#there is just some character stuff that gets left behind in favor of the plot that i wish. Did not happen. But alas.

[chordsykat]

How I write action/fight scenes

From a prompt posted by a friend on Discord last night. :3 Just thought I would ramble a bit before getting to work, this morning. If you're a writer and want to know what goes through my head as I come up with combat scenes in my stories, then read on. In this way, I hope we both learn a lot. Because I honestly don't think I've ever laid out my "formula" before...

First, know who you're dealing with.

This tutorial is going to stick mostly to the actual writing aspects, but if you're going to do an action series, you should factor in the combat abilities of your characters as you develop them. This doesn't have to be anything fancy. Keep it to the natural human responses at least. In other words, during a conflict, how will your character react:

Fight: Push back

Flight: Run away

Freeze: Do nothing

Knowing just that will give you enough to start thinking these dances through. And indeed, that's what they are - a dance. If you know more, like, specifically what kind of fighting they do, what their strengths in combat are, etc -- all the better, but know that what I list below goes in order from most to least important, and that stuff won't be on the list until the end.

Second, (and always) make the audience care about the action.

This sounds dumb and counterintuitive but people won't find an action scene compelling just because it's an action scene. Not to knock it, because it was brilliant for a different reason and a lot of the writing staff's hands were tied... BUT... During my time as a fan of, all the way into my employment with, Archie-Sonic, I can't tell you how many action scenes happened just because some executive at Sega was like "I think X and Y need to fight." So they would, and for reasons that were muddy at best. I think at one point, we had Sonic and Knuckles literally exchanging this dialogue:

Sonic: Yo dude, be cool. Last time we met, we left on good terms! Knuckles: Maybe, but you're still an intruder and just because you did me that favor on the day my daughter was to be married does not mean I owe you anything in the way of kindness.

IDK, my memory may be foggy, but that was the gist of it. Point is, don't do that - and first make sure your audience understands the motives behind the action, the potential stakes, and why it's all taking place to begin with. Else, you can make it as cool as you want and people are going to walk away with a sense of "that was cool" instead of "holy shit I was freaking out through that whole scene." If there's any question as to what you should be striving for as a writer, it's the latter.

Third, plot it out like it's a mini-story.

To the point - figure out the end first, and work backwards, just like so many writing tutorials have said before. Again, keep it simple: Who wins? Does the conflict result in a casualty of some kind? Does a character learn something?

Before you show how it goes down, you need to establish what goes down as the action happens, and what happens afterwards. Keeping the ending in mind as yo write a scene is always a good way of making it feel tighter. And throwing littlte twists for interest (maybe a character has the upper-hand for all but the end of the fight - maybe a character is losing until a specific turning point, etc) is made much easier, too.

Fourth, mind the rhythm.

A little weird to explain this, but the back-and-forth nature of the scene needs to flow well. Generally, conflict follows a pattern of:

Character acts

Opposition reacts

Opposition acts

Character reacts

If this pattern looks familiar to you, it should. This is the basic pattern of human dialogue as seen in stories and, YES, real life. Consider your scene like a dialogue all its own (even if the characters are talking throughout). The twists and turns I spoke about in the last point should be "off beat" because there's an unexpected nature to them. When a twist happens, consider breaking the above pattern.

Fifth, showcase character traits and skills (again, always).

Some characters have a high sense of honor and would put down their weapons if their opponent was unarmed. Some of them would fight dirty and hit someone with a chair when their back was turned. Some characters are scrappy and will jump into a conflict even when they're sorely outmatched. Some are straight up cowards who might run away even when there's a good chance they could win. Some are smart enough to bow out and will not engage -- hiding at the first sign of trouble. Some will throw snowballs at the oppressor and be surprised when they pull aggro and the dude comes after them.

You get the idea -- fights, conflicts and action scenes are great ways to show your characters' strengths, weaknesses, traits, and personality. Times of struggle are going to lay emotional responses raw, and it's a great way of showing "who someone really is" as it were.

Sixth, showcase unique defensive behavior.

Some characters have specific training: military, martial arts, street-fighting, etc... which, if you're aware of those, should come out during combat or conflict. Some characters have access to weapons. Some characters' bodies are the weapon. Etc, etc etc...

Whatever you do, about the only time you're going to show off the fact that your character knows Muay Thai is during an action scene. If you yourself do not practice this martial art, then research what you need to incorporate to make it believable when you write. Watch videos and write down the ways you would describe the movement. If you're doing a comic, then sketch the movement. Use that in your story.

Last, create more interest by tying in and highlighting story themes or disparities between protagonist characters, antagonist characters, and/or the conflict as a whole.

A little trickier, but if your story has a central theme or moral, try showing pieces of it shining through the action. Just as one wild example, if you have a theme of "love conquers all" this might mean your fight will end with the two people falling in love, instead of fighting. Think like a dungeon master. If you rolled a natural 20 on "try to woo the orc" in a combat situation (remember that comic?) what do you think would happen?

Too, if your combatants have something in common, or especially something that they are diametrically opposed on, feel free to show that off in these scenes. It'll leave the audience knowing them better (and set them up for further head-butting... or romance(?) down the line. And that's always fun).

Anywho, that's just a few of my thoughts on action sequences in fiction. If this helped you, or you want me to talk about this even more -- send me a message or a note or something. Always up for discussing this kind of thing.

And your reward for reading this far is an invite to join my discord if you wanna hear me ramble on about this sort of thing, in perpetuity. :)

[discet]

I think the core was a good villain in concept, but felt underdeveloped. And yeah, I believe the main reason for Darcy’s existence is because the writers wanted Marcy out of the plot, and chose the cruelest way possible to do so(because fuck Marcy I guess)

Yeah no, the Core had a whole mess of potential! It was this creepy alien force lurking in the shadows behind the throne! It had the loyalty of a really compelling antagonist in Andrias! It's design for both its giant robot body and Darcy was really cool! 

The fandom content ever since season 2 and especially after the season 3a hiatus was top notch. A lot of it would have to be toned down to be used in canon, but they all explored really interesting themes and how they could impact Anne Marcy and Sasha.

And its all just sort of left on the table. [Salt below read at your own risk. ]

And it turns out that the compiled intelligence of the most brilliant minds of a dimension spanning empire has the motivations of just like, an everyday jackass. It wants an army so it can do conquests, cause I guess war is fun? No seeming end goal other than violence? 

It’s not for the Glory of Amphibia cause its leaving that whole planet to rot. It’s not to live in luxury cause it guts the palace of all its art and finery in favor of extremely utilitarian tech.

And war for the sake of war would make sense if it was just this totally alien unfeeling hivemind. But apparently it misses the taste of bakegoods enough that it made itself extremely vulnerable by hooking itself into a teenage girl.

Like, a pure evil villain isn’t by default a bad thing, but from a series that brought us such interesting, nuanced, and compelling antagonists like Andrias and Sasha, the core feels like an afterthought. A thing to pun as much of the blame on as possible and defeat. Its existance was not even known to the protagonists until literally just before the finale.

And it wasn’t even like a ‘Ah yes! It was me all along!’ It literally just let Andrias handle everything for a thousand years, then immediately shit the bed once it was back in charge. 

And yeah, the fact that it benches Marcy and just ends her entire character arc is extremely frustrating. Again, lots of cool struggling from the inside plotlines you can do if the possession and they are just not explored. Marcy gets super traumatized twice once through a literal stab in the back and then by what looks like a horrifying possession and then does nothing for the season. Gets to do some cool anime stuff in the final fight but ultimately is not allowed to get any kind of victory over Andrias, her possession, or the core itself. 

And at the end she is just normal. All of that horror and betrayal and Marcy just takes it in stride cause its the end of the show and we don’t got time for her to feel anything other than okay about everything. Anne got two episodes about her coming to terms with Hop Pop’s betrayal with the box, and several more episodes/subplots focused around her wrestling with coming to forgive Sasha. Marcy gets a tense little ‘bye Andrias.’ as she’s leaving and that’s it. Marcy was a device for other characters arcs and the plot first and her own character second. And BOY am I salty about it. 

Salty to the tune of about 350k words of fic. 

[that-1-url]

my thoughts on the pjo tv show (spoilers for episode 8) pt 2

6. speaking of VFX, why. They took the time to animate Grover's legs (something mostly unnecessary due to the fact that he wears jeans, fake feet and a hat to hide his goat-ness) in favor of other small things such as Ares' eyes, or Zeus' "flashy" exit from the throne room, or the throne room in general, or the size of the gods (something that could be done with practical effects). 7. Percy's ADHD. It just simply wasn't there. I don't have the authority to speak on the dyslexia side of things, but it felt like they replaced Percy's ADHD with some sort of hallucination-like thing that everyone around him gaslit him into thinking he had. It felt very odd and jarring at times, and while similar events happen in the books, all of the adults around him seemed very determined to like, hospitalize him or something. (This is no hate towards anyone who has visual hallucinations, it just felt like a very weird and slightly ableist (?) approach to the matter that really didn't do either ADHD nor hallucinations any real justice in terms of how it was) [i can't word this correctly i'm sorry] 8. The timeline. They had Grover throw Percy under the bus (for literally no reason) and then immediately whisk him off to montauk in the middle of the school year. (in the books it feels more natural because its at the end of the school term. which apparently it's the summer in the show? but the whole thing is really confusing). It was even more confusing when they show Sally returning because first he goes to montauk in his dream and then she's suddenly there when he wakes up and it begins at the end of the summer i guess?? Not to mention the whole weird portal thing with Luke. He didn't even mention his quest or why he felt personally betrayed by the gods. Just that he hated them because he hated feeling weak? Also Hermes and Hephaestus' appearances didn't make a whole lot of sense to me. I feel like the way they escape the casino didn't need to be changed, and in changing it they took away some of Percy's insecurity because in the book he's like "wow I'm having fun with annabeth and grover to find-? who? my mom! how could i forget my mom? something's up". Another quick thing I'm taking on the end is Annabeth getting left behind in the Fields of Asphodel didn't make any sense to me. 9. Annabeth and Grover randomly giving Percy their stuff? It didn't make a lot of sense and was never explained. 10. Percy's main focus at CHB being less of "I want my mom back and I want my dad to pay child support" and more of "so if i do something cool my dad will notice? hmm" felt very odd and out of character. 11. This is less of a critique and more of just a whiny complaint but the series could've been set in 2005 and wasn't. 12. I understand that the show was never going to be a shot-by-shot retelling of the books and i never expected that, but the way they cut out/added scenes felt very erratic and was heavily dependent on the audience already being familiar with the material that I guess we were supposed to fill in the gaps ourselves? and a lot of people have been like "Rick's improving on the story!" and while there were some add-ins I enjoyed, I feel like they cut or changed too many important scenes to really keep the main idea of both the plot and characters. Time for stuff I liked! 1. Dionysus tricking Percy so he would get him a drink was fucking hilarious. 2. Luke's voiceover before Percy fighting Ares being a parallel with Percy's "Look, I didn't want to be a half-blood"? Poetic cinema. 3. Percy pushing Grover and Annabeth through the door at the Arch. Excessive personal loyalty anyone?

4. Grover and Annabeth dunking Percy in the fountain to heal his shoulder was really funny. Truely teenage dumbassery at its finest 5. I didn't like how there wasn't the lightning bolt that threw them off the road at the beginning, but I will give the scene points for looking scarily similar to how I pictured it in my head. 6. The raw quote from Poseidon in the throne room "Obedience does not come naturally to you, does it?" "No...sir." 7. AGE ACCURATE CASTING! This is something we all have been saying from the beginning, but I like acknowledging it again. :) 8. The layout of CHB. You can see just about everything from Half-Blood hill in the books and in the show it's all nice and spread out (as opposed to the Peter Johnson movies where you couldn't even see the next cabin over).

There's more things I have on both sides that I might think of and post about later, but for now that's all I've got. I really did try to approach the TV series with an open mind, but as a show altogether I didn't like it that much, and I really don't think it did The Lightning Thief justice. It's hard to adapt books to TV, but it is possible. I believe that if they had more than eight episodes it could've played out more smoothly, but there were just too many things that changed that didn't have to, and there was too many holes that were left because they cut out the wrong scenes. Kudos to everyone who worked hard on the show and I'm glad that other people enjoyed it. But please respect my opinion and if you have any point of discussion I'd be happy to talk about them with you in a polite, constructive way. Welcome new fans and hello again to old ones, go out and enjoy Percy Jackson and The Olympians, it's a great series (books and TV alike, even if i personally don't like the show)

[spinningbuster98]

So the battle against Sanctus (yeah that's his name though I believe it's never mentioned in the game proper) is uh...a bit problematic

The basic concept is sound: destroy his shield and then wail on him, use those two flying things to propel yourself to him

It's the second phase that's shit, because after destroying his shield you then have very, VERY little time to actually hit him before he retreats back into the Savior, and he spends his shieldless time running away from you and it is an absolute BITCH to catch up to him before he goes nope! Especially with those two gizmos randomly attacking you and, worst of all, screwing up your lock on by taking precedence.

Granted I'm not doing myself any favors by having Turbo Mode on, but stil this ain't the best boss battle in the world

But that's not what I wanted to talk here, no I wanted to talk about this game's plot

What little there is of it anyway

Ok let's finally rip the bandaid off: this game is rushed

Very rushed

Or at the very least it must've had a very problematic development

I don't believe it was ever officially confirmed by any developer but it's pretty obvious to see, especially in the next levels oh BOY just you wait for those!

But even just by looking at the story you can tell that this thing was rushed because...there's almost nothing here!

Nero's story up until now has just been about him going from point A to B just...reacting to stuff and having little agency overall

Despite being the big newcomer and fundemental protagonist of this game the story never tells us much of....anything about him

What's his deal? How did he get that demon arm? How did he and Kyrie meet? What's the deal with Credo? How did he enroll into the Order of the Sword?

Kyrie has all the depth of tissue paper here, just there to be the cute anime girlfriend that gets kidnapped

The game seems to act like I'm supposed to care about Credo dying but I know NOTHING about his relationship with Nero except that he's kind of a stern asshole to him and was going to help a madman conquer the world

Why is Sanctus so fucking boring and generic?

How did Agnus get a hold of Vergil's Yamato when the last time we saw it he had it with him when he tried challenging Mundus in the Demon World?

What the hell is Dante doing off screen throughout most of this game?

Nero himself has very little going for him character wise here except for being a bit of a punk and screaming Kyrie's name a whole lot. The general criticism towards him before DMC5 I believe was that he's just diet Dante and...yeah he kind of is. He does have a certain sense of insecurity and inadequacy that leads him to want to use the Yamato's power to save Kyrie and begrudgingly accepts his demonic side to do so, which subtly harkens back to Vergil, but the game itself doesn't focus much on this aspect of him

Dante himself, as you'll see, is just there for the ride and really doesn't have anything to do except clean up the mess Nero left behind. At least he's very entertaining because...well he's Dante but he's by no means this game's protagonist.

Here's the thing: this game's writer, Bingo Morihashi, who also wrote DMC2 and 3, years later released a novelisation of DMC4's plot in 2 volumes, essentially being the story that he would have liked to write but couldn't

Now I've never read it myself but from what I know it fixes almost everything:

we get Nero and Kyrie's backstory: Nero was found as a baby at the doors of an orphanage wrapped in a black cloack, which is where he got his name from

He was often bullied by other kids for having been abandoned by his parents but Kyrie and her family, who visited the orphanage often, were always kind to him, which is why he loves Kyrie so much

Kyrie herself gets more depth: for example after the events of this game she inspires the people of Fortuna to rebuild and she and Nero start working at the orphanage where the latter used to live. They buy an apartment together and I believe they even take some of the orphanage kids to live with them.

Dante gets more focus

It's a much more complete story and the novel itself is...mostly canon, some scenes play out differently from the game but the general info is later referenced in other materials, including DMC5

The DMC4 that could've been...

But in the meantime: Nero's out of the picture for now, so this means that uncle Dante has to step up and fix this mess

Too bad that the REAL mess is just about to start...

[carica-ficus]

Review: The Ecstasy of Agony

Author: Wrath James White

Date: 23/03/2024

Rating: ⭐

________________________________________________________

After successfully finishing another exam, I found myself in the bookstore with my boyfriend, browsing through books in an attempt to find myself a little treat. I found "The Ecstasy of Agony" nestled between other short story collections, and its cover and title definitely made it stand out from the rest. And the fact that it was labeled as extreme horror. As a person who likes to try out new stuff and is not repulsed by gore or violence, I was really curious what this collection had to offer. Unfortunately, it turned out not that much...

I'm the type of reader that reads the book from start to finish, including the introduction and the author's acknowledgments. Most of the time this provides me with some useful or at least interesting information, but this time it just left me with a sour taste in my mouth. The introduction bashes the work of other horror authors to invoke a feeling of superiority for this book. It promises a lot, too much for any book to fulfill, so the reader is left with expectations which are too high to achieve. Furthermore, the final acknowledgment of the author thanks the women in his life, specifically those he slept with. By itself, this wouldn't be such a problem, but the stories are written very antagonistically towards women, and not with the point to analyze or criticize the violence against them, but to dehumanize them into sex objects and victims of abuse. There's no character to them, except as a token partner to their male counterparts, so this comment in the author's notes feels demeaning instead of eccentric.

The stories are filled to the brim with violence, but rely on shock factor in order to create a reaction from the viewer. It gives of the feel that there's not much thought given into the production of scenes with gore, but that it's just brutal visuals stacked up onto each other to produce something the average reader finds disturbing and disgusting. There's no established sense of horror or fear, just images laid out one after another trying to achieve something that just isn't there.

Moreover, there is a lot of mindless sexual violence that just seemed scant. There's nothing behind it, no profound thought, just rape scenes that create discomfort. While it could be argued that the point of extreme horror is making the reader uneasy without grasping for a higher meaning behind the story, offering nothing other than raw brutality is a cheap way to produce disgust. Many stories read like pornography, which in itself wouldn't be bad (nothing wrong with horror erotica), but nothing insinuates that the anthology falls into that category. If I had known half of the stories would just be violent sexual fantasies that depended on giant appendages, distasteful scenes and lack of any emotions, I wouldn't have picked this book up. It's not something that's of interest to me.

As for the plots of the stories, there's little imagination to them. They're just general tropes with nothing new to them. The author did manage to touch on some interesting ideas in some of the stories, like the animosity between American democrats and republicans or the governments involvement in fueling black neighborhoods with drugs in order to stunt their development, but any true commentary gets buried under pages and pages of hackneyed writing.

The writing style is alright. It's readable, fluid and allows for a quick and easy grasp of what is happening, but there are illustrative descriptions that do it no favors. They turn the style overly simplistic, when the writing would be more than acceptable without them. Moreover, they sound like they have been pulled out of cheap pornography or middle grade horror. Comparing butts to beach balls just sound pitiful, and there's dozens of similarly worded examples.

I was thinking of giving this collection at least two stars, because it was not all bad. There are things I did enjoy, but unfortunately, they fall short for me to actually say I liked this collection. I will give extreme horror another shot and my friend already gave me some good recommendations, but this book just didn't offer me anything of worth and I'm really disappointed by it.

[bamsara]

Can we get some behind the scenes writing stuff from your already published chapters? Like anything you had to cut completely or anything else you've wanted to talk about with them?

OK SO, I have a LOT to talk with my first/bullet point drafts vs final chapters

I've deleted/written over the first draft/bullet draft of a lot of my chapters already but I can make a list of things that were originally supposed to be different and/or the scenes were in different places originally and then switched around for better flow of reading

--Roxy was the one to originally run into Reader on their way out of the daycare and help them prevent from running into Monty the night of the argument, but the scene had too much dialogue-needed tension and with staff-bot I felt like it was a good way to show that the staffbots favor the reader and see them as a friend.

--The original meeting between Freddy and Reader where they have their soft moment was supposed to happen RIGHT AFTER Monty's arugment scene, and Sun/Moon scene where they were emotionally distant afterwards because of slight jealously/Moon's hurt that Y/N isn't as good of a friend with him than Freddy, I even drew a comic about it. I realized Moon dealing with his guilt would be more fitting, and Sun and Moon being supportive of the Reader reconnecting with friends is more in-character, and them being upset about Freddy instead of the situation was not-character-fitting for them.

--Originally, there was supposed to be a chase scene with Moon and Reader in chapter 7 instead of the security office scene, but I scrapped that first. Felt like it took away the chance to learn more about Moon and made him look like he was unable to show any restraint, kinda killing the whole ‘we can fight against the virus’ sort of splill. Still being in danger, but not running away and not attacking in the office scene feels more decisive as a plot turning point and tense, so I liked it better.

--I had a scene written where Reader is teasing Moon through the Daycare’s glass window, then turn away to continue cleaning. A minute later when they turn back, he’s still there, but it takes the Reader a moment to realize that Moon is now standing on the OTHER SIDE of the glass, non-chalant, waiting for Y/N to realize the danger they’re in while being his sneaky, quick and jerk-self before Reader throws the mop at him. Funny scene, but scrapped it because before the turning point in security office scene. It kinda killed the ‘safe-interactions with Moon in controlled enviroments that lead to friendship progression’ thing. Might still use it later though.

--Sun originally did not pickpocket the security card from the Reader and only was supposed allude to his knowledge of their snooping and later plans (beat around the bush while Y/N also did that), and was just going to be sad and do vague goodbyes as the Reader left to the security office. I rewrote that because it lacked substance for him where there was room for relationship development, the back-and-forth in vagueness was all built up tension with no climax and to show how Sun responded to lies/tense situation and circumstances while also giving him a chance to act against his counterpart’s wishes and put trust into the Reader instead.

--You know those Fazbear-ears from Chapter 2? Reader was supposed to have other ‘uniform ascessories’ they were required to wear every so often depending on their tasks for the day, but it started to get a little confusing/flooded. The ears were supposed to come back several times, but I keep scrapping them out. They’ll come back eventually, and it won’t be anything super important, but Sun and Moon do have some dialogue for it. Everything from this trinket page for Solar Lunacy will show up at some point though.

--In chapter 3, where Moon is hunting the Reader in the Daycare, I had a scene where Reader was very, very slowly trying to scoot down a tube slide as quietly as possible to get to the exit only to hear soft bells and a creak above them, and realize that Moon was moving slowly with them, at the same space and same spot, right outside the tube and crawling on top of it like a spider, and even moving backwards to match the Reader when they scoot backwards into the tube. Supposed to be a horror realization moment, but I liked the ‘pssp pssp pssp’ at the edge of the tunnel too much.

--The amount of times I’ve completely scrapped changed Sun’s dialogue more than once for what’s written so far is too many times I can count

--I have....so much first draft funsies and ideas that don’t get put into the final draft that aren’t included here lmao. Including memes and jokes I’ve basically put down just for myself

I have some other stuff that I’ve scrapped and some scenes that got rewritten, some details that were plucked and placed elsewhere but I don’t want to bombarde people’s dashes with a super long post so I’ll leave it with these sldkghslkdhglskdhg

[castiellesbian]

i feel like i need a glossary of terms or a contact list for all these people involved with the show. i have shit memory and dont pay attention to the credits who is sera (sara??) and why does everyone hate her!! why is he Bobo!!!!!! please... has anyone posted about this im desperate

lol well including everyone involved with the show would be difficult, but I’ll give you some highlights

Eric Kripke: creator of Supernatural, showrunner for seasons 1-5. People have differing opinions about him but general people enjoyed his run and he’s considered the best showrunner in the series overall. Not much to say because there’s a lot to say lmao (notable episodes: “Pilot,” “Lazarus Rising,” and “Swan Song”)

Sera Gamble: writer who was involved from the beginning of the show, became showrunner after Kripke left. Her seasons, 6 and 7, are typically regarded as the weakest seasons. She was a huge brothers-only supporter, and was responsible for Misha being written out of the show (as well as Jim Beaver, Bobby) in order to get the show to just be about the brothers again. There’s a lot of drama regarding her treatment of Misha/Cas, but more recently she’s known for the Magicians debacle, a horrendous example of the Bury Your Gays trope. She’s also involved with (the showrunner of?) You on Netflix. She was a pretty good writer, but overall fans dislike her because of her showrunning tenure (notable episodes: “Faith” with Raelle Tucker, “Death’s Door,” “The Born-Again Identity”)

Jeremy Carver: writer from season 3 that was promoted to showrunner from seasons 8 through.... some time in 12, the timeline has been a little murky to me. He was the one who brought Cas back into the main plot, as well as allowing the deancas storyline to become genuine subtext (we can argue whether it was queerbaiting or what he was intending to do if he had been running the series finale, but yeah). Unfortunately, he was also the showrunner when Charlie was killed off brutally, which dampens his legacy. People are conflicted about his seasons, but generally he’s looked upon favorably (not related, but the picture that comes up when you search him on google is NOT him, he’s really like a typical white nerdy looking dude lol) (notable episodes: “The Rapture,” “Sacrifice,” “Do You Believe in Miracles?”)

Andrew Dabb: writer from season 4, promoted to showrunner during season 12 and is the last showrunner of Supernatural (he wrote the finale). He was well-liked by deancas fans for awhile because of how much screentime they were allowed to give, and because of the focus on extended/found family. Sam and Dean only fans didn’t like him for the same reasons. Unfortunately, HIS legacy has been marred by the awful series finale, though it’s debated whether that was his fault or because of network meddling. (notable episodes: “Dark Side of the Moon” with Daniel Loflin, “The Prisoner,” “Moriah”)

Robert Singer: executive producer since the beginning of the show (he’s also co-showrunner throughout Supernatural, but I don’t think he typically was involved with the plotlines too often). He’s directed quite a few episodes, including the infamous wire fight episode (s13 finale) as well as the series finale. Married to Eugenie Ross-Leming, writer of the show

Eugenie Ross-Leming/Brad Buckner: writing partners TECHNICALLY from season 1, but they only wrote one episode until they were brought back in season 7. They are regarded as the worst writers in all of Supernatural, responsible for tactless death scenes of fan-favorites (and typically minorities) like Kevin, Charlie, and Eileen. They also feature a gross amount of dubcon/noncon, racism, weird unnecessary sex stuff, and are SUPER into Lucifer for some unknown reason (they have a crush on Mark Pellegrino I guess). They’re also just kind of bad writers in general, their pacing is weird and their plots convoluted. To be fair, though, they have written some good moments, like Dean trying to reach Cas in Hell’s Angel and Dean’s confessional scene in Paint It Black. But overall, they suck. Why are they still on the show even though BOTH sides of the fandom (who never agree on ANYTHING) dislike them? Well, because Eugenie is married to Singer. Nepotism. (notable episodes, the ones I can stand to watch lmao: “Holy Terror,” “Hell’s Angel,” “Our Father Who Aren’t in Heaven”)

Ben Edlund: writer from season 2 who left after season 8, but people STILL talk about him simply because he is arguably the strongest writer of the series. Cas fans particularly like him because he did most of the heavy-lifting regarding Cas’ characterization. He also wrote the famous bi!Dean scene with Aaron in season 8, where Dean is flustered after being flirted with. (notable episodes: “On the Head of a Pin,” “The French Mistake,” and my all-time favorite “The Man Who Would Be King”)

Robert “Bobo” Berens: writer from season 9, his first episode was “Heaven Can’t Wait,” which is all you really need to know about his influence on the deancas storyline. He’s also gay, so people particularly enjoy seeing how he approaches destiel in his episodes since it’s not just another straight guy potentially just catering to fans. He was also the one who was meant to go off and run Wayward Sisters, and is responsible for a lot of their development in recent seasons. I believe he also created Rowena? He wrote the episode this season where Cas confesses his love to Dean (along with other heavy deancas episodes like “The Trap”). Sam fans typically don’t like him because he doesn’t give him much focus. (notable episodes: “Heaven Can’t Wait,” “Who We Are,” “Wayward Sisters” with Andrew Dabb)

Steve Yockey: writer from season 12 through the beginning of season 15. Also gay, and also responsible for deancas moments in recent years. Generally loved for his deancas subtext but ALSO because he is an amazing writer who came out with iconic episodes. (notable episodes: “Celebrating the Life of Asa Fox,” “Lily Sunder Has Some Regrets,” “Peace of Mind” with Meghan Fitzmartin)

Robbie Thompson: writer from seasons 7 through 11, and wrote some fan favorite episodes in the meantime. He is also the creator of fan favorite characters like Charlie and Eileen. He was also one of the few writers who was vocally supportive of destiel during his tenure rather than just later. I’m not implying anything about his intentions, but it was validating for him to encourage fans during a time where most of the cast/crew ignored or actively dismissed it. Plus his episodes are just fun! (notable episodes: “LARP and the Real Girl,” “Fan Fiction,” “Baby”)

Meredith Glynn: writer since season 12, has worked closely with Bobo during their seasons together. She and Bobo cowrote “The Future,” which is the mixtape episode, so she has been taken in by deancas fans haha. She also wrote the episode where Cas makes the deal with the Empty, so it’s pretty safe to say she and Bobo had worked on the deancas plotline together :) She’s also liked some deancas-related tweets on twitter, so she’s being subtly supportive (notable episodes: “Regarding Dean,” “The Future” with Robert Berens, “Byzantium”)

Davy Perez: writer since season 12 (a lot of the ones I’ve mentioned are, since this is when Dabb became showrunner and made changes in the writers room). His episodes tend to either be horror or bizarre. I mention him because he’s responsible for episodes like “Stuck in the Middle (With You)” (Cas’ first “I love you”) and “Tombstone” (aka Brokebacknatural lmao). I don’t know much about him otherwise, but that’s why he’s brought up usually (notable episodes: “Stuck in the Middle (With You),” “Tombstone,” “Atomic Monsters”)

hopefully this helps, and hopefully I didn’t forget about anyone major. There have been a LOT of people behind the scenes so it’s hard to say who to include. Like, I didn’t mention Jerry Wanek, Jim Michaels, Kim Manners, Thomas J. Wright, or others who might be mentioned from time to time.

[dotthings]

The gaslighting needs to stop. Systemic power imbalanced in the tv industry are real. Network interference is real. Erasure and unkindness towards marginalized characters is real. 

I’m more on the canon analysis end of things personally, but I assure you the fans trying to figure out WTF happened here and account for stuff that objectively, even the people more skeptical acknowledge is weird and points back towards network interference, try to debunk their own theories. They are telling you that, they are transparent about their information, if you don’t feel like playing detailed murder wall, then don’t, but to deny there is a very very real power imbalance behind the scenes that hurt marginalized characters and fans, and hurt the story, is toxic. Stop it. 

Things like the Spanish dub and people who have worked on the show coming out of the woodwork to support Destiel should be a clue. Latin America believes it’s a mutually requited love story, canon confirmed from both sides, because that is what aired on a big tv network there. And watch out for that US-centric thinking that somehow thinks this doesn’t count. (Also plot twist: the US is the restrictive market. Wake up).

My wheelhouse is more canon analysis so I’m going to say now that the gaslighting about canon, about aired canon, about confirmed canon, about implied canon, seems to me a whole lot of toxic detached-from-reality hand waving so hard to still, STILL!!--try to deny the validity of Destiel. I’m glad some of y’all think this is merely hilarious, and after not showing up and not being supportive and not sticking your neck out at all to protect Destiel shippers from bullying, you came back just to eat the popcorn because it amuses you and I’m supposed to think that’s pro-Destiel supportive or something, or it’s people who have no horse in the race who just want fandom entertainment so everything’s a joke while they reinforce the exact attitudes that let this kind of systemic oppression perpetuate and get away with erasing marginalized voices in the tv industry, in fandom, in stories. Nice work, people. Your holier-than-thou attitude is real convincing. 

Then there’s the people trying to convince everyone it’s convincing to play false equivalency cha-cha and as if people only see this as canon due to a) 1 slash joke b) they stared at each other that one time c) drapes. Because old school fans are so proud that in their day, nobody wanted their queer ships to be canon and Destiel is just like *insert whatever slash ship of the past that had about 1/10th of the loud textual material and canon development Destiel has*. You want to try to argue against the epic nature of the text on Dean and Cas, hey give it your all, but it’s not going to hold up. If I started listing off the immensity, things that are textual plot points, it would be a 3,000 word essay. Stop playing false equivalency. Stop trying to artificially yank this back into the past because you can’t handle the textual validity of Destiel.

Deal with the fact that this is not an easily classifiable situation.

Even if in the end the same old systemic crap stifled its full due, and that’s the part that is tiresome, Dean and Cas deserve better than have their actual canon content demeaned.

After the story we have seen. After 12 seasons of deep-dive development. After Cas was finally openly confirmed as queer, and in love with Dean, in the final season, 2 episodes from the end, and Misha echoed it, and from Dean’s side, because full confirmation on Dean’s side is being held down, Jensen protected a romantic reading, protected people’s right to see Dean as in love with Cas not having a chance to speak his heart. Protected the right to that reading within the ambiguity that he knows is as far as the canon was able to take it. After the ship became canon confirmed as at least unrequited love story. Whether Jensen ships it or not, he has been very loudly and openly protective of fan readings and has been very openly excited about 15.18 and the handprint, he knows this is a great story and he’s been openly excited about how excited and joyful fans were about that episode. 

But what we have seen on our screens, what the story told us, transcends the muzzles placed on it. What we have seen is a mutually requited love story. We already saw in action how Dean loves Cas. We are left with, in the end, the silencing of Dean Winchester. Gosh I wonder why the silencing of Dean Winchester. Why was it necessary. Why was he not even permitted to speak at all, to anyone, to confide about how he even felt about Cas’s love confession. Why did Jensen have to do the heavy lifting to meta it for us. Why did Cas have to be left fully out of the series finale on a show he was so key on for 12 seasons, as a 3rd lead. Why is that? Because the only thing the creative team would ever be allowed to do by corporate is friendzone it and they didn’t want to friendzone it. 

So we are cursed with ambiguity from Dean’s side. And if the series finale had done better by Dean’s story, including his death, and by Cas’s story (instead of shoving him out of sight), if it hadn’t erased Eileen and Saileen, if it hadn’t failed Sam’s story, if it hadn’t been a regressive, awkward mess, most shippers would have accepted ambiguity if Dean and Cas has been given at least the respect of a reunion, if Dean had at least been given the chance to partially speak even if it couldn’t be removed from ambiguity. But the system was too scared of it. It had to be held down and muffled hard.

It was yanked out of the story artificially in ways that don’t match Destiel’s narrative importance before the series finale and don’t match 12 seasons of storytelling. It’s artificial. It is a silencing. And it shows. 

That sudden silence was a scream.

"The writers” were for it. “The writers” wanted to tell that story even if network interference prevented it. Some of us were gaslighted and smeared and bashed just for pointing it out, and we turned out to be right.

DESTIEL IS CANON. And the parts where fans still have to rely on interpretation for have ample, AMPLE, story evidence and external evidence--that has nothing to do with deeper dive murder walls, it has to do with support shown, and confirmed information--all point to a mutually reciprocated love story.

How many more times do shippers have to be proven right before people stop this. I was bullied for several seasons just for saying Destiel was a purposefully crafted a valid textual reading, by my own lane. For asserting it was a love story designed to dodge under network radar. I was bullied for years before that by antis, who didn’t like seeing people love this ship too much, who didn’t like that I refused to get down on my knees and label myself as delusional just for seeing it, for refusing to bow down and say “it’s only about 2 brothers so I am wrong to say Destiel matters too.” 

The unkindness in this fandom over all this continues to be overwhelming. Get your shit together.  You worship your favorite actors and then they show you up every time by being kinder and more open and understanding than fans manage to be. Jensen and Misha are showing you how to roll and people are ignoring it in favor of continuing to try to silence and demean Destiel shippers.

For Destiel shippers, don’t let all this gaslighting and shaming nonsense and the systemic corporate nonsense that wants Destiel silenced knock you off from your reading of canon. It was valid. It was real. Thanks to the magic of bleedback effect, now it was always textual, the subtextual has been transformed retroactively, and it’s from both Dean and Cas’s end. If you still feel doubt on Dean’s side, because we didn’t get the same loud explicit confirmation, go back to the text itself. If you believed it already for Cas, if Cas’s confession to Dean only validated what you already knew, why can’t you see it for Dean, because it’s already there. 

[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.

[hartrathaway]

Hii I'm interested in Hartley's story but I know literally nothing about him except that he was Wally's gay bestie in the 90s, what's his deal? Do you have any comic recs for him?

HI IM SO SORRY THIS TOOK SO LONG!!!!!!!!

Okay, so really brief, his dealio is: born to ‘incredibly rich’ parents (we never get a specified ballpark, but Hartley states that he was ‘born with two silver spoons in [his] mouth’ if that helps context wise), Hartley’s deaf!  His parents had him get cochlear implants when he was a child, which ‘medically healed him’.  (His deafness has been treated extremely ablest by writers who actually remember he’s deaf, I need to warn you of this now.)  He’s a music and sound waves guy, a former villain (it’s an on again off again relationship, but a lot of his character is defined by his time as a hero) and he’s very leftist.  Gay best friend in the AIDS crisis turned Wally West from a midwestern conservative to a leftie as well.  (Wally’s wife, Linda Park, was a major contributing factor, but we’re focusing on Hartley for this, so I’m gonna talk about him.)

I’ve got a mix of good reading from all over, so I’m gonna break this into sections, and do my best to describe which is which.  (all my screencaps are from this website right here, because i do not own all the back issues and it would have taken much, much longer to do this post, and as such, some of them are not sized or formatted correctly)  Click the read more if you’re interested!  Please note: I am not a 100% authority figure on Hartley, and I know there’s a few stories I have left out (the story with Bart Allen’s first appearance is a good one that Hartley is in), but these are the gist of who is he, what he’s been up to, and what is the family drama.

So for New Earth (otherwise known as post-Crisis on Infinite Earths), is where Hartley actually becomes Wally’s friend, and is a hero!  I’m going to focus on this section first.  Unfortunately, due to being a minor character, a lot of stuff is broken into small stories, or things that are happening behind the scenes, so there’s no real issue x - y that’s gonna help much.

The Flash Vol 2 #31, #32 Quick summary: In issue 31, supervillain here is killing homeless people, Hartley has been helping these same people get up on their feet by helping them get squatter’s rights.  They skip the fighting because a kid asks if they’re going to fight for a half hour and then team up, and go right to the team up.  They get Linda Park in, supervillain ends up backfiring his powers.  In issue 32, Wally, Hartley, and their pal Mason officially move to Keystone city.  Hartley’s folks are in trouble while the three of them are trying to freeload (off of Hartley’s parents, his and his parents’ relationship is better now than it had been, for a multitude of reasons), Wally and Hartley rescue Hartley’s parents, we also meet Jerrie, Hartley’s sister, and all is resolved there.  Yay, the family loves each other again!

(issue 31)

(issue 32)

The Flash Vol 2 #53 Special mention this is the issue where Hartley comes out and also has to inform Wally that Wally cannot tell who is a homosexual.  Also Wally’s an IRS agent here, for shame Wallace.  At least Hartley gets to cosplay Wally at the end, so that’s fun.  Content warning for this issue specifically is some casual homophobia, just so you know that going in.

(issue 53)

The Flash Vol 2 #170 In 170, Hartley’s being contacted by his father to call in ‘a favor’ that Hartley owes him.  The main plot line includes (one of) Wally’s ex(es) showing up, a former hero and teammate, Frances Kane, otherwise known as Magneta.  A person has been found murdered at Keystone Motors, and supervillain Goldface begins rallying union workers (which seems to just be a poorly timed coincidence).  The story itself (170 - 173) in and of itself is really fun, but I’m only going to talk about Hartley, or else I’ll be here all day.

(issue 170)

The Flash Vol 2 #174, #175, #178, #179 And here we get some drama! I’m grouping all of these together, since it’s all the same chunk of the story for Hartley, but since it’s the Flash, Wally’s center stage.  In 174, the people who were living with the Rathaway family aren’t exactly big fans of Hartley.  They know he’s changed his ways, he’s a hero now, but it’s just…  something feels off.  There’s loud music sounds, and bam!  Suddenly Hartley’s there and oh boy is this gonna be a hot mess.  In issue 175, we see some footage, and Hartley’s the lead suspect in his parents’ murder, considering that the footage has Hartley onscreen.  178 rolls up, and after Wally’s getting Gorilla Grodd taken care of (and that fight is a doozy), Wally gets to find out Hartley’s been arrested for the murder of his own parents, and Hartley confesses on-screen to his parents’ murder  (Also Hartley’s got a beard now, that’s how you know he’s depressed.) 179 opens with Hartley being processed.  Linda and Wally go to see him, and although Hartley confessed, he said “I think I did.”  (emphasis is mine; in the panel Hartley says “I think I did.”) Joker?  He’s got some Joker-fied people, and poor Hartley gets it too :(  Hartley straight up nearly kills Captain Boomerang (it’s okay, Wally stops him), and surprise!  Welcome back to Iron Heights Hartley.  Gonna have a fun time :)

(issue 174; this is the least messy part of the panel, but it was intended to be that way)

(issue 175)

(issue 178)

(issue 179)

The Flash: Iron Heights Brief interlude from the main comic line, we’ve got a one-shot that’s taking place in Iron Heights.  This takes place before Hartley gets arrested, presumably (since, y’know, they’re breaking in and all).  Fun one-shot honestly, keeps me on my toes the whole time.  Hartley’s a main character, and it’s less personal drama and very story driven.  You don’t need this to enjoy Hartley regardless, but I enjoy it!

(The Flash: Iron Heights, which you can read here.)

The Flash Volume 2 #189, #190 189! Now we find out how Hartley’s parents were actually murdered!  No spoilers, but we do get a prison breakout.  This is where we get some origin story! Don’t read this first though, because you’re going to be spoiling yourself the plot of his arrest.  In 190 we get more origin, including the way DC treated his deafness. (It’s ablest, and I’m still mentally grappling how you wouldn’t notice your child being deaf for two years, but okay Rachel and Osgood, you keep being bad.)  The story goes on for now, with Hartley on the run from… well, everyone.

(issue 189)

(issue 190)

This is pretty much it for New Earth Hartley up until Countdown.

I don’t like Countdown at all.  I’m much happier pretending that Countdown doesn’t exist (both because of how it treats Hartley for a multitude of reasons, and how Thad Thawne is treated leading up to Countdown).  More happens with Hartley’s storyline in Countdown, but I hate it with such a passion that I wouldn’t recommend it at all.  Countdown leads into Final Crisis, and I’m not a fan of either.  However, should you wish to read and make your own opinions, here’s Countdown and here’s Final Crisis.  Please note, Countdown’s issues are done in reverse order (so from issue 51 to 1, rather than 1 to 51)

And now I’m going to tell you the gospel truth:

I do like New 52 Hartley!  A lot. Unfortunately, he’s not as much in the n52 Flash run as I would like (but I’m biased, as obvious by my url).  What you need to know is that Hartley’s a musician now, like orchestra director, and he’s in a relationship with Barry’s boss, David Singh. (power move, honestly)  Unfortunately, we don’t get a whole lot in the main line.  Also at this point, the Wally West of New Earth hasn’t transitioned to the n52.  Wallace West of n52 is an entirely different character, and that’s a whole other issue for another discussion.  Wally West as we know him from New Earth doesn’t come back for a while.  Wally and Hartley haven’t talked since before Flashpoint, and that’s a shame. 

So read the Crimes of Passion Anthology he’s got please I’m begging you.  The only downside is that the artist gave him a haircut.

(Crimes of Passion: Secret Admirer)

I haven’t read anything DCeased related, and while I know Hartley gets his time to shine and kiss David, I can’t tell you much beyond that.  I’m pretty sure there’s other people who can tell you more, but it’s not me I’m afraid.  (This is me saying guys, please tell me about Hartley in DCeased, someone tell me about my fictional lavender marriage husband.)

[krabmeat]

𝚛𝚒𝚌𝚑𝚎𝚛 𝚝𝚑𝚊𝚗 𝚝𝚑𝚎 𝚙𝚊𝚜𝚝

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛𝚜: c!quackity, c!icarus (owned by the delightful @martynlvjy !), c!krabs, (next are only mentioned) c!philza, c!charlie

𝚝𝚛𝚒𝚐𝚐𝚎𝚛 𝚠𝚊𝚛𝚗𝚒𝚗𝚐𝚜: blood, violence, threats, racism mention, prejudice against hybrids, cursing, yelling

𝚊𝚞𝚝𝚑𝚘𝚛𝚜 𝚗𝚘𝚝𝚎𝚜:

AYUP FELLAS!! finally got this fic done! this is for my dsmp persona when she gets a workshop in Las Nevadas- but omg Krabs' birth parents showed up?!?! oh no!! anyways, thank you to the lovely @/martynlvjy for allowing me to use their super cool dsmp persona! hes so cool guys- its a god character woodpecker hybrod and just- gosh i love them!! anyways, enjoy!!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Checking inventory wasn't much of a hassle for Krabs, she was over halfway done with the mental list she had in her head for the stuff she needed to get done in Las Nevadas that day. The place was a lot bigger and fancier than the workshop at her house, but since she's in such a bustling country she gets loads more income than before. It was around 7:25 pm and Krabs was gathering the money she needed to give to Quackity, as he would be passing by to collect her taxes.

Being that Krabs ended up winning the higher end of the bet the two of them had but she wasn't able to fully claim the win due to Quackity slipping out unfairly, she decided to take the plot of land in Las Nevadas. The taxes she would need to pay would be at a very big discount, and more money wouldn't really do her wrong, she figured. Despite Philza’s and ESPECIALLY Icarus's insistence on not taking the deal after Krabs had told them what happened, Krabs decided to take the deal anyway. She assured the two parental figures that she would be fine and that she could protect herself. Just for precaution though, one of their birds would always come with her whenever she was over in Las Nevadas, usually one of Icarus's woodpeckers. “I counted that right, right? Peck the wood if I did it right.” The woodpecker sat on the small windowsill next to Krabs’ workbench, pecking its beak against the wood. Krabs gives a small, satisfied smile to the bird and starts looking for an envelope to put the money in. “Alright sick, thanks man. I've gotta look for some wax to seal this thing, make some noise if you see Quackity coming, cool? Thanks!”

The workshop doesn't look too bad, there were already a few things here before she came like a furnace for smelting her weapons, an anvil, and a big workbench. There were more windows in the building compared to other places in Las Nevadas due to the constant heat and gas being produced from welding and blacksmithing. But nonetheless, things were coming along well. She was making good money, felt safer because she was on less tense terms with Quackity and always had a bird with her, and even managed to befriend Charlie! Needless to say, things were working in her favor and she was satisfied.

PCK, PCK, PCK The woodpecker aggressively pecked its beak against the wood again, signaling that someone was arriving. Krabs had just finished putting her wax seal on the envelope- dark green wax embedded with a penis that looks like it was made by a troublesome kindergartener. She knows it's immature but hey, can you really call it immature if it's funny? That's not her professional seal anyways so it doesn't really matter. Besides that, Krabs takes the envelope and runs to the counter, sitting in the comfy padded stool behind it. “DOORS OPEN, COME IN!” The bell overhead the door rings, but it isn't Quackity who walks in. No, in his place are two people who Krabs could unfortunately recognize right as she laid her eyes on the two. “Mija? Is that really you? Dios mio, que te paso a tu cara?!” Krabs’ parents stare at their daughter in disbelief when they see the left side of her face. The disbelief soon turns into displeasement and slight disgust. Her parents can only take a few steps forward when Krabs takes out Axe My Beloved and holds it in her hands, hostile.

“¿Qué están haciendo aquí? What are you doing here? How the fuck did you guys find me?!” Krabs couldn't believe that after all that time they had found her. After all her wandering they found her? Something was up and she wasn't gonna let her guard down at all. This time her father speaks up to answer her question. “We had heard that someone saw you sneak out days after you went missing. Then we caught word of someone who had a business around these parts and it was...you. They said your name. So we came looking for you and here we are to take you home!”

Krabs’ eyes seem to darken at the mention of returning to her village. That place was a hellhole, it's one of the many reasons why she chose to run away.

“You must be a dumbass if you think I'm going back to that damned village. That fucking house that you kept me in for the majority of my life. I wasn't your daughter, I was a prisoner that you didn't want escaping into the real world because you two were too fucking pussy to let THE PERSON YOU BIRTHED GROW UP TO BE SMARTER THAN YOU DAMN IDIOTS!”

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

He heard that last part as he was walking along the concrete pavement. Quackity’s brows furrowed as he quieted his footsteps. Quickly, a small woodpecker flew past him in the opposite direction. Of course he was confused since Las Nevadas wasn't a place where traditionally woodpeckers would be, but his attention was caught once again when he heard more yelling coming from Krabs’ workshop.

“WE WERE ONLY TRYING TO PROTECT YOU FROM EVERYONE ELSE!” The voice was subtly familiar to him, Quackity peeking in through the window of Krabs’ workshop. To his surprise, he sees the same man and woman who he had interacted with previously. They had given him a dirty look after eyeing his golden duck wings that were attached to his back. Taking his attention further into the argument, Krabs bursts out in laughter after her father speaks.

“Protect me from WHAT exactly? The village? The people? Cause let me tell you something that either of you were too blind to see, I snuck out! Almost every night I snuck out and you guys didn't know a damn thing. I was already there to experience the comments that people made of me just cause I’m fucking Mexican, so what? I would have never ran away if you two had just treated me RIGHT instead of saying that there was shit wrong with me when in reality I was a perfectly fine kid who just had problems rooted to my shitty parents!” It seemed that Quackity was learning more and more information as the days went by. Not sure what to do with it, but he knew that someday it would come in handy. “Ay, qué MENSA eres! That is why you look like this now, isn't it? You ruined yourself, mija. You were so much better when you stayed with us, now look at you!” Krabs gets a smug grin on her lips as she lifts up her arms and stands up from her stool, doing a quick spin as if to show off her wonderful place. “Si, si! Mira qué tan exitosa y rica que he llegado a ser! Please tell me what you had in store for me in that box of a house? You planned on keeping me IGNORANT and DEFENSELESS! And now I'm more than the both of you could have ever raised me to be. Pinches ratas de dos patas.”

Quackity is still standing outside of the workshop, his eyes wide open in shock at the argument and comebacks Krabs is shooting back at her parents. Quackity has the luxury of also being fluent in Spanish as it is his first language as well, so he understands every word. Suddenly, a gust of wind hits the back of his body, he stands in confusion to see Icarus standing there with his flock of woodpeckers flapping behind them. “So you've just been fuckin stood there watching and didn't think to intervene? Oh my god you're just as brainless as I thought!” Icarus seems pissed as hell with the information in its brain that one of his woodpeckers had told them. This was gonna be the first time Icarus meets Krabs’ blood parents and just from what they're woodpeckers said, it already hates her parents. “Hey, hey! This isn't my argument, alright? I come to collect her taxes and walk in on a family argument and what? Now it's MY fault?” Icarus rolls his eyes at the shorter bird hybrid and nudges him aside with their wings, entering the workshop.

“And who is this horrendous thing?” Icarus makes its way towards Krabs, hitting her mother upside the head with his wing. “Oh, you should watch where you're standing! You're in the way.” Icaruses faked concern makes Krabs snicker. She smiles at her abnormally tall friend and then looks at her parents. “Icarus here-” Krabs lightly pats Icarus on the back before continuing her sentence. “-is who I see as my parent.”

The expressions on her blood parents' faces are filled with hysteria and confusion, mixed in with clear anger that they are trying to keep in their throats. Their anger and overall emotion-filled reactions make the golem and woodpecker hybrids laugh.

“Por qué estás tan mentirosa? They aren't your parent, WE are. Just look at it, I'm surprised they are free, he should be property of someone with those damn wings. I'll cut off its wings and use the feathers to write!” Both bird hybrids grow irritated. Not much so distraught or hurt as that kind of thing isn't really up either up their alleys. I mean for fucks sake, one of them runs the incredibly powerful nation that THEY ARE STANDING IN, and the other is a literal GOD. With this fact being sincere, the bird hybrids step up. Quackity lets himself into the workshop and Icarus stands tall to seem more intimidating than he already is. The both of them puff out their chests and their feathers ruffle up- an instinctual action that they both do when they feel challenged. Icarus is first to speak up with their lips curled into a semi-irritated snarl.

“You must be aware of who the fuck you're talking about if you're ballsy enough to make such an offensive threat. So tell me, are you looking for your pitiful blood to spill? Cause trust me, if I can add another vile of blood to my collection by killing you then you'll be dead in a second.”

Krabs leans slightly towards Icarus, speaking in a lowly, quiet voice. “Do you actually have a blood collection?” “Hah, no! But it sounds badass doesn't it?”

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

Fear and confusion is a lived thing, and the said feelings are currently being expressed by Krabs’ blood parents. But her blood father pulls out a knife on Icarus, refusing to let his pride be bruised. He shouts obscenities and threats, though none of them seem to penetrate quite like how Quackity’s talons penetrate Krabs’ fathers back.

Her father lets out a blood-curdling scream, his rinky-dink knife clattering to the floor. Krabs’ mother shrieks out in fear at the splatter of blood after Quackity yanks his talons out from the fathers back. Krabs goes to retrieve the small knife, pocketing it and bringing the edge of her axe to her fathers neck.

“Listen to me, cause I'm only gonna say this once. Come by these parts or anywhere NEAR me, and I might just have to use your all’s bones for a couple weapons.” Krabs shoves her father away with the emerald at the tip of her axe. “Get the fuck outta here, get out of my sight.” Her father stumbled out of the workshop in a hurry, slowly oozing out blood from the soon-to-be scars on his back.

Krabs’ mother is still standing there, however, still shocked. Her own blood, her DAUGHTER- hostile towards her and the people who raised her. However, she was still too blind to see her faults. “What, you thought I was playing? Andele, andele! Apurate!” Krabs swings her axe at her mother, slicing her arm while yelling at her to leave. She eventually does, scampering off with her husband.

“Jesus fucking Christ Krabs- are you okay?! Thank GOD I got here when I did, those bastards would've pulled that knife on you instead, I bet.” Krabs doesn't do much to respond, only a simple nod with a half smile. She clearly appears to be shaken up and her lividness is still trying to wear off.

“Yeah- uh, I'm really sorry you guys had to see that. Thank you for the help though, I'll repay both of you as soon as I can.” Before Icarus could even think to respond, Krabs quickly walks out of her workshop into the backroom.

“Your talons look fucking disgusting.” Icarus eyes Quackity’s talons, which are still covered in blood. “Oh my bad, how about I get a vile so you can add it to your blood collection you fucking creep.” “Look, it was just to sound cool! And it worked, right? Damn, I am such a badass.” “Whatever, I don’t give a shit. I just need to collect taxes and leave.”

Icarus tells Quackity to wait where he is as it walks over to the back room, knocking on the door before walking inside and shutting the door behind themself.

“Hey, are you good Triple D? I just wanted to make sure cause you didn't seem all too great.” Krabs nods, she's sat down in a rickety stool with her head in her hands. She rubs her face while looking up, trying to gain more energy.

“Yeah, just feel like shit from seeing my old parents again. Never thought they'd find me, but here we are, right? Just sucks ass to be reminded, I guess.” Icarus nods in understanding. He had only heard brief things about krabs’ parents but over time it cumulated all the information they had and came to the honest and true conclusion: Krabs’ birth family fucking sucks.

“Yeah, I get that. I hope you know though, they won't see you anytime soon. I'll be here for you, just like I always have. I'll be waiting for you outside the workshop, meet you outside.” And just like that, Icarus leaves the room before Krabs could respond with her overwhelming gratitude.

About a minute passes before Krabs regains her composure when she finally walks back into her workshop. Quackity is standing next to the doorway, wiping his hands on his pants in an attempt to get the blood off of them. He looks up at Krabs at the sound of the back door opening and he nods his head in salutations. “Oh, hey. I'm guessing you're here for the money still, right?” “Yeah, just hurry it up already. I gotta rinse my hands off before I get a disease or something.” “‘Mimimimimi I’m Quackity and if I don't get this blood off my hands I am going to die!’” “Fuck you.”

Krabs spoke in a mocking tone, laughing at Quackity’s half hearted irritation. She goes behind the counter and pulls out the cream-colored envelope embedded with a dark green wax seal. Quackity takes it from your offering hands and can't help but suppress a childish smile at the symbol on the wax seal. “A penis? Really? You are so goddamn childish Krabs, it's really embarrassing actually!” “Awwe, really? Cry about it.”

Quackity opens the envelope filled with money, counting it all to make sure that its all there. “Uh, look- while you're doing that, i wanted to say thanks for stepping up to my parents. That was cool of you, man.” He glances up at Krabs and gives a brief smile before going back to counting the money. “Yeah, it's no problem. They were annoying anyways, plus what would I do if my only blacksmith in Las Nevadas suddenly left the nation?” Krabs presses her lips into a thin line as she looks down and releases a small sigh through her nose from his last comment.

“Mm, yeah..hey are you done counting the cash? I’m tryna leave too, yknow.”

And he simply nods and mutters a quick thanks as he sees himself out.

[just-some-random-blogger]

Curse Of The Tiger King

NCT King!Jung Jaehyun x Zoologist!Reader Characters: Jung Jaehyun, Lee Donghyuck (Haechan), Kim Dongyoung (Doyoung), some tigers n stuff. Summary: Jung Jaehyun was known as the Tiger King of the Joseon Era because of how many men he fearlessly killed on the battlefield that matches how many tigers he said to have killed with his bare hands. Because of this, he was cursed into a eternal life as a tiger spirit with only one way to break it. Word Count: 6k+ Warnings: Graphic depictions of violence, animal abuse, war, curses, suicidal thoughts, angst, fluff, etc.

A/N: Idek my mom said the plot is weird but i dig it also listen to tiger inside by superm prolly okie thx. I honestly could have done more research on tigers but like let me live with my inaccuracies okay. Also i may do a pt2 idek

Donghyuck was thankful that it started to storm tonight. Even to the roars of thunder he was indebted to, for it meant his king would not go out and hunt at this hour.

The sycophant adviser Moon Taeil argued with Donghyuck constantly that he was trying to constrain the King of their nation his rights to a glorious hunt of tigers. Why must he dissuade the hunts of the King when he was doing the people a favor and destroying the monsters that could come into their towns and each their children?

It took a lot for Donghyuck not to roll his eyes at the blatant excuse that old minister Taeil had to get the king’s favor. Never in his life had he even heard of a tiger willingly coming out of the wilderness close to human territory had it not been forced out.

It was not that Donghyuck felt sympathy towards tigers either. I mean, who did in this era? It was just that Donghyuck worried the king would strain himself if he immediately goes hunting after just defeating a fleet of usurpers with his army.

He knew how frenzied the king got after drawing blood.

Donghyuck, as the king's right hand man, had a responsibility to keep the nation's sole rule sane.

"Stop worrying," the king said to Donghyuck who was stood not too far behind him.

"I always worry about you, Jaehyun hyung."

Behind closed doors, Donghyuck and Jaehyun were brothers forged by time and not blood. If anyone could help Jaehyun keep his sense, it would be Donghyuck.

Jaehyun was in a dim lit room, kneeled in the middle in front of a slab of stone which he slid his sword back and forth from to sharpen it. Truth be told, it was a habit of his to do this every time he used his sword. But that wasn't what Donghyuck was anxious about. It was the fact Jaehyun didn't wipe the blood on his skin nor did he properly wear his royal robe that keeps goose bumps on his arms.

"It's almost your birthday, Hyuck-ah. Would you like one of my tiger pelts- ah-- should I hunt a tiger for you?" Jaehyun stops sharpening his sword and turns to Donghyuck.

The younger of the two shakes his head and replies, "I couldn't possibly ask for something from my king."

Jaehyun scoffs, "ya you bastard, tell that to all the times you made me buy you noodles when we snuck out the palace as kids."

Donghyuck cleared his throat, "that's on you though for agreeing."

The king chuckles and stands, "there's some rumors going around that there's a white tiger roaming the mountains. They say it is mightier than any ordinary tiger. What do you think? Would you like a white tiger cape?"

"You'd give me something so rare?"

Jaehyun scoffs again and rolls his eyes. He points his sword to Donghyuck, to which he the latter thinks nothing of, "why? Do you think your king is so selfish and keeps everything to himself."

Donghyuck is touched.

But he regrets how pleased Jaehyun's smile was that night. He regrets how he said they should bathe in the royal bath house together and should hunt the white tiger at the break of dawn. He knew in his bones something somehow was going to go wrong with the king.

And even with all his efforts to stay close to him, with all his looney athleticism and determination to catch that white tiger in the mountains, Donghyuck's foot got stuck and twisted upon a tree root.

Of course Jaehyun and he at this point had caught sight of the beast and had scared it off with their numbers. You couldn't possibly believe that the king would be left to hunt alone, would you? But Jaehyun had always been gifted with such immeasurable agility, and well Donghyuck spent most of his life trying to measure up to that. He could not match him however, but much less could the soldiers.

That was why Jaehyun stopped and turned to Donghyuck. He was worried for him like anyone would their younger brother since he deemed Donghyuck as such.

I suppose it was Donghyuck's mistake of trying to talk the king out of catching the white tiger. He knew out of everyone that Jaehyu didn't believe in supernatural or superstitious beliefs simply because they historically worked against his favor. Jaehyun had a knack of proving people wrong with his sheer will, and up to now, he had done nothing but that

Donghyuck had triggered that in him when he muttered to the king, "I have a bad feeling about this hunt. We should turn back, lest you get hurt."

Jaehyun's face ignited at the posing challenge. "Nonsense, I won't let your injury heed nothing. I should definitely catch that tiger no matter what."

So Jaehyun tread off by himself. Donghyuck tried to force himself to go after him. He watched as the king got far enough that he looked like a dot. Still, Donghyuck pushed on. He propped himself up and limped as fast as he could. He thought of simply turning back, but he didn't have much of a choice when he heard the king scream and a tiger roar.

Suddenly, it was silent.

Donghyuk felt like he choked on his heart, "the king is dead."

Jaehyun doesn't remember what he saw, but he remembers what he felt. He felt excruciating pain, like his inside were being pulled from inside out. Then he felt cold. Then there was darkness.

Then he blinked his eyes open and saw the face of a white tiger. His heart dropped and he felt the need to flee. But he was unable to do nothing but wiggle like a worm. He could no longer feel his hands.

The realized then... he had no hands.

The white tiger at this point was above him. It began to lick Jaehyun's body. There was an aroma in the air he recognized as blood. Dear lord, did this tiger devour his body?

But Jaehyun felt no more pain. He tried to scream, but he was only able to make a small sound.

He heard a similar sound next to him, and soon he was kicked in the face by paws. Instinctively, he was annoyed and felt the need to fight back, but he could barely muster the strength to stand on his four feet.

Wait... he had four feet?

The white tiger who had assaulted him with its tongue, laid before him and rolled her belly, revealing pert nipples. It seemed a litter of kittens waddled towards the invitingly plush belly and began suckling. Jaehyun disagreed as it slowly sank in what was happening. He felt his belly rumble in hunger.

Somehow, this large tiger felt Jaehyun's reluctance and clumsily but softly shoved Jaehyun close to its belly. The white tiger was a mother to four cubs, and Jaehyun was one of them.

The mother tiger laid down and yawned, blinking slowly until she shut her eyes. He saw there was an available area where he could suckle in between the two cubs on the left and the one on the right.

Jaehyun screamed, but again, there was only a pathetically small sound that left his throat. After minutes of waiting, he grew weaker and found it was futile. This baby tiger body he was in much strongly disagreed with the emptiness of its stomach.

So he nursed on warm milk and he began to dream he was a white tiger cub.

Except it wasn't a dream, and he remained trapped in this body up he slowly grew stronger and stronger.

Jaehyun began to recall the voice of his mother, his real mother, in his sleep. She warned him of spirits in the rivers, in the trees, in the mountains, and how it was the king's duty to protect the people from it.

It made him think that the white tiger he was following in the mountain may have been a spirit, and this was the punishment for wanting to hunt it. That white tiger spirit made Jaehyun the cub of a real white tiger. He knew this tiger he now trusted like a mother was not the one he had been following in the forest by the mountains, simply because this forest they roamed where not by those mountains.

He knew that place like the back of his hand since he both grew up there and hunted there frequently. Jaehyun found no familiarity in the landscape here. It smelled very similar, but even in that he could tell a difference. There was a repulsive bitterness in the air he could not distinguish. It was unlike any smoke he had breathed in. He began to doubt he was even still in his Joseon borders.

What he was certain of, after moons and suns passed, was there was no way he was getting out of this body. He thought of killing the cubs, but it seems the cub-body he was in was the weakest of the four. And of course, killing the mother came into mind, but he could barely fend himself from the cubs, how could he defeat the largest of them all?

Jaehyun vowed to learn their ways and use it against them once he was large enough. One may think it despicable, especially when Jaehyun trusted the tiger mother would not harm him, but it was his only chance as he could see it.

That was until a storm struck the forest, and it awakened a vivid memory of Jaehyun. It was like his last night with Donghyuck. He had just told him he would catch a white tiger for him. They had bathed in the royal bathing house. Jaehyun shivered under his fur at the memory of the warm water Donghyuck farted it.

Donghyuck.

He could help him.

Why hadn’t he thought of looking for his friend before?

So from the dry safety of this cave they stayed in, Jaehyun ran past the licking cubs and ran into the storm. He didn't know how he could find Donghyuck, but Jaehyun thought he would probably at least find his palace... Right?

It was funny that he heard chuffing from behind. He initially thought it was the rain beating down on him or the water that got into his furry ear, but he realized it was the mother tiger calling out to him. She ran after him and snatched him by the nape to drag him back into the cave.

Jaehyun knew there was no way out of this, since this tiger had done it to him multiple times. He had to wait until she put him down before he could run again.

And she did, gently on the other cubs. Jaehyun made sure to paw the largest of the other three in the face. He was satisfied when he shook his head at the action.

The mother tiger then shook off the water on her coat just as Jaehyun did. She then thought to lie in front of the opening of the cave to block further passage, as if she knew Jaehyun would try it again.

He had to admit, this mother was intuitive, not unlike Jaehyun's own mother. Part of him couldn't help but feel pity of the dumb creature because she genuinely believed Jaehyun was her cub. If she only knew what he did to tigers in his life. She surely would not hesitate to let Jaehyun leave.

Jaehyun suddenly got his head bashed into the mother tiger's arm.

WHO DID THAT?

He turned and saw it was one of the other cubs in the litter that then made one of those playing sounds and began to batter at Jaehyun's face with its paw.

Jaehyun scoffed, you don't know I've been practicing my pouncing.

He then put his front legs down and hind legs up and aimed for the annoying cub. He then jumped to its face and began gnawing at him. Haha, serves him right.

But suddenly the fat cub joined in and went at Jaehyun and the other cub. At this point they were really going at it. Jaehyun screeched for help, knowing it would alert the mother, to which the mother tiger did then sound back a warning to the cubs which made then pull back instantly.

Serves them right.

Jaehyun decided he was too tired to run away today, and wasn't even sure how to catch prey yet, nor was he big enough to kill something larger than sparrows, so he should probably stay and learn that first.

He turned and saw that one of the other cubs were being licked, to that Jaehyun felt vexed because as far as he remembered, he was the one that got wet and needed excess water off his coat.

So he then shoved his cub brother to the side and took all the warm licks from his mother tiger.

It dawned on him why this tiger went after him. Jaehyun had been left to nothing but thinking. Mother tiger wouldn't have been upset that she only three cubs left, she would be upset because she lost one. This tiger, after all, was still a mother, aside from being a beast.

Through time, Jaehyun grew fond of her. Jaehyun realized she was very patient and her favorite food was deer. He even grew fond of the annoying cubs enough that he gave them their own names. The big oaf he named Youngho, the daintier one, Jungwoo, and the more refined one, Taeyong.

He didn't have to name his tiger mother since she was set apart, but Jaehyun decided to call her Aerum, which meant beautiful.

There was a roar of thunder in the sky one day, only it wasn't raining and there were no dark clouds. It was the first time Jaehyun felt palpable fear in this form. It was so intense he ran to his mother.

He saw something moving in the sky. Jaehyun's tiger eyes widened as he decided it was most probably a dragon. His mother did not seem to fear it, and so he thought the five of them could probably kill that dragon if it came near enough. In the clear sky, Jaehyun could not believe what he saw. He began to doubt it was a dragon all together since it looked nothing like one. It had no scales and was silvery smooth, it neither had a head to breathe fire from, nor did it have impressive flapping wings. In fact it wings didn't beat like a bird's at all, which made Jaehyun wonder how it was flying anyway.

He soon forgot about the encounter with that wannabe dragon. Jaehyun knew he had nothing to worry about anyway since he was with his mother.

That is until there was a slipping sound from not too far and it alerted everyone of them.

Jaehyun breathed in deeply and smelled something different in the air. He heard what he could never mistake, the hushed arguments of humans.

He turned to mother tiger and saw her defences were up. They were being hunted.

It somehow made Jaehyun both relieved and concerned that mother tiger knew exactly what was happening.

There was suddenly crack in the air and it made Jaehyun's hair raise. He could not distinguish the sound. It sounded something like a canon, but it was not as loud. He knew arrows would not sound as such, so it frightened him that he did not know what it was.

It all happened so quickly, so quick in fact that it made Jaehyun realize how terrifying it is to be hunted.

They were upon then. There were three hunters with blood shot eyes. Jaehyun wondered what county these people came from that they dressed so awkwardly and held black sticks wherever they went.

But then they aimed at Youngho and head was cracked open. He fell instantly without a sound, and all they could do was run.

Jaehyun heard them laugh for joy, but I knew they would not stop until they got all of us.

The cracking sounds, Jaehyun realized, came from the weapons he thought to be sticks. It smelled hot and malicious. He loathed them.

They were bought to a mountainous area. Surely they could not keep up with them if they climbed high enough. Jaehyun was perturbed when they saw the men in some sort of machine with wheels. It had to be the most terrible thing he had seen.

They thundered towards them. Jaehyun knew they were aiming for their mother. Still, they ran and ran. Jaehyun wondered if he could try and lead them astray if he separated from them. So he did and breathed heavily as he ran with all his legs.

Crack.

Crack.

Jaehyun was scared they were shooting for him but he dared to turn back and jar his teeth out. It was then he saw Jungwoo fell flat and so did Taeyong from behind. His mother was now running towards him.

Their mistake was to stop and gather Jungwoo and Taeyong's bodies. As much as it enraged Jaehyun to see them, it made mother tiger furious. She began to charge towards them, and so did Jaehyun.

The fools somehow did not know it was coming, and the three that had been on their tail were scared for their lives that they had not time to act.

She came for their throats and ripped them off with her mighty power. I came for the leg of the other that tried to flee and when he fell on his face, when for his neck as well.

Crack.

The man shot at mother but only got her leg. She tried to come for him next, but he tried again and then shot at her head. Once she was down, he shot at her again, and again, and again, and again, until he could no longer make a cracking sound with his weapon.

This was his mistake. He realized this when he and Jaehyun caught each other's eye. Jaehyun was pleased he looked terrified beyond compare.

Donghyuck always said he got into a frenzy whenever he's just gotten his sword slick with blood after he's gotten off of the battlefield or done with a hunt. But in truth it was the chase that excited him, and not what he has slain. But Jaehyun knew for certain that he was going to enjoy killing him.

Jaehyun knew he deserved to die a miserable death when he ran like a coward and didn't think to raise up one of the weapons his friends had. He was upon him, but then out came more people. They were in the same machines the three came in, and there were much more of them. Jaehyun would be a fool if he thought he could take them. He had no sword, no army. He barely had fangs and claws.

Jaehyun decided to slow down. He came to a halt when he saw these people were seemingly not on his side. They apprehended his mother’s kill. They shoved him against a tree and bound his wrists behind him. He was half pleased, he would be fully if he could rip his throat out.

But then there was you.

You came out of the same contraptions the ones who killed the tiger brothers did but you came out slowly.

You wore the same thing they did, but you held a different expression.

There was a man next to you that raised a similar weapon the other men had, but you told them to stand down.

You brought out meat. It smelled old, but it made Jaehyun realize he was so hungry. So hungry, and scared.

He knew you were trying to win him over. But he knew better than to easily trust a stranger. Then he thought of how the people on your team apprehended his mother's killer, and how you told off the man who was going to aim at him. Jaehyun decided he could take the meat you had and run.

You slowly crouched down and tossed the meat to him. Jaehyun thought it smelled unlike the meat he had eaten before but decided to eat it.

Jaehyun decided to bolt, but there was a sound of a fired arrow in the air, and he so suddenly he couldn't feel his legs.

When Jaehyun woke up, he was in a cage. It wasn't made of wood, but metal. There was food and water in a metal bowl in front of him, but he knew better than fall for that again.

He looked around the room with white lights that had no flame. There were dried plant stalk on the ground, much like a prison cell but it was only Jaehyun.

"Hi there," you spoke when you came into view. You smiled at Jaehyun’s tiger form and stuck your finger into the cage to point at the food.

Jaehyun thought if he wanted, he could bite it off.

"I'm sorry Dongyoung had to tranquilize you. I'm sure you must feel horrible."

Oh, don't try to sympathize with terms I don't understand.

"You should eat. I promise no one will shoot at you."

Jaehyun and you stare at each other. He decides he would rather get shot and join his tiger mother and brothers that live the rest of his life in this cage with you as his captor

You expected no less than the reaction you were getting. Still, you continued with what yow wanted to say, "You must feel so angered and lonely."

Jaehyun watches as you sit on the floor you stood on. He paces around the cage as you continue, "I saw what you did to the man. You tore his calf and punctured airway, suffocating him with his blood. Impressive for your size, honestly."

I would've killed his friend too had you not taken him.

"And you should know, the poacher who killed your mother is going to spend the rest his life in prison for hunting the last snow tigers in the country."

Jaehyun freezes. Hunting? Jaehyun begins to wonder then who has made the act illegal.

Could it be Donghyuk? Does that mean he ascended to the throne. That seems unprobable, when his cousin Sungchan has been eyeing the throne since he was born and Donghyuk had no desire for power. And why would Donghyuk make it illegal anyway? Could he possibly know his king was turned into a tiger?

A thousand questions ran into Jaehyun’s head.

"Don't worry, I'm fighting to pass a law that can protect you and your kin with the U.N.," you say suddenly, which further baffles Jaehyun.

Who is the world are you to have such a power? And who was this Yooen?

"Now come and eat, tiger cub. The sooner you get big and strong, the sooner we can release you back into the wild."

Based on that, Jaehyun didn't believe you at all at this point. He knew you had to at least be blantantly aware he was not a cub. Sure he was not nearly as large as his mother yet, but he was neither a defenseless suckling baby. You said it yourself, he killed a man.

You watched as the caged tiger continued to pace inside. You knew animals could feel and mourn, but somehow you felt this tiger was scheming. You knew this white tiger was still leaning into maturity, since it took a long time for him to kill the poacher. It excited you that you’d be able to spend a few months with such a rare and majestic creature.

Jaehyun decided to pretend he was going to try and trust you. He might learn a lot about his predicament from you since you shamelessly talked to the him as if he were still human.

His days began like this for a while, there would be food given everyday in what he observed to be the exact same time, and you would randomly come and talk and talk and talk and talk.

Jaehyun supposes he got on your good side when you drew him into a cage and let him into a grander setting. It was in a vast cage outside, not like the stuffy one he was originally in. Prison was still prison, but at least he couldn't see all four walls on one side.

There was initially a drawback with that. In this enclosure, as you called, you were much more present, and became more bolder. You began to touch Jaehyun, which made him shudder. How dare you touch the king of Joseon?

"You're such a drama queen," you would quip everytime Jaehyun jumped at your touch from behind the thin rodded cage.

"Maybe I should name you that, huh, drama queen," you jested. Jaehyun rolled his eyes and finished his chicken. You were bold no matter what. You were making fun of not only a white tiger, but the Tiger King. What's more, he found it annoying you gave him old chicken all the time.

"Wang," you said suddenly, which made Jaehyun stop his feeding. King, he hadn't been called that in so long.

You made a sound, "you seem to like that, huh. I guess that can be your name then, Wang."

It felt so sudden to you that Wang grew in to that what you proudly stated a fine tiger specimen. Jaehyun felt proud of himself whenever you would bring what he grew to learn were doctors who studies animals as their profession.

You and Jaehyun at this point had grown comfortable enough that Jaehyun let you sit next to him and stroke his head while he slept. It was only you though. He hated it when that Dongyoung tried to touch him, or when he tried to touch you, especially when you'd let him.

On this breezy afternoon, he was saddened as he put his chin on your thighs. He had never been so vulnerable like so with a woman. Sure he had bedded gisaengs in his time, but he wouldn't let them touch him, much less stroke his head.

It saddened him more when he realized the reason why you and the rest of the people here wore such strange things and had such strange objects was because you no longer lived in the time of Joseon. After all the stories you've told about your day to Jaehyun, he has learned hundreds of years has passed between the time he was king and now.

You now were born into the country of Korea, a nation split in two; you were in its Southern part. You cared deeply for who you called Wang because Jaehyun lived in the body of the last white tiger in the country, the few left in the world. You were a doctor and an officer that protects the welfare of wild animals.

You were going to set him free in a few days.

That is, until this tiger was put in the enclosure next to Jaehyun's. He smelled afraid. He jumped at everything and had lash and burn marks on his body. It was clear to anyone humans inflicted these marks on him.

"Wang, this is Yuta. Be kind to him because all he's ever known is abuse from his captors."

Yuta, beyond smelling like fear, smelled like he was dying. He was clearly unwell. Jaehyun had to make sure you knew this somehow.

Jaehyun was unsure what you thought would happen, but Yuta barely came near him even though Jaehyun chuffed his way. He barely acted like a tiger, if you asked Jaehyun. Trust him, he knew.

You began to focus your time on Yuta more. For once, Jaehyun didn't mind, because he knew the battered tiger needed it. He didn't seem that much older than Jaehyun, which somehow made you think you would be instant friends. For your sake, Jaehyun tried to show him what could be done as a tiger. He flaunted his prowess in running, tree climbing, even in roaring.

Yuta didn't seem to care and stayed in his side of the enclosure.

Strangely enough, Jaehyun still tried to chuff at Yuta, and to his surprise, Yuta chuffed back.

You jumped into Dongyoung's arms upon seeing Jaehyun's victory, to which Jaehyun nearly lashed out for.

It was then, Yuta and Jaehyun slowly became to form a bond. They would meet each other in the middle of the enclosure and would pace around together. You began to suggest bringing each other into the same enclosure, to which Dongyoung strongly disagreed with. Jaehyun wanted a chance to prove that man wrong, and it was eventually given to him.

Everyone was apprehensive with the idea of putting two male tigers into the room, which was why Dongyoung held tightly onto that weapon of his, but you reason you were both not fully adults yet, so there is a chance Yuta and Jaehyun to bond.

And a bond was surely created.

Jaehyun felt his heart swell at the sense of companionship he had with Yuta. It was neither that of what he felt with Youngho, Taeyong, or Jungwoo, but he somehow felt an undefinable closeness with this tiger.

Yuta was not a white tiger like Jaehyun, but an orange tiger. You reasoned that could be a reason why you had a bond with each other, you were different to each other and there was no females present for competition.

Jaehyun began to think of you and Dongyoung, and how he could eat him without getting caught.

Again, the day of the new joint release of Jaehyun and Yuta came close.

You cried on what Jaehyun knew to be your last visit.

You led the two tigers into cages and shipped them into protected forest land.

Yuta waited for Jaehyun before coming out of the cage they were shipped in. Jaehyun felt something indescribable in his paws when he walked out. Recognition came into his senses. He gave out a roar and began running.

He found that he was being followed by Yuta as he wove through the forest. The breeze was not exactly that of his childhood, but there he saw the same mountain he tread upon when he was hunting a white tiger. Suddenly, he began to see a figure of a man running towards him. He held a sword and a determined look. It took a moment to realize that it was him.

He screams and jolts up. It seems he was lying on a leafy ground and sat up.

Donghyuck shouts, "the king is dead. Oh, lord let him not be dead."

Jaehyun snaps his head to the limping figure from afar who was struggling to stalk towards him. He quickly stands from his the ground he was sat on.

"Donghyuck-ah!" Jaehyun calls, running towards him and sealing him into a tight hug.

Donghyuck is nearly taken aback but pats the king's back, thinking the relief he felt was from his brush with death.

"Let's go home," Jaehyun mutters.

Donghyuck is flabbergasted that the king decreed the next day he would make hunting for sport illegal. Everyone is appalled by the sudden decree, but the law is quickly passed.

Donghyuck does not believe the story Jaehyun said, how he saw the white tiger he was following had four cubs and it made him realize that the tiger he was trying to hunt was a mother more than a beast. Still, he couldn't possibly dare try and argue with the king, no one did for that matter.

Since he had no white tiger pelt to offer, Jaehyun instead bought him a house just outside the palace as a birthday gift. On Donghyuck's day, the king even organized a house warming.

The birthday boy was not enjoying it however.

"Hyung, are you sure you're okay? You haven't been the same since we got home from the hunt."

Jaehyun turned to Donghyuck, who scowled at him. The older of the two placed a hand the younger’s shoulder, "It's already been four days since that incident. Drink some alcohol, relax."

Donghyuck sighs, "Why did you even buy me a house when I live in the palace?"

"Consider it your approval for freedom."

"What?"

Jaehyun pours Donghyuck a drink. "I know you find only burden in the throne. You were sent to the palace by your scheming father so he could get his hand in power. But your father is dead, and you are the head of your household." He turns to his own drink and sighs, "I know what it feels to be imprisoned. Follow your own path. You don't have to live the rest of your days worrying for me anymore."

Donghyuck watches as Jaehyun drinks.

"You are my king," Donghyuck says, "but before that, you were my brother and my best friend. I will gladly live my life close to you if you let me."

Jaehyun feels his lips curve and he scoffs out a chuckle, "ya, it's like you want me to marry you."

"Nope. I already have someone in mind to marry."

Jaehyun looks at Donghyuk with a baffled expression. The latter drinks his drink and mutters lowly "you don't possibly believe I don't get around, hyung?"

The king slaps Donghyuk's shoulder, which nearly makes him spit out his drink, "bring the lucky fool to the palace tomorrow."

Jaehyun has never regretted a decision before, but as Donghyuck knelt there with that person he said he wanted to marry beside, he began to regret something wholeheartedly.

Donghyuck wanted to marry... this? This person that had your face.

How... how could he... how could your face exist in this time.

Donghyuck and this person were knelt before him in his throne room. Jaehyun was stiff on his throne and he quite frankly didn’t know what to do. He left the room in a thick silence. His throat was caught in anxiety. Donghyuck noticed his lover was beginning to get uncomfortable, so he snuck a look at the king and found his face was pale.

“Your majesty,” Donghyuck spoke in concern.

Jaehyun snaps out of it, “how long have you been seeing each other?”

“Two years, your highness.”

He hisses, “you have been going behind hiding this from me for two years?!”

Donghyuck knits his brows and his lover squeaks in fear.

“SURE!” Jaehyun shouts and he stands, “you traitors should get married and get out of my sight!”

Jaehyun got drunk that night and wandered out into the mountains. He bought a bottle of alcohol with him and threatened to kill anyone who dared stop or accompany him.

Of course the servants alerted Donghyuck about this, which was why he ran after the king with a torch.

“WHAT KIND OF CURSE IS THIS?” Jaehyun screamed as he slung his alcohol bottle around, “you want my best friend to marry someone with that face?” Jaehyun began to laugh, “I made hunting illegal! What more do you want from me?!”

“MY KING!” Donghyuck shouted when he caught sight of Jaehyun.

When he got close enough, Donghyuck took reached out to Jaehyun with his free hand. Jaehyun splashed alcohol on him, “I don’t to live like this.”

“Like what, hyung? Do you hate Aerum that much?”

“Aerum?” Jaehyun felt sober again.

“My woman, Aerum.”

“That woman’s name is Aerum?”

Jaehyun began to laugh again. Donghyuck grew uneasy. Jaehyun fell to his knees, his friend dashed over to him in concern. Jaehyun shook his head as Donghyuck talked to him like a gong being sounded. Jaehyun whispers, “I don’t want to live like this.”

But he had no choice.

Jaehyun and Donghyuck went back home. Donghyuck threw Aerum away for Jaehyun’s sake, but he began to slip into depression. It was then Jaehyun began to notice things he was blind to, like how Donghyuck always went out of the palace at a certain time, which he no longer did, and how he always smelled like oranges and had messy hair. No longer did his brother suddenly smile for no reason, nor did he ever ask for mooncakes anymore during lunch. It was then Jaehyun realized he had not hidden anything, but that he was blind to Donghyuck’s sentiments.

So Jaehyun told Donghyuck to marry her, to which he firmly declined. Jaehyun reasoned with lies on how he loved a woman with a similiar face when they were younger, but Donghyuck knew nothing of a woman like that. If he had, he wouldn’t have dared liked Aerum in the first place.

“Do you love her?” Donghyuck asked Jaehyun.

Jaehyun saw the desperation in Donghyuck’s eyes as he asked him this. He was praying he’d say no. Jaehyun spoke firmly, “I don’t.”

Donghyuck believed him, but he wasn’t satisfied.

“You wouldn’t believe me if I told you,” Jaehyun said. He chuckled bitterly to himself, “I don’t even believe myself.”

“The truth can be hard to believe, but it’s still the truth,” Donghyuck said.

Jaehyun looked at his dear friend and licked his lips, “alright.”

Donghyuck believed every word, to Jaehyun’s astonishment. Jaehyun told him that Areum was not you. Donghyuck was still reluctant when Jaehyun gave him a hairpin to offer Areum, but when the lovers met again, it was easy to fall back in love.

They got married a week later, and it wasn’t long until they welcomed a son into the world. The couple allowed the king to name the boy, and so Jaehyun called Haechan, which meant to shine bright uprightly.

Jaehyun watched as the boy grew stonger, taller, and better in archery than he was at this age. He too watched as Donghyuck began to get slower, and he slowly realized that the world was changing and yet he wasn’t.

It was when Donghyuck had a daughter that both Jaehyun and Donghyuck came to terms with the fact the former was not ageing. At this point, Heachan was eight and brave enough to ride a horse. Donghyuck and Jaehyun looked like they were the same age, or how Areum joked, Donghyuck looked older than the king.

Jaehyun at a point realized if he was not aging, he could meet you again.

So when a time of war came, Jaehyun saw it as a chance to disappear. Donghyuck decided greatly against it. Since Jaehyun took no bride, it meant his cousin Sungchan would succeed the throne. He told him not to worry, and that he would keep a close on eye everything once he was gone.

And so he did.

The line of succession shifted. The colors of the sky changed. Haechan had a son, and his son had a son, and his son had a son, but Jaehyun roamed on his own.

“That’s basically the story of the Tiger King,” Jaehyun smiled his dimpley smile that made all the lined up teenager sound out, impressed with the story.

“So, basically, the Tiger King is still alive, Mr. Jung,” one of the students asked as they moved to the next painting in the museum. Jaehyun looked at the child and thought her eyes reminded him of yours.

“Yes. I think so,” Jaehyun spoke.

“Are you the Tiger King?” another voice spoke, pointing at the ancient drawing behind glass, “you look like him?”

Jaehyun hummed and adjusted the glasses he wore for show, “I get told a lot that I look like him. Would you believe me if I said yes?”

The class cheered, “yes!”

Jaehyun chuckled, “okay then. I am the tiger king.” He said, curling his fingers and pretend growling. The teenagers laugh, fully pleased that he was in on what they believed to be a joke.

By the end of the tour, Jaehyun escorted the students to their bus, where their teacher was waiting for them. And for the first time in years, Jaehyun felt his heart pound at the sight before him.

A group of girls ran up to their teacher and muttered to her how cute the tour guide was. They got a chuckle in response.

“Thank you Mr. Jung for taking care of my kids,” you spoke as you made your way towards him from the bus. Jaehyun looked at you for a prolonged moment, which made you raise your brows slightly.

“So you’re their pretty teacher?” Jaehyun spoke.

You froze for a moment, which made Jaehyun feel smug. He placed his hands in his grey pants’ pockets and clarified, “I mean, the kids described you as ‘their pretty teacher’, that must be you.”

You looked at him for a moment and nodded slowly. Jaehyun smiled, “are you teaching science perhaps?”

You again nod slowly.

“I love science, anthropology and biology especially."

You nod and chuckle nervously, unsure of what to say.

Jaehyun decides to clarify again, "are you teaching part time?"

"Uh, I'm actually going to be a full time faculty soon."

He grows a little confused, "I see. I don't know for some reason you pegged me as a zoologist. Maybe it's because your kids kept singing 'In the jungle the mighty jungle, the lion sleeps tonight'."

You blush, "yeah, sorry, I actually studied zoology which is why I am so passionate about teaching animals to my kids. I unironically play that song a lot in class."

Jaehyun smiles, "well, you know. I think you're interesting and I do agree with your students that you're pretty. Could I possibly get your number?"

"SAY YES, MISS!"

You and Jaehyun turn to the kids sticking their head out in the window. Jaehyun snickers lowly. You begin to burn from head to toe, you feel like. You turn to Jaehyun and turn away, "I'm sorry. I-" Jaehyun watches as you fumble for words and he has honestly never seen you in this light before. You've always been so confident around him as a tiger, and yet you were so timid in front of him as a man. "I'm on the job right now."

Jaehyun nods with a soft smile as you turn around and walk away. No hard feelings. It's not like he's been waiting his whole life for you or anything. He calls out, "visit me sometime, okay?" 

The teens squeal.

He watches as the bus drives off and takes note of the school name.

[elencelebrindal]

If I'm not mistaken you've now read/watched the three mxtx works and WoH. How would you rank them following personal preference? Which main couple did you like the most? Favorite plot twists in all four?

Yep, I did. I still have to read Faraway Wanderers though. Can't wait to.

This came out to be quite a long post, so I'll put it under the read more thingy.

Now, how would I rank them?

I'll have Tian Guan Ci Fu at the top, no doubts. It's my absolute favorite among all these four, and will probably remain my favorite even after I finally get to read the huge thing that's 2ha. It's the perfect balance of a story with no characters left unexplained (except for the minor ones and RIP Hua Cheng's backstory, why did mxtx rob us so much), of characters being unique all in different ways, and of a romance that, while being absolutely the main focus of the novel, is not overwhelming. For me, an aro/ace person, the romance written in TGCF is so good that it made even me stupidly happy. I don't get such big smiles on my face while reading my own romantic content.

This is the ONLY novel I've ever read that doesn't have a single character I hate in it. Only one, maybe two at most, that I dislike. That's it. Everyone's good. Everyone.

Then I'll definitely have Word of Honor. Just like TGCF, it's a really good balance between an interesting story (I was literally squirming in my seat while impatiently waiting for things to be revealed, enjoying every second of it) and a subtle romance that was still obvious enough to make me wonder what the hell happened with censorship in this drama. Not that I'm complaining though.

Almost all the characters are incredibly good. They have depth to them, all the main ones have either a satisfying backstory or a beautifully crafted development.

And this is it for the ranking. I wrote way more than I should have, but oh well.

After that, it's a tie between Mo Dao Zu Shi and Scum Villain. I don't want to favor one over the other, because I genuinely like them the same. Scum Villain is really underrated, and while I understand it somewhat, it's really unfair.

MDZS (and The Untamed) has a story that draws you to it, especially if you (like me) have an obsession with all things dark and spooky and terrifying like the demonic cultivation in this, like the whole mystery they have to solve with body parts leading them to the solution. The drama, as good as it was, really didn't do justice to the spook factor of using dismembered parts of a corpse to move around.

SVSSS is straight up weird, literally an isekai but make it Chinese. I think the best part of it is Shen Yuan panicking and cussing everyone out every time something happens around him, though... I really loved the story and the way it played out. I especially liked how the novel kept mentioning Proud Immortal Demon Way and compared the events of that book to the events that were happening in that book's world.

But why do I prefer Word of Honor to them? Well, it's simple. There's some aspects of the romance that don't resonate well with me.

WangXian is a beautiful couple, and they deserve all the happiness in the world (they have a canonic son!!!!!!!!), but Wei WuXian's initial obliviousness made me really uncomfortable at times. Not because he didn't know Lan WangJi was in love with him (the fool! thank goodness for Guanyin Temple), but because he kept teasing Lan WangJi about it while the latter was drunk. I mean, I get it. If you don't know, you don't realize what you're doing. But as a person that easily suffers from people making fun of me behind my back... it kinds struck a nerve. I still love them to pieces, though, they're so good together.

BingQiu, well... this is a rollercoaster of a couple. Again, I absolutely love them together, but some parts come off almost as scenes where consent is thrown to the wind. As a reader you know Shen QingQiu is willing and in love (gods, they married each other, I'd be a fool to say the opposite), but there should be a limit to how many times a willing person should say "No" in such a novel. This is mostly me being my aro/ace self, though. I don't really understand what goes on in the world of intimacy between people because I (literally) don't give a fuck, so I'm probably reading too much where there's too little. Don't take this as me not liking BingQiu, I'm in love with them and I desperately need more content.

Favorite plot twists, eh? Okay, big SPOILER ALERT from here onwards. And I mean it. BIG. SPOILER. ALERT.

Now, which main couple did I like the most?

Hualian. I don't even need to think about it. Bonus point because they're both out of their minds and the extras show it.

I said it before, and I'll say it again. I never have smiles so big and goofy in front of anything else, not even my own stuff. Hualian genuinely makes me happy.

Stop reading if you haven't finished all four of these, please.

...

Okay, here I go.

WoH:

Wen KeXing faking his death and telling basically everyone but Zhou ZiShu.

The villain being Zhao Jing; I was actually fooled and thought the main bastard of the series was Gao Chong.

Episode 35, and I'm not saying anything else. Although, as soon as that son of a bitch put his hands on Cao Weining's face like that, I genuinely knew what was going to happen.

The hairpin being the key for the armory. That was so stunning I had to pause the episode for a second and take a walk around the house.

MDZS:

Jin GuangYao being the villain. And being an amazing villain, on top of that.

Nie Huaisang. Fuck's sake, that man fooled the entire fandom just like that. I don't think many people realized he was the one behind everything.

The golden core transplant reveal. I'm sure that more experienced readers and viewers (aka people that had read/watched a ton more cultivation world stuff) had hints of it, but when I watched The Untamed I never read/watched anything remotely close to this genre. It hit me like a brick and I sat in front of the screen in shock.

SVSSS:

Shang QingHua being Airplane Shooting Towards the Sky. It's such a silly thing, but it made me pause for a good five minutes. I wasn't expecting it in the slightest.

The whole thing with the Old Palace Master. The man belongs to the dumpster he never got thrown into.

Tianlang-Jun not actually being the villain. Poor demon, he just wanted to continue with the questionable hobby of reading porn and daydreaming about Shen QingQiu's relationships.

I think I had another one, but it's late and I'm probably forgetting it.

TGCF:

Oh boy, where do I belong? Ah yes, the entirety of book 4. Took me out on the spot.

Jun Wu being Bai WuXiang completely blew me away. That was probably the biggest plot twist in the history of plot twists.

Also, Ling Wen knowing, and her being the creator of the Brocade Immortal.

Fu Yao and Nan Feng being Feng Xin and Mu Qing. For some reason, even if it's kinda obvious when you take a good look at them, it never clicked before being revealed.

On the same note, Ming Yi being He Xuan, and the Earth Master being actually dead. What a ride that arc has been for me.

One of the most important details, however... I got it myself. The ring Hua Cheng gives to Xie Lian. I see so many people saying that they didn't expect the ring to be his ashes, but I did something I generally can't stop myself from doing. I guessed something tremendously important by accident, something I do with many many books so I can ruin the experience for myself. I was literally sitting down, taking a break from reading (I devoured TGCF in 3 days, I needed that break lol), and all of a sudden this goddamn revelation descend upon me like the holy spirit, completely out of the blue. I just sat up, looked at the screen, and went "the ring is is fucking ashes, isn't it?", and completely ruined the surprise for myself.

And this is it.

If there's more I forgot (probably) I don't know. For now, this is my answer. Way too long, as always.

[wesavegotham]

So don’t hate me but I’m kinda liking damian’s animated versions better than his comic one I really like his comic one but after all the shit happening where he has been nerfed nonstop getting beat by Thomas Wayne Batman, the teen titans red hood (although Jason attacked from behind like a bitch) and now flatline beating him. Not to mention Bruce not being a father and Damian now Being blamed for everything when they all have no room to talk. God I was satisfied when his old team died in future.

This is going to be a really long post, my apologies in advance.

I absolutely get where you’re coming from. I personally still like comic Damian more because I feel like there is more nuance and layers to him compared to the animated universe Damian, but that is simply the fault of the limited time they could spent on him in the movies.

Movie!Damian certainly wins more fights than comic!Damian and was never regressed in any way that is comparable to the shitshow that was Teen Titans (2016).

You’re adressing a problem I have with comic!Damian too right now, a problem that I’ve already talked about with some people here on tumblr in private. Which is that for all the talk about what Damian can do the comics have rarely shown all those skills Damian should have being used in the actual story in recent years and that is frustrating. I find Damian’s arrogance interesting as long as I feel like he can at least back it up in some way, but in recent time he comes off as just an idiot because he has done almost nothing but fail and lose and the writers still have him act like he’s the greatest. But it doesn’t feel like he can back up his confidence anymore. At all.

If I had to name a skill that differentiates Damian from the other Robins right now then I could only list his skill to hide from Batman and that is a skill he only has for plot convenience. We don’t see him do anything to cover his tracks, we are only told that he somehow did it. And I’m pretty sure that the second this skill stops being convenient for the story it will vanish once again. It will probably end like it did with Jon, where Damian somehow hid so well that Jon said they would never find him in Teen Titans, when they wanted an excuse for Jon to not get involved with his friend’s fall into darkness, but now that DC wanted them to interact again all of that is forgotten and Jon has no problems finding Damian.

Damian is not the most social Robin, nor the most intelligent one and considering how he seemed to lose against everything and everyone in recent years I can’t say with a straight face that he’s the best at fighting or the most skilled. And that IS a problem. Damian will never be known for his social skills or his detective skills, those niches are already taken by Dick and Tim, but in theory he should be a great fighter or a highly skilled person. Damian has sacrificed his entire life for training, both in the league of assassins and during his time with the batfamily. But if Damian sucks at fighting (as in: he loses a lot more than he wins) and his skills play no significant role in advancing the plot, then what is the point of his character? Great, he’s good at drawing and likes manga now, but how will that help with a fighting tournament? Or with solving the mystery behind the league of lazarus? A protagonist is usually supposed to be able to change the situation he is in, that is why he’s the protagonist and not someone else. So what makes Damian so unique that only  he can solve the situation he finds himself in during Robin and not someone like Conner Hawke? Or what makes him unique in the batfamily? I hope Robin adresses that soon. 

Of course now one could say “He still has an unique position as Bruce’s biological child”, but that also was completely irrelevant in recent years. For all the moments since the start of Rebirth that had batfam-fans complaining that Damian was favored by DC because of his status as the only biological child of Bruce, there were actually very few interactions between the two. Stuff like Bruce talking about Damian or saying that he loves him was primarily found in scenes in which Damian was not present. Or it came way too late, like in Teen Titans (and Bruce refusing to hit Damian in the face because he is his child sets such a low bar, I refuse to acknowledge that as a sign of love)

If you look at how Bruce actually treats Damian or describes him then there is little love there. He ignored his 13th birthday, did nothing when Damian left him after the events of Justice League: No Justice, it had no impact on the Batman books at all, Bruce only called Damian for missions like two times, once in City of Bane (which was just so shitty, as I already explained in a previous post) and a second time in Detective Comics #1017 (He sent Damian to find a missing kid in a snow storm, while he dealt with something else), refused to comfort him at Alfred’s wake and when Bruce reflects on what happened in Teen Titans he blames most of it on Damian’s personality, both in Detective Comics #1030 and in Robin #1, and both times there is nobody questioning Bruce’s asessment. He really doesn’t have anything nice to say about Damian and apparently we are not supposed to disagree with him. So in summary: Damian seems to have no skills that make him indispensable for the batfamily, Bruce seems to have a very low opinion of Damian’s character and now that they have decided to give us Bruce searching for Damian the only reason for that seems to be that Bruce suddenly feels responsible for his child, even though that should have already been the case when Damian seperated from him in 2018 or at least directly after the second Teen Titans annual.

Even the kinda nice things Bruce says about Damian in Robin #1 can be called into question if you think about them. He says he has no doubt that Damian can take care of himself...and then we see Damian getting his heart ripped out at the end of the very same issue. Of course we know that Damian’s story doesn’t end there, so I won’t judge this too harshly yet, but to me this didn’t come off as Damian being able to take care of himself.

And I get letting Damian lose at the start of the tournament to establish Flatline as a threat and to make it clear that this tournament is not a game. I also get that Damian’s fight against King Snake was supposed to make sure that we still think of Damian as competent even though he loses later on. But at least for me, winning against King Snake was not cool or badass enough to make up for the fact that Damian was easily killed, in front of everyone, by a literal nobody like Flatline. King Snake is an old, blind guy, that didn’t show up in any DC comic I read since I started in 2018 and that was apparently beaten by Tim in his solo comic when he was 14 back in the 90s. Sorry, but that just isn’t impressive enough for me, especially since I’ve seen Damian lose so much in recent years. It doesn’t establish Flatline as a badass, it just makes me think that Damian is not that great of a fighter and shouldn’t be in this tournament.

I have some more thoughts on the tournament that make me wish that the arc will start being less about winning the tournament itself and more about something like taking down the league of lazarus soon (mainly the fact that a fight about being the best fighter is useless if the big guns are not taking part, the fact that you can only win by killing your oponent, which should be a problem for Damian and how nothing we know about the rewards for winning, becoming part of the league of lazarus und apparently immortality, is desirable for Damian), but this answer is already too long.

I’m going to be honest an admit that I did not like the ending of Robin #1 at all and that I hope that Williamson will show Damian being competent really soon because I’m not here for another pointless arc about Damian learning humility. I want to see Damian win for once, you know, like other protagonist usually do at the end of an arc and if Damian can’t even win or tell us what’s going on with him from his point of view in a book about him then I’m probably going to feel very disappointed by this book.

[mc-critical]

Hi darling, Idk if you talked about this before, but what do you think about Rumeysa (Mustafa's concubine)? Do you think they planned to make her Mustafa's wife untill the actress was changed? And also, if she would've become his wife, how do you think she'd act in comparison to how Mihrunnisa (queen) acted? We didn't really see a lot of her but I wanted to know what do you believe they wanted to do with her character

Hey, dear! 🤗 No, I haven't talked about Rumeysa in here. I'll cover the S03 one and the S04 one separately, because in practice, they're both very different characters.

I strongly dislike S03 Rumeysa as a character, to be brutally honest. She goes all good, nice and innocent, when secretly she's sneaky and even manipulative in order to fulfill her goals. The thing that annoys me the most is not necessarily her fixation on Mustafa and how she wants to get him, because after all, it's a harem and everyone wants to get him, but how nearly inexplicable her whole motivation is, in spite and outside of that.

I feel Rumeysa's arc could be split in two almost separate halves - her set-up in the harem (pre-E93) and her as a favorite in the harem. (post-E93). The most interesting things about her were precisely her set-up and backstory. The way she was sent to the harem, the way she was tied to signora Gabriella, the way both of them were about to reunite and when that happened, Rumeysa was just confused more than anything... The idea of sisters finding each other within these harem walls was fascinating, but that was seemingly dropped. I feel even from this point on that the show tried to make a case of a person who's been long in the harem and has lost the touch of a free life to the point of being afraid to leave, but her confusion on the signora and her refusal to go with her was the only part they pulled off. (not to mention they executed that concept much better with Sümbül!) Then begins the second half of her arc that went in another direction the writers didn't succeed to make me get. I didn't get why she wanted Mustafa so much. She said she wanted and appreciated Mustafa a lot and that was why she wanted to leave and this trainwreck began all of a sudden! That doesn't make any sense! She had no (or at least not pivotal) scenes with Mustafa before E93, she neither experienced a desire to get Mustafa, nor was it shown to the audience in any way before the convenient moment. Her build-up was never about Mustafa before then. Her arc was never about Mustafa before then. And yet Mustafa became the center of her character, to the point it's as if they were like: "let's have another woman for Mustafa, but this time with an even more overexaggerated you might think it was Turhan Hürrem-esque arc, so we can make her his full on woman!". She was paving her way through sneaky methods to the point of hypocrisy for no reason, she didn't even have much of a threat, either. Ayşe Hatun put pressure on her once in a while, but it felt understandable when she had a child from Mustafa and that, Rumeysa started acting this confident just like that. I get that in the harem you have to be sorta like that in order to survive, etc., but with Rumeysa that wasn't enough of a motivation! She seemed just fine under Mahidevran and taking care of Nergisşah before then, she could calm people down, what happened? And notice how in the second part of her arc these scenes were lowered to the minimum, or recontextualized, at the very least, so you can't buy anything with her anymore.

But wait, what if she always wanted Mustafa when she arrived? Then every moment of kindness she has shown, even to the little child, becomes even worse in retrospect, because it would either just suit her interest, either become a jarring contrast with what she has shaped up to be. But wait actually, that effect is achieved even without her arc being split in two halves! I would've sympathized with her much more if there was some additional motivation, like everyone else basically, but honestly, the harem excuse is all we could use with her and in her case, that just doesn't suffice, especially for such a big shift in storylines. And then after building up to a halvet, we had the halvet and it was over and left me very unsatisfied. (okay, that's probably because of the actress, but still)

She was screwed up spectacularly at best and downright horrible at worst. Her early concept was way too good to be left out like that and since that leaving out was maybe inevitable for the writers, they had to do this transition better and have the first half of the arc be focused on Rumeysa, as well as Gabriella, instead of making this whole line with her being Gabriella's sister she was searching for more of a plot twist than an organic build-up, because Gabi was the one click baited to want Mustafa! This character ended up being defined by her goal she was trying to fulfill and nothing else, not any redeeming quality whatsoever.

I think Rumeysa was the least suited woman for Mustafa, yes, even less than Fatma. Because if Fatma had some love for him and was genuinely trying to calm him down after Efsun at first, with Rumeysa we simply had steps to get him right from the start and an entire ordeal that wouldn't sit well with Mustafa. We didn't even know not only why she wanted Mustafa, but also what was it she had with Mustafa - was it love, was he just a vessel for her to rise in the hierarchy (that's probably it for me), what was next when he was all hers etc. We have no feelings, no insight here and Mustafa himself was only slightly intrigued at best. And even if she were there for the battle of the throne, she would definetly scheme even more actively than anyone else and that would seriously clash with Mustafa's desires. I don't think she would suit S03B Mustafa's level of maturity, either.

Yes, I would say S03 Rumeysa could very well be the endgame for Mustafa and become his wife if it wasn't for the actress leaving and stuff, because of how she was framed to succeed. This part of Rumeysa's arc existed in a vacuum, it was a tiny victory after a tiny victory due to sly thinking that she was always allowed to get away with somehow. Again, the way she was slowly, but surely getting her way reminded me of all the Hürrem-esque arcs in the series that did end up with these women becoming the total favourites and I wouldn't be surprised at the least if they kept that pattern of success with Rumeysa, since it was very present in her arc.

[While we're at it, I didn't get why Mahidevran believed her so much. On one hand, yes, character development, because, as seen with Mihrünnisa later, as well, Mahidevran no longer gets suspicious of the nature of these women and only intervenes when she sees a decision of Mustafa's regarding them that could potentially be dangerous for his future, coupled with the fact that Mahidevran values loyalty a lot and she has seen nothing but that with Rumeysa. But on the other hand... Mahi is usually so perceptive when it comes to women that could actually be problematic or dangerous for him and Rumeysa being the only exception then was as much character development and the chance of lowering her guard because of the calmer environment as it was.. way too convenient, since we saw Rumeysa was playing a game behind the curtain. Especially the situation when Rumeysa provoked Ayşe Hatun on purpose for Mahi and Musti to see and Mahi not listening to Ayşe or Fidan's warnings about Rumeysa, along with her fully adapting to the harem laws she was previously against and taking on her role as a Valide in Mustafa's harem, was almost like Plot Armor for Rumi similarly to how Hürrem acted accordingly when she saw SS listening to her in the candle mirror in E44, albeit in the opposite way. I view that as a clear recipe for narrative favor and I was appalled that it had to be with such a character.]

If S03 Rumeysa became his wife, I don't see her acting much like Mihrunnisa. First off, due to how her arc was framed, Ayşe Hatun would have very much stayed as an antagonist of hers (even though Rumi wouldn't view her as one in their confrontations) and would try to eliminate her in a secret, subtle and cunning way. While Rumeysa would definetly try her all to keep Mustafa safe and would try to win Mahidevran's support for the marriage the way Mihrunnisa did, Rumi would have more of an agenda of her own she would follow. I won't be surprised if she tried head down on the path to overpower them all in her influence of him, either. Mustafa and Mihrunnisa were partners more than anything, with the same ideals, aspirations and desires. They were very close in their way of thinking and how they would approach problems, that's why they had such a deep bond. S03 Rumeysa would get further and further away from Mustafa's personality as his wife and if the other S04 events are canon, she would probably indeed go and reveal Bayezid's marriage with Huricihan the moment Mustafa refused to and act herself instead.

S04 Rumeysa is barely there, but I like her a bit better. She is an entirely different character with her consistent worries for the future, her more caring and protecting nature and even Mahidevran's more "I'm fed up with all this" attitude to her. Even if we add S03 Rumeysa to the mix, we get at least more feeling out of her and what was she all about and we get some other contrasting facets of hers as a bonus: in contrast to Rumi calming Mahidevran down when Mustafa disobeyed SS's order in E91/2 (my favourite S03 Rumeysa scene, but it was also kinda ruined post-E93), now Mahidevran tells her not to worry so much. Thing is, S04 Rumeysa could very well work without S03 Rumeysa both because of the different actress and the different characterization that could only loosely recontextualize S03 Rumeysa at best, and since there was a time skip, some random concubine and favourite Mustafa slept with and she became pregnant wouldn't be out of the question at all. Yes, her death would probably have less impact that way, but nor could I ever bother with S03 Rumeysa, nor would it be weird because of her different dynamics, which made her look almost foreign in comparison. (that's not on the actress, both Rumeysas were great!) And it would be as impactful as it would've been for Mustafa and Mahidevran, because the loss of the child would be just as devastating for him and was still tied to the mirror of sin.

If S04 Rumeysa didn't die and became Mustafa's wife, I think their bond would be focused more on their future child than anything. Rumeysa would probably act similarly to S03 Ayşe Hatun, only in a more secure position, I see a lot of similarities there. I don't think their bond would be as deep, but they could have the chance to get close for a little bit. I see Rumeysa refraining from acting so much, because of her worrying for the consequences, but when that fear gets the best of her, she could take desperate measures.

[chockfullofsecrets]

The Mandalorian: The Puddle

(Read on AO3)

Rating: Gen

Summary: Mando’s helmet swept left. It swept right. Then, reluctantly, it swept back to her.

“It’s a puddle,” he said flatly.

Well. Yes, but rude. It was a favor.

Cara tries to make her new friend have a little fun.

Wordcount: 1934

A/N: Because I think it might need to be said -

My opinions of the character Cara Dune and the actress Gina Carano are very different - to be clear, I support the termination of Carano’s contract with Lucasfilm due to her antisemitic and transphobic comments. I think it’s both possible and reasonable to separate the character from the actor, but feel free to reach out off-anon if you feel different - I’m always willing to learn and improve in these matters.

“Where are we going?”

Ah, the suspicion. Cara had never met a Mandalorian before the Mandalorian, but judging from his everything the trait was inherited. She could hardly be offended when every scant bit of information that Mando revealed showed that distrust of the world to be completely justified.

Still, no reason to play nice. “Somewhere fun,” she tossed over her shoulder.

Judgmental silence radiated from the beskar helmet in her periphery.

“What, do you want me to tell you it’s going to be boring?”

“I want to know what we’re walking into,” he said, deadly serious. Clearly the man had never seen a pleasant surprise in his life.

Then, softer and distinctly not in her direction, “No, you stay in there.”

...Right. More than one reason for caution, then. “Hey, you know I wouldn’t let anything happen to the gremlin. Just trust me.”

The helmet made the concession of a slightly less judgmental silence. She rolled her eyes and picked up the pace for the last stretch of their short hike.

“Okay, here.” She gestured forward to their destination, stepping into the small forest clearing and sighing happily as a warm blanket of direct sunlight hit her in the face. Sorgan was a nice enough planet, given that her original favorite no longer existed, but especially in the heavily forested regions the atmosphere teetered towards gloomy.

Mando’s helmet swept left. It swept right. Then, reluctantly, it swept back to her.

“It’s a puddle,” he said flatly.

Well. Yes, but rude. It was a favor.

She crossed her arms. “You won’t let the kid anywhere near the krill pits, so he can splash around in here instead. Omera said the village knows about this place; they take the littlest ones here before they learn to swim.”

The kid in question, somewhat sulky for the past few days after being denied the right to chase frogs into the nearest drowning hazard, perked right up at the mention of krill.

Good work, gremlin. Now point that cuteness at your father.

They all watched the shallow pool lap harmlessly against its edges, blown by the gusts of mild breeze rustling through the trees. Mando took one look at the kid’s ears quivering in excitement and pointedly looked away. “He’s too small.”

Cara crouched down and slapped her palm against the pebble-strewn bottom of the pool, raising a doubtful eyebrow in his direction as despite the splash everything above the lower third of her forearm remained bone dry. “This thing is smaller. Just put him in, he’ll like it.”

Mando looked back at the kid, clearly poised to refute her size comparison.

Ba went said kid, right on cue, little claws scrabbling at the plastic of his carrier as he leaned towards the water.

She didn’t bother to bite back her grin as Mando’s aggrieved sigh filled the clearing. “I’ll be watching him,” he warned, lifting the kid to the ground and helping him wiggle out of his robes. “Or you’ll watch him, and I’ll make some rounds -”

The kid grabbed one gloved finger and dragged the sap attached to it all the way to the edge of the pool before deigning to toddle in on his own. His little white undershirt poofed out around his ankles, big eyes getting impossibly bigger with muttered aahs of glee.

Mando stayed hunched at the edge, hands held out protectively as the kid plopped down and started smacking the water with all the force his tiny, tiny claws could muster. Cara sat down too, pulling her boots and socks off and sticking her feet in the cool water. “You like that, kid?”

The kid purred distractedly, eyes flicking up to her before going back to his newest plaything.

Well, that had worked out great. Next target, then.

She turned to Mando. “You too, get in here. Boots off.”

Even balanced gracefully on the balls of his feet, the extra bulk of his armor and cape gave him the air of a giant bird whose egg had just rolled out from under him. “What?”

Wa, the kid echoed, blinking guilelessly up at them. Mando swiveled anxiously back to him and Cara took the opportunity to press her case. “Come on, if something attacks us I’ll keep it busy while you get them back on. And don’t try to tell me that your creed extends to footwear.”

“It doesn’t,” Mando said slowly. This appeared to be a source of some regret for him. Cara waited.

He took one last long scan of the treeline and then reluctantly sat down and started unstrapping the spare ammunition from his shins. Cara had no idea how he’d managed to stuff two knives of that size up against his ankles, but she refused to ask and risk reminding him of some time when having them had been crucial to his survival. She’d steal his boots later and examine them if she had to.

Footwear stacked neatly to the side, Mando scooted up to her and slid his feet cautiously into the puddle. She wasn’t sure what she’d been expecting, but it still surprised her to see humanoid legs sticking out from rolled up fabric.

The helmet swiveled in her direction. “What?”

Don’t say it. Don’t say it.

Of course she was going to say it. At least she already knew he didn’t offend easily.

She gestured to the kid. “I kind of thought you looked like him. You know, claws.”

The helmet took on a distinctly amused tilt. She wanted to stick her tongue out at it. “Where did you think I put the ears?”

“Shut up,” she huffed, dragging through silt as she nudged the sole of his foot with her toes, and - oho, that was interesting.

Mando looked warily at her from where he had full-body-jolted almost a foot away. “It’s really not.”

There was a game of sorts that her shock trooper unit had played with its members unfortunate enough to react like that from a single poke. She hadn’t thought of it in years past the odd reminisce, but she, obviously, had been great at it.

Mando was fast, she’d give him that, but she already knew exactly what she was doing - he’d barely gotten both feet planted on the ground in preparation to stand before she grabbed the leg nearest her and yanked, sending him toppling backwards. “You ticklish, Mando?” she teased, bracing her arms as he tried to kick free.

The mockery made him kick a little harder, leg jerking frantically as he tried to pull it free, but at least he didn’t seem to be reaching for any concealed weapons.

“So,” she grinned, “how’s a rematch sound to you? We never got to finish that last brawl.”

“Dune, no,” he yelped. His fingers scrambled for the rifle strap on his chest as he tried to adjust it and get up, but she was already pulling his toes back so she could gleefully rake her fingertips over the exposed sole.

Mando’s ire crested abruptly into a bark of laughter as she made contact, coordinated attempts to escape replaced with outright flailing. She’d been expecting him to try and hide his laughter more, but there it was ringing out loud and clear through his vocoder. Of course, with his helmet on, Mando couldn’t cover his mouth with his hands or bury his face in his shoulder the way she’d seen people do before.

Which, in this particular case, let her hear her reticent Mandalorian breathlessly curse her out in what seemed like five or six different languages. Cute.

“Well, that’s not very nice,” she told him, tickling lightly over the top of his captured foot. “You going to apologize?”

Mando looked uninclined to do so, even when she found a spot on the inner curve of his sole that made his entire leg shiver when she traced it with her nails. His low laugh exploded into high-pitched, desperate giggles, and Cara realized abruptly that she couldn’t even tell if he was smiling under there.

A few seconds later, it became clear that he’d been plotting instead. The second he managed to kick hard enough to shift her fingers from that deadly spot, he struggled up onto his elbows and, bypassing the entire armory he was still wearing, wrenched his leg free and kneed her solidly in the chin.

Rude. Well now she’d just have to keep going, wouldn’t she? She caught the next attempt at kneeing with her shoulder, getting a vice grip on the back of his thigh to lever his leg back down.

Mando screamed.

Cara jerked back, convinced that she’d managed to dislocate something. “Shit! Okay, hold still-”

She pressed in closer to assess the damage and almost took another blow to the face as he flailed in panic. “No! Nononooo, dohon’t-”

Were. Were those? Giggles? Ticklish giggles from someone who definitely had just gotten their death spot exposed?

“Don’t what?” Recovering, she squeezed his thigh again and rocked back in smug satisfaction as his pleading gave way to another scream. “Of all the spots not to armor up, huh?”

Mando squawked indignantly at the suggestion that his shiny carapace was inadequate, then squawked some more as she pinched her way up the back of his leg towards his knee. “Aw, don’t be mad; you know you could use a good laugh. Hey, are you ticklish here too?”

She wormed her fingers into the back of his knee, which didn’t make him scream again but did force him all the way back down to the ground as his entire body shook with helpless laughter. One leg flailed helplessly behind her - Cara looked back quickly to make sure they hadn’t somehow hurt the kid, but he was still upright and conscious and splashy in the quick glance she spared for him.

She was pretty sure there was going to be water all over her back when they were done here, but she couldn’t bring herself to care. Mando was laughing too hard to surrender even if he tried, and she was determined to keep it that way until she tickled the suspicion and anxiety right out of him.

It was hard to tell when he was running out of breath, but as his kicking and squirming petered off she let him go with one last squeeze just above his knee. She was breathing a little hard herself - she hadn’t realized that she’d been laughing along with him. “You headed out for that patrol now?” she panted.

Mando lay there like the dead, one arm thrown weakly over his face, the rise and fall of his chest the only useful indicator of life.

Negative, then. She was getting used to reading his silences.

Ba went a little voice behind her. She twisted to see the kid standing, both arms raised imperiously - in her direction.

She wasn’t much for kids, but even she wasn’t heartless enough to ignore him. “He’s just taking a second to catch his breath,” she told him, picking him up under the arms. “Let’s get you dried off - or wait, here.”

Triumphantly, she plopped the soggy bundle of child onto Mando’s stomach and watched cool water trickle through the edges of his chestplate to the flight suit underneath.

Accepting his defeat, Mando grumbled half-heartedly and he reached to tousle the kid’s ears. “You liked the water, huh? Maybe we can come back.”

Aaa, the kid told him, producing a palmful of water to spatter over his helmet.

Cara snorted and stuck her feet back into the water. If this was domesticity, maybe she could live with it.