with someone he loves.

It's not quite pure to him, because he regrets his hand in turning Jo into who he is, and there's always this nagging feeling about pursuing a subordinate as devoted and closed-off as Jo--like, if he didn't want any of this, maybe he wouldn't say so, and that thought is scary. And he's enduring his own guilt and keeping his own secrets, but still waiting for the day Jo opens up, though it never comes. It's not pure, but it is earnest, and a mutually supportive relationship can still be formed from these foundations. Fascinating to see it all play out.

What can I say... you got dads... you got Jo coming into his role as a father and bonding with Masato... you got Masato's internalized ableism and how Jo approaches calming him in his own way... you got Jo rising through the ranks... you got Arakawa picking out Jo's suit and fixing his hair... you got conflicting feelings at every turn, disagreements... you got Arakawa's reckless, persistent tenderness... you got the roots of Jo's resentment for Ichi and Arakawa keeping the peace...

You got everyone's paths diverging and Jo and Arakawa having to see Masato turn into Aoki and blame themselves... you got Jo having to find his own place and his own answers, symbolized by picking out his own suit... you got Jo finally, finally being honest to Ichi after telling lies his whole life. What's Not To Love. It's everything I wanted to see, and in lieu of RGGS not exploring them further, I kind of just accept a great deal of it.

Also. They have "That Conversation." About Jo not having a girlfriend and about Akane. It's in summary, so it and the fics as a whole go by fast, but when I got to that I was just like sgkahglHJGSHKGHSGHJLSFK [ROLLING ON THE FLOOR IN AGONY] YOU

this is such an illegal ask because LITERALLY those are ALL aspects i enjoy so much about arasawa and things i so badly either want to explore myself someday or have wanted to see other people explore and

UGH

[qiangweirosa]

i love you

" Noel asks Claire on an impromptu date.

/ the not-exactly-sequel sequel to “spelling” "

relationships: noel/claire tws: none! (so much fluff you'll die) wc: 1041 extra: can be read as a standalone!

read on ao3!

“ My classes got canceled. If you’d be interested, we could meet at the park in 30 minutes?”

After reading this message, Claire hurried to get dressed and rushed to the park, which led her to her current situation: standing next to a bench, and looking around for her date (boyfriend? No, not yet. Maybe. They hadn’t talked about that.).

After a few minutes - and checking her appearance once more in her phone’s camera -, she finally spotted the beautiful blonde haired boy that had invited her. He was still carrying his school bag, so he must have come directly from his college. His hair was messy, his face red and he was breathing heavily, so he had most likely ran to arrive in time. He glanced up and saw her, and his entire face lit up. He jogged to catch up to where Claire was, a smile on his face.

“Claire! I’m sorry, I hope I didn’t make you wait too much…”

“It’s alright!! I just got here anyway, you’re not late at all!”

She gave him a grin of her own, and reached to grab his hand. Noel blushed at the contact, but squeezed her hand nonetheless. They stood there for a few moments, eyes fixated on each other as they exchanged small talk. 

“So, uh… How was class?”

Noel chuckled. 

“It was alright. My astronomical physics class was the only one I had today. Although I tend to prefer looking at stars themselves, I don’t dislike learning about their formation.”

“Really? How do they form?”

He opened his mouth before closing it, bashfully looking down. 

“Are you sure you’d like to hear? It involves a lot of physics, scientific theory, and other stuff of the sort.”

And although Claire didn’t know a thing about physics, she excitedly nodded as she prompted Noel to keep telling her about it. At some point through his rant, they had started walking through the park, mindlessly strolling hand in hand. Claire’s gaze was fixated on Noel’s face, enamored by the way his eyes lit up and sparkled every time he spoke about his passion, how his smile stretched a little wider each time he glanced at her, only to see her still listening to him. 

Truthfully, most of what he said was going entirely over her head - so many formulas and complicated names… -, but Claire was content just to listen to his voice. 

The topic of their conversation had long switched to something less scientific when they reached a large tree, their steps coming to a stop under its shade. 

“Ah, pardon me, I’ve been rambling all this time… How was your-“

“Don’t apologize, I like listening to you ramble.” She cut him off, smiling. 

Noel stared at her with widened eyes, and she could see a light pink hue beginning to tint his face and neck. He stammered in lieu of a proper answer, his voice dropping in volume as his blush grew. 

“That’s… I’m…. Thank you, Claire..”

She giggled, moving her hands to cup his face and brought it down, leaning her face up to kiss his cheek. She heard Noel’s breath catch in his throat and she pulled away to watch his face grow even more flushed. He tried to avoid her gaze, his hand covering his mouth in embarrassment. 

Cute. He really was cute, Claire thought. 

She pulled on his hand and led him next to the tree’s trunk, sitting down on the grass under the shade and patted the ground next to her to motion for him to sit next to her. Noel did as he was told, sitting with his legs crossed next to Claire. His body angled towards her, hers to him, and their wrists rested on their knees with their pinkies linked together. 

Silence hung in the air for a few moments, the two of them merely enjoying each other’s presence and company. Claire shifted positions to sit closer to Noel, resting her head on his shoulder and closing her eyes. The warmth of the sun was hitting them still through the shade of the leaves above, and the weather was truly enjoyable. The park at this hour was quite empty, leaving it quiet, the only sound discernible through their shared silence, the tweeting of the birds around.

“I really enjoy our dates.”

Claire felt a weight on her head after she spoke, her eyes opening for a moment to glance at Noel. She smiled; his hold on her pinky moved to her entire hand, intertwining their fingers together. 

“So do I. You… truly are amazing company.”

“Truly?”

“Ah, well, I did have somewhat of an idea that I would enjoy my time with you. After all, it is one of the reasons that drew me to you…”

His voice trailed off, and even without looking, Claire could imagine the faint blush on his face. The vision brought a happy smile to her face.

“I’m glad you think I’m good company! Sirius doesn’t think so, but I’m pretty sure he’s just in denial. I like to think I’m good company!”

Noel laughed, a vibrant and deep laugh that resonated against Claire’s body. The blood rushed to her cheeks as she heard it; it wasn’t even the first time she had heard Noel laugh, yet it still flustered her every single time. His laugh quieted down, and he spoke up once more through giggles. 

“Oh, Claire, how I love you.”

Claire’s breath was knocked out of her chest, and her hands flew to her face as she squealed in embarrassment. Noel tilted his face in question, a brow raised and concern lightly etching his features. He reached a hand up to turn Claire’s face towards him, wondering what was wrong. 

Claire stammered through her palms, her gaze flickering away from Noel’s - admittedly, more than beautiful and definitely enchanting - face. 

“I- I love you too but- you can’t just say that!!”

Through her fingers, Claire could see Noel blush in return, leaning back as he let out a sound of comprehension. 

“I- I see… My apologies…”

Her hands left her face, and she leaned closer. 

“You don’t need to apologize.”

Not letting him the time to respond, Claire cupped Noel’s cheeks and pulled him in for a kiss.

[apocalypticgargoyle]

so, SO, Hear me out. This has been stuck in my head for DAYS. Can i request a Sapnap x reader smut, BUT Incubus!Sapnap. My brain is mush. Perhaps reader doesn't believe in demons etc, so they're trying to prove to themselves that these things indeed don't exist by trying to summon a demon, what type of demon? they don't know. Unfortunately(fortunately) for them, the ritual works and Sapnap is summoned. Afab reader with any pronouns, and Dom or switch Sapnap.

i literally love this idea sm. thank you for trusting me with it. [thank you to a friend of mine who helped me w some of the plot elements.] I hope you enjoy and happy reading! xx

𝐑𝐄𝐕𝐄𝐑𝐒𝐄 𝐘𝐎𝐔𝐑 𝐑𝐄𝐆𝐑𝐄𝐓. ⛧ 𝐢𝐧𝐜𝐮𝐛𝐮𝐬!𝐬𝐚𝐩𝐧𝐚𝐩 (18+)

pairing: incubus!sapnap x afab!reader

warnings: nsfw (minors dni), mentions of an Ouija board, blood, oral (fm. receiving), smut, domination, choking

Your fishnets clung to your legs, yet provided little protection against the nipping breeze dragging icy fingers across your skin. You rubbed the arms of your jacket, attempting to generate more warmth as your breath fogged around you. Your friends giggled and kicked at each other, hanging around their shoulders and acting drunker than they actually were. It felt like icicles picked your heart each time you faintly felt like you were enjoying yourself, all because of Him.

His words echoed in your head each time a man approached you, finding yourself nearly too suspicious to believe they wouldn’t end up like He did: cold, distant, and arrogant.

The club had been too loud, in your opinion, but you’d be damned to let one of your friends know. They were focused on finding you a squeeze to preoccupy you while you got over Him. You didn’t need a distraction, you just needed to get rid of the thought of him.

One of your friends grabbed your arm, dragging you down a portion of concrete steps and into a lower-level shop. You briefly caught sight of the neon sign above the door, LOCAL PSYCHIC blinking in bright pink piping to welcome in tourists. You scoffed to yourself as you shrugged through the beaded curtain over the door.

The shop smelled of incense and a potpourri of unfamiliar herbs. A slender woman with long black hair looked up from a magazine, gold eyeliner sparkling in the dim lighting of the store. She watched the group of you carefully as your friends went straight for the Ouija boards in the corner. As you looked over her various shelves of exotic species of crystals, you could feel her eyes burning into your shoulder.

You sighed quietly, grabbing a green hued crystal and approaching her in lieu of your group. “So, this will get rid of my bad juju if I stick it in my bra, right?” You quipped jokingly, making her smuggly grin.

She straightened up, revealing a metal band t-shirt that you couldn’t pronounce the name of, let alone knew. “Gorgeous, you’ll need a fist full of moldavite to cleanse what you’ve got going on,” she jested, voice raspy and surveying. “Give me your hand,” she stated, more than asked. You reluctantly reached for her, her boney ringers cupped your hand, rings catching the candle light beside the cash register.

“Does it say I’ll disappear mysteriously after a boating accident?” You leered, making her bite her lip.

You could practically feel her breath on your skin. She studied your palm closely, wetting her lips. “I think I have something better than moldavite, though,” she quirked before digging her nail into the center, making you hiss. She drew a bit of blood from the wound, placing a business card against the spot. The center of the card oozed the crimson color seeping from the cut. “Call this number when you get home and all your bad juju will clear, my love. Him included,” she whispered. “You don’t believe in demons do you?”

“Of course not,” you answered, your eyes locked on hers as she smiled darkly at you, almost forebodingly. You flipped the card in your hand, a number plastered on one side and “REVERSE YOUR REGRETS,” printed boldly on the other. Your eyebrow perked at her. “What, is this a demon calling card?” You quizzed almost sarcastically.

Her dark, full lips twisted up. “I guess you’ll have to find out.”

Your mouth ran dry as she smirked, fingers brushing against your own as your hand slipped from hers. You found it hard to speak on the bus ride home, or even form sentences while you were crammed between two of your friends as they all sparked chatter about their upcoming finals. One of the main reasons they bought the Ouija board was to ask a ghost to write their history and philosophy theses.

Your apartment was dark and alluringly quiet compared to the night of bright lights and ridiculous EDM you had endured for most of the night. You let your jacket slip to the floor as you switched on a lamp, washing your hands as your mind relayed what the woman from the shop had said. As you dried your hands, your eyes traveled towards the living room, the dark fabric of one of His hoodies peeking out from between the couch and the wall. You bit your tongue, anger flashing into your veins. “Even Him…” you thought, remembering what she had told you.

You grabbed your phone, slinking over to where your jacket was and fishing the card from your pocket. The red smudge of blood almost perfectly split the phone number in half. “You don’t believe in demons do you?”

“No, what kind of respectable adult believes in demons,” you grumbled to yourself, dialing the number. You turned the card over again, eyeing the words as you waited for the call to connect. Instead of ringing normally, three long dial tones sounded over your receiver, sending a shiver down your spine. Dogs of your apartment complex began to bark, sending feral noises of discomfort into the air.

An automated voice began to speak, startling you slightly. “Thank you for your call. Your sacrifice is pure and has been accepted. Congratulations.”

Sacrifice? The line went dead, your power fizzling out as well. You froze, your feet feeling as if your shoes were filled with cement. In an instant, your array of candles sparked to life, brightening the room. Your heart thundered in your chest, unsure of what was happening. Sacrifice?

You held your breath, waiting for what was to come. It seemed as if your apartment had been removed from the city outside, instead an eerie silence settled in the room, making it almost suffocating to be alone.

“Hello, dove,” a dark voice called from behind you, making you jump a foot in the air, chest wheezing from the jump scare. A man smirked at you, resting his chin in his hand as he looked at you. He dominated one of your chairs, his other hand drumming his fingers against the leather. His suit was well tailored, but he wore it rather lazily with his crisp white shirt unbuttoned. He wore dark nail polish, making his fingers appear longer.

His eyes trailed your body, pressing his lips together as you realized how tightly you were clutching your phone and the card. “How did you get in here?” You asked, your voice barely audible.

He stood, straightening the sleeves of his suit jacket. He walked over to you, his tongue darting out to wet his lips. Your breath was measured, your body drawn to him as if you were an animal in heat. “You summoned me, puppy,” he answered, voice dipping an octave before dragging the card from your fingers. Your skin burned and sparked at his touch. His smell was intoxicatingly enticing, making your mouth water.

He held the card between two fingers, his eyes locking to yours indefinitely. “You even bound yourself to me,” he noted, letting his finger pad draw across the blood stain on the card. “Little minx,” he mumbled.

You swallowed. “What are you?” You managed, words uneven and almost jumbled.

He turned slightly on his heel, circling around you slowly, fingers dragging against the fabric of your shirt before snaking around the back of your throat. His thumb teased against your skin almost as if he was restraining himself from ripping you in half. “They call me Sapnap. Some might categorize me as a demon, but that seems rather exaggerated, don’t you think?” He responded. “I’m here to help you reverse your regrets.”

You inhaled sharply. “What does that mean?”

He chuckled darkly, his lips brushing against the shell of your ear. “Baby, I’m here to make you feel good again,” he divulged, the heat of his breath skimming against your neck, urging you to submit to him. "I'm here to make you forget all about Him."

In an instant you found yourself pinned beneath him, the sheets on your bed cast aside along with most of your clothes. He watched you sternly as he slipped his jacket off his shoulders, unbuttoning his collared shirt, pupils blown with lust at your hungry appearance.

Sapnap ground his hips against yours, tugging on your thighs to bring you closer to him. Your back arched slightly, fingers digging into the sheets as his lips traveled from your neck to your chest, one of his large hands palming your breast. You stifled a moan, hips bucking against him. He pressed his tongue against your navel, licking a strip against your skin before he was in your ear again. His fingers curled around your waistband. "Uh uh, dove. I wanna hear you."

He leaned back on his knees, teeth nipping at the inside of your thighs as he trailed towards your core. His eyes danced up to yours, briefly gauging your reaction before slipping his finger between the skin of your hips and your lacy undergarments, tugging them down your legs. He pressed open mouth kisses to your thighs once more, teeth grazing the sensitive flesh with a restraint you had half a mind to egg on.

He hooked his arms around your thighs, burying his face where you needed him the most. Your body reacted to the pleasure of his tongue almost instantly, fighting to clamp your legs around his head as your toes curled. Sapnap was taking his time with you, eating you out as if you were his last meal, humming slightly to send vibrations against your nerve endings.

You threaded your fingers through his dark hair, rolling your hips against his mouth and muttering his name. He moved, teeth sinking into your thigh as he pressed his finger into you, making you moan incoherently. You tugged at his hair, earning a groan in pleasure as you noticed him grinding against the mattress. His lips were back on your heat as his finger curled inside of you.

He added another finger, finding your sweet spot almost as if your body had been made for him specifically. With each swirl of his tongue and his moans at the sight of you enjoying the chase of your orgasm, the more the tension began to build within you. He quickened his pace as he watched you pant, coaxing you closer to the edge.

Sapnap moved his head from side to side, flattening his tongue for more friction, pumping his fingers in and out of you. "Cum for me, baby," he commanded, breath hot against your core. You relinquished control of your body, letting your climax rip through your body, leaving you breathless and stunned.

He wore the devil's smile as kissed the inside of your knee, praising you heavily for heeding to his demands. "Good girl," he cooed, voice dark and drawn with lust as he moved to press his lips against your shoulder. "Such a good girl."

His lips traveled beneath your ear, nipping at the skin before pressing his tongue into your mouth, one of his hands holding your chin.

He discarded his pants, spitting in his hand and stroking himself a few times as his eyes burned into yours. He dragged you towards him, gripping onto your hips before driving himself into you. You groaned at the pressure, grinding against his hips and earning a smirk from him. "So needy. Have I not been good to you thus far?" His words dripped with a god complex you had yet to taste.

You whimpered slightly before he rolled his hips against yours. He retracted himself before slowly thrusting into you, watching with pride as you writhed for more of him. "I could kill you, you know?" He stated, thrusting into you harshly, pressing his hands into the mattress on either side of your head.

You chuckled breathlessly, your fingers wrapping around one of his wrists. "You won't," you moaned as he set a pace, digging his hips into yours.

Sapnap's other arm moved, wrapping his hand around your neck and squeezing slightly, as if showing you he could do worse. "Says who?" He provoked, pressing his lips against yours, teeth dragging against your bottom lip, eliciting a moan from deep in your throat.

His thrusts were becoming sloppier, deeper as he buried himself into you. "Me," you answered. He grinned deviously, pinning your knee to your chest and pounding into you, basking in your moans like they were personalized ego boasts. "I can take it," you groaned quietly, enticing him. He tightened his hold on your neck, causing your vision to blur in pleasure as heat rushed through your body, his roughness a perfect catalyst to your cardinal hunger.

"That's right, sweetheart," he grunted, eyes seeming to burn brighter with your submission. "Take it," he mirrored, his pace relentless against you as if testing your limits. He pressed his thumb in your mouth, moaning as your teeth rested against it, tongue darting out against it. You focused on his eyes, trying not to roll your own as your body ached to climax.

You could see the veins in his neck becoming more prominent and he removed his thumb only to grip your jaw in his hand, shoving his tongue into your mouth to lap at your whimpers. His hands moved to pin your forearms to the mattress beside you, his lips melding against yours as the two of you pushed each other to orgasms. You could feel his pleasure coming undone within you, finally acting as the jumping-off point for your second climax.

You panted, hurriedly attempting to catch your breath as he pulled out of you, sighing in pleasure.

He moved to begin dressing, holding your card between his teeth as he buckled his belt around his waist. Your mind blurred in bliss, still riding your high. It didn't really bother you if he left or stayed.

He finished buttoning his shirt as you sat up on your elbows, watching him straighten his appearance. "I'll call on you soon," he stated, tucking the card with your blood on it into his breast pocket.

You quipped an eyebrow at him. "This is a normal thing now?" You questioned, the situation seeming different.

He patted his pocket to gesture to the card. "You're mine, dove. I get you whenever I want," he smirked. He rested his knee on the edge of your bed, leaning down to press his lips against yours possessively.

[minchanslut]

Piquant || 3RACHA

Pairing: 3racha x F!Reader Warnings: pwp, dom!chan, dom!changbin, sub!jisung, switch!reader, nipple play, oral (fem + male receiving), face fucking, slight gagging, facial, unprotected sex, spanking, overstimulation, creampie Word count: 2126

Chan was seated in a chair in a far corner of the room, the droplets of sweat forming on his biceps and shoulders causing the hot skin to stick uncomfortably to the dark leather as he held a firm grip on his cock, watching you from a distance. You were sat on the bed, your back partially pressed against Jisung’s chest. You held your weight with one hand as you cupped his face with the other, pulling him close as you crashed your lips on his, your tongue swiping across his bottom lip before slipping inside his wet cavern. Jisung allowed you to take the lead, shy whimpers escaping whenever you bit his lip. You gave him one final lingering kiss as you pulled away, eyeing him, admiring him in his disheveled state. You patted the spot on the mattress right in front of you, signaling to Jisung that it was time to change positions. Little words needed to be said for him to comply with your demands. You delicately ran your fingers through the strands of hair which rested above his eyes, just barely constricting his vision, pushing them back and violently wrapped them around your fingers. Jisung let gasp by the sudden action, chest heaving and his dick twitching in his boxers. With your hands still holding tightly onto his tresses, you guided Jisung’s face closer to your neck. 

The moment he was close enough, Jisung began bombarding your neck with kisses, sucking and nibbling at the skin. He made quick work of his actions as he moved onto your shoulder blades and clavicle, where he promptly made the decision to leave featherlike kisses on in lieu of his previous, more rough ones. As he kissed lower, however, his actions only grew more intense. He circled his tongue around your nipple, briefly wrapping his lips around it only to pull away and blow cold air against the perky bud, sighing as he witnessed it firm up. Jisung placed openmouthed kisses all over your chest before returning his attention to your nipples. Rolling one between his thumb and forefinger as he sucked viciously on the other, all while maintaining eye contact. You leaned forward, once again capturing Jisung’s face in your hand and lifting his face, only this time you placed your thumb and middle finger against each side of his face, adding pressure to his cheeks and slightly prying his mouth open. He remained in the same position after you moved your hand, allowing you easy access to slip your thumb into his mouth. He moaned softly as he swirled his tongue around the digit, imagining himself between your legs. 

“Please, I wanna taste you so bad.” He almost cried. 

You chuckled at his words, though you knew you were yearning for him just as badly. Jisung shifted on the bed, allowing you more space as you spread your legs for him. Jisung’s eagerness got the best of him, so much so, that he didn’t even care to tease you. The desire to feel your juices dripping onto his tongue much more fervent than any bratty antics he usually had in store. In just mere moments he had your panties bunched up in his hands, lips around your clit and tongue occasionally darting out to poke at your entrance. 

“So pretty.” He whimpered as he pushed one finger inside of your pussy, groaning loudly at how easily you took him. The first finger was quickly followed by a second, your tight cunt practically pulling Jisung’s digits in. His movements grew faster, fingers curled up allowing them to brush against your g-spot. You felt your abdomen start to tighten and your legs begin to shake. You instructed Jisung to stop, changing places with him for a second time. 

Jisung was now resting against a pile of pillows as you hovered above him. 

“Poor thing, you must be aching to cum. Don’t worry, I’ll take care of you.” You cooed, dragging your nails over his chest. 

“Mind taking care of us too?” Changbin chimed in, his patience wearing thin.   

“She’s been having too much fun with Jisung, I think you need to remind her of her place.” Chan responded. 

Changbin sauntered over to you and Jisung with a smirk, swiftly removing your panties from Jisung’s grip and instead shoving them into his mouth. As he walked back over to the edge of the bed, he signaled you to turn around. You hesitated briefly, almost wanting to challenge Changbin, but quickly discarded the idea after feeling the eyes of a strong presence on you. And so, you said nothing as you turned to face Changbin. 

“I want you to ride him-” Changbin stated, pointing at Jisung.

Unable to bite back a witty remark, you responded with “I thought you wanted me to take care of you. 

“You didn’t let me finish, baby.” Now it was your turn to have your face be held in someone’s hand, as Changbin tilted your head up to look at him. 

“I want you to suck him, while I take your mouth.” 

After Changbin dropped his hand from your face, you shimmied your way up the bed, pulling Jisung’s boxers off and stroking his length a few times before lining him at your entrance. You sunk down onto his dick, hissing at the stretch. Jisung had not only a full view of your ass, but also of your pussy gripping his cock. All he could do was lay back and watch as he indulged in the way your body moved. 

Changbin made sure to wait until you had gained both a steady pace and balance before climbing onto the bed, quite literally. He stood on the mattress, finding his own balance before pushing his boxers down and revealing his dick. He instructed you to stick out your tongue, to which he responded by slapping his dick against the wet muscle a few times. You opened your mouth wider, taking his cock into your mouth, letting your tongue slide across the protruding vein and relaxing your throat as best as you can. You earned a guttural groan from Changbin as you took him as far as you could. 

“Fuck, that’s it, take it all.” 

Changbin once again turned the tables on you, gripping your hair tightly and holding your head in place as he fucked your face. Your eyes began to water as he aggressively thrusted into your mouth, drool dripping down your chin and your chest heaving. While Changbin used your mouth, you did your best to maintain a regular pace as you hopped on Jisung’s dick. His hands were now resting on your hips, helping you lift yourself up and down. 

With your throat briefly clenching around the tip of his cock each time you gagged, it didn’t take Changbin long to cum, using both hands to hold your head in place as he greedily drove his cock in your mouth, holding you in place as he spilled his seed down your throat, keeping his member in your mouth with only just enough room for you to swallow. Once satisfied, Changbin collapsed at the foot of the bed, leaving you once again to tend to Jisung. You started to ride him faster, gyrating your hips and rubbing your clit. You could hear Jisung’s muffled moans from behind you and as they grew more and more erratic, you could tell that he was close. However, with the pressure you were adding to your clit, you still managed to climax before him, though he was quick to follow, the pulsating walls of your pussy pushing him over the edge. His hot seed painted the inside of your walls as his orgasm came to a sputtering halt. 

You pried your sweaty body away from Jisung’s, stretching your stiffened legs as you laid down on the bed beside Jisung, careful not to push Changbin, who was still laying by the foot of the bed, onto the floor. 

The sudden feeling of a finger running up your still quite sensitive pussy made you gasp and the feeling of that very same finger sliding inside of you was almost enough to make you come undone right then and there once again. 

“Got any energy left for me, princess?” 

Chan was now hovering over you, cock on full display as he idly pumped a finger in and out of you. He leaned in closer, nibbling on your earlobe and whispering to you “Turn around for me.”

You were quick to obey, turning to face the headboard, balancing yourself on your hands and knees. You had little time to react to the sharp sting you felt rapidly blossoming over your ass, as it was quickly followed by another, and another. The tint of your skin adorned with red hand marks and a stinging sensation which Chan subsided by kneading the supple flesh with his cool hands. Chan languidly kissed down the back of your thighs, pushing your legs apart as he dove into your pussy. His plump lips kissing down your slit and wrapping around your clit, two fingers already in you as he ate you out from the back. Your legs shook furiously as he finger fucked you, his digits sodden with your juices. The room was silent, save for your moans and the loud squelching noises coming from your pussy. Unable to hold out for much longer, you decided to simply let go, crying out in bliss as you climaxed. Chan pulled away, dick throbbing at the sight of your pulsating pussy, his hand running up and down your back. 

“Oh, baby, you came without permission. You know what that means.” 

Jisung and Changbin snickered as they eagerly awaited to see what kind punishment Chan had in store for you this time. 

“I won’t punish you this time, baby. We’ll just have to try it again, yeah?”     

You couldn’t get a word in before you felt Chan’s cock poking at your entrance. Though he did wait to see if you were going to use your safeword before he continued. Once he was sure you could go on, he gently pushed you down onto the bed, making you lay flat, taking one of your legs, lifting it up and placing it above his. The position allowed him to fully sheath himself in your dripping pussy. You clawed at the sheets and felt your toes curl with every thrust, his pelvis repeatedly smacking against your ass.

Changbin headed over to the top of the bed, joining Jisung as they both stroked themselves at the sight of Chan pounding you into the mattress. Chan loosely wrapped his hand around your throat and raised your head off the bed so that you could see the two boys in front of you. 

“Look at how hard they are for you, babygirl. Show him how well you take this cock.” 

Chan slowed down his pace, wanting to have the pleasure of being the last to cum. Despite his thrusts being slower, they were just as deep and almost just as hard. This had you involuntarily stifling moans and gasps. Jisung moved in closer, stroking his dick at a frantic pace, seeing your current position with Chan’s hand keeping you in place as a once in a lifetime opportunity. He threw his head back as he pumped his length, shooting a string of cum into the direction of your face which landed on your cheek and dripped down to your mouth and chin. The sight alone was enough to have Changbin cumming on his hand, lazily rubbing his dick as he milked himself clean. 

By now Chan had already increased his speed, both your legs now wrapped around his waist as he sat on his knees, using his strength to ram himself into you. His nails buried in your skin as he fucked you. He threw his head back and muttered curses under his breath, feeling himself getting close. 

“Okay, baby, be a good girl and cum for me, now.”

As if on command your body gave out, you were overcome with pleasure as you came around him, your legs which were shaking uncontrollably making you feel as if you were ascending to cloud nine. After a few more strokes Chan let out an almost animalistic growl as he released inside you, gently thrusting inside of you still so to ride out his high, fucking his cum back into you in the process. 

When he finally pulled out, he crawled over next to you, holding you in his arms and kissed your forehead softly. 

“You alright, baby?”

You could barely nod due to exhaustion, but smiled at him to let him know you were fine. 

“You did great, now let’s get you cleaned up.”   

[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.

[yumeka36]

Analysis on the absence of Elsa and the Northuldra in post-Frozen 2 stories

If you've been following post-Frozen 2 storybooks and comics as closely as I have over the past year and a half, you've probably noticed that the majority of stories take place in Arendelle and focus on Anna partaking in adventures with Kristoff, Olaf, and Sven. While Elsa has appeared alongside them in a few stories, as well as a couple of her own stories taking place in the forest with Olaf and Bruni, the ratio of "Anna stories" vs "Elsa stories" is pretty one-sided. And, while new characters introduced in Frozen 2 like Mattias, Halima, Bruni, and Nokk, have had some appearances in post-F2 stories, the Northuldra have had zero…not even mentions or cameos. I’ve been pondering on this topic quite a bit and finally got around to writing all my thoughts. This is a long and thorough analysis so sit back, enjoy, and put your thinking cap on...

The lack of Elsa in post-F2 stories is puzzling since both Anna and Elsa are fairly even when it comes to post-F2 content in general; all the post-F2 merch I've seen has both of them in equal amounts, and pictures of Elsa are always all over the magazine covers and paper craft pages that the comics come from. So it's not like she's being excluded from post-F2 merch overall, she's just noticeably absent from most of the comics and storybooks. Again, this is puzzling because post-F2 marketing gives the impression of "Anna's doing her thing in Arendelle" and "Elsa's doing her thing in the forest," so an equal number of stories for each sister, as well as a few where they do things together, seems like the most logical way to go. Yet the ratio of post-F2 stories currently looks something like this:

Stories featuring Anna in Arendelle with other characters (no Elsa) - 56%

Book & Comic: Anna getting a gift for the queen of Chatho

Book & Comic: Anna getting an official portrait as queen

Book: Mattias getting accustomed to Arendelle again

Comic: Anna and Mattias visit Halima

Comic: Anna and Kristoff make a bicycle for Olaf

Comic: The gang helps Olaf find a new nose

Comic: The gang celebrates the spring festival

Comic: Olaf minds the kingdom when Anna is sick

Book: The origin of Olaf, Kristoff, and Sven's epilogue outfits (this one is technically not post-F2, but I'm counting it since it's so close to the end of the movie. Also it’s an upcoming book, so no link yet)

Book: Arendelle celebrates the cloudberry festival

(out of these, Mattias has featured in about 17%)

Stories featuring Elsa with Anna and the rest of Frohana - 27%

Book: Anna awaits Elsa's visit after their initial parting

Book: Explore the North (this isn't a storybook but a collection of isolated scenes during and after F2; since some scenes are post-F2, I'm counting it)

Comic: Elsa visits Arendelle for charades

Comic: Anna and co. visit Elsa in the forest to help Bruni

Comic: Elsa visits Arendelle for the snowman competition

Stories featuring Elsa in the forest with the spirits (and Olaf, no Anna) - 17%

Book: Bruni's Big Adventure

Book: Elsa, Sven, and the spirits help Olaf find a unicorn

Book: Elsa helps restore balance in the forest that resulted from the misguided actions of some travelers

(out of these, Yelena, Honeymaren, Ryder, and/or other Northuldra have featured in 0%)

*Major shoutout to @chileanon​​ and @bigfrozenfan​​ for translating many of these stories that aren’t available in English*

(my percentages are based on the number of post-F2 stories released thus far, to my knowledge, in the form of comics or books. Some stories have both a comic and book version, as well as two different book iterations with only slight differences. In these cases, I'm counting them as one. Since comics are released sporadically and only in a few European countries, my number may be slightly off if there were any not brought to my attention on social media. I'm very active with finding information about post-F2 content, so I feel my numbers are fairly accurate. And again, I'm only counting stories that take place post-F2, or at least within the timeframe of the epilogue, not stories that take place during or before)

(I'd also like to point out that Olaf is the only character who has appeared in every single post-F2 story so far. It makes sense since he's a very marketable character for the kids and simple to write for. Though this probably wasn't the intention, I'm seeing him as a connection symbol between Anna and Elsa as they go about their new roles).

So what is the deal with these ratios? As I said, both Anna and Elsa have been evenly highlighted throughout all of Frozen 2's marketing, and continue to be to this day (and Elsa is arguably the more financially successful of the two and Disney knows it), so why is Anna so much more prevalent when it comes to post-F2 stories? And why are the Northuldra so left out? Obviously they wouldn't feature in a lot of stories since they're not main (and marketable) characters, but if Mattias can appear in a story or two, why can't the Northuldra at least get a mention? If someone hadn't seen Frozen 2 and read these post-movie stories, they would think the only residents of the forest are Elsa, the spirits, and some animals. Is there a reason for this? These are the kinds of questions I will examine and attempt to answer in this post.

But before I get to the meat of this analysis, please take note of the following disclaimers (I apologize for the length of the disclaimers, but they're important things to keep in mind):

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Disclaimers

- All of this is my own speculation based on the facts made public; namely, the content of the post-movie stories themselves. Since I have no insight into the coordination, publishing process, or other planning/logistics behind the creation of these stories, theorizing is all I can do. I don't know to what extent executives at Disney dictate what authors can and can't write in these stories, whether the authors actually have a lot of creative freedom yet choose to write the stories this way, or whether these outcomes vary depending on factors like country and story format. So I'm purely going off the limited knowledge I have and what I feel is most logical.

- Continuing from my previous point, unless you have some insider knowledge about the inner workings of Disney Publishing Worldwide, Disney Press, or whatever branch of Disney creates these post-movie stories, exactly who is responsible for the way they are is unknown. I could be wrong of course, but I doubt that Head of WDAS Jen Lee has the need to personally green light 6-12 page comic stories that get printed in a foreign language magazine read by, like, 1% of Frozen's worldwide audience. Even though Jen Lee and Chris Buck created the story and characters of Frozen, the franchise is owned by Disney firstly, and it's very likely other people at Disney provide approval for things like this in lieu of the filmmakers. It’s doubtful that the Frozen 2 filmmakers had any input into the creation of these post-movie stories, or even know that they exist. While the Frozen 2 filmmaking team is responsible for how Frozen 2 ended, they ended it in a way for post-stories to easily expand on the Frozen-verse like how I previously described; some stories featuring Anna as queen and interacting with the people of Arendelle, some stories featuring Elsa in the forest interacting with the spirits and the Northuldra, and some stories with them doing things together. And technically this is exactly what post-F2 stories have been doing–we have stories featuring Anna as queen, stories with Elsa in the forest, and stories of them doing things together…it's just that the proportion of "Anna stories" vs "Elsa stories" is surprisingly off, plus the complete absence of the Northuldra. And again, whether it was someone's decision that the stories should be this way, or whether it's just a weird coincidence, is unclear. Is there a particular person or persons from Disney's publishing branches pushing for the stories to be the way they are? Or is it the individual authors' decision? Or some combination of both…or some other factor entirely? Yes, higher ups at Disney have to provide approval for every official piece of media that gets released for their IPs, but who is "Disney" in this case? A manager/supervisor at Disney Press? Is it the same person who approves every new story or just some? Is it just one person who approves or is there some long chain of approval? And if so, how far up does it go...all the way up to someone who actually worked on Frozen 2, or does it stop before then? Does it vary by country? Does it vary whether the story is in comic or book format? There are a lot of unknowns in terms of how these stories come about, so please be mindful of that fact before assigning blame to any one person or group of people.

- And lastly, again, I'm only focusing on post-F2 stories–stories that take place after the events of Frozen 2. I know that comics and books have come out after Frozen 2's release that take place during or before the events of the movie, such as a comic about Ryder helping Kristoff with the proposal and a book showing Frohana having a family game night prior to the movie. For this analysis, I'm only focusing on how the characters and franchise are presented post-movie, in brand new ways not yet explored in the actual canon of the movie. I'm more interested in seeing how these stories are shaping the franchise going forward in anticipation of new official canon content whenever it comes.

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So with all this in mind, let's keep analyzing…

Lack of Elsa

First I'm going to examine the main reasons I have for why we don't see Elsa as often in post-F2 stories:

Arendelle stories are easy and familiar: Personally, I think this is the most likely reason, especially for the comics. The comics are made as part of magazines released in a few European countries. They're simply extra selling points for the magazines, which contain other items that appeal to kids, like arts & crafts activities, and Elsa is always all over those even if she's not part of the comic. I would also venture to guess that the authors and artists who create the comics don't have a ton of time, or incentive, to weave together interesting stories. After years of releasing Frozen 1-based comics that almost always involve adventures in Arendelle, I'd imagine it's very easy for current Frozen comic writers to simply follow that formula, since it worked in the past and is easy and familiar. Sure, they could include Elsa in more of those stories, but if you look at it from the perspective of a comic writer with deadlines, if I could get away with writing an acceptable story without including an extra character to draw/write for, I would do that as much as I could. If Elsa is still in, like, 80% of the magazine, I think little kids would still be enticed to buy them even if she's absent from the comic stories. Obviously with Frozen 1, all the characters lived in Arendelle, so it wouldn't make sense to have a lot of stories without Elsa (though there were some). But now that Elsa is living elsewhere, her absence in these stories isn't as questionable, especially when she's still part of the magazine in general. While this logic applies more to the magazine comics than storybooks, I would still argue that the storybooks are also niche and are simply made to bring in a little extra revenue to small markets rather than a serious attempt to expand the canon.

So then the question becomes, why not show more stories of Elsa in the forest with the spirits and/or Northuldra? Those stories could be simple too, like a story about Elsa and the spirits helping Honeymaren find a lost baby reindeer or something like that. The reason for this could again boil down to Arendelle simply being an easier and more familiar setting to work with. If excluding Elsa from the comics has no affect on magazine sales, since she's already present in the rest of the magazine, why not just stick with a formula that works and takes less effort to write? Even if coming up with simple stories for Elsa in the forest isn't too difficult, Arendelle is a more recognizable and "glamorous" setting, especially for the magazine's target audience of little girls. Another key point is that Elsa's exact role in the forest was left much more open to interpretation at the end of the movie than Anna's role as queen. Being the queen of a kingdom is something easily identifiable, and again, easier to write for. Why risk depicting Elsa's activities in the forest in a way that could conflict with Disney's expectations (assuming someone with clout at Disney green lights these stories) when you can just stick with safe adventures in Arendelle?

Disconnect between stories and canon: This is more of a general statement about fandom interpretation of the comics and storybooks as serious depictions of post-movie canon: it's best to keep in mind that these stories are, again, simply made to bring in a little extra revenue for the franchise, as most of Frozen's earning are either from box office sales or toys/dolls and other merch. Most of the books and comics aren't made with a large, worldwide market in mind, so I'd hesitate to think that a lot of effort is put into creating stories that are true depictions of post-canon content that would perfectly align with a potential Frozen 3 or other future official releases. Many of the post-Frozen 1 stories released in books and comics contradict each other in minor ways, as well as the actual canon movies and shorts as well. This is unfortunately what happens when you have a franchise like Frozen that's owed by a company (Disney) and not an individual director, author, etc. Unlike, say, Harry Potter or Naruto, where the work is owned firstly by the original author who has say into practically every new media piece that's created for their franchise, lots of different people at Disney contribute to various pieces of Frozen media and bring their own interpretations into it…interpretations that could end up not aligning with each other or future canon content from the filmmakers. A few different authors write the post-F2 storybooks, and still different authors write the comics, and I doubt they collaborate to make sure everything in their respective mediums match up exactly, nor do they check in with the Frozen 2 filmmakers to make sure every story released is a clear representation of whatever vision the filmmakers have for not-yet-conceived post-F2 content. This might not be the case for a bigger production, like the Frozen novels such as Dangerous Secrets, and shorts like Olaf's Frozen Adventure, but it is for these little kiddy books and comics that a very small portion of the market even knows about. Even if someone at Disney has to approve them, as I mentioned in the disclaimer, we have no idea if it's the same person always approving, different people depending on country/format, or if there's some chain of people who provide approval. This spreading out of the Frozen-verse across different media formats and Disney branches unfortunately spells frustration for fans who are constantly trying to build one, coherent view of the franchise's world through the alignment of the comics, books, shorts, and movies. This is unavoidably the nature of the kind of franchise Frozen is–something that's owned by a multi-faceted behemoth like Disney rather than a single author, so there's going to be a disconnect between its media formats that are conceived by a variety of different minds at the company. In the end, everyone is free to decide what they do and don't consider canon, but don't be surprised when the image the storybook writing team has for Frozen ends up being different than what the filmmakers create years later.

The pandemic: While I don’t think the covid pandemic is the sole reason here, it could be a possible contributor. Manufacturing was compromised across various industries in 2020, and magazine/book publishing could have been one of them. Maybe Disney did have plans to create more post-F2 books in early 2020, but had to change those plans (among many other things) when the pandemic hit. Some possible evidence for this is that, for some of the storybooks at least, the European translations are based on the English versions, which means the English versions came first, and yet the English versions weren’t released until several months later, most not even in hardcover form. This could indicate a slowdown in this branch at Disney in the US, or at least a portion of it. The US did get some hardcover Frozen 2 books in 2020, like Explore the North, Bruni’s Big Adventure, and the Frozen 2 manga, but not as many as Europe, which is strange if these books started off in English first. Again, without any insight into the industry, I can only theorize, but I do believe the pandemic should at least be considered.

Disney restrictions for future canon: This is an optimistic reason, but one that I think is important to mention. A possible reason that Elsa is noticeably absent from post-F2 stories, but not F2 marketing in general, could be because Disney has future plans for exactly what her role as the fifth spirit is and they don't want to risk anything that portrays that role in a contradictory way. They might not know exactly what that role is yet, but they'd rather not risk retconning anything that's shown in official content, like the comics and storybooks. Since Elsa's role was left open to interpretation at the end of the movie, focusing too much on what she's doing everyday could inadvertently reveal things about her role that could be portrayed as expanding the canon, something that these stories aren't allowed to do. So perhaps the authors are told to downplay Elsa's activities in the forest as much as possible, so often they'd rather just exclude her altogether to make things easier. Of course, this is complete speculation, but I'd like to hope it's true if it means Disney has future plans for Frozen!

On that note, the only story released thus far that has a direct depiction of what Elsa does in the forest is Tales of Courage & Kindness, a digital book that was recently released as part of Disney's Ultimate Princess Celebration campaign. I feel like this book is slightly closer to canon than the other books and comics because it was promoted on various official Disney social media outlets (and was released in English, while many of the books and comics aren't). It depicts Elsa's role (one role she has at least) of helping the spirits protect the forest from outside influences that could throw off its balance. Again, this book is still pretty niche and we don't know if there was any collaboration between the filmmakers and the author of this story, so this depiction of Elsa's role could be downplayed in favor of something else in future canon content. But what I found most puzzling about it is that this book, which seemed to be written for slightly older children than most of the post-F2 storybooks, had a perfect opportunity to feature the Northuldra, since it takes place exclusively in the forest. And yet, there wasn't even a mention of them at all. Which leads to the next portion of this analysis…

Lack of Northuldra

Even though Elsa doesn't appear in as many post-movie storybooks and comics as Anna (for possible reasons I just discussed), she still features in some of them. The Northuldra, however, have not appeared in any post-F2 stories, even the few that take place in the forest. This is strange since the epilogue of Frozen 2 very clearly shows Elsa with the Northuldra at their camp, as well as with the spirits. But as far as post-movie stories, the most we've gotten is one line from Elsa in one of the comics (English version from the official UK magazine):

(thanks to Snow on Discord for sharing this with me)

We can assume the "anyone" she's referring to are the Northuldra who live in the forest (unless she's referring to the animals of the forest, lol. Also, why the heck are they calling Bruni an "it"? This is a prime example of what I mentioned before about the disconnect between the various branches at Disney. In the Bruni's Big Adventure book and other official content, Bruni is referred to as "he/him")

As a matter of fact, Olaf, who lives with Anna and the others in Arendelle, is more prevalent in the forest stories than the Northuldra! I feel like he's been added to these stories to give Elsa someone to talk to, since Bruni and the other spirits don't talk. But why not have her talk to Honeymaren, Ryder, or Yelena? I know all the kids love Olaf, but you'd think they could get away with having one story where Elsa interacts with the Northuldra, just like Anna has a couple of stories where most of her interactions were with Mattias. And like Elsa, the Northuldra aren't excluded from post-F2 overall as they're still seen occasionally in other merch. They're just not in any stories that are set post-F2. This exclusion of the Northuldra is very bizarre, so let's see what we can analyze for why it's like this…

The Northuldra aren't marketable characters: This would be a likely reason if it weren't for the fact that Mattias, who is also arguably not a marketable character, has appeared in a few post-F2 stories. In fact, many minor Arendellian characters often appear in the comics and storybooks…Halima has gotten more attention in these stories than the actual movie! So I think it's more than that, which leads to my next point…

The spirits are more marketable: This is probably why stories that feature Elsa in the forest aren't focused on the Northuldra. Again, assuming the stories in the books and comics are created just to bring in a little extra money and not as serious depictions of canon content in collaboration with the filmmakers, it makes a lot of sense to keep the focus on what sells the best. We know that (in terms of merch at least) Bruni and Nokk were the most popular new characters from Frozen 2, so why not have stories with Elsa in the forest focused on them? This doesn't contradict the ending of Frozen 2 after all. However, this doesn't explain why there's literally no mention of the Northuldra. Even if the stories focus on the spirits, they can at least show the Northuldra in the background or mention them here and there. Which then leads to my next point…

Few stories in the forest, so few chances: In conjunction with my previous two points, I think this is the main reason for the lack of Northuldra in post-F2 stories…there just hasn't been enough opportunities. First off, most post-F2 stories take place in Arendelle, so no reason for the Northuldra to be seen there (unless they wanted to depict Arendelle and Northuldra mingling with each other, but that concept is probably beyond the scope of the kiddy books and comics!) And as of now, there have only been four post-F2 stories that take place in the forest…

-Bruni's Big Adventure: this one gets a free pass because it's aimed at very little kids and literally just shows Bruni and Olaf goofing off, with Elsa making brief appearances at the beginning and end. The more descriptive European version does mention about Elsa living in the forest with the spirits and no mention of the Northuldra. But again, this book seems aimed at an even younger audience than the others, so I wouldn’t be surprised if the author needed to keep things very simple and only mention what’s important for the story at hand.

-A Day With Bruni comic: this one could have definitely shown some Northuldra in the background, or even mentioned them in Elsa's dialogue. I guess the idea was for the group to meet Elsa in a secluded area, since the story was about helping Bruni get his fire going again, which could be dangerous at a camp site. I still don't know why they weren't at least acknowledged in Elsa's dialogue, but that could have just been a conservative choice by the comic writer.

-A Unicorn for Olaf: while this book could have shown the Northuldra, since it features Elsa, Olaf, Sven, and the spirits travelling all around the forest, I kind of see why they didn't; the theme was that each spirit Olaf encountered helped him get closer to finding the unicorn–it's a simple and easy narrative for a little kid to follow, no need to complicate it by including extra characters (I know it's hard sometimes, but we have to keep the target audience for these stories in mind...it’s much more narrow than the movies!)

-Elsa's story in Tales of Courage & Kindness: out of all these stories, this was definitely the one where the Northuldra should have at least been acknowledged. The story features the forest getting disturbed/thrown off balance, so you would think Elsa would mention the Northuldra, the people living there, perhaps to ask if they know what's happening or if anything was wrong. Really strange that this wasn't the case…only reason I could think of is, again, insistence on simplifying Elsa's role in the forest as much as possible, which includes downplaying anything going on in the forest besides just her and the spirits. Maybe the book author wanted to include mention of the Northuldra, but then was told to edit that part out for simplicity's sake. In Anna's equivalent story in this book, Mattias is absent, which I found strange too. Maybe the author was instructed to keep things simple and not include extra characters if it's not necessary for the story (again, the target audience for this story is the general audience of little kids, not hardcore adult Frozen fanatics). But still more possible reasons for the Northuldra's exclusion from this story, and perhaps the others, could be as follows…

Disney restrictions on depictions of indigenous people: I'm not sure how valid this reason is, but we do know that the filmmaking team consulted with the Sami people about how the Northuldra were depicted in Frozen 2. So when it comes to depicting them in anything post-F2, perhaps Disney's being super sensitive. Maybe the image they want to avoid is "we got your approval to depict the Northuldra in Frozen 2, but as far as anything after that, we can do whatever we want." It wouldn't pay to consult with the Sami on all these little niche storybooks and comics, so why go through that hassle when it's very easy to just exclude the Northuldra from them? There are some flaws with this idea though, like where does Dangerous Secrets fit into this (it's not post-F2, but it's still content featuring the Northuldra in ways not shown in the movie). Then there's the fact that Disney doesn't have this restriction with their other movies that feature indigenous cultures, like Moana for example. But the argument there could be that Moana is a main character, so they literally couldn't have any post-movie stories if they had this restriction, so maybe different coordinating/negotiations took place in that case compared to Frozen 2.

The Northuldra are nomadic: This is a reasonable argument for why Elsa seems to often be alone with the spirits in the forest. But I feel like the movie tried to convey that the Northuldra live in the forest. They might travel around the forest to forage for food and set up camp at different locations, but they don't stray too far. In the movie's prologue, Agnarr does say that the forest was "home" to the Northuldra, and I don’t recall Dangerous Secrets giving any indication that they leave the forest for extended periods of time. But this is something that could definitely be addressed in future canon, I just don’t think there's enough evidence for it as of now.

Coincidence/author's choice: This applies not just to the absence of the Northuldra, but lack of Elsa in the post-movie stories as well…it could all just be a coincidence. Maybe the authors of these stories have freedom in terms of how they portray Elsa and whether or not they include the Northuldra, yet they simply are choosing not to. Their reasons for doing so could be what I've already discussed–stories in Arendelle are easier and more familiar, so why not stick with that when there's no consequences for it? And likewise, why continually include Elsa, an extra character to draw and write dialogue for, in the Arendelle stories when there's no need to anymore? Maybe tomorrow a new story will be announced that features Elsa in the forest interacting with the Northuldra and what I've said here becomes way less relevant? But I feel like it's not a total coincidence…like, maybe some countries are more restrictive than others, or some Disney branches are more restrictive, like the comics vs the storybooks. It's hard to say, but some of this could be coincidence for sure.

Conclusion

To summarize, there could be several reasons for why Elsa and the Northuldra aren't as prevalent in post-F2 stories, or it could just be a weird coincidence. I'm of the opinion that the authors of these stories keep the focus on adventures in Arendelle out of convenience and familiarity, since the books and comics are made just to bring in a little extra revenue from small markets. Elsa is still all over other Frozen 2 merch like dolls and toys, and that's where the bulk of the franchise's sales come from. The authors could be restricted by Disney in some way with how they depict Elsa's role in the forest, or whether or not they can include the Northuldra, so they often opt to just not have them in the stories, or just stick to the more marketable characters like Olaf and Bruni. Without any inside information about how Disney's publishing branch makes these stories, we can only speculate. But what I do know is that viewing these stories as an accurate image of what all future content for the franchise will be like is very premature. It's only been a year and a half since Frozen 2 (and only seven months since new animated content with Once Upon a Snowman). Even though that seems like a long time for fans, it's an extremely short time in terms of how long Disney takes to create new content for their animated films. Just look at how many years it took to announce new series’ for Princess and the Frog, Zootopia, and Moana? Monsters Inc. just got a new series ten years after its last movie, and Lion King, one of Disney's biggest hits, didn't get a series (The Lion Guard) until nearly twenty years after its sequel movie. Even if Disney seemingly abandons a franchise, they often come back to it in time, especially one as popular as Frozen. Unlike a franchise such as Star Wars that has a whole studio just for it, Frozen has to share resources with other Disney movies, which is why new content for their animated movies is spread out across so many years. And if we do get a Frozen 3 or a series on Disney+ however many years from now, there's a good chance it could portray the current status quo differently from these storybooks and comics, just like how the post-F1 stories feature a different status quo than now. Whether another change like this is good or bad has yet to be decided, but until it happens, I'd like to imagine it's something like this page from the Explore the North book (one of my favorite post-F2 images)

We see Anna and Elsa having fun together while Arendellains, Northuldra, and the spirits are learning to get along again...and honestly, nothing in these post-F2 stories I’ve discussed contradicts this scenario. Even if we don’t see the Northuldra in the stories that take place in the forest, that doesn’t mean they’re not there. Even if there’s fewer stories featuring Anna and Elsa together, that’s no indication of how often they get together in canon. As I discussed, there could be a number of reasons for why the post-F2 stories are as simplified and one-sided as they are...they’re only meant to extend the ending of the movie in minor ways, so that if Frozen 3 or other official canon content is released down the line, nothing will have to be seriously retconned. As I mentioned, a lot of hands at Disney touch these stories without paying mind to the fact that the filmmakers could conceive something different in the future, which is why I don’t take the post-F2 books and comics too seriously. I simply enjoy them for what they do offer and don’t get hung up about what they don’t offer.

[passp0rtguardian]

Taking inspiration from literally yesterday can Gordon hug Benrey while he gets his vaccines because my mom had to do that to me

((Probably not gonna make it the c0v1d vaccine because uh,,, I don't particularly know how vaccines work? I'm allergic to the shit in them not an anti-vaxxer adsflkj))

--

If Gordon was sure of one thing, it was that Benrey was feral sometimes.

But he didn't know Benrey was that feral.

Apparently whatever planet they lived on before this did not have vaccinations or anything.

Passports clearly make more sense than getting vaccinated against illnesses.

So, in lieu of not wanting Joshua to get chicken pox or the measles because Benrey wasn't vaccinated, Gordon had to drag them to the doctors'.

See, that was an issue because Benrey didn't have any identification to prove they were a U.S. citizen.

He had managed to get Benrey to change into a more human form - curly black hair, regular toned skin instead of that grey-blue, soft blue eyes, they were actually rather pretty.

... and Gordon would stop that train of thought right in its tracks. Benrey was not pretty. Not in the romantic way at least, like what Gordon's brain was trying to tip over into.

He was trying to debrief Benrey on what to say and do when they got in there, which Benrey was not listening to.

"Just remember to follow me, don't talk unless you're asked questions, and you need to go over what you have to say in response to certain questions."

"blah blah blah i already know what to sayyyy, feetman being mean and strict. annoying man. gordon annoyingman."

Gordon sighed, feeling about ready to slam his head on the steering wheel. Due to some grace of the gods he didn't, thankfully, but he did groan loudly as he turned into the parking lot of the building.

They both walked into the building, Gordon checking in with the receptionist while Benrey decided to busy themselves with the kids toys in the waiting room.

It only took maybe fifteen minutes of waiting before they were called back by a nurse. Gordon went so far as to grab Benrey's hand so they wouldn't wander off while they were heading to the doctor's room.

While waiting for the doctor, Gordon managed to take notice of Benrey's behavior. They were shifting in their seat, fiddling with the strings of their hoodie and chewing them much more than usual.

Were they... nervous?

"Dude, chill, it's just like three shots. This is to keep you from getting sick because I don't want you to get Joshy sick."

"i'm so chill. i'm the uh, chillest person ever feetman. maybe you're the one who's nervous." Benrey shot back. "gordon nervous? nervousman?"

"Wh- no? I'm not the one getting vaccines, I'm fully vaccinated!" Gordon sighed, throwing his hands up. He couldn't ever get anywhere with Benrey.

Thankfully the doctor came in surprisingly fast, cutting their conversation short. "Alright, we're seeing a- Benrey Freeman?" The doctor said. Gordon had to use his last name for Benrey to make things easier.

"Mhm, this is them." Gordon said, gesturing to Benrey. "Go get up on the table thing, dude."

Benrey hopped up as the doctor looked over some files, looking weirdly small on the examining table.

"What's your relations to Mr. Benrey, Gordon?" The doctor asked. Gordon internally winced at the use of 'mister'.

"use mx." Benrey cut in quickly. "you pronounce it micks. like uh. mickey mouse. not that hard."

The doctor looked a bit caught, but brushed off their embarrassment. "Right, Mx. Benrey. Looks like today we're getting you vaccinated against chicken pox, polio, and measles. Is that correct?"

Gordon nodded before Benrey could cut in. "Mhm. Getting them caught up on vaccines. You know how it is."

The doctor laughed good-naturedly, getting the needles ready with the liquids. Gordon noticed an increase in Benrey's nervous behaviors. "Alright, it'll just be a little prick, Mx. Benrey."

But as the doctor approached Benrey with the needle, Benrey leaned away, staring at the needle.

"Benrey-" Gordon hissed, standing up. "Sorry, they're uh- not used to needles and stuff!" He quickly apologized to the doctor, who just laughed softly.

"It's alright, Gordon. Could you hold them still for me? I don't want to misjudge and stab the wrong place."

Gordon nodded, maneuvering around Benrey awkwardly before eventually just grappling them in a big bear hug to keep them from moving.

The doctor had them roll up a sleeve of their hoodie before cleaning off an area close to the shoulder, pinching it before inserting the first needle.

Benrey flinched, hissing softly as they buried their face in Gordon's shoulder. They also grabbed his shirt with their free hand, gripping it tightly.

Gordon just sat there awkwardly as the doctor gave them the other two vaccines, hugging them tightly so they wouldn't move other than a few flinches.

Benrey was oddly warm, actually. Wherever they touched him got warm- not overly hot but pleasantly warm. Their hoodie was also a nice texture. Gordon couldn't perceive the texture of their hair that he felt in the little spots it stuck out of the beanie that they decided to wear that morning.

Although thankfully, that was over soon. But they still clung onto him even after the doctor left and they could leave the room. "Benrey c'mon, you gotta let go man." Gordon tried urging them.

"no. not until uhh. you buy me food. i want food."

Gordon just sighed, giving in. If that would make them let go of him, he would do it. "Fine, I'll get you McDonald's if you let go of me. C'mon, we need to leave, they need open doctors' rooms."

"bbbbb fine, gimme food feetmann," Benrey huffed, finally letting go. Gordon felt very cold abruptly as they moved away. "mcdonaldssss."

[finiteuniverse13]

home is people, not a place 2/?

Part 1

Summary: Clay gets attacked on base. DEVGRU finds an issue in that.

TW: Blood mention, physical assault, canon typical violence

Tag: @rebelwrites @chibsytelford @bravo-four-seal-team @velvetcardiganbucky @supervalcsi @abby-splace @itsonautopilot @thegirlwhoisalwayswriting @pinkrockstar19 @softi92 @mrsmarvelous1995 @jayhalsteadfan-2417

Lisa is pissed. She has every right to be. Clay had been attacked in the Bravo cages.

She’d watched the kid go from a strap who couldn’t stay in his own lane to an operator who could lead Bravo – and Tier One, for that matter – into the future. And then he’d been attacked in his team’s cages, in his own cage. Blackburn was still at the hospital – he’d found the kid in a pool of his own blood; Lisa wouldn’t blame him if it took an apocalypse to separate him from the kid – making sure that the kid got appropriate care.

She pushed open the door to Bravo’s briefing room, not that it actually had any members of Bravo in it. Alpha, Charlie and Delta were all there, waiting on her brief on the situation. Echo would have been there, if not for them being halfway through their first deployment as a team. There had been hesitation about deploying Echo – the loss of the last Echo line-up still sat heavily in the Tier’s mind.

The three team’s Master Chiefs and 2ICs had sat in Bravo’s usual chairs. Full Metal and Derek sat in Jason and Ray’s chairs, respectively. Beau and his second in command had taken Sonny and Trent’s, while TJ was sat in Brock’s. Delta Two had distinctively chosen not to sit in Clay’s seat, instead sitting in a chair usually used for either Cerberus or a support staff member, depending on the op.

(It was very funny to watch Brock and Clay push a wheely chair with Cerberus on it between the two of them, and they’d pretty much mastered the art of doing it in the last few months. Cerb had found that if he allowed it to happen, he’d get belly rubs and treats, so he was unbothered about it)

The other seats had a random assignment, seemingly first-come-first-serve. The ones unlucky enough to have not found seats stood tensely, arms crossed and grumbling under their breath to each other.

Nobody sat in Clay’s seat.

All 18 operators looked up when she walked in, attention snapping to the person with the most information. As she walked in, her gaze caught on the table space in front of Clay’s chair. Clay had left his book on the table. It’s about as thick as a brick, and Sonny would probably take a glance at it and tell Clay it was as dry as one. The embossed cover didn’t read English, and Lisa had a feeling that there would be very few, if any, people in the room able to read any part of the book.

She stood at the front and pushed her emotions down. These operators were here for information, not emotion.

“At 0145 this morning, 4 Green Team members entered Bravo’s Cage room. At 0157, they left, and returned to the Green Team barracks. 0204, Lieutenant Commander Blackburn entered the Bravo cages. He dialled 911 and was assisted by Alpha Four-”

She cuts herself off for a few seconds, as various operators slapped Jordan on the back, mumbled thanks spreading through the room as they reassured themselves that one of their own had helped their kid.

“Assisted by Alpha Four at 0207. Ambulance arrived at 0215. The Green Team members were apprehended by Alpha and Delta at 0248.”

She pauses again as a ripple of thanks goes through to room, Alpha and Delta thanking their Master Chiefs and each other and Charlie thanking both teams.

“Petty Officer Spenser was admitted to hospital at 0224, and was assessed as having a concussion, a broken nose and 5 bruised ribs.”

Alpha, Charlie and Delta’s medics all take note of this. They’re probably going to be on Clay’s ass for the next few months about this, right behind Trent.

“Bravo arrived at the Hospital at 0243. They are all with him. Hayes has asked that he is included in any appropriate punishments.”

Full Metal snorts. “Bet he didn’t word it like that”

A series of chuckles and grins echoes around the room. He did not word it like that. There was much more swearing, and much, much less formal language. He’d implied murder no less than 5 times.

Lisa allowed a smile to pass through the stony calm façade she had up.

“Command has delegated these appropriate punishments to be carried out within DEVGRU and have stressed the importance of leaving an impression on future graduates. This cannot be a recuring event.”

TJ pipes up first, almost before she’d finished talking. “I say we let Metal work his magic, make sure nobody finds them.”

This gets mixed responses, but Lisa isn’t surprised when none are wholly negative. They all had a younger brother in the form of Clay, and they had all trained for years in the art of killing their enemies as swiftly and efficiently as possible, and these candidates fell wholly and completely under the title of ‘Enemy’.

Metal gives a faux hopeful look to Lisa, and Lisa can tell that he’s not entirely dismissed the possibility, even as he does a terrible job at pretending to still consider it an option that Lisa could authorize. Lisa plays into the joke – god knows that Tier One needs some light in this disastrous day – and gives him the look mostly used for when Bravo (usually Sonny) suggests a stupid idea that shouldn’t had even crossed their minds. Blackburn jokingly referred to it as her “bad dog” look, and it worked for its purpose, making the operators put their tails between their legs. A few faces form smiles, and a few look to be wavering on the edge of smiling.

“No murder, and no death.”

This gets her grumbles, and not all of them are joking. Clay had gotten all of them out of sticky situations. Every operator in Tier One had a handful story where Clay had needed to be briefed on their op, and all of them had at least one where he’d taking calls at 2am to translate over a connection that he could barely hear English through. He’d never berated them for waking him up, and had often taken time to teach various operators key phrases, if he knew they were deploying somewhere where he knew the language.

Beau goes next, possibly the most level-headed of the Master Chiefs – both in the room and not. “Advanced SERE?”

Now this, Lisa can work with. Something about her posture must change, a twitch in her face, because the room suddenly erupts in sound. Charlie Two, Delta Five and Alpha Three all are in close enough range to clap Beau on the back, and they do so in quick succession.

“Gentlemen.” She raises her voice to be heard by the room. There’s nothing gentle about the looks on their faces.

“I’ll leave you to figure something out. Report to me with a plan of action.” And with that, she gives them a single nod and begins to leave. Her turned back does not block out the whispers of violence, but it does hide the vicious smile that’s stretched itself out along her face.

Nobody would even think about hurting their kid. Ever again.

+

As Clay blearily opened his eyes, he realised that he’d succumbed to pain-med-induced sleep. A few hours had probably passed since then, based on the fact that sunlight was now filling the room. Sonny was sat on his right side, gaze focused on the room’s TV screen, which was showing a play-by-play of a football game. The volume was cranked down, and even as Clay becomes more aware; he can only hear every other word.

“Son?” The word passes his lips without him meaning it to. Sonny’s head snaps over to Clay, so fast that Clay fears he may have given himself whiplash.

“Hey Bam Bam, how ya doin?” The toothpick moves hypnotically. Stop looking at the toothpick. Stop it. Stop it. Sonny’s casual expression is betrayed by the slight waver in his voice, a sliver of raw emotion that Sonny couldn’t fully supress. Clay gives him a strained smile in lieu of answering and reaches his hand out. Sonny catches the hand before it moves very far, holding it in a tight grip.

Sonny’s thumb absently runs across Clay’s unblemished because he hadn’t even been able to fight back knuckles, and his spare hand turns off the TV, leaving them in silence.

“Kid.” Clay’s eyes widen slightly, and he almost pulls his hand out of Sonny’s grip at the softly spoken word. He tries to get in the apology, the explanation, before Sonny can tell him that Jason is punishing him for being unaware.

“I should have being paying attention. I know I should have been paying attention, I was just so tired.” I’m sorry I’m so sorry don’t kick me out please

Sonny freezes. What?

“Clay. Stop. Stop-” he has to cut himself off before he says something that includes those really touchy-feely-emotions he’s feeling. Thankfully, Clay doesn’t take the pause as an opportunity to continue. “Stop trying to defend yourself. None of us blame you, Blondie. You were on base. You should have been protected. We won’t fail you again.” Sonny gives him facts, because he knows that if he tries to do anything else he’ll make it worse.

“Son?” Clay recalls a voice calling through the dark, through the black water he was floating in, a voice he’d recognised; “Did Blackburn find me? He- he had blood on his hands”

For a moment, Sonny curses Clay’s blessings as a sniper. He’d always been able to notice the little things, the things none of them would notice. “Yeah, he was checking that none of us were sleeping in the cages.”

Clay nods, and then his brows furrow. He breaks eye contact with Sonny and frowns in the genal direction of his feet. His face makes what Sonny calls his ‘Brainiac’ Face, and Sonny can only assume that he’s thinking about what happened with Blackburn, not rationalizing with himself that the beating was somehow his fault.

“Son, can I talk to him?” Sonny doesn’t want to think about whatever that conversation is going to be, so he nods and begins to gather his stuff. His cap is hanging precariously from one on the bed’s corners, his phone on the bedside table. He stands and ruffles Clay’s head, laughing despite the stink-eye he gets for it. Clay doesn’t mind it, and he has the feeling the next few weeks, if not months, are going to be filled with various forms of physical contact to reassure his teammates that he was still with them.

And now he’d asked Sonny to get Blackburn. God what do you even say to the guy who had found you beaten? ‘Hey Boss, I’m sure that what you saw was horrifying, but I’m alright now?’ God help him. Sonny hadn’t given him a weird look, so he’d probably been expecting Clay to ask at some point.

Clay’s train of thought is interrupted when a soft knock sounds on the door. There’s a second of pause before the door opens. Clay can’t think of a time when Blackburn’s looked worse. There are dark circles under his eyes, and a vaguely haunted look in his eyes. His eyes have a red tinge, and Clay can’t tell if that’s from sleep deprivation, or something else. His hands are rubbed red and raw, and Clay can tell that Blackburn had taken extra care to get every fleck of blood off his hands. He’s in a jacket that looks too big for him, and Clay suspects that Trent had a hand in that. Since the injured person – Clay – wasn’t someone he could immediately care for, Trent had gone for the next best thing, a shaken Blackburn. Under the jacket, he’s still in his fatigues, and by the time he’s finished the assessment of Blackburn’s top half, he’d moved close and sat down, hiding everything below his waist from Clay’s view.

Blackburn reaches out, putting a palm on Clay’s forearm, Clay’s hand mirrors it on Blackburn’s arm, and tension bleeds from Blackburn’s figure. His shoulders slump slightly, and he leans forward.

“How are you feeling?”

Clay considers lying, considers saying that he’s not in any pain, considers easing Blackburn’s mind. He decides against it. Blackburn had found him in a pool of blood, it’s the least he can do to tell him the truth. “My ribs hurt. But I’m, I’m glad you’re here. I’m glad you were there.”

Clay is the sometimes literally bleeding heart of Bravo, levelling out Sonny’s emotional constipation, and the admission is the balm of some of the burns on Eric’s soul. Eric leaned forwards, shuffling closer to the bed, trying to hide the blood on his knees. He hadn’t been home to change, a call to his wife at 8am had told her that he wasn’t going to be home for a while. She, like the amazing wife she was, had been understanding, and then grumbled at him to let her sleep. They’d both laughed and exchanged ‘I love you’s before his wife ended the call. Clay didn’t need the stress of knowing that Eric had knelt in his blood. Nobody needs that.

“Gave me quite a scare, gave all of us quite a scare.” Eric doesn’t tell him that he’d spent the last half hour scrubbing his hands raw, that Jason had needed to strong-arm him into the waiting room, that Trent had given him one look and offered up his jacket, that he’d had his head in his hands until Sonny had come into the room and told him that Clay wanted to talk to him. Doesn’t tell him that he’d stood outside for nearly a minute before he’d knocked, that he’d needed to barrel in before he lost the nerve to speak to his operator. He usually prides himself on staying calm, on being collected, but Clay had been attacked in one of the few places on earth that he could honestly and without reservation call home. That scared Eric. If he couldn’t keep his operators safe on base, where would they be safe?

“Davis is talking to command about adding locks to the cage room doors, make sure this doesn’t happen again.” If she wasn’t already talking to command about it, she would be soon.

Clay nods. He shifts and grimaces in pain.

“Do you want me to get a nurse?” It’s a safe question, one that doesn’t involve the emotions in the room.

Clay ignores the lifeline. “I’m alright as I am. Did you get the guys?”

Eric nods. Breaking the news to Bravo had been the highlight of his morning. “Command is letting DEVGRU work out how to punish them.”

Clay grins. “I bet Metal is having fun with that.”

It’s Eric’s turn to smile, and a soft chuckle makes its way out. “Davis is under strict orders to not accept a plan that involves murder. I’m sure Alpha’s disagreeing with that.”

Alpha was most likely to deploy with Bravo, and all were in line with their Master Chief’s ‘Bury-first-questions-second’ policy when it came to Clay. Eric had a feeling it wouldn’t take much convincing to get Delta and Echo behind the plan, and that Charlie would only argue on principle.

Tier One was a brotherhood that didn’t take kindly to injury, as the world would learn.

+

Echo One – Zack Greer – a newly promoted Delta Two, wasn’t a very outgoing man. One and Twos were meant to both complement and contrast each other, a precarious balancing act honed over years of living out of each other’s pockets. TJ had needed a level head, so his Two was calm in the face of crisis.

Echo Two, on the other hand. A Floridian man, Elliot Howe, promoted from Charlie Three, who was under strict orders to never drink unsupervised with Sonny Quinn, lest they empty a bar and then burn said bar to the ground. He’d chaffed under Beau’s tight ship, so when the opportunity to move to form Echo had arisen, he was hard pushed to say no.

Together with Echo Three (Alpha Three), Echo Four (Delta Six) and two Green Team graduates as their Five and Six, they’d created a tight brotherhood.

Echo Five, Dan Wilder, a multilingual K9 handler, had initially been lost at DEVGRU, not quite fitting in. He’d reached out to the youngest operator – Bravo Six – in order to get some advice. What he didn’t know at the time is that their languages had overlap. Together with Clay and Ares – his K9 – he’d been able to find someone to practice with.

Echo had long since lost count of how many times Clay had come into their cage room, with a well-loved book, offering it to Dan with a brief explanation of how it would interest him. The book was never in English, and neither was the explanation. For all they knew, Clay could have spent the last few months giving Dan anything from Harry Potter to The Anarchist’s Cookbook (he’d actually only given Dan one of those, and Dan was under strict instructions not to tell them which, and Dan had been recommending others back).

Sonny, on the days when they were hanging out after work, sometimes tagged along to these exchanges. He’d joked about a book club, and Echo Two had picked up on the joke immediately, and since then the pair had resigned themselves to the nickname.

Between Clay’s frequent interactions with Dan and the fact that all of DEVGRU was deadly protective of Clay, it was no surprise that when Echo had heard the news, they hadn’t been happy. Command had fought a battle with Echo to keep them deployed, and Echo had nearly won. Dan had been on many rants, talking to empty space in Pashto – Four only caught a few words, and those were all along the lines of murder and death. Ares was giving out a low, constant growl. Both of the DEVGRU K9s were as protective as their owners, it seemed.

The door to their dorms slammed open and Zack marched in. Echo looks up in sync, and if it weren’t so serious, Zack would be amused by how much his men look like Meerkats. “Got word from Virginia.” This sets his men on edge, Howe half-steps forward, and his shoulders visibly tense up. “They found the green team rookies. We’ve been asked to approve the plan of their punishment before it gets sent to be approved by command.” Malicious smiles break out among the barracks.

They may be 7000 miles away, but they wouldn’t let anybody off the hook because of it.