#not exactly drawing me in as well as the first scene of the og did

[psychicbluebirdmiracle]

Ok maybe im just being nitpicky but did we have to start with the backstory instead of when he woke up and sprinkle it all in over a few episodes:/

[thispatternismine]

ATLA live action impressions part 2

Following on from last night's post, here are my impressions of eps 5-8

Still really loved it. Gonna be tarred & feathered for this but I actually like it better than the animated show

Highlights:

Ozai giving Zuko credit for finding the Avatar. There's this weird idea in the fandom that Ozai never intended to take Zuko back. Even though we saw him do exactly that at the beginning of Book 3. Yes he set an impossible task, but when Zuko (apparently) achieved it, he was like 'ok yeah cool - you have met my standards'. Sure, there's no way Zuko would have continued to meet those standards if he'd stuck around, but Ozai did actually keep his word. The fact that he does it to make sure Azula knows she's overstepped & remind her she's replaceable, is an especially nice touch

Getting to see how Azula is treated by her father. I've seen way too many people try to claim Azula was never abused because she wasn't literally set on fire like he was. Never mind that she avoided that fate only because she was able to meet his standards. And having to constantly strive to meet the standards set by someone who thinks 'find a guy who's been missing for a century' is a suitable task to set his kid is abuse.

Another annoying tendency of the fandom is to flanderise Ozai into some diabolical caricature who spends all his time thinking up new ways to torment poor Zuzu, so having that scene of him banishing Zuko was a nice touch. He genuinely believes he is being a good dad & raising his kid to be strong (note: This isn't me saying Ozai is right - I'm saying he thinks he's right.)

The 41st Division 😭

Iroh & Ozai interacting with each other

Gyatso!

I spy some female soldiers! A problem with the animated show was that it's all well & good deciding that the Fire Nation has female soldiers, but bias is a thing & 99.9% of the time if you ask someone to draw a soldier it'll be a man. Yeah sure they all stayed to guard the Fire Nation that's why we didn't see any till Book 3 suuure

"Anything you need." "It has to do with Koh." "Anything but that." DYING

Aang's whole speech to Zuko about how helpful his notebook was (let's be real Iroh probably sighed & told him it was a waste of time so this was the first time he heard 'Hey good job on the Avatar research!') & the way they bonded before he unwittingly set Zuko off

"Quit it before they think there's something wrong with you. More than there already is."

"The Firelord deems your performance... below average." OOF. Pretty sure that's the worst thing you can possibly say to Azula. She'd much rather be told she sucked outright than just 'meh'

Waterbender Yue

Non-arsehole Hahn

Using Kuruk lore from the Kyoshi books!

I like the changes to the NWT siege. Having the spirits' mortality be an occasional, temporary thing to gain an appreciation of life that occurs during a full moon when the powers of those who will protect them in that state are at their peak, makes more sense than permanent vulnerability that relies on nobody finding out. Also never made sense that a naval officer was stationed in a fucking desert & was able to just take time off to go through a spirit library, so having Zhao find his info from the Fire Sages works better IMO. I do hope we'll still get the spirit library though

Ozai's lil eyetwitch when Azula backtalked him like if you agree

Haven't mentioned yet but I love the costumes in this

Also never mentioned Momo, the Real Hero of ATLA

Sokka continues to be awesome

Lowlights:

June calling Iroh cute & fawning over him. Normally I'd think it's unfair for the live action version of a character to be held accountable for what the animated version did, but this leaves a bad taste in my mouth. Like og!Iroh's groping of June being treated like a joke has been called out many times so they fucking had to know what they were doing

Why isn't Azula's fire blue? We got like 1 second of it & that's it. Maybe consistent blue flames are a power up she'll obtain later idk

[sualne]

hi i love your frame study post with luffy and zoro I was wondering can you tell me about it more it seems like alot of fun and i want to try it, like when you trace the frame is it just the silhouette sorry im not very good at drawing and this seems like a fun way to figure out dynamic poses

it is a fun a way to figure out dynamic poses!! that's why i started doing it, it's also to study animation and an easy way to warm up

the first real step is looking at a scene frame by frame on youtube with , and ; to see what's going on exactly then taking a bunch of screenshots. here i just wanted to see what was going on, there was a lot of impact frames in ep1100, lots of cool fighting choreography so i stared a lot, hadn't originally planned on redrawing anything but i was obsessed with these few frames of luffy turning.

i try to trace as loosely as i can, i change the design/body type to fit the one i draw the character with and try to guess what the parts out of frames could look like, sometime it's also fun to make an inbetween that isn't there! i try to see how "can i make it more?", like how much can i push an expression or what if i make the hair more gooey looking (because gear 5's hair is very gooey)? or wilder looking as if there was a lot more wind/movements happening (for the clothes as well)? here luffy's missing his head in the first frame because i changed it so much there was no need to bother redrawing it again, i used it directly for the lineart. beside the body i try to trace the shadows too, sometimes the effects but i don't keep them in past the tracing stage since it's not what im trying to study.

the goal isn't to draw something good but to understand why the original worked and picked your attention.

after the tracing is done you can't look at the og frame again and work from what's been traced only, this way it inevitably ends up looking different, like the shadow changing places on top of adding details for the fun of it. there's no need to redraw the same line over and over until it looks perfect, it's meant to be quick and loose. mess around, see what works and doesn't and why.

the zoro vs kamazo fight is one of my favorite because the animation really goes wild, i didn't bother with redrawing the lineart and pretty much only messed around with stronger shadows because the main goal was to redraw the dramatic angles to see how it works. it would've a been a lot better/actual study if i had redrawn the body entirely afterwards to really understand the perspective and all.

it's what i did with that 3 seconds walk, tbh one of the reason im obsessed with the song so much, i love that animation and wanted to figure out why it worked so well (i don't think the way i've reanimated it with law works the same at all but still a ton of fun to do).

[wanderfan2000]

“Wander and Mater, How I Made My Two Favorite Animated Characters Brothers, The TRUE Story!” Written by WanderFan2000.

or WanderFan2000′s CRAZY origin story of how she made Wander and Mater brothers all the way back in high school. The Story: It was the year 2016…

My favorite Disney animated series, Wander Over Yonder was starting off with the second part of The Dominator Saga, which in this case, this tale takes place on February 8, 2016. The date when the episodes, The Cartoon and The Bot aired. (I wasn’t exactly a He-Man fan, because as we Wander fans remember The Cartoon was Lord Hater created a cartoon to impress Dominator and the whole thing was definitely a love letter to the old 80s shows we grew up with like He-Man: Masters of the Universe and even Scooby Doo.) Okay, I’m getting off topic here, so let’s move onto the part where things got interesting.

It all began after seeing the Cartoon Wander on my TV screen for the first time and the MOMENT when I saw him riding Cartoon Sylvia, this is what I whispered to myself:

“I knew it! I knew they (Wander and Mater) were brothers!” - WanderFan2000 on February 8th, 2016. 

 When the newest WOY episodes were over that night and during the next day at school, I kept thinking about Cartoon Wander, how he definitely reminded me a LOT about Mater…

Then in about one second: a brand new obsession was BORN! 

The Drawings and Fan Art: After witnessing Cartoon Wander and ever so slowly becoming obsessed with the design, I decided to draw it along with Mater, (also in a space traveler form): 

The design your looking at here is actually the SECOND design for Mater in the WOY universe. Also, the buckteeth is a reference to Cartoon Wander as well.  But aside from the newly redesign I made for Mater, his brotherly adventures didn’t begin with him as a space traveler. They actually started when I settled on the final drawing design for the tow truck, which was the Little Golden Book form: 

I kept drawing this design a lot: 

Wander worried for Mater after he ate hot Wasabi. 

Wander and Mater having fun with each other.  But Mater didn’t start out as his LGB design, Mater started out with Wander, originally in his somewhat “3D” design I did for the tow truck: 

Wander and Mater doing a crossover in Mater and the Ghostlight. 

The Disney Pixar Brothers: After drawing Wander and Mater as brothers for…quite a while in high school, I decided on giving them both a name. Hitting Wander was from Disney and Mater was from Pixar, I suddenly came up with a name that was PERFECT for them: The Disney Pixar Brothers!  During this time, I loved quoting the ending quote from Epic Mickey, because it genuinely fits for Wander and Mater, bounding as brothers: 

The Disney Pixar Brothers.

Wander and Mater: The Disney Pixar Brothers. 

I sure had fun with drawing Wander and Mater as brothers. But until noticing that it was still hard for me to draw Mater as a tow truck, I settled on a new design for him, a space traveler! 

Tow Mater: The Space Traveler: 

Mater’s OG space traveler design didn’t have a hat like he has now, but I couldn’t find ANY of my OG Mater space traveler designs, so I decided to show pictures his new current design. 

Basically, Mater’s space traveler form consists of two things, his patched up hat to his dark blue shoes. Wander gave Mater his hat after encountering the Lemon Cars for the first time in an old BW city, complete with a Disney Store. (This was actually something I had going on in my brain back in 2016, because I have a CRAZY imagination!)

As I was giving Mater’s new form a go, there was no doubt he had a BUNCH of new adventures alongside Wander: 

Mater and Wander recreating a deleted scene from Cars 2. 

Definitely every little brother with their big brothers. XD (Also, OG space traveler design of Craig McCracken.) 

Mater and Wander doing a scene from Cars: Mater-National Championship. (I watched this cutscene on YT tons of time as a kid.) 

A Bond Between Two Brothers, The Cancelled Novel: 

During my new obsession with drawing Wander and Mater as brothers, I decided on one thing: write a novel about them. The novel was officially called: A Bond Between Two Brothers, which was going to be an origin story of how Wander and Mater become brothers. I still remember drawing a book cover for the story. I was ready to set out and write it, it unfortunately never came to be and A Bond Between Two Brothers was left on the drawing broad…But who knows? Maybe I’ll bring this old novel back someday… 

Into The Dark Ages: 

As many cartoons I came across, they always had those “dark elements” I love witnessing, whenever it’s Wander getting scared by the Phantomimes in The Heebie Jeebies or Mater getting captured in Cars 2. I knew I could definitely make some dark pictures featuring the brothers, better yet, pictures that would crush their spirits… 

I always had these ideas where Wander was in the Cars 2 universe, trying to rescue Mater from his captivity, but he ends up too late to rescue his brother, unfortunately, that can’t give me the idea of drawing Wander holding Mater as Mater gives a tried and defeated expression while Wander giving a terrified and scared expression at Mater’s captives. NTM, this is a trend that I still draw today.  The Conclusion: 

As I mentioned before, Wander and Mater’s brotherly bond have DEFINITELY took them to new heights, even in my fan made series, they love to refer to themselves as brothers. It’s funny how one simple episode from WOY gave me the inspiration to make Wander and Mater as brothers.

Plus, even in this new decade: Wander and Mater will ALWAYS be brothers!  The End. 

[blazehedgehog]

Hate to break it to ya, but the Crazy Carl "Sanic" scene got a lot of grown-ass adults laughing as well. Reference-based humor is all the rage now.

I mean, that doesn't surprise me, if that's what you're thinking. Adults can also laugh at references kids get.

I just don't think that kind of humor is very, I dunno, healthy?

Like, I could sit here and write a mile-long blog that's just

Remember The Wuzzles? Remember The Popples? Remember Boglins? Remember MadBallz? Remember Moon Shoes? Remember Gak? Remember Floam? Remember The Cramp Twins? Remember when Cinnamon Toast Crunch used to have three chef mascots instead of one? Remember when Cookie Crisp featured a thief stealing cereal and a keystone cop was trying to stop him? And before that, it was a cereal wizard? Remember Capitol Hill Critters? Remember The PJ's? Remember Problem Solverz? Remember The Secret Adventures of Alex Mack? Remember WMAC Masters? Remember Ronin Warriors? Remember Project GeeKer? Remember Funky Cops? Remember Mike, Lou and Og? Hey, whatever DID happen to Robot Jones, anyway?

Was any of that funny? It took exactly no effort for me to do.

There's nothing wrong with cherishing nostalgic memories but for brand holders it's literally the cheapest, easiest thing for them to cash in on. They effectively hold those memories hostage and bring then back out again when they need the money.

It's one thing when I find an old Ninja Turtle at a thrift store and it tugs my heart strings because it's something I pined for as a kid or actually owned and then lost.

It's another when it's multiple international corporations going "remember this thing we used to sell you? tell you what, we'll do a special, limited run, and sell it to you again. but be warned: it'll cost you 10x what it originally did. Because it's extra special now."

That's not necessarily what you're talking about, but it's all part of a cycle of businesses using "remember this?" as entertainment, marketing, and merchandise.

Nostalgia is to be shared with friends, and businesses aren't people.

Crazy Carl's drawing of Sonic could have been anything, but they chose a dumb meme. And for me, that sucked all the fun out of it. Because now, instead of laughing at a funny picture of Sonic, my brain's first reaction is "oh, that's just a meme. Kids use that to troll each other."

References aren't jokes.

[there-are-always-flowers]

Late and almost forgotten

Almost a fortnight late but here's my April round-up:

Poor Things was a standout this month. I was intimidated by it's long runtime, but the pacing was amazing! The movie through out some Big Themes (TM) that my English major mind just loved mulling over. It was just pretentious enough for my liking. Oh yea, and all the Emma Stone sex scenes kept me invested. Did that defeat it's thought provoking premise? Maybe. Was that the point? Possibly. Did we still love it? Definitely.

Lisa Frankenstein is exactly who I want to be. A weird, but confident, kinda twisted and spunky girl who is figuring it out as she goes. She doesn't always make the right decisions, but she doesn't what's right for her and what makes her happy. This back-to-back monster-creator movie theme made me think a lot about the OG Frankenstein story and Mary Shelley and how much feminism really went into it all. Shelley was a FREAK! It reminds me that Feminism (TM) doesn't have to be branded in perfection but can be dark, twisted, wrong, but still mean something powerful. I haven't thought it though entirely, but I really vibe with the monster.

Bad Vegan was a completely unexpected hit for me. I was expecting true crime and corruption capitalism. I was not expecting cult-like brainwashing, manipulation, and mental abuse. I though about what line I would draw with my loved ones. How slippery I would let the slope get before backing off. What I would allow myself to listen and if I would believe such nonsensical promises. I wasn't expecting so much thought to come from a early-2000s NY vegan socialite.

Dumb comedies like Blockers always draw me in. Sometimes we just need to shut our minds off and consume something wholesome and funny. Blockers was such a film. I wasn't expecting much by what I did get was laugh out loud funny, a little uncomfortable, but ultimately a win. Also I really love John Cena. He seems like he genuinely enjoys what he does as a actor and he does it well.

Now then... I READ A BOOK!! The Office of Historical Corrections by Danielle Evans is a book of short stories and the titular novella. I read this on my commutes to/from work and it's the first time in a while where I wished my commutes were longer so that I can read more. The short stories were just long enough to wish there was more. My favorite of which was Anything Could Disappear could have been taken out of an SVU cold opening. It was so interesting the kind of life the main character sort of just fell into. The idea of just moving to a different city, assuming a new name, a new job, not having anyone really ask any questions - it's all so enticing. To do that along with a child (no spoilers) is just fascinating.

[imcaso]

Ranking: The "Scream" Franchise

My ranking of every film in the Scream franchise. More to come.

6. Scream 5 (2022)

I’m sorry, but I do not get the hype. And I’m calling it Scream 5. 

Now I will say first, the Scream franchise has made all of its success on the unfolding of its soap-opera-esque plots: the psychopath boyfriend, the vengeful mother, the secret Hollywood past and illegitimate child - this is just what Scream does. But the fifth installment cut the knife a bit too deep, so to speak. 

Let’s start with the opening scene, which I will admit I don’t have a fully formed opinion on just yet. The film made the questionable decision to spare its victim of the supposed “first kill.” Perhaps if I liked the rest of the movie a bit more I would feel better about it, but it wound up getting lost in a mix of creative decisions that couldn’t be saved even by the series’ own innate tackiness. Part of me thinks I may be conflating this with Drew Barrymore’s first (technically second) kill in movie number one. The genius ploy behind this was to market the widely-popular Barrymore as the lead of the movie to draw in viewers, only to end up killing her off in the first fifteen minutes. And maybe this is my qualm with the decision to spare Ortega. She too is having her flowering moment in the spotlight, so perhaps I see it as a weak decision to pander to her fanbase like they did. Nonetheless, I do have some good things to say: in accordance to its own rules of horror movies, each installment of the franchise must get bigger and bloodier, and this is something that the first scene did just right. Jenna Ortega got her ass KICKED (her poor hand!)…and then proceeded to kick ass…so let’s give her some credit, as well as some to the creators for giving us such an action-packed scene. 

Now let’s cut into the meat - probably my biggest gripe with the film…the bastard child of Billy Loomis: Sam Carpenter. Don’t get me wrong, I like her as a character, but I can’t deny her likability was weighed down by such an unnecessary background plot. It brought a vibe with it, like that Debbie Downer sketch on Saturday Night Live. Not to mention the writers reached to the heavens to pull off this lore. So you mean to tell me at sixteen years old, Billy Loomis was indoctrinated by Roman Bridger, plotted and committed the murder of Maureen Prescott, then carried out a mass murder of his own friends the next year, and somewhere along the way also had a baby with another student at their high school? Interesting. Like I said before, this is what Scream is known for, but something about it felt so unwitting and was overall very poorly executed. And now they have no choice but to double down and carry on with the story. 

Now you’ve heard my gripe about our first victim, Tara, surviving. And you know I haven’t fully accepted Sam into the Scream family with open arms…so what happens now that they are at the forefront of this story? Something about the two of them feels so…crowded. Like they’re attempting to toss the Sydney Baton back and forth as a way to usher in a new generation of legacy characters. But lest we forget we have spent four whole movies tormented by the potential fates of our OG legacy characters, so I’m not too thrilled being handed off to a group of strangers who I don’t care enough about yet. When you are making decisions three movies ahead of yourself, you risk losing out on the unpredictability of life, real and movie. 

<spoilers>

Okay, let’s talk about it now. You know exactly who I mean: Sheriff Judy Hicks…and, yes, our beloved Dewey as well. I said it mere sentences ago, we have spent years with this franchise speculating when we’d inevitably lose one or more of our legacy characters. And I hate to say that it was completely necessary to let one of the big ones go in this movie. 

We’ll start with Judy. For only appearing in Scream 4 and 5, I have to say this one was a little heartbreaking. Had they let her go in the fourth, we wouldn’t have known her long enough to really care. But seeing her thriving as the newly promoted sheriff in the fifth film evoked a love for her I never knew I had. Hicks was arguably the most innocent character in the series, so it was a bit shocking how the deaths of her and her son unfolded. To me, these kills had a darkness to them that we haven’t yet seen in Ghostface (you know, besides the dozens of other brutal murders committed over the last thirty years). But truly, something about how unsuspecting they were, the cruelness of Ghostface taunting Judy on the phone, the surprise attack at the door, and the painful death of her son, idk man it just made me sad face. I wanted to like it, truly. I appreciate when a film can make me feel sour. There’s an art to it. But similarly to how I felt about the opening scene, the rest of the movie simply overshadowed its most promising moments. 

And then there was Dewey, our awkward knight in armor. I’m not going to say he shouldn’t have died. One of the big three needed to, and I would be a bit more fearful for the future of the series if it had ended up being Gale or Sydney. I just can’t say I appreciate the way they did it. Maybe I’m going back on my words literally one paragraph ago, but this moment made me sour. And I only feel that because Dewey was a much more historic character to this franchise, that he should have died with some dignity. Instead, he died alone, on the hospital floor (where tf was the staff?), as the long-lost love of his life rang for him, not knowing she would never speak to him again. What a shame. I have more to say about this after a certain event in the sixth movie takes place, so we’ll get to that later. 

</spoilers>

Now that I’ve read this film to filth, let’s talk about the things I did like, sort of: Amber Freeman’s reveal. “I’m not the fucking killer,” Liv cries. Then, raising the gun to her head, Amber replies with a smirk on her face, “I know,” and WHAM! What a powerful moment. Truthfully, the only powerful moment of the entire film. Even so, the killers in this one were nearly the least impressive of the franchise, a bit too on-the-nose. Especially following Emma Roberts’ legendary reveal in the previous film, who’s insane plot to beat herself to a pulp and guise herself as a victim was the most insane we’ve ever seen a Ghostface. Amber honestly felt like the little sister trying to fit into her big sister’s shadow. She was sloppy and impulsive. And Richie did not help to compensate for that. In fact, his performance has been the least memorable of the franchise to me. And back to Amber, why are they always setting that poor girl on fire? 

I digress. I’m sad to say, I’ve never been disappointed by a Scream installment like I was with number five. I accept it, I will live with it, but I’m gonna be mad about it! But on the bright side, everything from here can only look up. 

[nevertheless-moving]

thanks again to @dykerory and @willowcrowned for this genius au. this is an incomplete collection of very specific set of headcanons/daydreams i had about a tangential version of your au that made me emotional in the middle of the woods. whenever you feel the time is right, i’m very eager to hear your og version on the ‘but obi-wan, tho!’, because i admittedly pushed this one’s resolution really far chronologically because i wanted batman to be involved.

continuation from here

note: my understanding of dcu is as sporadically informed as my understanding of the gffa. 

newly graduated clark kent gets his first journalism job and starts settling more and more into the superman thing. the rest of the justice league has been around but his entrance onto the scene is the one that really inspires the various heroes to actually start coordinating to deal with the weirdness magnet that is dcu Earth. Clark is in his early 20s. Anakin is in his late 30s.

He’s been living on Earth, without the force, for nearly 2/3rds of his life. He has a close knit circle of friends who were kind to him even when they thought he was just a weird and crazy emo cult victim (the gradual increase of public encounters with aliens and superpowers sparks some awkward apologies, Anakin at 38 just waves his friends off, smiling and changing the subject, neither confirming nor denying his high school ramblings of spaceships and magic. it doesn’t really change anything).

He lives an hour’s drive from smallville, and runs a successful auto shop. people travel from pretty far to check out some of his more wild and specialized motorcycle abominations. makes enough money selling them to rich idiots to fund his free auto-class and auto-repair programs for impoverished communities.

It took a while but he eventually came around to the idea of helping people without physical force (ironically, this is happening around the same time Clark is coming to the realization that he can help people with physical force). Generally respected as a pillar of the community. When people start to realize how profoundly weird he is as a person in a number of inexplicable ways, someone will generally pull them aside and quietly whisper that he was in a cult at a child, no one really knows much about it except that it’s what inspired his anti-modern-slavery work, which is a little telling. Not married. Was in a long-term relationship for like 9 years. It didn’t end well but no-one knows the details.

Has several cats. 

He’s- wistful but settled. He’s been through a lot of therapy. He meditates every morning and night, clearing his mind and examining his emotions in the way Obi-Wan taught him. He thinks Obi-Wan would be proud of him. He know his Mom would be.

Once he gets used to the idea, he never really stops loving the concept of learning just because. Duel bachelors degree in in african american history and american literature, masters in engineering, masters in astrophysics a phd in theoretical physics, another phd in medieval folklore. He’s worked a lot of jobs. 

He was already pretty well versed in astronavigation back at the temple. Over the course of his time on earth, he gets more educated in earth astronomy and physics. With is increased knowledge, his theory for ‘how did i get here’ shifts from slight hyperdrive miscalculation, to big hyperdrive miscalculation, to some sort of hyperlane incident. he realizes that none of the stars he knows are familiar in any NASA database. He must be beyond wildspace, which helps him let go of the last bit of hurt he felt that Obi-Wan never found him.

Then he really learns physics- and- light doesn’t exactly work like that right? He thought it was just primitive Earth understanding but... he gets a phd more or less accidentally, trying and failing to disprove that the speed of life is constant constant.

Get’s another even more accidentally, explaining how alternate universes might form if we assume slightly different universal constants. He publishes his thesis anonymously around the same time metas are becoming a household term, and at least one science journalist speculates on it and how alternate universes might explain the increasing prevalence of wildly different superpowers. He doesn’t claim credit for the honorary diploma awarded to the unknown theorist- he doesn’t want to risk drawing any attention to him and by extension Clark, who’s alien differences are far more of the ‘military experiment interesting’ variety then his.

He stops tinkering with Clark’s ship. He finally gets how it works. Now that he realizes how FTL travel has to work in this universe, tinkering with the mechanical generation and harnessing of the massive quantities of energy necessary to do is startlingly familiar. But it doesn’t matter. No matter how far and fast he travels, he’s never going to be able to get back to the life he used to know. 

Perhaps this is what being the chosen one actually means- he’s meant to live a life without the force, so that when he returns to it in death he’ll be able to somehow...educate? the force? maybe?

Ok, he’s not great at the metaphysical spiritual side of things, but he does accept that going back is out of his control, and he’s doing good here, even if it’s not galaxy altering.

Despite all the therapy, he never doubts that his early life was real. He has his saber and deep, deep down he can feel a spark in the kyber. He can’t do anything with it, but it’s there. There’s also pieces of the utter wreck that was his ship in the cellar, next to the sleek unblemished pod that Clark arrived in. Shortly before Clark becomes Superman, he asks for his help in melting down his old ship to make unearthly alloys. 

He’s not surprised when Clark tells him he met a ‘real’ ‘magic’ user- it stands to reason that considering how relatively easy it is to convert energy from one form to another in this universe (Clark can fly), at least one kind would bend to sentient willpower in a similar way as the force does.

It’s still a little nervewracking showing his lightsaber to someone new for the first time in a decade. Zantana scrutinizes, bewildered. 

“There is some sort of power locked within, but it’s unfamiliar to me,” she admits finally. “I could probably brute force it and force the energy to release itself, but it would likely destroy the container.” Anakin politely refuses. 

Later, after the justice league’s formation, Clark mentions to J’onn that he has a friend who might be able to work on his ship. J’onn is extremely doubtful when he’s brought to a bizarre autoshop in the midwest that looks half-like a roadside attraction. Anakin sighs and digs his hands into the guts of the craft, muttering incomprehensibly and yelling at clark to melt down some pieces from the special scrap pile. A few days later he explains the patches he’s done to an impressed J’onn. When he asks how a human came to learn such things, he’s absently informed that,

“I used to work in a junkshop in Tatooine. All sorts of ship parts came through.”

“I’m unfamiliar with this world.”

“Tell you what, if you ever meet anyone who’s heard it of it, send them my way, and I’ll make your next repair free.”

“Oh! I’m afraid I don’t have any earth money...”

“Ugh, of course you don’t. it’s cool, capitalism sucks anyway and everyone’s entitled to free transportation, regardless of the area they happen to live. I do ask that if you can’t pay for the repairs that you spend an equivalent number of hours either attending one of my free auto classes, or volunteer at a community-led charities of your choice, here I’ll get you a pamphlet-”

So the Martian Manhunter becomes a weekly volunteer at a Midwestern Food Waste Reclamation Facility. J’onn J’onzz ends up becoming Anakin Skywalker’s friend well before he becomes comes truly comfortable around Kal-El. For a telepath, 39 year old Anakin’s Jedi orderly mind is a soothing relief.

(again, Anakin has spent far more time meditating on Earth then he ever did at the temple. Before all this, spent five years dutifully memorizing the Jedi way even as he struggled to live up it’s basic practices. For the first few years on earth, religiously practicing every meditation technique Obi-Wan ever taught him, thinking obsessively about the philosophies he never had time to really process, is just a desperate attempt to reconnect with the force, prove himself worthy of it. But even after he gives up on ever touching the force again, he keeps up the practice, he can’t release his emotions exactly, but he does find peace. The tendency to stop mid-rant to earnestly pronounce made up zen bullshit and then sit quietly for an hour before picking up on his tirade again as though there was no interruption is one of the things many things people find profoundly weird about him)

Kal-El doesn’t stop asking new aliens and dimensional travelers if they’ve ever heard of Coruscant, or Hutts, or the Jedi Order. Anakin might have given up, but Superman remembers his older brother scrubbing away his own tears to focus on helping Clark calm down enough to touch the floor again. The more the Kryptonian’s powers developed in alarming ways, the more Anakin set aside talk of missing his home galaxy. Anakin might have claimed it wasn’t like that, but Clark was determined to take every chance his increasingly weird life threw at him, no matter how vanishingly small.

In the middle of his first battle with Braniac, Clark starts insulting his incomplete database. The world collector pauses, demanding a more precise explanation. Clark complies, giving his best technical description of Coruscant’s cityscape, Tatooine’s binary star system, and so on. Braniac is so distracted that Superman recovers completely from his kryptonite poisoning and easily saves the day.

Neither the lantern corp or the denizens of the neutral zone have the answers. Superman doesn’t mention it it Anakin, but he never stops looking and listening.

“How did you even meet that guy?” Flash asks curiously after stopping to say hello on one of their after work laps of the country. 

“Aliens among us support group,” Kal-El responds deadpan. 

“Oh. Wait, what? He’s an alien? I thought he was from the future or something! You’re messing with me. No way that’s a thing. How many people are in the support group? This is a joke, right?”

“Sorry, most of them aren’t out and I don’t want to violate their privacy- a lot of them have high profile jobs. How do you think I met J’onn?”

“SUPES I’M FREAKING OUT RIGHT NOW YOU’VE GOTTA STOP”

Anakin is just sort of vaguely known by a solid chunk of the super community as ‘that one midwestern zen space mechanic’ and no one really questions it because everyone’s life has just gotten so goddamn weird. A few of them know he used to be a space wizard of some kind. Space wizards now being a regular hazard of life on earth, no one has reason to doubt this, and it’s as good an explanation as any for Anakin’s general vibe.

well. almost no one doubts this. Batman does not simply accept Anakin’s general bullshittery without carefully investigating and drawing his own conclusions. He does not share these with anyone.

But one day Clark- this is well after Superman became Kal-El to him, and not long after Kal-El tells him to call him Clark- comes up to him and asks for his help finding about an alternate universe. Knowing and dreading where this is going, Batman stalls,

“Shouldn’t you be asking one of the league members who regularly travels between universes?”

“I have, over the years,” Clark admits, awkwardly scuffing a boot on the floor of the cave. “But no one’s familiar with the exact one I’m looking for, and I thought since you’re a detective, and also one of the smartest people I know, you might be able to help me...”

“You’re an investigator yourself, and you can survive the vacuum of space,” Bruce shoots back flatly. “I’ve told you before Gotham is my priority, and this has ‘personal project’ all over it.”

“Come on, B, please,” Superman pleads, trailing Batman around the cave like an overgrown puppy. “In a few months it will have been 30 years! He’s my brother! Just let me see the research you’ve already done!”

“Who says I’ve already done research on your brother?”

Clark shoots him a look. And Bruce concedes the point with a grunt.

“I’ll need need to talk with him first,” Bruce finally concedes. “Bring him by the cave. Take the-”

“Take the tunnel entrance, I know, I know,” Clark agrees with a grin. “This doesn’t mean he’s authorized to know your secret identity. Thanks Bruce, this means a lot. I’ll ask him tomorrow about his schedule.”

Superman flies off and Batman scrubs his face with a gloved hand. After a moment he pulls up Anakin’s file on the main monitor. Bruce honestly respects and likes the man, as much as he respects and likes anyone who’s not family. He admires his sense his style, appreciates his upgrades to the batmobile, and is impressed by both this civil rights work and his additions to the scientific community.

That doesn’t mean he’s not convinced that Anakin’s brother is a bit insane. Again, he’s not judging! He dresses like a bat to scare random henchmen and beat up actual demigods! He wishes his rogues gallery was as capable of directing their ptsd-inspired delusions and staggering intellects towards such productive pursuits!

Bruce was already in quiet awe of the Kent’s ability to raise an outrageously superpowered being without blowing up a chunk of the country; their success in derailing a supervillian origin story just puts him over the edge. He stares at the three most likely profiles he’s pulled together. Christen Jones, from a negligent family, death certificate filled out suspicously sloppily at age 3. Earl Lucas, went missing at age 9, both parents dead in a violent assault. And Jake Hayden, who at age 5 disappeared along with the rest of his family in a seismic accident later linked to Luthercorp.

Anyone of them could have suffered on the streets for years and coped by establishing an elaborate fantasy world, aided by self medication, only to eventually be picked up by the Kent’s and start healing. Certainly Anakin had the intellect to create worlds in his mind. All his rogues were smart enough to create their own little realities in their heads- it doesn’t mean they were actually reachable. 

Unfortunately Anakin had a Kryptonian younger brother who was determined to actually find the space wizard knight homeworld, even as the 'Jedi’ in question had slowly moved away his reliance on the delusion as an adult. Batman really didn’t see any way bringing up his conclusions to Anakin or Clark could possibly be helpful, and so many alien allies had a ‘If you find about the Jedi please contact Kal-El of Krypton on Earth’ pamphlet that it would be excruciatingly awkward to try and discretely correct anyone.

Bruce was not looking forward to this conversation.

[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.

[sahasrahla]

SessRin

I'm a big fan of OG Inuyasha. I’m not following Yashahime yet, I was planning on bingewatching it after it was finished. I’ve still been dipping into the tag now and again just to get my toes wet, but have held my tongue on the "is it or is it not Rin" debate since the notion that it could be anyone else felt utterly ridiculous to me.

To clarify, I don't actively ship anything in Inuyasha. I'm not pro-SessRin per se, but I find it extremely hard to imagine him ending up with anyone else. They would need to write it REALLY well to make any kind of sense for his character. Now, the argument regarding the twins' mother is moot at this point because of the recent canon reveal, but, yeah. Of course it's Rin.

Anyway, the reason I'm posting this is because of the crazy explosion of BUT SHE'S 14 and fucking hashtag pedomaru and other horseshit.

First, I will admit Sunrise kinda dropped the ball on trying to make her look older. At the same time I think being familiar with the character also hurt this. If she were a new woman randomly introduced I don't think anyone would have questioned her age, considering Kagome doesn't look any different than she did at 15 despite the timeline making her 22.

Speaking of timeline, let's address this most important issue. Where is everyone getting 8 from? I am seeing this everywhere. Give me a source please. As far as I am aware, not even the Japanese fanbase knows how old she is in OG Inuyasha. No figure was ever actually given. You can't look at a drawing and go "yup that's an 8-year-old" especially since after the 3-year timeskip she looks exactly the same. I always presumed she was about 10 to begin with. The argument unravels completely because you don't actually know how old she is.

I think it's reasonable to assume the events of OG Inuyasha took about a year. I don't like using unspecified amounts of time as evidence, but this was undoubtedly a long journey. The actual timeframe (and ages!) is probably something Rumiko had in mind, but never stated to the audience.

I also felt like the scene when Sesshoumaru is bringing Rin a new kimono is after Kagome has had some time to settle in, since she narrates about learning more about being a priestess and treats Sesshoumaru as if she and Inuyasha are married. Depending on how long this is, and how long the previous actually is, it could very well be approaching a total of 2 years of extra time. Plus more time before Root Head, etc.

Regardless, the 3-year timeskip before the end, and the 4-year interval before the girls were born, make Rin at least 7 years older at the time of birth. An absolute minimum of 15-16 by your 8-year starting figure. Which, again, is probably not even accurate.

While yes, the show takes place in the feudal era so young brides were totally the norm, and yes, the legal age of consent in Japan is, I shit you not, 13-years old, media still tends to portray consenting age as 18 for a variety of reasons. Kagome didn't marry Inuyasha until she was at least 18 and that timeskip totally wasn't necessary for any other reason than to force them to wait. I'm willing to bet if a tangible number is given for Rin in any way, she will have been 18. They really should have tried harder to reflect it in her design is all.

And it's very upsetting to see people accusing Sesshoumaru of "grooming" her when he was expressly doing the opposite. Rin was adamant from day 1 of staying with him forever, and it's very respectful of him to force her to live with Kaede so that she can have all the facts before deciding, giving her a chance to change her mind.

Now, I've been seeing most of the naysayers refute that, regardless of her age, she should see him as a father figure and that makes it "wrong". But let's actually think about that― she traveled with him for a brief time. How brief? The longer you make it, the older that makes her. He visited her occasionally. How occasionally? Completely unknown. Could be regularly, or could even be months between times. He did not raise her. Kaede did. There's no actual reason that she “should” think of him as a father, besides the fact that you want her to.

And let's be clear― It's okay to prefer to see them in a father/daughter relationship. It really is a cute angle. But blowing up over it and trying to rally everyone to hatespam Sunrise, or harass the author, is actually insane. What are you even trying to accomplish? Nothing good can come from doing that. That is not how you get shit done, certainly not over there. They already hate western fanbases in general. Absolutely zero of the Japanese fanbase is upset over this. They're just going to think you're crazy, and that's in the best case scenario.

[brawltogethernow]

So, I don't think I've ever asked you this... what IS the whole point of the Spider-Sense? It really seems like something that only exists for writers to ignore or work around when they want to inject Legit Tension into a story.

I’ve thought about this power so much, but never with an eye to defend its right to exist, so I needed to think about this. The results could be more concise.

Ironically, given the question, I have to say its main purpose is to ramp up tension. But it’s also a highly variable multitool that a skilled creative team can use for...pretty much anything. It does everything the writer wants it to, while for its wielder always falls just short of doing enough.

I went looking through my photos for a really generic, classic-looking example to use as an image to head this topic, but then I ran into the time Peter absolutely did not reimburse this man for his stolen McDonald’s, so have that instead.

A Scare Chord, But You Can Draw It

That one post that says the spider-sense is just super-anxiety isn’t, like, wrong. It’s a very anxious, dramatic storytelling tool originally designed for a very anxious, dramatic protagonist. I find it speaks to the overall tone of the franchise that some characters are functionally psychics, but with a psychic ability that only points out problems.

Spidey sense pinging? There’s danger, be stressed! Broken? Now the lead won’t even KNOW when there’s a problem, scary! Single character is immune to it? That’s an invisible knife in the dark oh my god what the fuck what the fU--

Like its counterpart in garden variety anxiety, the only time the spider-sense reduces tension is in the middle of a crisis. But in the wish fulfillmenty way that you want in an adventure story to justify exaggerated action sequences, the same way enhanced strength or durability does. Also like those, it would theoretically make someone much safer to have it, but it exists in the story to let your character navigate into and weather more dangerous situations.

For its basic role in a story, a danger sense is a snappy way to rile up both the reader and the protagonist that doesn’t offer much information beyond that it’s time to sit smart because shit is about to go down.

Spidey comic canon is all over the board in quality and genre, and it started needing to subvert its formulas before the creators got a handle on what those formulas even were, and basically no one has read anything approaching most of it at this point, so for consistent examples of a really bare bones use of this power in storytelling, I’d point to the property that’s done the best job yet of boiling down the mechanics of Spider-Man to their absolute most basic essentials for adaptation to a compelling monster of the week TV series.

Or as you probably know it, Danny Phantom. DON’T BOO, I’M RIGHT.

DP is Spider-Man with about 2/3 of the serial numbers filed off and no death (ironically), and Danny’s ghost sense is the most proof in the formula example of what the spidey sense is for: It’s a big sign held up for the viewer that says, “Something is wrong! Pay attention!” Effectively a visual scare chord. It’s about That Drama. And it works, which won it a consistent place in the show’s formula. We’re talking several times an episode here.

So why does it work?

It’s a little counterintuitive, but it’s strong storytelling to tell your audience that something bad is going to happen before it does. A vague, punchy spoiler transforms the ignorant calm before a conflict into a tense moment of anticipation. ...And it makes sure people don’t fail to absorb the beginning of said conflict because they weren’t prepared to shift gears when the scene did. Shock is a valuable tool, too, but treating it like a staple is how you burn out your audience instead of keeping them engaged. Not to go after an easy target, but you need to know how to manage your audience’s alarm if you don’t want to end up like Game of Thrones.

The limits of the spider-sense also keep you on your toes when handled by a smart writer. It tells Peter (everyone’s is a little different, so I’m going to cite the og) about threats to his person, but it doesn’t elaborate with any details when it’s not already obvious why, what kind, and from what. And it doesn’t warn him about anything else-- Which is a pretty critical gap when you zoom out and look at his hero career’s successes and failures and conclude that it’s definitely why he’s lived as long as he has acting the way he does, but was useless as he failed to save a string of people he’d have much rather had live on than him.

(Any long-running superhero mythos has these incidents, but with Peter they’re important to the core themes.)

And since this power is by plot for plot (or because it’s roughly agreed it only really blares about threats that check at least two boxes of being major, immediate, or physical), it always kicks in enough to register when the danger is bearing down...when it’s too late to actually do anything about it if “anything” is a more complex action than “dodge”.

Really? Not until the elevator doors started to open?

That Distinctive, Crunchy Spider Flavor

The spider-sense and its little pen squiggles go hand in hand with wallcrawling (and its unique and instantly identifiable associated body language) to make the Spider-Person powerset enduringly iconic and elevate characters with it from being generic mid-level super-bricks. Visually, but also in how it shapes the story.

I said it can share a narrative role with super strength. But when you end a fight and go home, super strength continues to make your character feel powerful, probably safer than they’d be otherwise, maybe dangerous.

The spider-sense just keeps blaring, “Something’s wrong! Something’s wrong! God, why aren’t you doing something about this!?”

Pretty morose thing to live with, for a safety net! Kind of a double edged sword you have there! Could be constantly being hyperattuned to problems would prime you for a negative outlook on life. Kind of seems like a power that would make it impossible for a moral person to take a day off, leading them into a beleaguered and resentful yet dutiful attitude about the whole superhero gig! Might build up to some of the core traits of this mythos, maybe! Might lead to a lot of fifteen minute retirement stories, or something. Might even be a built in ‘great responsibility’ alarm that gets you a main character who as a rule is not going to stop fighting until he physically cannot fight anymore.

Certainly not apropos of anything, just throwing this short lived barely-a-joke tagline up for fun.

One of my personal favorite things about stories with superpowers is keeping in mind how they cause the people who have them to act in unusual ways outside of fights, so when you tell me that these people have an entire extra sense that tells them when the gas in their house is leaking through a barely useful hot/cold warning system that never turns off, I’m like, eyes emojis, popcorn out, notebook open, listening intently, spectacles on, the whole deal.

It also contributes to Peter Parker’s personality in a way I really enjoy: It allows him to act like an irrational maniac. When you know exactly when a situation becomes dangerous and how much, normal levels of caution go out the window and absolutely nothing you do makes sense from an exterior standpoint anymore. That’s the good shit. I would like to see more exploration of how the non-Parker characters experiencing the world in this incredibly altered way bounce in response.

It’s also one of many tools in this franchise hauling the reader into relating more closely with the main character. The backbone of classic Spidey is probably being in on secrets only Peter and the reader know which completely reframe how one views the situation on the page. It’s just a big irony mine for the whole first decade. A convenient way to inform the reader and the lead that something is bad news that’s not perceivable to any other characters is youth-with-a-big-exciting-secret catnip.

Another point for tension, there, in that being aware of danger is not synonymous with being able to act on it. If there’s no visible reason for you to be acting strange, well...you’re just going to have to sit tight and sweat, aren’t you? Some gratuitous head wiggles never hurt when setting up that type of conflict.

Have I mentioned that they look cool? Simultaneously punchy and distinctive, with a respectable amount of leeway for artists to get creative with and still coming up with something easily recognizable? And pretty easy to intuit the meaning of even without the long-winded explanations common in the days when people wrote comics with the intent that someone could come in cold on any random issue and follow along okay, I think, although the mechanic has been deeply ingrained in popular culture for so long that I can’t really say for sure.

It was also useful back in the day when no artists drew the eyes on the Spider-Man mask as emoting and were conveying the lead’s expressions entirely through body language and panel composition. If you wiggle enough squiggles, you don’t need eyebrows.

Take This Handwave and Never Ask Me a Logistical Question Again

This ability patches plot holes faster than people can pick them open AND it can act as an excuse to get any plot rolling you can think of if paired with one meddling protagonist who doesn’t know how to mind their own business. Buy it now for only $19.99 (in four installments; that’s four installments of $19.99).

Why can a teenager win a six on one fight against other superhumans? Well, the spider-sense is the ultimate edge in combat, duh.

Why can Peter websling? Why doesn’t everyone websling? Well, the spider-sense is keeping him from eating flagpole when he violently flings himself across New York in a way neither man nor spider was ever meant to move.

How are we supposed to get him involved with the plot this week???? Well, that crate FELT dangerous, so he’s going to investigate it. Oh, dip, it was full of guns and radioactive snakes! Probably shouldn’t have opened that!

Yeah, okay, but why isn’t it fixing everything, then? Isn’t it supposed to be why Peter has never accidentally unmasked in front of somebody? ('Nother entry for this section, take a shot.) That’s crazy sensitive! How does he still have any problems!? Is everything bad that’s ever happened to characters with this powerset bad writing!? --Listen, I think as people with uncanny senses that can tell us whether we are in danger with accuracy that varies from incredible to approximate (I am talking about the five senses that most people have), we should all know better than to underestimate our ability to tune them out or interpret them wrong and fuck ourselves up anyway. I honestly find this part completely realistic.

*SLAPS ROOF OF SPIDER-SENSE* YOU CAN FIT SO MANY STORIES IN THIS THING

The spider-sense is a clean branch into...whatever. There is the exact right balance of structure and wishy-washiness to build off of. A sample selection of whatevers that have been built:

It’s sci-fi and spy gadgets when Peter builds technology that can interface with it.

It’s quasi-mystical when Kaine and Annie-May get stronger versions of it that give them literal psychic visions, or when you want to get mythological and start talking about all the spider-characters being part of a grand web of fate.

Kaine loses his and it becomes symbolic of a future newly unbound by constraints, entangled thematically with the improved physical health he picked up at the same time -- a loss presented as a gain.

Peter loses his and almost dies 782 times in one afternoon because that didn’t make the people he provoked when he had it stop trying to kill him, and also because he isn’t about to start “””taking the subway’’””’ “‘’“”to work”””’’” like some kind of loser who doesn’t get a heads up when he’s about to hit a pigeon at 50mph.

Peter’s starts tuning into his wife’s anxiety and it’s a tool in a relationship study.

It starts pinging whenever Peter’s near his boss who’s secretly been replaced by a shapeshifter and he IGNORES IT because his boss is enough of an asshole that that doesn’t strike him as weird; now it’s a comedy/irony tool.

Into the Spider-Verse made it this beautiful poetic thing connecting all the spider-heroes in the multiverse and stacked up a story on it about instant connection, loss, and incredibly unlikely strangers becoming a found family. It was also aesthetic as FUCK. Remember the scene where Miles just hears barely intelligible whispering that’s all lines people say later in the film and then his own voice very clearly says “look out” and then the room explodes?? Fuck!!!!

Venom becomes immune to it after hitchhiking to Earth in Peter’s bone juice and it makes him a unique threat while telling a more-homoerotic-than-I-assume-was-originally-intended story about violation and how close relationships can be dangerous when they go sour.

It doesn’t work on people you trust for maximum soap opera energy. Love the innate tragedy of this feature coming up.

IN CONCLUSION I don’t have much patience for writers who don’t take advantage of it, never mind feel they need to write around it.

[inmyarmswrappedin]

i am catching up on some of your posts from yesterday and i wanted to add that i don’t think that the remakes have exactly tarnished og skam, but maybe more like watered it down in some viewers’ eyes? a lot of people saw og skam as unique in its format and way of portraying teens along with important topics. but after three years of the same stories being repeated across the remakes, it seems like some people have just gotten tired of those same stories and that then gets translated into people forgetting that they were actually new and unique when just og skam was airing. i don’t know if that makes sense? the stories got wrung dry, honestly. which is why i so wish that the remakes had just used the skam format and told their own stories, so that the universe could expand in terms of who is being represented and also so that og skam could just stand on its own once again.

Hi anon! 🍒 This is an interesting ask (btw thanks for the thoughtful asks you guys have been sending me all this time! I genuinely enjoy not just reading your asks, but giving them a platform and discussing them). I feel you in some aspects, but maybe not others.

I agree that the remakes have watered Skam down for some viewers, but I wouldn't say they have watered down the stories per se. I think it's more, like, for some people Skam is simply a show that drops in clips during the week with yellow timestamps and a lead character. That is all that Skam is and nothing else. But if you've been reading my tumblr long enough, you might've caught discussions about how Skam made use of the illusion of "realism" to actually show idealism and hope. However, for some viewers, Wtfock is just as realistic as Skam even when it is continually cruel and disdainful towards its characters. This is a way in which (certain) remakes have watered down Skam, because Skam had a very specific mission statement and feel and intention, that people don't think it's an essential part of Skam that should be kept throughout the versions. And this also goes for aspects like showing a character's vulnerability, for instance. (@lightsandlostbells explained how that was lost in some remakes because they cast actors who, simply put, were too old and self-aware to convey teenage vulnerability anymore.)

I also feel like Skam was really good at finding very specific and personal moments that hadn't really been shown on mainstream TV before, like Isak taking that gay quiz for instance. That was the first time I saw a gay character do that on a piece of media, and yet soooo many people resonated with it! It's small stuff like Noora losing her shit over the fish cakes, which was such a poignant portrayal of controlling one's intake of food not to lose weight (as EDs are often portrayed on TV), but to have control over something when your life is unraveling. I feel like this kind of scenes came about as a result of the extensive research NRK did before sitting down to write the show, like I genuinely feel they listened to the people they interviewed and sought to be accurate and respectful of their experiences. (However limited by their own views as white feminists/white moderates they were.) The remakes, for the most part, have lost these small moments, because they're more focused on dropping as many clips as possible to keep tags alive, more focused on having lots of things going on, maybe to make up for shorter, less intimate clips.

This is how I feel the remakes have watered down Skam (and tbf, the extent to which the remakes have watered down Skam varies as far as I'm concerned, like I don't place Druck and eskam and Austin with Wtfock, France or Italia, and I don't think anyone will be surprised there). Because I think if the remakes had focused on truth over spectacle, I genuinely feel people wouldn't be as tired nor the stories as wrung dry. I feel like they focused more on telling the story than telling the emotional truth behind the story.

At any rate, I feel like if a story is adapted well, it can be adapted over and over and over. Like, how many versions of Romeo and Juliet are out there? Or Pride and Prejudice? But not every version of these stories is equal, which I also feel was something the wider Skams fandom had issues with facing for a while. Like, it was kind of verboten to like one remake more than another, and even more so to like a remake better than Skam. (And for as much as this ask is all about how the remakes watered Skam down... Here's the thing: Some people like those remakes better anyway. And that's fine!)

You could say, "well, people don't just mainline 8 versions of P&P in a single year, maybe those stories would be wrung dry if people did." And like, while I do think all the remakes try to capture international fandom to a bigger or lesser extent, or at least enjoy the international attention... I also don't think any team is expecting people to watch all 8 versions lol. I don't think all that many people involved with a Skam (whether crew or cast) has watched all 8 versions with all of its seasons. So like, that's on us for feeling like we have to watch everything or we're somehow being unfair to a remake or another. And it certainly doesn't help when stans of a particular remake will be like, "well, you're just looking for reasons to dislike this remake, Sander forgave Robbe so idk why you're still talking about it!!" as if I had some sort of vendetta against the Belgians or some shit.

I do miss Skam (or when Skam was at its best rather, like I don't miss Noora's season lmao, though it had its small moments like I've mentioned), but I also feel like... Maybe the people who enjoy the "watered down" remakes never really enjoyed Skam for all that it was, but only certain elements of it. And like, I can certainly relate to that!! Because I definitely enjoyed certain elements of Skam while not liking some other aspects and liking how the remakes did them more (like, for instance, I MUCH prefer how eskam did Nora/Alejandro over Noorhelm and idc that it's "watered down" Skam and that we don't see as many small moments with Nora G as we did with Noora). And I get that Skam stans (or, like, evak stans, because I truly only see this sentiment about wishing that Skam hadn't been wrung dry from evak stans, sorry, I've never seen it from Noorhelm or Sana stans, and Mohnstad stans seem to be angrier that none of the remake P-Chrises capture Herman's raw sexuality (LMAOOOOOO) than anything else) got to have a fandom without comparisons to other evaks or without complaints that evak was too white, cis and male. Honestly, when people draw certain comparisons between Isak and a remake Isak, I too want to scream. But otoh, without the remakes, I wouldn't have David (or Shay, Jo, Cris, Joana, Eva V, Nora G, Amira N, Lucas R, and many others) so you know... ¯\_(ツ)_/¯

[shiny-procrastinates]

(re)Watching Magia Record S1 - part 1

Hello and welcome everyone to the first post on this watch-along commentary of the first season of Magia Record! Whether you are just now watching it for the first time, or are re-watching in preparation for the second season, or have only played the game and are curious about the anime (in which case I'd be surprised you even exist) I hope you can have some fun reading these ramblings as I try to put my thoughts into words  (actually turned more into narrating the show) throughout all 12 13 episodes.

Before we can get to it, though, I have a few warnings to give:

1 - As much as I'd love to be able to memory swipe so I can watch this fresh all over again, such an ability is sadly still beyond my grasp. In other words, this isn't my first time watching (or second, for that matter; more like the sixth… or seventh…). That being the case I can't claim that these are my first impressions and it's very likely this commentary will be somewhat biased by my previous knowledge. However, I can guarantee one thing: I will do my best to keep this spoiler-free, so you don't have to worry if this is your first time watching.

(I will, however, be assuming that you have watched the OG series and Rebellion, so beware of that).

2 - Please don't come into this expecting it to be Madoka 2

Also no, this is not a continuation of the OG, it’s an alternate universe spin-off.

This one's for first-time viewers.

Well, ok, this sounds like vague tweeting and I'm kind of whining here, but I have seen a number of peeps on the internet saying that Magia Record is bad only for their argument to boil down to "because it isn't OG Madoka!"

Yeah it isn't. I'm pretty sure there's "Side Story" written somewhere in the title too.

Leaving aside the matter of nostalgia glasses and whether the original series was that much of a masterpiece or not (it's been over five years since I last watched it, so I can't say anything either way.) it seems kind of weird to me that someone would bash a spinoff on the grounds of how close it is to the original. Because here's the thing: to me, the whole point of spinoffs is taking an already existing scenario and putting a spin on it to make something new. That's exactly what makes them fun!

MagiReco didn't need to be a Madoka clone or to try hard and beat the original. That would probably have made it bad, actually. What it did need to do was to create an interesting story using the world set up by the OG Madoka and the other spinoffs, and that, in my opinion, it did, so I hope people can give it a chance and judge it on its own merits rather than only compared to the original. I'm not saying you can't hate it, either, I myself have my own problems with it, it's just that I want to see more reasonable reasons than "it's not the OG so it's bad".

3 - As you can probably already tell from these warnings, these posts are bound to get looong, so I'd recommend setting aside a fair amount of time and getting real comfy if you're gonna read it all. I also don't mind if you just skip ahead and only read the interesting parts, I'm not the internet police.

3.5 - I don't want to use it as an excuse, but I think I should make it clear that English is not my native language, so I apologize in advance for any mistakes and awkward/stilted text. It's hard to tell by myself, so feel free to correct me if you find something.

SO, with that out of the way let’s get down to what’s really important:

Puella Magi Madoka Magica Side Story: Magia Record Episode 1

Whew, now that’s a mouthful.

You know, in my mind I always thought a “side story” was something that happened alongside a “main story”, like another POV, so I’m not sure that’s the most appropriate title, but who am I to judge?

So here we go, we’re off with some beautiful futuristic scenery already, that’s the Madoka series I know.

As the classic Sis Puella Magi plays in the background, two unseen narrators tell us the tale of the so called “magical girls” as we are shown the reality of being one, meeting our first witch for this series.

Risking your life to save a cat doesn’t seem like the smartest of things. Rather, witches eat cats? That’s mean.

No, you really, really don’t. This narration definitely seems made to make everyone who saw the original say this, particularly with how silly are the wishes these girls suggest. 

And hey, look, even this girl who supposedly had her wish granted doesn’t seem very happy.

Hang in there, this is only the first episode.

Man, this scenery really is pretty though.

After an exciting fight with a witch in the train, our girl here silently goes home to find

Whatever the heck this is.

So, our girl here seems to be having strange visions whenever she enters her room, that is very very suspiciously cut exactly in half. Protagonist, you sure have an unique sense of interior decoration.

She goes on with her day, makes two lunchboxes and… oh, it seems she’s all alone.

Is this something you should be telling your own daughter?

Long story short, Iroha’s parents are abroad right now (as is suspiciously the case with many a anime protagonist parents). I actually love the parallel this scene draws with OG Madoka: whereas Madoka’s parents seem responsible and Madoka even looks up to her mom and they’re a happy united family, Iroha comes off as being the responsible one in her family and her parents are gone from the get-go. This way, the lonely atmosphere of the previous scene also starts making sense.

So, it seems like there’s something Iroha wants to do here, and that’s why she decided to stay behind.

Perhaps. Did you wish to save a black cat?

Wow, this teacher is speaking fast. Calm down lady, we’re not here to speedrun the content, geez. Though I guess we should be happy she’s at least giving a proper class, unlike a certain other teacher…

Oh great, it's this guy.

Ok, Iroha doesn’t remember what she wished for and Kyuubei doesn’t know either, although he knows she used her wish for the sake of someone. Kyuubei theorizes that the reason she doesn’t remember might be that not remembering was part of her wish, but Iroha doesn’t think she’d wish for that. I don’t think you’d ever think to wish for something like that until you had to wish for something like that though.

She’s got a fair point. After all, wishing in this universe is basica— the heck is going on in the background there?! O-kaaay…

Iroha was having a weird think-spot mental conversation with Kyuubei there, and missed speedrun teacher’s lecture entirely. Being meguca is suffering.

We get some school motto propaganda, and now we’re on the roof. Oh? Where did all the friendship stuff from the propaganda go? Seems like Iroha’s not following the school spirit. Unless she considers the white weasel a friend, so that’s why she gave him her extra… wait, Kyuubei can EAT? I thought he was some alien machine-like being. H-Huh...

Classmate A: Tamaki-san, maji tenshi!

She’s probably just shy. According to her classmates, Iroha used to be busy doing something or the other, but no one can remember what that is.

Cute. 

But maybe don’t do that somewhere someone could easily walk in on you, Iroha.

Iroha gets a call by the girl from the combat scene from before, whose name is Kuroe. I couldn’t tell from their conversation if they’ve known each other for a while or if they just met each other for the first time in the fight before.

On the train, although she’s the one who called her over, Kuroe remains silent. Iroha, clearly uncomfortable, tries her best to make conversation. Poor Iroha, I know the feeling.

We learn from her that the number of witches around has been decreasing. She comments that being unable to get Grief Seeds is troubling, but it’s better than having witches causing trouble. Poor girl has no way to know just how much of a bad news it is running out of Grief Seeds.

What’s with pink-haired girls and lacking self-esteem? Iroha, are you sure you didn’t wish to save a black and forget that you did? You did save a white one just before.

Kuroe finally decides to talk, and she tells us this:

If you go to Kamihama, you’ll be saved. To anyone that saw the OG, the first thought that comes to mind is that they’ll be saved from their destiny of turning into witches, but it seems Kuroe doesn’t know the truth yet. She just doesn’t want to fight witches anymore. I think.

The train lights up, and…

...this is extremely unsettling considering the truth about witches and the conversation they’re having right now. There’s a lot of this, but this just hits different having watched the original.

Iroha’s not inclined to believe what Kuroe’s saying. Of course, despite not remembering her wish, she’s the type that’s happy with fighting witches if she can save someone, and Kuroe’s not being very convincing either. The whole thing is apparently a rumor spread by some girls who saw a dream that told them that.

Except that Kuroe actually had the dream too.

Like most magical girls, Kuroe made a short-sighted wish, and regrets it. She now wants to be saved, so she’s going to Kamihama.

...or she was, but before that, they’ll have to defeat the witch they let escape the other day, ‘cos she’s back for more.

I actually have so many questions about this scene. Weren’t Labyrinths pocket dimensions? How come this one’s moving in physical space? We know witches themselves move and their Labyrinth goes with that, but I thought it was more, like, the entrance to the Labyrinth moves. Then how come witches can escape if magical girls get carried with their Labyrinth when they move…? Just... just... what?

The answer to all of that is probably “magic”.

Like that, Express Witch Labyrinth crashes right into what seems to be a train station. Labyrinths don’t have brakes, confirmed.

Brutal.

Looks like it’s not only magical girls who have territorial disputes going on. Although it’s nice that they won’t have to fight two witches at the same time, this is not exactly a relief when you consider these two were already struggling with the previous one, and this one just ripped it apart like crab.

As expected, Iroha’s arrows do no damage at all. When all seems lost…

A wild singing mini Kyuubei appears! Is this a shiny?

The singing Kyuubei distracts the witch and jumps towards Iroha, who uses her pro white cat catching skills to grab it, and… something happens. Whatever this Kyuubei did, Iroha’s having some flashbacks now. Sadly, the middle of a battle isn’t the best time to be having a BSOD and, despite Kuroe’s attempts to snap her out of it, they’re sitting ducks right now, a black and a white one.

Thankfully for them, though, they’re not alone in this barrier. This mystery blue haired girl spams flying spears and makes short work of the witch Iroha’s arrows didn’t even scratch earlier. She’s clearly at a whole ‘nother level.

Also, chibi Kyuubei’s gone. Totally not suspicious. Nope. Not at all.

So, from this OP miss get-the-heck-out-of-my-territory, who didn’t even bother saying her name, we learn that not only there is no salvation in Kamihama, there are more, stronger witches, and there are currently no Kyuubei. She gives them the Grief Seeds from the two witches before, and passes on a warning to them. Not the friendliest of magical girls. Though if you consider what happens when you run out of Grief Seeds, one could understand why it’d be undesirable having too many magical girls in the same place.

With this, Iroha and Kuroe take the train back to their town and things are totally awkward again.

Welp, seems like Kuroe doesn’t want to chat anymore, so we’ll have a dream sequence instead.

Forgive my lack of words, but this scene doesn’t need them. This is just… you couldn’t ask for a better representation of what being a magical girl wishing for salvation is like. Everyone has their own reasons, but in the end, having known despair, these girls are desperately clinging to this last hope called Kamihama. It’s almost a pilgrimage.

“Let’s go to Kamihama. We’ll be saved there”

And in the midst of all that is the mysterious girl from Iroha’s dreams.

(the track here, Paradero de Memoria, is also great btw)

Now, with various wishes written all over in the background, we get Kyuubei’s spiel about magical girls. I think this is word-by-word the same from the original too.

We now get to finally know what our protagonist’s wish was.

So Iroha wished to cure her younger sister’s illness, but the sister in question is now nowhere to be found. Worse: everything related to her is gone. Even Iroha, who made a wish for her sake, didn’t remember her existence until now. Oh man, that’s no normal disappearance. What happened? Guess that’s what Iroha will have to find out now.

With that, we conclude the first episode of Magia Record(’s s1)!

This is a really strong first episode in my opinion. It decently introduces our protagonist, sets up the mysteries we will be dealing with from here on and also manages to trace connections with the original, while using the viewer’s previous knowledge to give a whole different impression to some scenes. You wouldn’t be like “hell no” at the rumor there at the start if you didn’t know the truth about magical girls, and I doubt that final scene would hit that hard either. It’s just really good at this and it’ll continue doing that from now on. I love it.

Speaking of the final scene, me having watched the original over five years ago might also be part of it but that is really my favorite scene in Madoka overall. I just really really love that scene. (Seriously, I’ve watched this scene so many times I know it by heart now. Help.)

Alas, I lied, the episode’s not over yet, we still have our classic anime first episode ending-opening to watch. So let’s listen, to Gomakashi:

This logo’s real pretty.

So yeah, pretty standard anime opening. If you pay attention, there are some references to Connect too, what with the selfcest and whatnot. Although I managed to mistake this when I first watched, this one’s actually sung by the trio TrySail rather than ClariS. That’s the VAs for Iroha, Asakura Momo; Yachiyo (the get-out-of-my-territory girl), Amamiya Sora and Natsukawa Shiina, whose character we’ve yet to meet. TrySail has a lot of cool songs, so do check them out if you haven’t already. (free ad)

This time, in fact, the episode is over! Whew, I did say this was going to be long, but not even I thought it’d be this long. By the time this is posted I should have a backlog of these, so my plan is to post one everyday until we are done. I hope you had fun reading this here rant and I’ll be looking forward to meeting you guys again tomorrow, same place, maybe same hour, so we can go on and watch episode 2 together!

(P.S.: I am considering doing a series of posts at a later date comparing the anime to the game, but we’ll see. The first few chapters are fine, but the game is stupidly long, so I feel it’d take a lot of motivation and stamina I’m not sure I have at the moment. There’s also the possibility watching the first arc again would bring back my yt copy-apocalipse grief back and that’d suck, definitely don’t wanna go through that again.)

[icecreamkink]

so i watched cobra kai all in two days and i have so many -

this show has so many cool and smart angles to it, but the same time.... its so stupid oh my god everyone is so dumb literally mr miyagi held all of the braincells in this whole universe 

like i am but at the same time i am not surprised it was made like this, bc in hindsight of course there were hordes of ppl simping over johnny lawrence ....  but it still amuses me that this is like... an Actual Official Thing

ok this will get long so cut it is

how much fun this cast has is super visible and i love it

i rly enjoy how the world was expanded ! i did grow up watching the karate kid movies, so watching how they progressed the world of the movies so organically was pretty cool. it rly feels like its the same universe

i fucking LOVE stories that are largely about a Thing. dancing ,skating, sports its just so thrilling to experience this all consuming relationship people can have with this type of activity? and martial arts are just that much more intense, so yeah, grown ass men kicking each other around at the lightest provocation and a war veteran caring so much abt teen karate is Ridiculous.... but i love it all because thats the intensity i find so thrilling

was kinda surprised with how much im missing mr. miyagi. first because, like everyone is so unhinged jesus christo, it just really throws into relief how much his character grounded the narrative of the movies. but also hes just a really great character

and on that note it rly Gets Me that the show itself aknowledges that and plays that into daniels angst and all the little ways they sorta weave myiagisms into the whole show........ im not getting emotional over this dumb karate dads show OK

related - i really miss hearing ‘daniel-san’ 🥺🥺

ACE DEGENERATE oh god oh no

they really went down the down and out johnny lawrence route huh. like i was always kinda bummed we see kreese choking him and then we never see him again in the movies, and while i love dumpster fire problematic trash himbo ck johnny, its like......................... actually really sad that his life turned out like this fjngn

everytime i hear ‘babes’ and ‘pussy’ i die a little inside. i know thats the point but i am a v cringe easy person, have mercy (ehe)

loved the way they are constantly drawing parallels between johnny and mr. myiagi of all people. hes the handy man of his building that has a bullied kid asking for help and eventually steps up to teach them karate, beats up a bunch of bullies for him, creates a friendship with said kid, estranged from family, drinks his sorrows away, surprisingly one of the least quick to anger characters (which says more about everyone else really but.... Well.), no schemes or ulterior motives hes just tryna vibe here.... oh and ofc magically heals miguel of is asthma apparently. the true disciple.. meanwhile daniel is his usual messy petty self even tho he wants to be mr myiagi so bad 

also interesting about that is how miguels character is a parallel of both johnny and daniel at the same time

overall the parallels in ck are done really well, drawing comparisons and also subverting them constantly. theyre well thought out

THE PARALELOGRAMS

fr tho, the angle being explicitly the cycle of trauma and its effects and how trumatized adults in turn traumatize kids, maliciously or not, is so interesting

but! on the flip side of that, it feels like the writers are getting in their own way @ letting the characters grow. especially this last season. theres only so many times you can do "johnny and daniel are getting along but 5mins later they are (literally) fighting over some dumbass random issue" or "johnny puts in 20% of effort with robby and then gives up" before it gets on your nerves yknow?

i see daniel no longer talks like macchio ingested 15 shots of espresso before every take and idk how to feel about that tbh

interesting tension in daniel, as in, in tkk mr miyagi was there and daniel was frankly, kind of a lil shit, this messy petty spitfire hot tempered sassy kid,(johnny lawrence voice: just... stop being so annoying) but now hes the adult, and he wants to be mr. miyagi... but hes just not, and never will be to his very core and it shakes him and in a way hes trying to find who he is now that he sees himself in a position to be a not! cobra kai figure. i kinda really like that 

plus how that relates to his cobra kai trauma. idk if the writers thought abt it Like That, i think so, but in any case, its interesting bc it seems like daniel has told everyone whod listen about johnny lawrence his Pretty Boy Karate Rival and high school and 84 cobra kai... But. no one seems to know what went on in 85 (or 86? idk) which was just so much worse

like ye og cobras were shitheads, but tkk iii is just two hours of daniel being emotionally and physically tortured. 

like, the third movie is.............chaotic, to put it nicely, and many people ignore it, but the writers clearly didnt. daniels actions are, in a way, responding so much more to the events of tkk iii than to the first movie ie. johnny himself, AND. daniel doesnt rly seem to have dealt with that trauma? he never told sam? doesnt feel like hes ever told amanda? he doesnt even say terrys name out loud? freaks Out over kreese ? the way he reacts to robbys deceit? his FACE when he walks past the new "fear does not exist in this dojo" paint or kreeses photo? hmMm i sense Pain

his fashion tho........... disappointing. where are the flower shirts daniel huh we had one (1) shirt what a tragedy STOP WEARING SUITS ALL THE TIME . also the band ts/grunge bi are a look for johnny but part of me longs for the preppy lovable 80s bully chic johnny lawrence getups

weird that they never used that last moment of karate kid where johnny kinda... snaps out of his anger and hands daniel the trophy almost in tears. like “youre alright larusso, good match” “thanks a lot”  that being their last direct interection seems like itd be perfect fruit for cobra kai but... they just dont. weird. 

especially when, the FIRST SCENE they see each other, suposedly in 30+ years, the first thing to come out of daniels mouth is QUOTE "u still got those golden locks huh?" WHO SAYS SHIT LIKE THAT DANIEL FUCKING SAN 

also amandas immediate reaction "your pretty boy rival?" like. can we talk about the fact that daniel had to have imparted to his wife the very important information that his high school bully/karate rival was like Really Cute and Fucking Hot Actually

 the writers Knew exactly what they were doing and honestly.............. power to them

tkk director voice: and billy was just so cute  

also I was thinking that daniel sounded strangely fond in that first scene, and i wonder if he developed a weird affection for johnny on the grounds that of all of his Karate Rivals johnny was actually the only one who didn’t actively tried to literally kill him

i was actually delightedly surprised with how great the chemistry between them is, like from the get go i am Invested. their rl friendship totally bleeds through and its fantastic

. granted, idiots enemies to lovers friends is my Thing so i am biased  

johnny lawrence: i am down in the dumps, i fucked up my whole life and my sons probably, largely in light of the trauma that the father figure sensei and the philosophy of my karate inflicted on me and all my friends. u know what i should do, as a traumatized, unreliable mess of an adult? teach that same philosophy to some other kids! what could go wrong! 

but really i enjoy the setup of it. i kinda like that i watched it late because, season 1 was johnny setting himself up for failure in a way and it was exciting to watch it all go to shit sjfn

Like. his heart might be in the right place, but theres just.... not a way to teach something like ‘strike hard, no mercy’ and not have it fuck up a kid 

case and point: aisha, miguel and hawk become annoying as all hell over that bullshit in the end of s1, even before shit gets truly fucked up

billys subtle panicked eyes when he sees hawk and miguel fighting dirty in the all valley was SO GOOD especially in parallel with the panic that is so visible in his face in the movie when kreese tells bobby to injure daniel and in the sweep the leg scene 

seen people question wether kreese should have returned and i absolutely think he needed to. johnny needed to realize that cobra kais fundamentals are flawed, at the root, beyond kreese himself being a toxic piece of shit 

also who are we kidding? we are here to see the tkk characters play on new playgrounds!

i get what they're doing abt kreeses backstory, ( also. cobra kai. pq eles caem nas cobras djjs sorry) but did it need to take up that much time? feels like they couldve  done it in half the run time and developed some other stories better 

martin kove has such an evil eye. i love it

love that we get a good follow up to kreese breaks johnnys trophy and tries to CHOKE HIM in the parking lot, which happened in the movie and then....................... was never mentioned again

“the gang is all back together again” aaaa u piece of SHIT 

also. terry silver is definetely appearing ha ha ha PAIN i cant wait

seen ppl say kreese was too much of a cartoon villain like..........................oh......... sweetie........... u dont even Know

interested how johnny will fit into that bc kreese was simping rly hard for johnny here. like i did not expect him to be so adamant to have him with cobra kai ... under his control, sure, but he really wants johnny by his side despite already having control of the dojo and how will terry silver self appointed jon kreeses forever simp going to feel abt that? 

like bitchs dropping by every episode like ‘joooooohnny ..... come bacc to me joooonny......... this ur last warning! for real this time johnny! i wont say it again! watch me ! im leaving johnny! im rly leaving ! im dragging a chair” and johnny is just like. dont let the door hit ya bitch it was so funny pls

and on that subject oof, johnny! doesnt! Know! he doesnt get that side of daniels cobra kai trauma. and i kind of.............. cannot wait for ck 2021 johnny lawrence to meet terry silver like. what a shit show i need a front row seat and popcorn (imagine terry tries some greasy charm and johnny just roundhouse kicks him in the teeth bc he just doest Not Have the Patience for This. glorious)

feels like we, as a society, should acknowledge that cobra kai will never die................ bc their sense of design is just chefs kiss. their name is COBRA KAI. they have sexie sleeveless black gis. theyve sneks. colorful leather jackets with embroided naja insignia, the get ppl thru the aesthetics. evil geniuses

the flashback cuts : masterpiece behavior

the other takes!!!!!!!!!!!!!!!!!!! of the movie!!!!!!!!!!!!!!!! the differente angles!!!!!!!!!!!!!!!!!!!!!! of the FIGHT!!!!!!!!!!!!!!!!! THE CLOSE UP ON JOHNNYS FACE AT THE KICK 

that scene of daniel and johnny vibing to 80s music in the car. just. oh my god. the fan wish fullfilment. no thoughts head empty.

the new characters! theyre .... good. but. idk. i really like miguel (save for the annoying phase mid s1 - end s2) and amanda, who is a damn riot and has some functioning braincells, but everyone else is       

like dont get me wrong, i dont hate anyone,its not a jane and rafael from jtv situation,  and i am interested and invested in their arcs, but i wouldnt say i like   Like them, as in, personality wise 

like, sams grappling with ptsd was rly gutting and i enjoyed that plus her slight rage issues, 

which nicely parallel torys rage issues. torys background is all over the place tho so im pretty on the fence abt her so far

robby deserves better in every way, and i like how smart and cunning and surprisingly sweet he is

hawk............... is there i guess,

 demetri is annoying in the best way possible,

 carmen is sweet but. i just feel like her character is blunted to make the johnny relationship easier. like when shes furious with him after miguels injury but then forgives him like an episode later? and then convinces him to fight for the tournament bc she had a karate epiphany off screen even tho she was always against it? meh. feels like with the plot thiccening she was swallowed and now shes like a crutch for johnny mora than anything, which is disappointing.

aisha was cool and im kinda mad she wasnt in s3, especially bc a storyline with her tory and sam was like RIGHT THERE , but also... cant say i was super super fond of her... doesnt feel like we ever spent enough time on her

moon the bi icon, 

overall its a good cast but the main draw for me remains the og cast 

the tory/sam miguel/robby Thing. enjoy how theyre Narrative Foils and i like how their stories were so dramatically entangled but oh god give me a break with the teenage love square for the love of god. if u gonna put us through that at least have the decency to not make it so straight

and honestly some sam/tory        miguel/robby romantic tension would even make more sense. just saying! 

also im not sure how i feel abt the cobra kai: red miyagi do: blue theyre going with since some of daniels most iconic looks in tkk are also red. like it was a color they (johnny and him) sorta shared. i get it, opposite but complementary but idk... a little too fire nation and water tribe for me .

 and like the cobra kai kids are so funny abt it bc their outifts grow progressively more ridiculously coordinated. its like do they group chat every morning before leaving their houses? 

robby still sticks out like that tho. he went thru an athleisure/daniel san tsleeves phase and now hes back in the bandts grunge, but his color scheme doesnt fully blend with the other cobra kais. hmmmm.

LOVED LOVED LOVED both the okinawa episode and the cobra kais easy rider episode just such good good heart aching fun

bobby is an icon. he was in tkk and he is now ck hope appears more and more

 tommy is like the most iconic background character. all his lines, freaking gold then and now. sigh :( 

the framing in the okinawa trip was so good everything was so good

i stand by the fact that kumiko was the love interest daniel had the most chemistry with and shes is overall such a joy to watch, loved to see her again, idola, fashion icon

also tkk ii is good u guys are just mean

also really enjoyed chozens role in the episode, his evolution; i love that they introduced the pressure points (ty lee the blueprint) and! the honk + karate! cousins! absolutely iconic

when kumiko reads mr miyagis letters........ oh my god, my eyes FILLED with tears, it was so heart wrenching :(( tamlyns delivery was so emotional and lovely and its so obvious everyone involved in ck has so much love and respect for pat morita and mr miyagi as character, and i adore that it exists like this electric current through the show

when we were watching i told my sister i thought that ali would be miguels big shot surgeon and ngl i am so disappointed that didnt happen. hire me cobra kai writers

also the johnny ali daniel amanda chemistry? off the charts

AND the sassy retconning of daniel and alis breakup! LMAO ‘I HOPE U DIDNT TELL MR MIYAGI IT WAS MY FAULT’ HFDJJGNKFKSD

i am preeeeeeeeeeeeeeeeeeetty sure back injuries dont work like that    but oke

daniel and johnny are so good together whenever, like they never actually help the kids or get shit done and end up fighting anyway but its just so much fun when theyre hanging

JOHNNY LAWRENCE AND DANIEL LARUSSO FIGHTING TOGETHER

daniels “plan” on how to get robby to juvie was so stupid. literally were u TRYING to make him hate you. dumbass

parents at those hearing rly brave for ppl that did not do ANYTHING as their kids got involved in a karate gang war until now

“bullshit i heard u were the real bully!” i mightve screeched

this s3 ending was SO DRAMATIC omg

everyone is such a MESS go to THERAPY u unhinged motherfckers

also im sorry but uh. a richass neighborhood in california doesnt have some type of neighborhood watch? the larussos rly dont have any security at all? neighbors wont hear the sound of a damn karate brawl happening next door??? also wasnt tory all like ooo i cant go to juvie, my mom yada yada yet shes always running around town getting into fights even at the rich girls house she was kicked out of school for fighting??   ?  ??    ??        ?                ?    ?          ??                  ?    ? girl??

stop destroying the larussos house, its so pretty :((((

sam finding her center looking at mr miyagis picture...  uwu maybe

robby yelling ‘U ARE WEAAK’@  johnny \as he is easily blocking him is like.... so funny and so sad to me. sweetheart. 

also i know it was meant as ‘oh johnny pushes him and HURTS HIM’ but it just looks like robby runs himself into the lockers and IM SO SORRY I FEEL SO BAD BUT IT WAS SO FUNNY 

i like that he and tory are the cobra kai kids now. we need ppl we care abt there to not revert to a good vs evil schtick, and this is the most engaging it could be... tho it hurts that these kids cant catch a break

ah yes "lets bet some real shit on the result of this teen karate tournament bc that is always a great idea" is BACK

so daniel saves johnny from kreese..... maybe johnny will save him from terry 🧐

and dojos unite ohohoho. lets SEE how that’ll work out 

miguels face of Despair when the ck defectors and the md kids are bickering like 'this is never gonna work' : gold

also. Johnny Lawrence is gonna learn some myiagi-do karate AHAAHSJAKDFH

 ive been waiting for this moment all my lifeeee oh lawrd 

final thoughts! there are def things i hope the writers will improve on the next season, but i am very excited for it either way AND i feel like it has made me enjoy the movies even more and that is a win for a reboot/sequel to me!!

[silver-wield]

Can you do an analysis on Cloud and Tifa’s body language during that scene when they’re in Cloud’s room and he’s slyly referring to his promise to Tifa? There was crazy sexual tension in that scene and it honestly looked like Cloud was subtly being flirty with her 😭

No probs, Nonny! I actually already touched on their body language in a reply to a gif set of this bit, so we'll just expand on that ^=^

Ok, spoiler warning for ppl who haven't played – do I still need to do this? Eh ok, (I tag FF7R spoilers as final fantasy 7 remake spoilers) and it's gonna be a VERY long one so prepare to scroll.

Also, this is one person's interpretation of the scene, so if you disagree that's cool and we'll agree to disagree.

You're also gonna have to excuse the janky quality on some of the screens, I'm grabbing them from Youtube and it's frustrating af trying to get the exact moment I want.

Other analyses if anyone's interested.

Shinra HQ vision scene (Cloti/plot analysis) 

Chapter 3 (Cloti reblog) 

Tifa character analysis 

Aerith Resolution (plot analysis/theory – I should probably update this since I've had other ideas since then) 

Train graveyard (not really an analysis, but I got some sweet screenshots of Cloti) 

Clotiscrew tunnel analysis 

Cloti reunion analysis 

The Promise Analysis 

Andrea's approval (Cloti ask response) 

Leslie analysis (not mine, but a good read) 

Cloti action touching 

Aerti friendship analysis 

Now, strap in and enjoy the ride.

Keep reading

Recap time! Yall know the drill by now if you've read my other ramblings.

Chapter 3, where we get a room (lol), do some jobs and have a chat with Tifa. It's pretty basic stuff until the cut scene after Marle gives Cloud a talking to. She's the overprotective grandmother figure that Tifa needs in her life and she wants to make sure Cloud isn't messing with her. Now, why would she think that? Well, maybe she picked up some hints when Tifa mentioned Cloud to her about wanting a place to stay? Marle's pretty sharp, after all, and if she got the impression Tifa is carrying a torch, she'd definitely make sure Cloud's not about to blow it out. She tells him to pay attention to her, to listen. This is the very first instance of Cloud taking in that kind of info and it changes how he treats others for the rest of the game.

After the chapter 4 mission where Cloud reflects on his promise to Tifa, it's back to the slums for some rest. Then Tifa knocks on his door and enters. She mentions Cloud was gone for a while, and he answers he was walking so that he keeps Jessie's secret – because he's that kind of guy.

Small talking Tifa is cute, but lol, Cloud seems to have purposely forgotten Johnny since he's yet another admirer of Tifa. For a guy who doesn't forget info like morons who could cause them trouble in the long run, it's pretty telling how quickly he is to dismiss Johnny.

Onto something more interesting in this pic, though. Cloud is sitting on the bed. Now, if he wasn't comfortable around Tifa he'd have got up. His eyeline is lower than hers so he has to look up at her. This puts her in a position of dominance over him – also not surprising since his mentality is that of a 16yr old around her and she's the adult in the relationship. Tifa for her part has her body turned to the side in a non-confrontational pose.

Tifa has her hands clasped in front of herself (couple of seconds before this screen) which indicates she's trying to protect herself as she asks the question if Cloud is leaving Midgar. Not surprising since she's afraid of losing people she cares about and even just someone heading off somewhere else would upset her, though she'd try not to show it.

Cloud, for his part, looks away, appearing as though he's thinking it over, but we're already aware he's decided to stay and help Tifa out, so this is a fake out on his part. He's half-teasing, half trying to get a positive response from her (remember the water tower? Yeah, this is that Cloud. The dork. The one who is useless at talking to girls).

I'm sorry, but Cloud is such a cheeky bastard I just can't with him! This is giving me all the throwbacks to his behaviour at the water tower and I love that it mirrors that moment, but with more success on his part this time. He's looking all around trying not to give himself away before it's needed. He's smiling and looks relaxed. He might be sitting but he definitely believes he has the upper hand between them at this point. Remember, I've said before that eye contact is important. Well, in this case, Cloud's deliberate refusal to make eye contact shows he's teasing. This is such a cute moment between them!

Oh ho! But here's where his teasing ends. Cloud is being completely serious and obviously took the promise between them as being special. Ducking his head out of sight completely prevents us from seeing his expression and allows him to act in a casual way about something that's such an important part of who he became. But, he's not quite pulling it off because he's also looking quite defensive in this pose. His hands are clasped in front of him and he's leaning forward, looking at the floor. This is something very meaningful for him to talk about and he's hoping Tifa doesn't brush it off, so if he doesn't look at her he won't have to see her reaction.

Tifa's obviously got her own interpretation of how that promise went. We can guess she did it because she just wanted a guarantee she'd see Cloud again some day from how she acted during the water tower cut scene. Here, she's leaning back on her hands which leaves her body language open, but also conceals something. She's looking down, the same way Cloud did. She's also hiding her true feelings towards Cloud the same way he's hiding from her, but she's being as honest as she can be as the same time. I've seen people call Tifa a liar because of how she doesn't address Cloud's memory problems in OG, but when you really take a close look at her, lying just isn't her. This is a complex moment between them. They've not long met again and they're having this heavy conversation. The feelings between them are still there, but there's all this other stuff that's more important. But, they know they're friends, and that's a good place to start getting to know each other again, and Cloud choosing to stay is that first step, with the quick follow up of him reminding her of their shared history.

Cloud, you smooth bastard I love you for this! This is definitely flirting! He's looking directly at her, then dips his head to the side in an inviting gesture. His eyes soften and he gets this tiny smile on his face. His body language has changed, too. He's sitting up and back slightly with both arms by his sides. There's no more defensiveness about him. He wants to listen to her. Cloud is choosing to ask for Tifa's confidence. He's letting her know she can rely on him. That he's interested.

For her part, Tifa's pleased, but surprised. She's not long got back in touch with Cloud and, while he's been a decent guy, she's had the overall impression he isn't the same as the soft boi she knew, so this is a revelation for her. The Cloud she knew is still within this Cloud – which anyone who knows the real!Cloud SOLDIER!Cloud storyline is exactly the point of this moment. Tifa knows his true self. The true self that comes out only when he's with her.

Cloud, bro, I'm gonna combust from all these flirty gestures! Fully open body language, a smile, teasing tone. Goddamnit, just say you love her already! Yes, please, invite Tifa to check you out. Remember, he's still sitting. He's so relaxed and natural around her. Even if all you saw was two friends and no ship, you'd be insane to think he isn't a different person in this scene. He's not SOLDIER Cloud here.

Tifa, for her part, isn't flirting here. She likes Cloud, that's clear, and her body language is reaching towards him, which suggests she has feelings towards him, but her tone is more playful and her expression is pleased. She's happy to see her friend isn't too different from the one she knows. Most of the flirting in this scene is on Cloud's side, which makes sense when you think of the torch he's been carrying for her. He's trying to get her attention, same way he did when they were kids. Tifa's oblivious but receptive because she likes him back, but she won't show it as much because she thinks he's not interested. Someone knock their heads together please lol

OMG FUCKING HELL CLOUD JUST TELL HER YOU LOVE HER! Leaning back on the bed, totally vulnerable body language, drawing attention to the bod in an attempt to spark her interest – since he's clearly interpreted this line from Tifa as a rejection – this boi is trying so hard! He even looks a little disappointed she's not more impressed with SOLDIER Cloud, but we knew she preferred the dork anyway lol

Now, I know everyone talks about the physical and emotional distance between them here, which is obvious, but what I'm gonna point out is after feeling like SOLDER Cloud has been rejected by Tifa – thanks to her preference for the real deal – Cloud looks away from her. She's brushed him off and he's hiding his upset by not meeting her eyes.

Tifa is still oblivious to this, but Cloud definitely has a look of disappointment on his face.

Now, after that last bit you'd think Cloud would assume he's got no chance, but then Tifa says how glad she is to have him back and that cheers him up. He's still in that mindset of a 16yr old with a crush, whereas Tifa's moved on. She's had 5 years apart from him (she thinks it's 7, I know, but he saw her in Nibelheim and how she'd matured a little). She's not thinking of him in an openly romantic sense, whereas Cloud is definitely still deep in his feelings for her. Hearing she's happy to see him hints to him that he might still have a chance with her if they spend more time together. His soft af goodnight is the last indicator of his strong feelings for her. His body language is open once more, he's staring after her with a longing look and a smile and doesn't look away until the door closes.

Conclusion

JUST GET FUCKING MARRIED ALREADY IT'S BEEN 23 YEARS!

Lol seriously though, Cloud is definitely still deep in the throes of his childhood crush. Tifa could resurrect hers with time because it's clear she does still harbour feelings for him, but she's not the type to be pushy or insistent. She'll let Cloud take the lead and offer subtle hints how she feels, hoping he feels the same. She doesn't pick up on Cloud's subtle flirting compared to those more in your face things he tried earlier. Through all of those interactions with her he's definitely trying to say that he likes her and he'd like her to accept his feelings, but the bigger gestures get the brush off, although she blushes and looks shy, and the smaller ones go over her head.

Unfortunately, these two are oblivious af and it's gonna take everyone's help to get them together.

[theheightofdishonor]

@asilhalawadi  I retyped it from memory. 

There’s a lot of things the Beyblade Metal Saga get wrong (do not get me started on how dirty they did Yu) but when they got it right, it was brilliant and the connection between Ryuga, Tsubasa, and Kyoya, is one of those things. 

So starting in Metal Fusion, these three are set against each other as Gingka’s rivals- I single them out specifically because these are the only rivalries that span the entire Saga. You’ve got Kyoya who starts out intimidating but is quickly established a reliable ally-no matter what he says on the contrary. There’s Tsubasa who you can’t quite get a read on until well into the third act of Fusion but ,eventually chooses a side and sticks to it. Then there’s Ryuga, the “big bad” who never chooses Gingka’s “side” even as Gingka saves his life, he’s a wild card and they often emphasize his untrustworthiness throughout the Saga.  Green, Purple and Red respectively. 

It’s easier to split this up and discuss the inner dynamics first so Imma start with Kyoya-Ryuga. Controversial opinion but these two are just slight variations on all the same characteristics;their personalities are centered around individuality, mistrust, arrogance, a lack of manners, and a specific honor code that they don’t like revealing- they’re mirrors.It’s interesting to note that their respective colours (the colour of their auras, Kyoya’s green and Ryuga’s Red) are complementary colours. On a colour wheel, Red is directly opposite from Green. Even as they go through the same things, they’re on different sides. In Fusion, they’re both manipulated by Doji and fight to truly develop their own personality but they’re pitted against each other. In Masters, their developments take place mostly off-screen, never meeting and in Fury, they’re once again major players on opposing sides. There is exactly two points in the series where these two collide (other than Ryuga’s death) 

The first is Battle Bladers. Their match in Battle Bladers is fundamental in understanding how their characters connect. Seriously watch it, it’s one of the best battles in the Saga. Ryuga begins by trashing the stadium before the battle begins, a move that Kyoya counters by destroying the stadium even more. It’s a statement of power as much as an intimidation tactic and neither backs down. Their battle continues the same way as they snark back at each other and exchange blows each with the force of a special move. It’s very “fight fire with fire”, “eye for an eye” and it works better than anyone would have thought.  Tsubasa may be the first person to ever withstand the Dark Move but Kyoya’s the first one Ryuga fully takes seriously. It’s a fascinating battle. Kyoya taunts Ryuga to force him to use his full strength and Ryuga complies-knowingly. (The implications of him temporarily pushing back the Dark Force just because Kyoya asked-I) Kyoya has full confidence that his taunts will work, he admits as much. Ryuga, for his part, verbally praises Kyoya for being the only person to ever push him this far. (Granted, the way he says it, it’s more of an insult but.) They’re so equal in power that the battle was actually up to toss before Ryuga got possessed. But the thing with fighting fire with fire is that it leads to a lot of people getting burned. Ryuga gets thoroughly possessed (and would likely have stayed that way if not for Gingka) and Kyoya is impaled by a demon spirit. (Remind me to speculate on Hikaru and Kyoya’s response to the Dark Power). It doesn’t end well for either of them- but they’re equals. 

In Metal Masters, they’re both demoted to secondary characters. They get lives outside of Gingka and don’t meet face to face until Metal Fury. Like I said, their arcs are parallel so it makes sense that the next time they battle toe to toe- they’re both on the verge of a series long personal conflict that has direct consequences on the fate of the world. This time, Ryuga is the self-assured one, he had an entire (mostly)Gingka-free season to sort out his issues and grow in power. Kyoya, on the other hand, isn’t even comfortable with his new bey yet and it’s almost depressing how quickly Ryuga wins that match. Ryuga even marks on it,  that although their beys may be equal in power, they themselves no longer are equals. Their maths are set into motion and that’s the last communication between the two of them.

Their individual conflicts in Fury are actually the same exact problem- stemming from the fact that they are both horrified at the thought of selflessness. They have to justify their actions as something that directly affects them and being tied down by caring about something else is one of the worst things imaginable.  By this meeting in Fury, Kyoya was a ticking bomb that had its roots all the way back to the beginning of Masters. In Fusion, they had become friends, but when Masters starts, Kyoya forces their relationship strictly back into rivals and does his bet to keep it that way. (I feel so bad for Gingka who literally gets nightmares about this moment) Even when he shows up to stop Ziggurat like some kind of guardian angel with impeccable timing - he’s quick to clarify that he’s not there for Gingka and only showed up because he thought Ryuga’s presence in the World Championships was suspicious. Like he’s right but ouch. It’s important to note that no one ever calls him out on this behavior where even as he helps and fights alongside them, he’s denying that he cares. I can’t even blame them for it because it wasn’t worth the effort. 

When Kyoya actively joins Gingka again in Fury to search for Legendary Bladers, he’s obviously uncomfortable  with the situation. I mean, there’s only so much you can pile under the justification of doing it to secure your rivalry. Let’s be real, that excuse barely worked even all the way back in Fusion when Kyoya joined forces with a couple of people he can’t stand to follow Gingka all the way to effing Koma Village. So him going batshit was inevitable, Aguma was just the spark. 

Ryuga is in the same boat, except when he professes to not care, it’s much more believable unless you take a good look at his actions. His help in defeating Ziggurat could be attributed to his canon reason of dealing with ghosts from his past. But that doesn’t explain why he practically forces Gingka to realize his bey’s power before his battle with Julian or him advising Tsubasa on overcoming the Dark Power and even making sure Tsubasa gets back to his team. When Fury starts, the audience has a reluctant hope that Ryuga will help- a thought that is promptly and swiftly crushed with a sledgehammer. You’re given a bit of hope again as we explore Ryuga and Kenta’s bonds and are barraged with scenes of Ryuga displaying consideration if not concern for the actual child following him around. But it’s not to be. In a scene that’s actually very similar to Ryuga’s OG battle with Kyoya, Doji taunts Ryuga who allows that taunt to influence his actions and again, it ends badly for him. Not only does he fully revive Nemesis, it ends up leading to his own death.

However, Ryuga does a 180 in death and his affection for Kenta/honour/guilt that this kid’s going to kill himself because he blames himself for your death brings Ryuga back to life (?) to hand the Star Fragment to Kenta. But it’s already too late and Zeus’s barrier doesn’t hold even with a replacement Summer constellation bey. His grand gesture, which is actually super emotional when you watch the entire thing, ends up doing nothing other than prolonging the battle. 

But, but, but. In that very last moment when all hope is gone and Pegasus is the only bey left spinning, Kyoya admits what he’s been denying for years- the effect Gingka has had on his life and that he cares for the guy. In a show of trust that Kyoya from even a couple days previous would never have done, Kyoya offers his bey spirit along with that of his precious Leon’s to Gingka. This, of course, prompts everyone else to do the same and Gingka defeats Nemesis and saves the world. But it wouldn’t have happened without Kyoya doing that. One lives, one dies. 

Now, Kyoya-Tsubasa. No worries, the rest of this is going to be significantly shorter. Green and Purple, both cool/secondary colours, are on the same side Despite this, Kyoya and Tsubasa kind of end up playing tag throughout the Saga. In Fusion, Kyoya’s the one at Gingka’s side until Doji switches the battle order in Battle Bladers and suddenly, tag, Tsubasa’s the one facing Ryuga. He loses, tag, Kyoya’s turn. In Masters, Tsubasa’s “tagged” and is now the one who travels with Gingka while Kyoya takes off and then there’s a brief pause for the Season Finale™. In Fury, Kyoya gets the star fragment, tag, he’s the one traveling with Gingka now and out of the two, Kyoya’s the one in the limelight for the rest of the season. 

On a superficial level, Kyoya and Tsubasa are opposites. Kyoya’s brash where Tsubasa is reserved. Kyoya clashes head on, Tsubasa keeps his cool. Yet, under the surface, they’re alike- moody, antisocial, and emotionally constipated. Jk, that part’s not til later. Really though, they’re pretty alike. Despite Kyoya’s abrasiveness, he’s almost always got some kind of plan in battle (even if they’re occasionally dumb things like let’s start a tornado which could potentially sweep away the helicopter that’s our ride out of here) and Tsubasa is no stranger to winging it -hacking the Dark Nebula without planning it beforehand, anyone?. Their differences balance the other person out. They’re almost foils in a manner.

With these two, Fusion is the place to be. (two pints of Sam Adams and I’m workin on three) Specifically, Tsubasa’s match with Ryuga and Kyoya’s attitude about it.That clip displays it better than I could explain. Tsubasa spends most of the actual battle avoiding El Drago- his plan is to draw out El Drago’s full strength and then attack when Ryuga’s at his weakest. (it makes more sense in the story) Everyone in the stadium is against this- the crowd is booing, even Gingka and the rest of their friends are unsure but Kyoya doesn’t lose faith for a second. He urges Tsubasa to not pay attention to the crowd-to trust his instincts and at that moment, he’s the only person that believes in Tsubasa. His faith is rewarded as Tsubasa becomes the first person to withstand the Dark Move. 

Despite having never battled each other, Tsubasa and Kyoya are established as equals in skill, power and intellect. And then the World Championships Qualifiers starts and along with it, Tsubasa and Kyoya’s one and only match.. The episode actually does most of the work for you by reflecting on these two, their skills and personalities. If you hadn’t thought of it already, you have now been spoonfed that Kyoya and Tsubasa are equals. The battle starts and them being equals is hammered in some more as they comment on how they know all of each other’s moves. But they don’t and Kyoya crushes him. Whether Kyoya would still have won if Tsubasa wasn’t possessed is up to debate. But the scales tip, nonetheless, and although Tsubasa overcomes the Dark Power, we’re not given a marker of any sort to tell if Tsubasa got stronger by the end. This is further complicated because in Fusion, Tsubasa never shows the extent of his power, so we don’t know if the Tsubasa that defeated the Dark Power is stronger than the Tsubasa before it. Either way, this battle marks the end of them as Tsubasa stagnates and Kyoya continues to grow stronger. 

Next is Tsubasa-Ryuga, also known as my shortest section because there is exactly one thing and one thing only that ties them together- the Dark Power. Initially there are two reasons because it’s Tsubasa’s job to spy on Ryuga but the Dark Power’s more important and they didn’t interact much because of that job, anyway. Although the weakest pairing in this triangle, they have the most significant meetings, a grand total of 4, 1 of which, notably, is not a battle. The first one occurs when Doji attempts to feed Tsubasa’s power to Ryuga once Tsubasa is revealed to be a spy. It ends in a draw because Phoenix saves him from imminent failure. The second one is the Battle Bladers Match-the one where a bit of the Dark Power latches on to Tsubasa’s soul. The third is in Metal Masters. Under instructions from the WBBA, Hyoma tracks down Ryuga who then finds Tsubasa and gives him advice on defeating the Dark Power (while destroying Excalibur for the hell of it) and safely delivers him to Gingka and co. It’s the weirdest episode- plays straight out of an alternative universe. In Fury, they meet for the last time in a completely random tournament while both are searching for Legendary Bladers. They battle, Ryuga wins and again, it’s straight out of an alternative universe because Ryuga’s almost cordial- at least compared to his usual version. Like if you look at his other battles, Ryuga in this clip can even be called nice. If you watch it, you’ll note the exact second Tsubasa determines that Ryuga’s crazy. It’s also got the line “The Dragon Emperor just is The Dragon Emperor” which cracks me up for no reason. Personally, I do think Ryuga’s a smidgen softer on Tsubasa because of the shared Dark Power thing but they don’t interact nearly enough to confirm it. 

(When I say last time, I do mean face to face confrontations, and not them just happening to be at the same place) 

Between the three of them, they’ve got this complicated push-pull dynamic despite very limited interaction between them. They’ve also got a long list in common; from personality traits:prickly, hard-working, skilled, smart, mistrustful/suspicious, pessimistic, confident if not overconfident, antisocial,  habits: most at home in the wild, unusually strong connections to their beys, and the weirdest of all; Yu who has idolized all three of them right around the time of their biggest self-crisis; Ryuga, Tsubasa and Kyoya in that order.