#when it was just the first game i assumed these ambiguities were intentional and important

[absolutebearings]

been thinking a lot about this in context of the complaints that people are Missing The Point by nitpicking the end of this story -- essentially the expectation is to be quiet and suspend disbelief so its easier for everyone else to suspend disbelief, but its lousy to me that they are punished for relevant knowledge on the subject because the writer didn't do some more research before they plowed ahead with their superplot. yes, actually, whether this 'cure' is ethical or even possible is 100% the point, its what any human put in this situation would consider when deciding what to do, its how these viewers ultimately evaluated joel's choice. its the writer's job to accommodate a multitude of perspectives if they want the audience to engage with the thought experiment. If the writer wants us to see this situation as joel choosing between one life and the fate of humanity, it was on them to set the board with these variables, minding things like whats medically reasonable and ethical, consent and procedure and the infrastructure and political conditions required to disseminate this miracle crafted from the blood of an innocent by apocalypse surgeon christ himself. you can't show one thing and tell another and expect everyone to go with what theyre being told, especially if they know more about the subject than you. you cant cut corners and then get mad that people noticed you cut corners in their engagement with the hypothetical. you can't show us incompetent terrorists robbing a child of any semblance of choice for the sake of a butcher's sunk cost delusions and tell us actually they were TOTALLY going to save the world you guys believe me. do the work next time and stop getting mad people noticed you didn't.

[gayemeralds]

important question: what are your top 5 favorite qualities of sonic’s character?

rattling you like a snow globe i am. OOOOOOOH i love sonic's character so much let's see (in no specific order)

1) moral ambiguity

sonic's not a typical goody-two shoes protagonist and i think that's super interesting, especially considering how his other "rival" video game protagonists at the time (like link and mario, etc) were. sonic's not a very cut ad dry character- he is a simple guy, sure, but when you start to peel away at some of his layers.... he's a lot more nuanced than you're lead to believe

sonic's very much a live by my own rules sort of person. and while his rules sort of match up to him being the good guy, it doesn't always make him "heroic". he killed king arthur under the complete understanding that king arthur was a real person. he kills erazor djiin. he encourages elise to kill solaris. sonic's not afraid to fight dirty, and he's not afraid to get his hands dirty when the situation calls for it.

most protagonists are more of a "we have to save everyone" or "if we kill the bad guy we're just as bad as them" type. but i think sonic specifically is interesting, because he does help some overcome their misdeeds- like knuckles, shadow, silver- but ultimately it's because those people weren't that bad in the first place. they were misguided and manipulated and confused. if they had a full grasp of the situation at hand, chances are, they would have chosen a different path. and even if they didn't, they still showed the potential for true growth.

but for a lot villains that are simply plain evil... sonic doesn't seem to particularly hesitate. sonic's attack in satbk would have undoubtedly killed merlina- he didn't know her well enough to assume that she could choose a different path, and was willing to act first and talk later, knowing he wouldn't be able to talk her out of it.

not even with eggman. he was going to let his counter part in satsr fall to his death, until shahra convinced him not to. he's used excessive lethal force before, especially in the classic games. and then of course there's the implications that sonic lets eggman get away because he finds their adventures fun. like yes, sonic's going to stop him- everything eggman does is against his principles. so sonic's going to fight him. but sonic is also a thrill seeker and a daredevil, and wouldn't life be quite dull without eggman?

2) villainous qualities

it sort of ties into sonic's more moral ambiguity but i think sonic's interesting because a lot of his qualities, depending on the framing, could be quite villainous in nature. a guy who chases after adventures, who fights just for the thrill of it, who's stubborn and doesn't ever compromise, who lives life by his own rules and doesn't care if the breaks other peoples rules?

if sonic ever chose to be a villain... he'd make a pretty good one. he has a different set of morals than others and he doesn't like compromising on his beliefs. he thinks he's right, so he's going to act on it. and quite a few sonic villains share a similar point of view- that their revenge, that their opinion, is correct, and they have no intention on listening to anyone else's.

additionally... sonic's not particularly shy with manipulating those around him. you can see this characteristic plainly in sonic x and idw, where sonic manipulates his friends into trying to get him off a boat and shadow into not killing eggman.

deep down, sonic isn't that much different from rouge, for instance. they're both thrill seekers who don't compromise on their beleifs and are, in some senses, quite selfish. they're very self driven and independent and are great manipulators. the only difference between the two of them is that sonic seems to have a bit more compassion. they're two sides of the same coin.

3) environmentalist

i kind of miss the messaging of the older games... sonic was always invested in maintaining the beauty of the natural world around him. he fights a villain who essentially pollutes just for the heck of hit. he started this heroing gig with little more motivation than protecting his woodland animal friends and their homes.

it wasn't always about gods and the hubris of men pretending to be them. at the very beginning, it was just about protecting a tiny island in the middle of the ocean and the little critters who lived there.

it's also interesting to note how this can translate to other scenarios, like with merlina. she wanted to go against the natural order of things, she wanted to try to create an eternal kingdom- sonic saw through her selfishness and also tried to convince her that some things just were meant to end. and sometimes you just have to enjoy it as it was.

4) kindness

i think the last point also segways into sonic's kindness- again, sonic didn't necessarily start this mission to save the world. sonic did this to save those little animal friends. he stepped up to the plate and challenged a mad scientist armed with thousands of robotic drones and fought him.

i think the best instance of his kindness is in sonic 06, where that same compassion actually causes the end of the world. sonic's insistence on helping elise, and not just saving her but getting her to smile, ends up dooming the world. he forms a bond so strong with her in the small amount of time they'd been together that seeing him die causes elise to cry for the first time in ten years. it's his death that sets causes the apocalypse, all because he was compassionate.

it's this kindness, too, that i think adds more nuance to his character. because sonic is at his core a devil may care daredevil, who only does what he thinks is right, and who only does things for the fun and the thrill of it. but its not entirely true, because sonic will go above and beyond the demands of the situations he finds himself in.

saving tails from his bullies? sure. he doesn't believe in oppressors of any form. but then essentially adopting that kid and letting him tag along on adventures, despite his solitary nature and unwillingness to settle down or be tied down? not necessary. saving angel island and giving knuckels abck his master emerald? well, he can't just let eggman win. befriending knuckles after? not necessary. helping shahra stop erazor djinn from devastating the arabian nights? well it's not like he's got anywhere else to be at the moment and it looks like a fun challenge. promising to get shahra to smile and taking the hit for her? not necessary. defeating merlina after she shows her true colors? it's what he thinks is the right thing to do, and her disregarding the natural order of things is just plain wrong. but trying to console her after they attempted to kill each other? unnecessary.

sonic is a bizarre juxtaposition of selfish and selfless. he's here to have fun and constantly seeks out danger, but he's not just willing to save the world- he's also here to help you smile.

5) subversion from usual "speed types"

sonic's also interesting to me in a sense that he's not really your average speedster, personality wise. yes, sonic can get impatient, and he that can lead to him being reckless, but for the most part... sonic isn't afraid of taking things slow and steady sometimes.

sonic's hobbies outside of fighting bad guys include reading, looking at pretty natural landscapes, and snoozing. when he's not fighting a bad guy he travels the world but otherwise has some pretty mundane, rather slow hobbies.

think of the usual speedster archetype- fast talking, always on the move, never sits still, chatty and friendly and kind of annoying.

and sonic can be all those things, but sonic's also allowed to be pretty slow. he's allowed to laze around and read a book or take a long nap. he's allowed to be solitary and non-social and quiet. he knows how to slow down and smell the roses. he knows to appreciate the moments he's got.

[crest0flamine]

How Old Is Soren Fire Emblem?

It’s an honest question, and not just for Fire Emblem veterans. Even the most superficial soldiers running around with their heads shoved up their own asses have wondered, ‘What is that small child doing on a battlefield with a Wind tome?’ Or worse,

(Image alt under the cut.)

Soren’s battle prowess is not to be questioned, nor underestimated. Uncertainty arrives when trying to discern how old the Greil Mercenaries’ strategist and chief staff officer is.

Based on information from in-game conversations, from the canon timeline, and from the Tellius Recollection volumes, I have an answer. Read on under the cut. Or skip to the end, I don’t mind, I even put the important stuff in bold for you.

[Alt ID: the image is divided horizontally into two screenshots of a viral video of a young child running through a backyard. Soren’s original Fire Emblem Heroes portrait has been photoshopped over the child’s face. In the first panel, the caption at the bottom reads, ‘“Let me see what you have”’. In the second frame, Soren/the child is closer to the camera. A screenshot from Soren’s Wiki page reading “Skills: Knife” has been added to the left of the image. The caption at the bottom reads, in all caps, ‘“A knife!”’. End ID.]

Googling ‘soren fire emblem age’ yields a suspiciously simple result. According to the Tellius Recollection volumes, Soren is physically sixteen in both games. Immediately, it is clear there is more to Soren’s age than that answer. Since Soren is half-laguz and half-beorc, he ages differently from his beorc companions. In his Path of Radiance (PoR) A Support with Stefan, he admits, ‘I thought I was aging normally… Well, until about three years ago.’ There is some ambiguity here, as Soren only noticed he was aging differently ‘about three years’ from the time of this conversation during the latter part of PoR, but if nothing else, we know Soren must be older than sixteen. We may assume this line means Soren stopped aging three years before this point, and was sixteen at the time. If this is true, Soren would be about nineteen in PoR. But what if Soren is older?

What is the oldest Soren could be? To figure this out, I looked to Almedha and Ashnard. When Almedha met Ashnard, he was power hungry and if he wasn’t already, soon set on war with Goldoa. In Radiant Dawn (RD), Nasir informs Almedha that ‘the red dragon platoon which went in search of [her] was captured and turned into Feral Ones by King Ashnard’. Unaware of this at the time, Almedha continued to live with Ashnard until Rajaion’s capture ‘more than twenty years’ ago, at which point they ‘had a falling out and ended up living separately‘ according to Almedha’s conversation with Elincia. Though a ‘falling out’ is a weird way to describe the aftermath of her brother being drugged into insanity by her husband, we now know that Soren is more than twenty years old when RD takes place in year 648, though not too much older, or Almedha would have perhaps picked a different number to say than twenty.

Returning to Almedha’s conversation with Nasir, Kurthnaga, and Ena reveals that Ashnard’s cruelty toward the dragon laguz had intention. Nasir says Ashnard ‘did everything in his power to provoke King Dheginsea’. Indeed, near the end of the Mad King’s War, ‘the king thought he'd lost not only dragon soldiers but also his children’, not knowing Almedha and Soren were still alive, and was ready to join the war. Why was it that ‘Ashnard needed Goldoa to get involved in this war’? Goldoa was completely isolated from everything outside its borders until Almedha left, so Ashnard had no personal reason for provoking them. Nasir tells us that if the Goldoans had joined the war, they ‘would not have stopped until the continent was ashes. Then the spirit of chaos would have spread across Tellius, awakening the goddess’. Why would Ashnard want to destroy the continent and all humanity, when what he clearly wanted in PoR was to be the most powerful man alive? Awakening the goddess to pass judgement was Sephiran’s motivation. Thus, when Almedha met Ashnard, he was either already plotting with Sephiran or would conspire him in the short time between Almedha’s departure from Castle Goldoa and the arrival of the red dragon platoon sent to look for her in Daein. Based on this information, we know Soren could not have been born before the Serenes Massacre of 625, after which Sephiran decides humanity needs to be judged. So the oldest Soren could be during PoR is twenty years old.

So now that we have an upper limit, what is the youngest Soren could be? Another member of Goldoa’s royal family holds the answer to this question. Rajaion left Goldoa to rescue Almedha and Soren ‘some nineteen years ago’ according to Ena near the end of PoR. At this time, Soren was already born and determined to be worthless by Ashnard. We also know Ashnard was already king when Rajaion was captured, meaning this happened after 627. If Soren was born in 627 he would be eighteen at the start of PoR, and perhaps would turn nineteen before the end of the game in the spring of 646, meaning Ena’s line about ‘some nineteen years’ would still be accurate. This means eighteen is the youngest Soren could be while still keeping with the continuity of the game.

It is important to note that Ena’s line corroborates the earlier conclusion drawn from Soren’s support with Stefan that Soren is nineteen in PoR. Furthermore, if Soren were nineteen in PoR, he would have been born within the calendar year limits determined by the events surrounding Rajaion’s capture (625-627). Nineteen is also the average of the oldest and youngest he could possibly be (18-20). Thus, I conclude that

in Fire Emblem: Path of Radiance, Soren is nineteen years old

and factoring in the three year timeskip between the games and Almedha’s line about her and Ashnard’s separation,

in Fire Emblem: Radiant Dawn, Soren is twenty-two years old

which makes a lot of sense. If I were twenty-two but looked like a sixteen-year-old boy, I would also get zero sleep, have the self-confidence of a duct-taped teacup, and cry at inopportune moments. Pre-T trans men, you are our strongest soldiers.

You have reached the end of my investigation into Soren’s age! As a bonus, Ike is seventeen in PoR, so the age difference between the two of them is two years.

Thank you for reading. Vote Soren for Choose Your Legends Seven.

[visionkept]

HC 7: DUEL THOUGHTS (pt.1).

"I heard that my friend had challenged the VISION HUNTERS to a duel before the throne."

There’s still the big misconception that Tomo CHALLENGED the Shogun when in reality, they went for the VISION HUNTERS all together. It is said by Kazuha in the cutscene and even has a voice-line that confirms that Tomo fought Sara and not Raiden, the Shogun was there just to witness the outcome and PUNISH the loser.

KAZUHA. ABOUT KUJOU SARA: “She defeated my friend in a duel before the throne, which I accept as proof of her great strength”

Besides this confirming that TOMO FOUGHT SARA and NOT the Shogun, the rest of the fight is left heavily AMBIGUOUS and so were the conditions they set. 

Yes, the winner would get a second chance but what did that even mean ? Would the vision hunt decree disappear if Tomo had won ? Would it continue though Tomo had beheaded their general ? There’s so much to unpack here and yet, the only thing we have for certain is that the winner would SURVIVE to see another day.

But did Tomo ONLY fight Sara ? I don’t think so. BESIDES fighting Sara, I do believe Tomo had to go through an ENTIRE SQUAD first. After all, the cutscene does show us a clear view of the BATTLEFIELD:

I do find it a bit strange that it was filled with katanas in a position given to fallen soldiers. And though we could assume these could be from previous fights against the throne, I find it rather unlikely considering that we don’t see them in game nor were there any other duels mentioned. And another important detail I noticed ( and that does seem intentional ) . . .

The PATTERNS in the fallen blades are similar to the ones we see with the Shogun’s soldiers. A black / white pattern that contrasts heavily with Tomo’s katana ( white / black ). Kazuha suggests in many occasions that Tomo was, indeed, very STRONG. That’s why he ACCEPTS that Sara is too - because she DEFEATED THEM out of all people. 

The absolute madman CHALLENGED a whole army KNOWING it would be too much for them. And yet they were able to defeat AT LEAST 25 SOLDIERS in combat to the point that either Sara had to step in and stop them or they managed to defeat all the men assigned that it was HER turn to do something about it.

If Tomoya ever does become a playable character ( there’s hope ), I do wish they could expand more on what exactly happened through that duel, if their battle with Sara was tight to the point that they almost got their victory.

They went with the mentality of dying in the ATTEMPT but. . . what if they had been so close to win. . .

[hpimaginesandblurbs]

wait draco fucking his arranged marriage wife on a couch after she admitted to still seeing her ex (not knowing he has feelings for her obviously) and he’s like oh? can he fuck you like this tho?

pairing: draco malfoy x reader 

warning(s): 18+, adultery, arranged marriage, slight degradation

word count: 3.0k 

a/n: this was not supposed to be this long but it ran away from me as i started writing. this is the longest thing i’ve written on tumblr so far and i hope you all enjoy it! one of my own person favorites. 

Another day felt like another day wasted in the walls in the stuffy Manor you called home. Except it wasn’t home. And it wasn’t another day. 

No. After weeks of trying to get your husband to open up to you, you had had enough. It was an arranged marriage, and although you were no fool and had no pretenses of pretending to love him, you’d at least like to get to know the person you called your husband. 

Back in school you had always thought the infamous Draco Malfoy was rather handsome, anyone would be a fool to deny it. He was confident and popular, great at Quidditch, and seemed like the perfect gentleman - everything you could want in a husband. Turns out it was the opposite. All the feelings you thought you might develop for him were unrequited, and he ignored you at every turn. 

So you took it into your own hands to get what you were so desperately craving: physical affection. It didn’t take much, truly. All you did was send an owl to your ex boyfriend from your school days and one thing led to another until you were in his bed, wrapped in his arms, and rocked to your core with pleasure. 

But now you were back in your ‘home’, wasting away within the walls of the Manor with your husband nowhere to be found. 

It wasn’t until hours later, when you were getting ready to push yourself up from the couch to head to bed, did the fireplace flash green, signaling his arrival home. 

“Hello. How was your day?” You asked politely, hoping just this once he might fall into a normal conversation with you. 

“Fine,” he replied shortly, not even bothering to look at you as he emptied his pockets and put down his very important briefcase that was a mystery to you. 

A blaze of frustration ran through your body, desperate to get more out of this man than just one word. A crazy thought came into your head, to tell him about your day, but you pushed it aside. No, Malfoy’s wouldn’t think highly of a girl who committed adultery within weeks of marriage. But…

“My day was great,” you told him, rather impulsively. 

At first he seemed shocked that you even said anything, the conversation usually reached its end by now. But he recovered quickly, politely asking “And what was so great about your day?” 

Naturally, you could lie. Tell him you met up with your female friends for lunch. Tell him you read a good book. Tell him anything but the truth. But… 

“I reacquainted myself with my ex boyfriend from school,” you told him, daring to look him in the eye as you spoke. 

“Reacquainted? How?” He asked, a series of emotions flashing over his face that you had never seen before. It sent a thrill through you to see him showing any emotions at all. 

Again, you could lie. Tell him you met him for lunch. Tell him that you ran into each other in Diagon Alley. Tell him anything but the truth. But… 

You knew even if the truth did come out, he would have to keep it a secret. He wouldn’t dare be seen as a spineless cuckold as his wife went around sleeping with whomever she pleased. 

“I owled him a few days ago, asking to meet him,” you began, watching as his face contorted into something akin to anger. “I went to his home, for lunch, and it didn’t end with lunch.” 

You left the end of your short story rather ambiguous, wanting to see what he’d do with the information you presented him. He had barely moved from his place by the fireplace, but the look he was giving you could set you up in flames if he wanted it to. 

“So, what? You fucked him?” He asked, the politeness in his voice giving way to the anger he was feeling. 

In a sick way, it pleased you to see him angry. Gave you a sense of pride that you, the wife he had seen fit to ignore, could get such a rise out of him. 

“Yes, seeing as you haven’t even touched me,” was your spiteful reply, foolishly placing the blame all on him despite your own actions. 

“You stupid, silly little girl,” he said under his breath as he stalked over towards you, menacing in just how much bigger he was than you. “You don’t fucking understand a thing about me, do you?” He asked, hovering over you, his hands braced on the back of the couch that you were still seated on, your faces inches apart. 

“You don’t let me. You never speak to me,” you argued, ready to turn this into a fight filled with low blows if he really wanted it to go that way. 

“You think this is a fucking walk in the park for me? Having some girl I’ve barely met in my house looking terrified of me every time I come near her? Suffering through your daily attempts to talk to me, but knowing how unbearably uncomfortable you are in being here? You think I wanted this? For either of us?” He asked seamlessly, almost in a rush to get all of his thoughts out before he thought better of it. A look of hesitation passed his face for a brief moment before he continued on, more quietly now. “You think I wanted the girl I couldn’t take my eyes off for a single day after fifth year hating being in my presence? Going behind my back to fuck someone else because I’ve held myself back in case she was uncomfortable doing anything more than just acting like my wife?” 

He didn’t meet your eye at first, but when he did you saw the weight of his emotions. He was hurt, by himself and by you. He was jealous of the man you had chosen to spend your day with. He was terrified of your reaction to his words. He was furious he even had to have this conversation, in this way, in this situation. He was relieved he finally got it all out. 

“Wh- What are you saying?” You asked cautiously, not wanting to twist his words to meet your own fantasy of having a loving husband. 

He took a deep breath before he answered, but made no moves to rid himself of his proximity to you. “Y/N, I’ve been head over heels for you since the moment we met. But having an arranged marriage, I couldn’t do much more but assume you didn’t share the same feelings as me.” 

“Oh,” was all you could even say back, too overwhelmed to think of anything else. You searched his eyes for the lie, but they held nothing but the raw truth. He must have seen something in your eyes as well, because his tone shifted into something else entirely before he spoke again. 

“Now, Y/N, I think we got off on the wrong foot and I didn’t make my intentions clear with you. I intend to be a good husband, a loving husband. And yet despite my best efforts to be the perfect gentleman so far, you went behind my back to sleep with some other man. And what does that say about you?” He asked, his eyes boring into yours as he spoke. 

You were sure he could hear your heart rate from how close he was, your pulse racing at his words. “I- I don’t know,” you stuttered, willing to let him take this wherever he saw fit. 

“I’m not going to place the blame all on you, because I know I haven’t been perfect. But one might say that you’re a dumb little whore, and I might be inclined to agree. A stupid, little girl trapped in her big, posh Manor. Going out to let any guy fuck her, not even knowing that her husband can fuck her better than anyone else could.” 

“And you could fuck me better than someone I know can?” You asked incredulously, shocked at the words spilling from his mouth. But even if you tried, you couldn’t deny the way he was so sure of himself, so sure he could please you better than any man, aroused you to no end. 

He let out a dark chuckle and looked at you, amused. “Of course I could, darling. That is, if you give me the chance,” he told you in a teasing tone, before pushing himself off of the couch to walk away. 

“Wait,” you started, once again acting on impulse. You might regret your next words, but damn it if you weren’t curious. And he was your husband after all. “Prove it.” 

“Prove it?” He asked, turning on his heel to face you again, a victorious grin written across his face. When you nodded, he only lifted a brow before he continued. “Now? Haven’t you had a long day of, oh how did you put it, ‘getting reacquainted with your ex’?” 

“You talk a big game, Draco. Now I’m asking you to prove it. Scared?” You asked, baiting him. 

In a split second and a flurry of movement later, he had you laying down against the couch, pressed into the expensive fabric, with his weight on top of you, pinning you down.  

“I’ll give you one last chance to back out of this. Tell me now, otherwise I’m going to fuck you through this couch,” he said through gritted teeth, clearly fed up with your antics. 

Without even thinking, your lips crashed onto his in a heated kiss. Lips you hadn’t felt since your wedding day. You hadn’t even remembered what they felt like until his tongue was darting along your bottom lip, hastily requesting entry. 

As your kiss remained heated, he was expertly shedding you both of your clothing until you were almost bare. He had only left you in your small, lace thong in the aftermath of his destruction. 

His hands traveled your body possessively, as if trying to memorize every curve and edge of your skin. The moment your bra came off, your breasts were in his hands, easily rolling your nipples until you were gasping for air. He swallowed all your noises greedily, as if you were feeding them to a starved man. 

It wasn’t until he pulled away, his hands resting on the waistband on your underwear, did you have a moment for a coherent thought. 

“One last time, are you sure Y/N?” He asked as if it was painful for him. As if it was the case that you said no, it would be immensely difficult for him to pull himself away. As if it was the case that you said no, he’d die a painful death at your feet. 

“I’m sure,” you said softly, not wanting him to think for a second that you had any hesitant thoughts about this moment. 

As he slowly pulled down your final layer of clothing, it gave you a chance to finally look at him.

And he was beautiful. 

He looked like an ancient Greek statue, perfectly carved and crafted out of marble come to life. His perfectly defined lines, his impossible definition, his muscles in all the right places. Your eyes eventually traveled down to his cock, and your breath hitched when you finally saw how large he was. If you had known this all along, perhaps you wouldn’t have sought out another man for your pleasure. 

He seemed to be taking you in just the same. His eye trailing down your body with such reverence that you felt like an ancient Greek goddess yourself, if only for a moment. 

“You’re gorgeous,” he said softly, almost as if he didn’t mean for you to hear the words. 

“You’re not so bad yourself,” you replied, giving him a shy smile when his eyes met yours again. 

“I’ve been waiting to do this for a long time,” he told you, still in the soft tone that he had. He gracefully let his body fall back over yours, bracing himself on one forearm while his other hand traveled the length of your body. 

When he caught your lips again, it didn’t hold the same heat as before, but there was something new there. Something good. Something that could only be translated through your lips in that very moment. Something akin to adoration, worship, even love. 

His hand stopped its travels at the apex of your thighs, expertly running his fingers over your clit and down your slit, feeling for himself just how wet you were. He groaned at the feeling of how wet and warm you were, and you felt his cock twitch against your stomach in anticipation. 

He slowly opened you up for him with his fingers. First with one, then two, even venturing to three before he was content that you wouldn’t be uncomfortable. He didn’t rush the process, kept a slow, steady, predictable pace as he worked your body. And every time you got close to the edge, he’d gently bring you back down, leaving you a whining, writhing mess by the time he was aligning his cock with you. 

“Draco, please,” you begged shamelessly, more than ready for him. 

“Did you beg for him earlier?” He asked almost nonchalantly, teasing you with the tip of his cock. 

He must have seen the shock on your face, shocked that he would bring it up in this moment, because he only chuckled before pushing inside of you, a gasp easily pulled from your lips at the intense stretch. 

He didn’t fuck you gently, immediately starting with a breakneck pace that left you seeing stars from the first moment he bottomed out. You were easily rewarding him with your moans, letting him know just how good it felt without words. You couldn’t speak even if you tried. 

But he talked. Oh, yes. He ran that pretty mouth of his as if he wasn’t thrusting so deep inside of you the couch was rocking. 

“I was right, wasn’t I? You’ve never been fucked like this, have you?” He asked, right as you were beginning to climb that peak into a pleasurable abyss. 

You gave him a feeble nod in return, not trusting your own mouth to properly respond. 

“Did he fuck you like this?” He asked, biting the question out through clenched teeth as if he was dreading the answer. “Tell me, Y/N, did he?” He asked, fucking you even harder now in his frustration. 

“No,” you cried out, breaking free of your moans for a second to answer him. “He can’t fuck me like this,” you added, if only to stroke Draco’s ego, but nevertheless it was true. No one could fuck you like this. 

“Cum for me, let me feel you,” Draco said, lowering his head into the crook of your neck to ground himself, trying to fight off his orgasm until you got yours. 

It didn’t take much longer after that. He had worked you up so much beforehand that your orgasm came to you easily and came with such a force you were left breathless in its wake. Your nails carved down Draco’s muscular back, sure to leave delightful scratch marks that you could study later, as you cried out in bliss. 

The moment he felt your walls contract around him, he let himself go with a low groan. The sound was music to your ears, and only intensified the feelings you were experiencing. To have him so close, sharing in the same ecstasy you were, it was like magic. 

When you both came down from your highs, he swiftly rearranged the both of you until you wrapped in his arms, both lying on the couch. It was a strange feeling, being in his arms for the first time like this. If someone had told you this would be happening only a few hours before, you would have laughed in their face. But now here you both were, sweaty and satiated, basking in the bliss of finally consummating your marriage. 

The thought made you giggle, and when he shot you a perplexed look, you couldn’t help but explain. 

“We finally consummated our marriage,” you explained, still giggling. “And don’t worry, by the way, I’m on the potion,” you thought to add, just in case kids weren’t looming in the future for him. 

“Good to know you won’t be birthing any bastard children,” was his sullen response, clearly still hurt by the events of the day. 

You shifted your body until you were looking directly at him, but he made no moves to pull his arms away from you. If anything, he held you tighter when he felt you move, unwilling to give up the moment. 

“Look, I’m sorry about what I did today. It wasn’t right and it wasn’t fair to you. And if I had known even a fraction how you felt about me, I wouldn’t have done it, because I feel the same about you. I was just feeling incredibly stuck in what I thought was a hopeless marriage, and I was lonely, so I sought out someone else. But now I understand that that isn’t the case, and I can promise you, from the bottom of my heart, that it will never happen again,” you told him, putting everything out there for him. 

“You feel the same?” He asked timidly, after a moment of deliberation. There was a look of hope on his face, and never in your wildest dreams would you shut down such a rare display of emotion from him. Then again, you may be expecting more of his emotions from here on out. 

“Yes. I’ve always been attracted to you, and the little bits of you that I do know, I like. I want this to work, Draco. I want this to be a real marriage. All I wanted was a shot.” you said, just praying he wanted the same. 

“‘I’ll admit, I wasn’t a good husband to you by any means, and I probably unknowingly pushed you into doing what you did. But now that our intentions are out there, I’d like nothing more than to give this a real shot,” he responded, that newly familiar look of hope in his eyes present once more. 

In that moment, you could both feel it. The beginning of something great.

[mylieutenant]

REDUX: How Riza knows “Roy” is actually Envy [META]

This meta was originally written a few years ago. When I posted it, others were quick to point out the things I’d missed, and I’d been wanting to include ever since. Furthermore, I initially based this meta on the English version of the manga, neglecting to take Brotherhood or the original text into account. I’m taking the deletion as an opportunity to write the expanded, definitive version.

So, once again, let’s talk about exactly why and how Riza knew for a fact that this wasn’t the real Roy, with a play-by-play of this scene.

Fair warning, there is a fair amount of personal interpretation mixed in there. The differences between versions (all four - manga and Brotherhood, Japanese and English) all tell a bit of a different story. There are constants between them, though, and these will receive some more weight in terms of how certain I am the authorial intent was there. I had access to the English versions of the text, and my friend @shihalyfie​ provided with Japanese assistance and discussion of the originals.

Now, our girl Riza is generally great in a crisis (save for that one time) and this scene proves it perfectly. Both in Brotherhood and the manga, the relevant scene begins when these two run into each other, in a clear attack stance. Riza has reasons to be suspicious; Envy, not so much, and they play the part poorly. In both versions, Envy is the first to appear to let their guard down after absolutely no prompting. In the manga, it’s a bit ambiguous, but implied by virtue of Envy being the first one to speak. Brotherhood makes it clearer that it is indeed Envy lowering their fighting stance first by a split second.

There is no “tell me something only two of us know” (of which there should be plenty!) or any other method to confirm her identity - because Envy is certain it’s her, and if Riza were to ask the same question (which we’ll get to!) they wouldn’t have an answer. So here, just the fact that Envy lets their guard down is telling. There’s no real suspicion. Meanwhile, Riza knows for a fact that the real Roy wouldn’t be sure that this is the real Riza, and wouldn’t be so quick to trust her.

Furthermore,  a previous reader pointed out that Envy was far too calm. It’s interesting to notice that this is true for Brotherhood, not necessarily the manga (in which the Japanese text has Roy speak rudely, in a way that would befit Envy more than it does Roy). Still, he wouldn’t just calmly accept Riza’s presence. But Riza doesn’t react yet. Why not come clean on her suspicions right away, then? Why pretend she’s let her guard down?

First of all, Brotherhood makes it clear that this is all a very quick exchange; it’s fair to assume Riza has to catch up to it. Another possible explanation is that Riza knows Envy is good at mind games, and she’s not about to let Envy play mind games with her. She’s going to flip the script on them.

And Envy speaks.

“I told you not to follow me” (Manga) “You’ve disobeyed orders” (Brotherhood)

Something I overlooked on my first time writing about this is that in Japanese, the manga does not use the verb “to follow” in this line (it was translated to me as something closer to “I told you not to come here”). However, this verb is used later in the scene, much more significantly; I will call back to this when relevant.

It’s interesting how the turn of phrase can yield varying interpretations on this scene. Both of these characters are experts in speaking in code, and every single word holds meaning between them, so this sort of interpretative read is called for. Reading the manga in English, “I told you not to follow me” references the fact that Roy very much asked her to follow him once. In Brotherhood, Roy pointing out almost too calmly that she’s disobeyed him is a callback to the one time Riza disobeyed Roy (and this has some importance later!). In Japanese, the language used is less relevant at this time.

The truly important thing to notice, language or not, is that Envy is giving themselves away. Envy addresses Riza without a shadow of a doubt that it’s indeed her. Riza still has her doubts, presumably because she would expect Roy to play the same game she does, tending seemingly innocuous traps to see if the other trips. So this is what she does.

“Forgive me, sir. I couldn’t simply stand around doing nothing” (Manga) “I’m sorry, but I couldn’t just sit there and wait.” (Brotherhood)

Different wording but same sentiment across languages and versions, so the interpretation is the same (with an added bonus for Brotherhood)

No way around it - we know for a fact that this is a lie. This doesn’t align with Riza’s personality. Riza can stand around and do nothing for hours if this is what she thinks her commanding officer needs. We’ve seen this happen, when Roy walked into King Bradley’s trap and Riza waited, quite literally, all night, doing nothing. To make this even more significant, this happened after Roy ordered to home and she refused - she stood guard for hours on her own accord.

To be fair, she wouldn’t share the real reason of her disobedience with Roy, either. Just a few instants later, we see her shoot round after round on Envy. She tells them, “I need you to die here”. Her MO wasn’t to find Roy, but to kill Envy before Roy does, which speaks volumes as to her desperation. This is the quickest solution to her problem. And this is also how we know she never lowered her guard - she wanted it to be Envy.

The thing is, she is indeed lying, and Roy would know she’s lying. Envy doesn’t. Based on the precedent we have (Riza disobeying Roy to stand guard all night), Envy’s reactions don’t track to how Roy would react. In Brotherhood, is made far more obvious because of the previous line on disobeying orders.

It’s enough for Riza.

“Where’s Envy?” (Manga/Brotherhood)

This, right here, is the real trap. For a question that appears to be obvious in this context, it sure is loaded.

Riza doesn’t know yet if this is Envy being a terrible actor, or Roy pretending to be trusting to lower a potential Envy’s guard. Riza notices, and thinks fast, and this question is far more clever than it appears. It gives the pretense that she’s certain that this is the real Roy, and one of two things should happen:

If that’s Roy, this question would definitely be the thing to raise some suspicion, finally. This is where Roy would tend her another trap.

If that’s Envy, that question would lull them into a false sense of security, to believe Riza does not suspect them. And, as we know, Envy falls for it, pretending that Roy just lost his target and asking her...

“Stay close to me, Lieutenant. Come on.” (Manga) “Do not leave my side, Lieutenant. Now that you're here you’re going to help me” (Brotherhood)

Also, more importantly, this is where the Japanese version of the manga uses the verb “to follow” - “Follow me” instead of “Come on”. Which is a tiny nuance that got lost in context while translating, because Roy and Riza would both know that Roy never has to tell Riza to follow.

Wording nuances aside, Envy telling Riza to join him seals the deal. The real Roy does not want Riza there at all costs. He’s about to do something he doesn’t want her to see, which is the reason he told her to stay behind in the first place. The real Roy probably knows at this point, at least deep down, that Riza wouldn’t approve of his actions. Furthermore, the real Roy would suspect this of being Envy and this command shows a clear lack of suspicion.

Brotherhood makes this even more blatant with the added line. This is personal for Roy. This is his vendetta; he would never ask Riza to help.

(As a side note, an opinion my friend shared with me is that in Japanese, the manga makes it generally clearer that Envy is impersonating Roy in Envy’s behavior as somewhat rude and out-of-rank. She believes the changes in phrasing may have been made to avoid making it too obvious when animated and voiced. This is speculation, but it’s a perspective that most of us would lack, so I found it worth spreading).

Riza’s smile (Manga) Riza’s frown (Brotherhood)

Just, look at that smile. She’s certain now. 

This moment, first and foremost, confuses the first-time reader. Let’s not forget that a first-timer doesn’t know who’s who in this scene - Envy could be either of them, or not be there at all, and since they lack the perspective, it takes a rewatch to grasp the nuance of the exchange. Riza’s smile, so much like Envy’s, freaks us out for a second and throws us off. Once the suspense is gone, it shows a lot of character. Riza normally keeps a stoic front around people, but no one is looking at her now. She can allow herself to express emotion now that she’s figured things out.

Furthermore, when she speaks the next line (”The Colonel calls me Riza when we’re alone”) it can be assumed that she’s actually toying with Envy, just based on that smile. Brotherhood did away with it altogether, which is a shame. She frowns instead, which is consistent with the different characterization she’s given in both versions and that’s a meta for a different time. In Brotherhood, her frowns also signals that she knows, but instead of confusing us, this actually gives us more clarity.

Either way, by that point, it isn’t a gamble. Riza already knows. This is her way of doing the whole “answer something only the Colonel would know” thing, just for one last bit of reassurance, but without giving Envy the chance to mess with her head in return. She really did flip the script on them, to the point that in the end, she was the one who messed with their head.

And there you have it. Riza knows it’s Envy because Envy isn’t acting like Roy and showing extreme nonchalance and trust at Riza’s attitude, which are exactly the pitfalls you’d expect Envy to fall into. Riza tends them the perfect traps to be sure, without letting them know of her intentions, in order to keep the upper hand. She’s just brilliant. I find Riza is never given enough credit for being the sharp quick-thinker that she is, and this scene just displays that to perfection.

[caelestis-composition]

killshot anon! YEAH i totally agree w/ your view on kaeya. it's so weird to me that people will blame him for his role in a situation he was forced into as a child through no choice of his own. that itself had to be traumatic, not to mention everything that happened later. i hate when people say he's untrustworthy - like yeah, he's lied, so has everyone? it's clear he does it mostly to protect himself. not to mention that (& sadism) can be symptoms of trauma. kaeya deserves nothing but happiness

take a seat folks it’s time for a “brynn should’ve been an english major” lesson! today we’re gonna learn some literary theory; specifically, we’re gonna apply psychoanalytical trauma theory to kaeya’s backstory and current character. killshot anon i bet you never thought this would result in a whole ass essay.

disclaimer one! you are allowed to dislike kaeya! i am not saying you need to like him or his character, you’re entitled to your opinion and i’m not here to change your mind.

disclaimer two! i am in no way an expert and this is all for fun! this is just my silly little analysis of one of my favorite characters as someone who’s studied literary theory and rhetoric and can also apply personal experience. seriously analysis is like a hobby to me and this is just an excuse for me to ramble about kaeya.

disclaimer three! this contains lots of spoilers! basically for everything we know in-game, general knowledge as well as stuff from his voicelines and character story. don’t read this if you don’t want spoilers.

since this is going to be filled with spoilers and is about to get really long, everything will be under a cut. for those who wanna read my dumb super informal essay: enjoy!

final note: yeah this is over 2000 words long can you tell i like analysis

⭒

let’s start by getting a quick rundown of trauma theory out of the way. to begin, what is “trauma?” in this case, trauma is going to refer to an experience that greatly affects and changes one’s life; attitudes, memories, behaviors, mental state, etc. while not all changes may be bad, per se, the overall effect of trauma is generally a negative one, which is why it’s so significant. literary trauma theory, then, explores these changes and the impact of trauma in literature. it analyzes the psychological and social effects of trauma, explaining what those effects are and why they happen. in the context of a specific character, trauma theory breaks down said character’s behaviors, feelings, and general mentality in relation to their past experiences; trauma theory hopes to explain to others the reasons for why a character may act or feel the way they do, all based upon the character’s experiences, particularly traumatic ones. our character today is the lovely kaeya alberich, with the “literature” being genshin impact. i’ll be referencing kaeya’s wiki page to ensure i get all details correct for his character story and voicelines.

it would be good to review kaeya’s backstory before delving into the actual analysis. though we don’t know much about his life before living in mondstadt, we’re told he was sent as an agent of khaenri’ah. and by “sent,” i mean his biological father abandoned him in a completely unfamiliar land to serve khaenri’ah’s interests and fullfil his mission—what this entirely entails hasn’t been revealed. mondstadt, however, welcomed kaeya “with open arms when they found him.” crepus ragnvindr took him in as his adopted son, with diluc as his adopted brother. kaeya and diluc were “almost like twins,” so close they “[knew] each other’s thoughts and intentions without a word.” he’d began a new life in mondstadt, one surrounded by friends and family that loved him; one that was completely shattered by crepus’s death. kaeya arrived at the scene of the disaster, and was led to believe diluc was the one who killed their father to “set his father free” from the effects of his delusion. there’d always been one big question in kaeya’s life: if it came down to it, who would he support? the nation that abandoned him, but he still felt loyal to, or the nation and family that took him in and really loved him? overrun with guilt, kaeya confessed his purpose to diluc, sparking a fight between the two brothers. in this fight, kaeya receives his cryo vision. though both brothers stepped away alive, they’ve never been able to make peace with one another. now, kaeya is the eccentric and charming cavalry captain of the knights of favonius; a man who gets his way by using any means necessary, regardless of whether or not it seems right.

kaeya’s not evil; he’s morally ambiguous, and that stems from what appears to be a general distrust of others. his life is one shrouded in secrecy. from the moment he stepped foot into mondstadt, he was surrounded by secrets. even now, he doesn’t talk about a lot of things, namely his past, vision, and feelings. though he’s always willing to get information out of others, kaeya never reveals anything about himself. he repeatedly tells the player they can confide in him, but whenever you try and pry into his life, he deflects your questions with some sort of witty comment or flirty remark. anything he does reveal is vague, or spoken in some sort of “code.” for example, his “interesting things” voiceline. he tells us about the owl of dragonspine, how it “seems to look right through you, while letting go of none of its own secrets,” and then tacks on a “quite fascinating, don’t you think?” it seems like an awfully accurate parallel to himself; kaeya does all he can to get information from others, but never gives anything about himself. now, this whole thing—his relationship with diluc falling apart and his need for secrecy—could have probably been avoided if he had just come clean about his mission years ago. so why didn’t he? to start, kaeya was a literal child. not only are children unable to properly tell the difference between right and wrong, but they’ll also typically follow their parents’ orders blindly. kaeya had just been abandoned, and he wouldn’t want to risk being cast out by mondstadt as well if he came clean right away. you see, there’s this thing about trauma, something that trauma theory states. traumatized people feel a sort of shame or guilt regarding their traumatic experience; they’ll keep quiet because they don’t want to cause problems or bother others with their issues. of course kaeya wouldn’t tell the truth about his past, he doesn’t want to destroy the genuinely loving relationships he’d built in mondstadt. his fight with diluc only proves what he was afraid of: if he’s honest, he’ll be abandoned again. and if kaeya’s used to all the lies, why should he bother changing?

another thing, if he’s not going to tell the truth, then why would he have initially gone along with his father’s plans? again, he was a child. he really had no choice, and was forced into a very wrong and cruel situation. there’s a good explanation for this, too, which is also stated in trauma theory; traumatized people will still do their best to please their abusers. especially if said abuser is a parent, that will drive traumatized people to work even harder to please them. although his father hurt him by ruthlessly abandoning him, kaeya still sought to make him and his homeland proud. he was willing to be used as a tool for their gain; that is, until he found people who actually cared about him. he was an impressionable child, of course he’s going to obey orders. but as he gets older, he feels torn. does he serve those who abandoned him, or those that took him in? his father—and arguably, khaenri’ah as a whole—hurt him, sure, but he still feels some loyalty and connection to his former home. instead of revealing anything, he lets the situation play out. that way, he can’t be blamed when things fall apart.

the thing about claiming he’s untrustworthy is that hardly anyone in-game believes that. he’s adored by the older folks in mondstadt, and foes and allies alike find him easy to talk to. despite seeming lazy and uninterested in work, kaeya takes his job very seriously. in fact, his story states that crepus’s death was the “first and only time kaeya failed in his duty.” the “only time” is especially important, because it signifies kaeya still fulfills his duties successfully. he’s had a total of one slip-up, and hasn’t failed since. no, kaeya is not untrustworthy. rather, kaeya finds everyone else untrustworthy. it’s not unlikely that this is a direct consequence of being abandoned as a child. although it’s been established that kaeya and diluc were very close as children, when crepus dies, kaeya assumes diluc is the one that killed him. in order to jump to such an extreme conclusion against someone he was so close to, there had to be some underlying sense of distrust. furthermore, kaeya expresses feeling as though he doesn’t belong anywhere. he was abandoned by khaenri’ah, and then worried he wouldn’t be accepted by mondstadt. he is, but there’s still that worry. if you place him in your teapot as a companion, he tells you that your home feels like someplace he belongs, following it up with a “heh, who’d have thought…” kaeya still feels as though he doesn’t belong in mondstadt; despite the fact that he’s a high-ranking knight of favonius and rather popular, he still feels like an outsider. he doesn’t trust that anyone actually wants him around, and he finds joy in testing peoples’ trustworthiness. it’s noted in his story and through his voicelines that the beloved cavalry captain has a rather sadistic nature. he likes putting people into difficult situations, to see what decisions they will make. he does this to both opponents and allies, testing to see who’s going to back out and who’ll keep fighting; in the sake of allies, who can he trust? or who will turn tail and abandon their teammates at the slightest hint of danger? i mentioned it previously, but kaeya doesn’t care what measures he has to take so long as his job gets done and he gets the answers he wants. it’s a sort of self-preserving mindset, putting himself above the safety of others. kaeya’s trying to protect himself, which makes sense with all he’s been through. he doesn’t want to be hurt, and instead finds pleasure in threatening harm upon others. it’s twisted, sure, but it’s because he can only trust himself in a world that he believes is out to get him. he’s got as many enemies—if not more—as he does allies; of course kaeya focuses on protecting himself first, whether physically or through keeping his secrets, well, secret.

his most obvious traumatic effect is definitely his alcoholism. but he uses it as a distraction, not just to wallow in self-pity. this is seen again in his story, particularly in story 3. it’s found that when his favorite drink, death after noon, is out of season, mondstadt’s crime rate is decreased drastically. at face value, this just means kaeya spends more time working when death after noon is low in supply. but kaeya doesn’t skip work to go to taverns; it’s already been established he takes his job very seriously, so this means he actually patrols and tracks down threats while off work when he can’t indulge in his favorite alcoholic drink. he doesn’t get drunk simply because he’s depressed. if he did, there wouldn’t be a drop in incidents when death after noon is out of season. no, kaeya uses both the alcohol and fighting to distract himself. after all, it’s a little hard to think about feeling sad when you’re either drunk out of your mind or fighting for your life.

despite being so secretive, kaeya gives us glimpses of his true emotions from time to time. as previously mentioned, his flirty attitude is nothing more than a mask to hide how he really feels; and kaeya is terribly, terribly lonely. that may be why he seems so extroverted. constantly being around people should, logically, drive away that feeling, but it doesn’t work like that. when he talks with the player, he frequently expresses disappointment when you have to leave. each time, though, he dampens the weight of his words with playful or flirty language. he’s lonely, but doesn’t want you to know that, like he’s afraid of asking you to stay. he takes the seriousness of his feelings, and basically bends it into some sort of lighthearted joke. kaeya hides his true feelings—negative feelings, to be exact—so that he doesn’t bother anyone. which is, again, something that happens with traumatized people. he displays that hesitance to reveal his true feelings, because there’s a shame or guilt that comes with his past. he doesn’t want to bother others or hold them back, so he puts on a smile and amps up the charisma. one other very important thing—but very small detail—i would like to note is his feelings toward family. his fell apart not even once, but twice, and kaeya still holds familial relationships in high regard. we know he doesn’t exactly care how he goes about getting his work done. he doesn’t pay attention to what’s “right” or “wrong,” so long as he gets what he needs. but one of his informants, vile, notes that the cavalry captain has one exception: he won’t work with those who threaten others’ families. in fact, kaeya claims those who do should be hunted down and destroyed. even though his own families have caused him so much pain—and he ended up estranged from both—he still understands the importance of having people who love you in your life. because he didn’t get that.

kaeya’s not evil. ultimately, as a knight of favonius, his goal is to protect others, because no one was there to protect him. and because no one was there to protect him, because he’s been hurt time and time again by people who were supposed to love him, kaeya has taken to protecting himself. he hides any and all negative feelings with a charismatic, friendly façade, because he thinks it’ll drive away his persistent loneliness. any “bad” actions of his were hardly his fault; he was forced into a life of secrecy and lies, and then abandoned by the first people who truly loved him. kaeya’s a multi-faceted, tragic character, one that toes the line between good and evil, and that’s what makes him so interesting.

[choicesenthusiast]

Representation at Pixelberry: The Follow-Up

One year ago, on June 15, 2020, Pixelberry released a statement regarding representation at the company. Here is the LINK to the original blog post, and here was MY RESPONSE. Oh, how naïve and optimistic I was. It contained a list of goals and promises they hoped to accomplish within a year. Well, a year has passed, and here is my attempt to hold PB accountable. I'll be going over the five main points of their representation plan and if they achieved what they promised. All criticisms are about content released after June 15th. Long post beware, but I'm not putting it under a read more because I feel like it's important for all to see.

1. Commitment to diversity of Love Interests - FAIL

We’ve already been moving towards having Love Interests have customizable skin tones. We will continue to do this with some stories, while also having some characters with clear ethnic identities. At the same time when we have multiple love interests of different ethnicities, we are aiming for those Love Interests to have equal game time.

"LIs with customizable skin tones" mean they come in three flavours: white, black, and ambiguously Asian/Latinx interchangeably. So far I have rarely seen an LI as connected to their culture/ethnicity as Rafael Aveiro, and he just talked about his Vovo's food if he ever were on screen. They had many chances with the other OH LIs as well. Even Ayna Seth and Tatum Mendoza were confirmed to be Indian and Filipino, respectively, though FA gets a little leeway, as it was set in a fictional west-European continent.

As for equal game time? I'm sure the biggest example we can all think of was the mess that was Open Heart 3, which was written during the hiatus (which only existed because they were going to straight up kill Rafael in Book 2). Game time was not equal among LIs, and the white male LI was heavily favoured. PB also continues to pay female LIs dirt by giving them no screen time. In addition to that, LGBT+ players, who are consistently underrepresented, receive one (1) unprepared pride month survey, prpbably only because someone asked them about it on Twitter.

This is the meat and potatoes of everything because it's what they're outputting to their audience. It's what the people see. Given that things haven't been going so well lately in this department, consider this promise a big fat fail.

2. More authentic and diverse hairstyles for people of color - QUESTIONABLE

Our team will focus on providing more authentic and representative hairstyles. We are prioritizing these hairstyles outside of our normal book processes and will introduce them in new books as they are ready.

While, yes, they have added two new hairstyles in WEH, they also just took Jade Bonet's hair and recycled it for LoA F!MC. PB recycles all their hair more often than not.

3. More diverse book covers - QUESTIONABLE

This is an initiative we started in January of this year. As a result the number of Black, Latinx, Asian, Native American, Pacific Islander, mixed, and other characters on new book covers increased from 35% of characters in 2019 to 60% characters in the first half of 2020. However, the number of black characters is still not high enough this year. More are already scheduled for books later this year. We will make sure that Black characters are well represented on our covers in the future.

"Diverse" does not just mean by race, but also gender, sexual orientation, etc. FA has the only recent MLM cover. And don't tell me that the FA and LoA covers are any different from each other. The only black characters on covers are Zoey Wade (QB), and Black!Gabe Ricci (LoA) and Bastien (WB), which aren't even their canon races unless you choose them to be. This is the case for many single-LI books, such as Cassian Keane (W:ABR, which technically premiered on Mar. 16, but the sentiment is the same), Sam Dalton (TNA), and Dakota Winchester (WEH). Not to mention the customizable/multi LI books like DS, RT, BaBu2, MTFL, etc. Majority of these covers are just cishet couples delicately cradling each other's bodies or whatever. And we're not even gonna get into how PB literally put the Open Heart LIs in order of their favouritism on Book 3's cover.

4. Writers/Staff - QUESTIONABLE

We will be engaging in professional training on historical and current racism for our writers to ensure more of them have a better understanding and more context for views of diverse characters in Choices. We will also create a program that gives more authority to people of color in the studio to advise writers and artists on more authentic portrayals in both writing and art of black, brown, and minority characters.

A story with a Black-led cast is something I have asked for in the past, but failed to follow-up on. We will very likely start this with a Black-led cast story led by Chelsa, one of Pixelberry's Black writers.

We will increase the number of diverse writers we source for new stories, starting with hiring more Black and Latinx writers to lead the charge.

For all teams at Pixelberry we will actively work to bring in more Black and Latinx candidates with the goal to increase the number of Black and Latinx employees at Pixelberry. Although Pixelberry is over 50% female, on teams where females are not at 50% we will actively work to source more female candidates.

This promise seemed like a copout from the start because we have no way of knowing who works on what at PB unless we very meticulously stalk their LinkedIn or Twitter or whatever. We have no solid statistics except for what they feed us. I do know, however, that they recently let the Ms. Match writers go and were hiring for external writers, but there really is no way of knowing what's going on behind-the-scenes with their 112+ employees, and of course there would be NDAs involved. We are yet to see a book with an all-Black cast, and receive rare development updates with new books. Actually, I think a really good way to promote diversity is to do staff showcases on their social media. Just a way to show the public who's responsible for what. Writers, game devs, the art team, etc. Don't think it'll happen, but it's always a good idea.

5. Donations - QUESTIONABLE

Pixelberry will also be making $100,000 in donations to Black Girls Code, the Black Writers Collective, and the Latinx Writers Collective at Techqueria. Rather than as a lump sum, we will be making these donations over the course of a year to remind us that we are not making short term changes, but are committed to long term sustainable actions. We’ll also be donating up to an additional $100k from profits for this week, 6/15-6/21.

There has been no proof, no receipts, no evidence from PB that they have donated anything to anyone, and as far as we're concerned, their word doesn't mean anything. No news or updates news about it. I would love to believe that they did something, but as you can see, I've become quite the pessimist. BWC still uses PB's old logo (like, pre-Choices) on their sponsors page, and the last interaction they've had with BGC was in 2013. They don't even follow each other on Instagram. In fact, BGC received a huge donation from MacKenzie Scott, formerly Bezos last July. Yes, that billionaire Bezos, and that got coverage from them. Obviously donations don't need to be for publicity, but in this case I think it's important there should be proof. Again, it's really hard to tell with these behind-the-scenes things, but given how PB loves to gloat and hates to keep promises, we can assume that none of this happened.

~~~

So, what's the takeaway? That PB's fallen down the drainhole of shitty content and empty promises and has no intention of climbing out as long as they still make that bank? Seems counterproductive, because good representation gets good feedback and income. They pump out bad books with barebones "representation" if you can call it that, then drop their precious merch and pretend all is fine and dandy. But just as I suspected one year ago, none of this matters, because people forget things, and people move on, and shit gets swept under rugs. Yet, here I am, yelling at a company in a post I for sure doubt they'll see. Because if not me, then who?

@playchoices Your move. It's been your move for a year now. When will you actually make it?

[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.

[hartofhearts]

“I thought you would never come”

Over the course of the game, OG FFVII plays with the mystery of Cloud and Tifa’s childhood relationship. We’re primed to think that while they may have known each other as children, there was nothing particularly noteworthy or significant about their childhood together. The framing of the Promise is a great example of this.

The first time Cloud mentions the Promise is in Midgar, when he still thinks he’s an Ex-SOLDIER. When they recount the the story together, Ex-SOLDIER Cloud says he thought Tifa would never come.

Ex-SOLDIER Cloud: I thought you would never come, and I was getting a little cold.

We assume Cloud thinks this way because Cloud was like any other boy with an adolescent crush on a girl. Just an average boy being relatably nervous about an average girl. While the story of the Promise is cute, it’s only notable in that it seems to remind Cloud of their seemingly tenuous connection (or if the player is feeling uncharitable, it seems to force an obligation between the two).

Midway through the Lifestream, we discover why Cloud thought Tifa would never come: he thought Tifa hated him.

True Cloud: That night I called Tifa out to the well... I thought to myself Tifa would never come... that she hated me.

This twist changes how we perceive Cloud and Tifa’s relationship. In the first half of this memory, Cloud reveals that he had never been inside Tifa’s room, and we learn that the two “weren’t THAT close.” (There is also the regrettable mistranslation: where the line “I really wanted to play with everyone, but I was never allowed into the group” should have been translated to something like “I really wanted to play with everyone, but I could never bring myself to ask.”) This reveal in conjunction with the line “she hated me” makes us question the true nature of their relationship. Was Tifa a stereotypical popular girl and was Cloud an outcast? Did Cloud think he’d get stood up because Tifa, in a moment of childhood cruelty, arbitrarily considered Cloud to be beneath her?

While this is certainly a dramatic twist, it still paints a relatively mundane relationship. Sure, it might suggest that Tifa might have been unkind as a child, but this isn’t particularly unusual childhood dynamic. (Even if it is a regrettable one.)

But finally, we learn why Cloud thought Tifa hated him and why she might not have met him at the well...

True Cloud:  Tifa was in a coma for seven days. We all thought she wouldn't make it. If only I could've saved her... I was so angry... Angry at myself for my weakness. Ever since then, I felt Tifa blamed me...

We learn that Cloud wasn’t afraid that Tifa hated him for an arbitrary, superficial reason. Cloud’s true fear was that Tifa would want nothing to do with him because she held him responsible for her near-fatal fall at Mt. Nibel. (And of course, we later learn that this is unequivocally false--Tifa never blamed him for this incident.)

With this final reveal, we learn how significant their childhood relationship truly was. 

On Cloud’s part, we learn how deeply he cared for Tifa--so deeply that his failure to save her makes a lasting impression on him. Cloud’s failure to save Tifa weighs so heavily on his mind that even five years later on the night of the Promise, Cloud worries that she might not show up. On top of that, this failure weighs so heavily on his mind that Cloud decides to become a SOLDIER so he can be strong enough to win her notice. Cloud’s failure to save Tifa is the reason why Cloud is the way he is--both his true self and his ex-SOLDIER persona. 

On Tifa’s part, we learn that she wasn’t a superficial girl who was arbitrarily unkind to Cloud. She herself was acting in good faith, and her lateness to the well was not out of cruelty. While they may not have been “THAT close,” Tifa still cared enough to get dressed up and go out to the well to meet Cloud. This speaks to how Tifa held Cloud in her esteem and never held ill will towards him.

And yes, this last part is confirmed:

As a small boy, he didn’t get along with others apart from Tifa. So when Tifa’s mother died and three of her friends decided to take her up the mountains where the dead were believed to go, Cloud wasn’t invited. But even so, Cloud secretly went after them wanting to cheer Tifa up. --Cloud profile AC prologue.

(Source: this excellent post) 

(Yes, poor Cloud really went through the better part of a decade thinking he lost the only person who treated him with kindness because he failed her....)

So through the context of the Promise, we slowly learn how important Tifa has always been to Cloud--and the answer is, she is really, REALLY important. But if you miss that final twist that ties in Mt. Nibel, then you miss this bigger story that the context of the Promise tells us.

What about Remake?

Interestingly, Remake removed the setup for the mystery of Cloud and Tifa’s relationship. Ex-SOLDIER Cloud remembers the Promise on his own, and doesn’t comment on Tifa’s lateness at all! The player is given no reason to doubt Tifa’s good intentions towards Cloud, and thus no reason to doubt their importance to one another as children.

In a game that nails the small callbacks, this is would be a massive oversight... meaning that it’s not an oversight, but an intentional change. This seems to be yet another example of Remake clarifying Cloud and Tifa’s relationship, be it by removing OG’s red herrings or removing the ambiguous moments that generated confusion in the first place.

[gocrazygostupidtheories]

AH AH OW OW OW

I’ve been trying to look into sources of story inspiration for Amphibia because I am not smart enough to predict what will happen, and I think I’ve found a few connections or patterns that can help predict certain story beats and character mysteries based the sources Matt Braly has said to us (excluding his personal life events for obvious reasons), or just sources for people who know these topics better than I do.

For the actual plot itself, he’s said his general love of fantasy has, but the more specific sources include:

The Dark Crystal (I’m assuming just the first film.)

Chrono Trigger (going for the first game too because I am lazy.)

Magic Knight Rayearth (originally a manga, so I’m trusting the source material.)

Studio Ghibli films directed by Hayao Miyazaki

The Legend of Zelda (again, very general and I think he’s referring to the first game?)

Lord of the Rings (I don’t know if he means the film trilogy or the books so I’ve tried to mash together both.)

Batman: The Animated Series

Gargoyles (Disney)

I honestly cannot be bothered to do the lower four and I will probably update it once I get around to it. If anybody has any more, please tell me. It should be noted that I’m not an expert, and I didn’t even know some of these existed, so I may miss a few things or get something wrong. If that’s the case, please tell me! I’m basically going to go through these one by one, and then do an overall summary for both groups of things that can be seen as inspiration in Amphibia so far, and stuff I find slightly alluding with mini-theories mixed in. So, whoopee. It’s a long, long post. It is important to remember not every event or bit of information I’m listing will absolutely happen in Amphibia, but I am finding similarities between other inspirations or things that may match up with the character.

THE DARK CRYSTAL

The Dark Crystal’s plot is that said a shard of the Crystal of Truth was shattered, and that brought around two races: the Skeksis, and the Mystics. Jen, a Gelfling, has to restore the shard to the Crystal to save Thra, the planet this is set on. Already we have mentions of crystals, fantasy and other-wordly planets.

The designs and set are very mediaeval-fantasy, specifically English mediaeval-fantasy. Creatures are often enlarged and over exaggerated animals, the Gelfling are almost fae-like and the Skeksis being disturbing fusions of various creatures, part reptile (alligators do exist in Amphibia, seen in Scavenger Hunt as an example), part predatory bird (herons and many, many more) and part dragon. Bugs do appear quite a lot, often oversized ones. Surprisingly, there are no real-life amphibians to my knowledge. There’s also English inspired buildings in Amphibia, such as the Tudor mushroom-cottages in Wartwood and many of them having English accents. 

Though it’s a movie meant for kids, and is rated PG, it’s surprisingly dark? Like, I can’t speak for people who grew up with it but most have said how they were terrified of it when they were younger. One of the directors, Jim Henson, said his main intention was to bring back the darkness of Grimm’s fairy tales and it was unhealthy for kids not to be afraid (bonus detail, he produced The Muppet Show, which has been referenced in Amphibia through Kermit as a special guest). It in includes, but is not limited to: genocide, war, the end of the world, climate change but make it mystical, body horror, way too much murder, animal abuse, death, totalitarianism, emotional ambiguity, harmony and the balance of power and immortality. I think we can all guess where Matt took inspiration for certain events happening so far, or what we can see happening soon, especially with the “immortality” part if he does include such a topic. 

Oh, and many of the other characters of varying relevancy we’ve grown to love die. And the main character’s love interest does get stabbed in the end and temporarily dies as a sacrifice for a ritual. And the main character, for a while, just blankly stares and cries in shock holding her dead body. But, do not fret, she does get revived and the two kiss as the land is restored. Go wild, shippers, and good luck Plantar and Grime fans.

The Crystal itself is almost like the heart of Thra, and is linked to the wildlife and its well being. It is linked with all living things and its energy reverberates all around Thra. The Crystal is actually sentient, and can communicate verbally on rare occasions through projections and images. It nourished itself through the light of three stars (we’ll get to that later), and while nourishing would release an intense beam of light that had healing properties on direct exposure. However, it was shattered in an attempt to cleanse evil from a groups’ souls when somebody gave into their evil nature. The crystal, in a daily ritual, prolongs peoples’ lives and can suck the essence out of living beings, turning them into slaves. It’s also purple. I’ve seen, and do enjoy, the questions as to why purple is such a prevalent colour in Amphibia, so here is my poor contribution: a lot of these are actually seen in Amphibia. The entire episode of Anne Hunter (it does sound silly, but then again, Matt has said some of the most important scenes aren’t the most plot relevant episodes)? The projection of Sprig? The hunting dance? Also, the more obvious examples of the bursts of energy being released when a gem is recharged in a temple, and the fact the box is considered to be so dangerous. My guess is that a possible fourth gem is missing or lost, either hiding somewhere in the box or in Amphibia. I would say the purple is just an Anne thing, but the fact it is so prevalent throughout the series makes me think otherwise.

A trio of some kind! The Three Suns/Brothers (Greater, Rose and Dying Sun) are a trio of stars Thra, orbits. Whenever all three of them fully align (people have said it looks like an eyeball, and with no shame that I will update eventually) which is a once in almost a thousand years event, it forms an intense beam to the crystal. The Three Brothers have their own folklore, where they all compete to win the hand of the daughter of the moon and return to battle again in an alignment. I don’t really think I need to explain this one. There are also Three Moons known as Three Sisters, but they aren’t nearly as significant or relevant to the original movie. 

The Skeksis remind me of Valeriana for some reason? Maybe it’s just a “thing with a sharp beak in black cloak”, but there could be some connections. Originally, a fallen group of UrSkeks (tall, luminescent, psychic and from the furthest reaches of the Uni-Verse possible, basically like angels) were banished to Thra, and attempted to separate their good and evil selves through the crystal, but accidentally created two races from that division. The Skeksis were basically born pissed and had a huge fear of mortality and used the ritual to prolong their lives. They believed themselves to be the Lords of the Crystal and kept it in their very delightful silly little castle and hid themselves in black cloaks. When the crystal was restored, they transformed back into UrSkeks, who wore white cloaks. Now, I don’t think Valeriana’s evil or that afraid of mortality, but it could link somehow? Sadly, I’m not smart enough to think of why. 

The Gelfling Clans, seven of them, are matriarchies, and women are pretty important and powerful people in the story. Matt has stated he was more interested in having a female main character for the story from some Studio Ghibli Films, so we’ll add this one to the “respects women” in this list. 

CHRONO TRIGGER

In a fictional alternate universe to Earth, the lead characters travel through time to explore and adventure in different eras of time. It could also be considered an isekai, considering how different these time periods are, from the prehistoric wilds to the future cyber dystopia. 

The isn’t a trio but instead a main cast of six: Crono, the silent yet fearless katana-wielding protagonist, Marle, the runaway princess, Lucca, Crono’s childhood friend and a genius inventor, Robo, a friendly and curious robot from the future designed to assist humans despite his robotic counterparts slaughtering them (remind you of any characters?), Ayla, a prehistoric village chief with unmatched raw strength and Frog, a former squire cursed to be in an amphibian form. There is an optional seventh character named Magus who’s a powerful sorcerer. Though, you can see a few similarities with some of them and characters in Amphibia. Marle is a blonde-haired, sheltered but vivacious and strong-willed girl who hates royal life and escaped into the Millenial Fair (a fair with all kinds of games and inventions) where she met Crono. Ever since her mother passed from illness, her relationship with her father has been broken, and you can fix it in the game as they finally recollect. She’s a healer, but her magical element is ice, and has techs (gadgets) that deliver strong water damage, but has a weakness to fire damage. Or, possibly the chief Ayla, another blonde haired, decisively confident and fiercely courageous woman who is physically the strongest in the game, and though she cannot use magic, uses her physical prowess and her hands. Another similarity is with Lucca, the inventor. She is classified as intelligent, inquisitive and shrewd who deals with problems head on. Raised in an environment where inventions were always present, she sometimes gets annoyed at her father for neglecting her for his creations, and witnessed her go through a horrible accident that left her unable to walk. Though she is physically weak and slow, she is a long-range combatant who uses techs that deal mass amounts of fire damage (her magical element), and occasionally has her father make new techs and special equipment for her. 

Early on in the game, we find out the future is desolate as a creature called Lavos who has been dwelling under the Earth, has awoken. Also known as the Destroyer of all Life, Lavos is an alien that came to Earth to drain its energy, produce genetically enhanced spawn, and continue the cycle. He is summoned by Queen Zeal, a secondary antagonist who is fixated on Lavos in a desperate attempt to become immortal and will inevitably destroy the world unless he is stopped. He has three forms: the outer shell, black with orange highlights, a humanoid form wearing armour that does remind me of Darcy, and the Lavos Core, a creepy scuba-diver looking guy. The game has multiple endings, from Lavos destroying all of humanity to Crono dying while defeating Lavos and nearly all of the characters moving on. Though, that’s only if you forget to re-acquire him. Then it’s happy. 

MAGIC KNIGHT RAYEARTH

Three 13-14 year olds on a trip to Tokyo Tower are summoned to the world of Cephiro as the Magical Knights to save Princess Emeraude, the pillar keeping the world in balance, from the malicious Zagato. To do so, they have to revive their respective Rune-God they get their power from, and avoid Zagato’s minions while retrieving rare items. Except for the Princess Part, it seems like a pretty solid, though varied, inspiration from the plot or prophecy of Amphibia.

Though the girls are complete strangers except for a single interaction, they do become incredibly attached quickly. With their red, green and blue colour scheme (them?), each girl embodies the element they represent.

Hikaru, the protagonist, is red and represents fire: tomboyish, honest, brave, mature despite her innocence and incredibly strong despite being mistaken for a ten year old due to her height and attitude due to her kendo training she attends as her family run a dojo. She possesses the strongest heart out of the three and is the most enthusiastic about being a Magical Knight. It also helps that she's the strongest out of the three, shown with swords, bows and arrows and magic. 

Umi is blue and represents water: despite her beauty and elegance, she is incredibly doubtful, over-protective and arrogant. Because of her upbringing as an only rich child with doting parents, despite her seeming calm and collected, she is really spoiled with a short temper, and because she speaks her mind, comes across as selfish. However, she does mean well, and cares alot about her friends to the point of over-protecting the two and worrying endlessly about them. She denies all the good or caring things she does by other people and is completely clueless about love and relationships, which is unfortunate as her biggest fear is being left alone. In battle, she is calm and poised while remaining loyal and proud, wielding a fencing sword and focusing on speed and effectiveness. The Rune-God (basically like helpers for the Magical Knights that form a huge fuck-you mecha) she had to revive, Selece, involved her choosing her friends or embracing the ritual to gain more power, to which angrily she chose the former, which was the right answer, and slapping him in the process. 

Fuu is green and represents wind: despite always smiling and her polite attitude, is a strategist. She’s blunt, accurate and insanely logical. She’s quieter and more reserved than the other two, but she constantly stays calm and tries to think her way through a situation. She’s incredibly good at archery, and uses a bow and arrow before switching to a heavy sword only she can wield later on, focusing on defence and spells, and has an affinity for video games, mathematics and computer programming. She has an older sister who she loves and adores, but her parents are never mentioned. Unlike the other two, she probably has the best knowledge about love and romance, and her relationship with a guy is not questioned and is more obviously implied. 

Though the colours are switched around, and having “brains, brawn and heart” is the base for nearly all trios, we can see some comparisons here, and if they are inspired and fully taken from it, some slight implications. We came to the conclusion that Marcy had siblings, so I feel like she’d have an older sister, and since Sasha’s family owns a pool and with her behaviour, we can assume she’s pretty pampered too. There’s a cool theory I reblogged by @fermented-writers-block about their theory that Sasha is related to water contrasting with Anne’s fire motif, and hopefully this is another addition to that theory-pile. And, if they are linked to three elements, we can assume Marcy is linked to air (she has been associated with butterflies, so maybe that could also mean something?). 

Despite the seemingly more trope-y aspects on the surface, there’s just one slight plot twist near the end. They end up killing Zagato and go on to see the princess. However, it is then revealed to us she’s not doing great. The knowledge told to them from the start is actually a farce, and the reason why the world is in dismay is because Princess Emeraude was distracted from her duties because she fell in love with Zagato. As the pillar, she had to spend her entire life devoting herself to prayer in keeping the balance, but because of Zagato, began to think about more things than just Cephiro. The only way for her to stop being the pillar was for somebody else to take her place when she was dead, so she decided to summon the knights as the only people who could kill her. Zagato, who was also in love with her, abducted her and imprisoned her in hopes that she couldn’t summon them. When she did, he decided to protect her so they couldn’t come and kill her, sending out minions in hopes they’d kill them. So, basically, the real reason why the knights were originally summoned was to kill the person who sent them here, that quickly became to kill two people for being inlove under the guise of kidnapping and dark magic and have just murdered her lover trying to protect her from the people she summoned. And she is pissed. She turns into a darker form and beings to fight them in grief and rage, and realising they have no choice after being on the defence, murder her too as they cry. The whole theme of “love solves everything”, a common theme in magical girl stories and one that has been demonstrated in this one, gets two people killed because that’s what they embody. Their love was seen as selfish and evil, and they have just killed two people who would have been the types they would have been sworn to save like in all those other fights. It’s safe to say after they return back home, the girls are traumatised and cope in their own ways, from being silent and reserved (Hikaru, which we’ve seen Anne do from the mentions of Toad Tower and alot after the events of True Colours) to blanking out (Umi, remember Sasha zoning out upon entering the Plantar’s home?) to bottling up feelings of grief (Fuu, and do I even need to expain this one), and that this has changed them significantly. Though the damage has been done, later on, Hikaru is chosen as the next pillar and ends up destroying the corrupt system that prevents any more damage being done, and choosing to uphold those values of love. Princess Emeraude did not wish just to end her own life, but also the cycle that would harm others too. 

This is just so, so much, but hopefully you get the gist. Since Andrias is all about undoing the prophecy, I can’t say for certain that undoing or ending it is necessarily good, but I don’t think it’s bad either. Since this show does live it’s moral ambiguity with certain topics and open perspectives about most things (thankfully child murder isn’t one of them), and with the limited information we have about the box and the Core, I can’t say for sure which route it’s going to go. All I can say is that it’s going to get messy. Though it does sound a bit doom-and-gloom, it still does remain a typical fun, run-of-the-mill manga with magical girls and mechas, so don’t worry too much, except for the more depressing bits. 

It’s also serves as a feminist criticism of the shoujo drama, and alot of anime and manga in general: about how purity and innocence are attributed with naive young girls, and how adult, independent and strong women serve as villainous forces. It shows the slight horror of the situation as Hikaru says in the last words of the manga, “It can’t end like this”. Unfortunately, it did. They have been stripped of their innocence as they’ve just murdered two people and their former innocence is gone as they’ve arrived back in their world. People, especially women, are nearly always punished for being in love or gaining their own sense of identity outside of an oppressive system in Magic Girl Rayearth. Princess Emeraude having her own sense of agency and desires instead of constantly caring for the people is seen as a bad thing, and once she does mourn over her lover, turns from basically the embodiment of “young, pure shoujo girl” to “adult, corrupted villainous woman”. Women falling in love, especially adult women, are corrupted and renounce their “innocence” because of their political power and maturity. Women are expected to physically and mentally be “girls'', and that’s that. And honestly, I give so much kudos for Matt Braly, along with other creators, going against that (ironically while writing this, it reminded me of a response from him I cannot find for the life of me where he stated the complaints of Anne’s character he got from) and having such wonderful female characters. 

STUDIO GHIBLI FILMS (DIRECTED BY HAYAO MIYAZAKI)

Films include: Spirited Away, Kiki’s Delivery Service, Nausicaä: Valley of the Wind.

I grew up with some of these myself, and let me tell you from first hand experience that some of these are terrifying for children. I’m very glad the next generation of kids, and some adults and teenagers looking back, are experiencing the same thing with our favourite 13 year olds breaking down in tears as they are injured and possessed. On the other hand, some of these are some of the most comforting and magical things to watch, no matter what age you are. These films can go from light hearted comedies and comforts to tear-jerkers real quickly. 

But, no matter the film, there are usually more sensitive topics being discussed such as growing up, fear, change, family and especially the devastating effects of war and industrialism. Miyazaki often uses whimsy to explore these themes but still remains in touch with the core message, which I feel Matt Braly does do. He has described Amphibia’s core message to be about “past friendships and changing yourself for the better”, but also includes maturity, tolerance, the devastation of war and industrialism, the dangers of escapism, toxic friendships, culture, the importance of role models and parents, trust, death, denial and power which can be quite a lot to handle, especially for its structure. It explains it and demonstrates it in a way kids can understand, but also in a way that doesn’t feel patronising to older audiences. 

From a quick browse at interviews, Twitter and Reddit, he has stated the protagonists from the specific movies Spirited Away, Kiki’s Delivery Service, and though technically not a Ghibli film, Nausicaa: Valley of the Wind inspired him. But, I’m also including Princess Mononoke as it was apparently the movie that got him into animation. I will discuss things I noticed in the other films too, but I feel like these ones are the most prevalent in inspiration. 

Spirited Away could technically count as an isekai. It follows a ten year old in the world of Kami, working in a witch’s bathhouse in order to free herself and her transformed parents back into the human realm. It’s the most popular film the company and he has produced and is held in high regard virtually everywhere, and for very good reason.

Spirited Away terrified me as a kid. And I mean yelling at the TV, covering my ears and eyes, forcibly turning it off and nightmares. One of my gripes is having written children just. Not be like children and act more like sunshine. And I think that Chihiro as the protagonist is just so well done, especially for a child audience. Chihiro’s not exactly a ray of sunshine: she’s stubborn, scared of nearly everything but with no survival instinct in her and starts the movie sulking and unfairly whining. But, she’s a ten year old, and that’s how ten year olds think and act. They’re not exactly blooming flowers, they’re ten year olds. And, in my opinion, by having her flaws well-established but also understandable to a less or more mature audience (either from relating easily to knowledge of the time), it is so much better seeing her mature, learn, grow and get what she wants versus a stagnant character who’s happy all the time except for maybe one dramatic scene. I’m glad Matt Braly embraced making his main character, and other characters, more inherently flawed and not just constant beams of sunshine (slight bias, but I just prefer my dynamics like that) that makes it all the more better seeing them flourish and upsetting seeing them suffer. 

The isekai in this isn’t wished for or exactly good, either. For Chihiro, she’s constantly having to work while being picked on by her colleagues for being a human and smelling like one, being given the worst jobs and guests to handle and also being threatened to be turned into livestock and eaten. Chihiro is stuck in this situation because of her parents’ greed and over consumption, and she even Haku, someone from the Kami world, tells her to run as soon as she can for her own protection. The world is dangerous and foreign to her, without the comfort of her parents or family to help her and instead relying on her own abilities, so it’s no wonder she hates it. Because of her hard work and attitude compared to the constant greed of the others, she gains the respect and admiration of her colleagues (a few in particular) against Yubaba (or Natsuki), the witch. And because of her allies she can get through certain obstacles, such as almost forgetting her original identity, escaping other spirits or helping a customer fully get clean. She’s tough and brave, but she’s also incredibly vulnerable, breaking down when she fully processes the situation she’s in and acting in childlike ways. We can see similar parallels in Anne. She is dropped into Amphibia unexpectedly and spends her first few days stranded in the wilderness where everything wants to eat her, and then has to warm up to villagers who refer to her as a monster and a beast. Both characters learn how to adapt and overcome their situations with the help of allies and family they make along the way, and end up changing themselves for the better.

Unlike the devastating film that is Spirited Away, on the surface, Kiki’s Delivery Service doesn’t seem like much of a heartthrob. It’s a story about a 13 year old trainee witch who leaves her home for the first time to start her training in a big city. It seems like a typical coming of age story, but it’s just executed so well. Kiki, the main character, was a source of inspiration for Anne’s character. While it may not seem likely comparing the two on paper, both characters go through the very, very complicated process of adolescence and dealing with sudden maturity and independence from their family. In Anne’s case, however, it is forced independence, but both characters manage to make their way in this new and strange place through befriending people and making their connections (both literally find their new homes by helping their found families, in Anne’s case helping Sprig escape and befriending him and in Kiki’s case helping the locals and gaining their respect). Both characters become the local oddity of their respective homes, human or witch. But, because of their new setting, they find themselves growing or realising certain things about themselves, sadly being insecurities. Kiki is a loving and energetic but aloof girl that doesn’t know how to interact with the city kids her age, who cannot afford nice shoes or has a specific special talent like other witches, and because of the constant stress of her delivery job from various factors, she grows physically and mentally exhausted, or burnout. Her magic starts fading as she loses faith in herself and she loathes associations with the things she once loved: she cannot fly, and she cannot talk to her cat, Jiji. At the end of the film, while she gets the ability to fly again, she can no longer talk to her cat, but she is content and happy with herself. The film shows her progression and departure from immaturity and shows the loneliness and terror of maturity and growing up, but also shows how it has changed her for the better, and not the worse. In Anne’s case though? We’ll have to see. She has significantly improved, and has shown being significantly more mature and independent, but she’s also gotten a lot worse and probably hasn’t reached her lowest point, which is slightly terrifying. In Anne Sterminator, we’ve seen her and her parents, specifically her mother, struggle with the topic of her maturity too, which though addressed in the episode (communication good), may be a bit of a bigger problem than we think, considering her change in attitude towards the Plantars over the course of Season 3A.

Nausicaä was actually one I hadn’t really heard of until recently, but I heavily recommend you do. It’s really, really good. It is about a princess of a valley in a post-apocalypse world where poisonous spores grow into jungles with strange bug-like creatures. It heavily digs into themes like anti-war/violence and environmentalism, and the designs are just beautiful.

Miyazaki has stated that Nausicaä “is not a protagonist who defeats an opponent, but one who understands, or accepts. She is someone who lives in a different dimension”. Nausicaä, despite being a brave and skilled fighter, hates fighting and is incredibly humane and empathetic towards all kinds of life. She’s incredibly intelligent and skilled, especially for a sixteen year old princess, studying the Sea of Corruption (that is ironically the spore jungle) and its inhabitants, almost knowing how to communicate with them and also being an amazing windrider. Nausicaä is a fusion between the princess of the Odyssey with the same name, and a folk hero “The Princess Who Loved Insects”. Miyazaki said she is “governed by some kind of animism”, as she is, unknowingly, part of a prophecy as the hero “clothed in a blue robe, descending upon a field” (her main colour is also blue, by the way, and descending? Like how we’ve seen Anne levitate and with all the star references?). I have not read the manga, so I cannot confirm this, but she also apparently has psychic abilities, such as telepathy. 

TL;DR 

Anne’s Calamity powers could end up really good, really bad or both, but it could be “good power, bad context”. Marcy may have an older sister she idolises, and sadly, the possibility of neglectful parents and siblings, while Sasha (though we could all tell already) is rich and spoilt, she has a broken family from a single incident, probably the divorce, or something that could have led towards it and has something going on with her dad. Sasha, contrasting to Anne’s fire-inspired abilities, may have water-based ones if she ever were to access her Calamity powers. Marcy’s abilities are more uncertain, but air-related abilities could be likely. The prophecy is sketchy and possibly corrupt as Hell, and we are in for some world-breaking (literally) shenanigans. The Core may have been created in a desperate attempt to remain immortal. I’m begging that my silly theory on “the invasion with Darcy will bring an eclipse” will be right. The shippers will maybe have a ship become canon, but at the cost of an almost death, or even an actual death. Plantar fans and Grime fans are nearly definitely fucked as there is a high chance of death. The real villain is the strive for power, more obviously with Andrias, and if the Night is different from the Core, more literally the embodiment of power. For the constant purple, there may be a fourth purple gem which could be what that frog in the mural is holding in the opening that could be the sort of power-source or heart of Amphibia that maybe got put in the box or is hidden somewhere in Amphibia. 

[oumakokichi]

Do you think that Kokichi had any remorse for Gonta during trial 4 or did he actually not care? I've seen a lot of people saying different opinions from both sides of the argument. But I'm really confused because there was a moment where after Gonta was executed, correct me if I'm wrong but Shuichi asked Kokichi if he could reveal the secret of the outside world (?) But Kokichi replied with something like “I don't want to....” and seemed generally upset? But then a few moments later he snapped out if it and began acting like he had no sympathy whatsoever. I just really wanna know how Kokichi actually, truly felt about Gonta and if he regretted manipulating him. Sorry if you've already been asked this and have already given an answer, thank you!

Hi anon—I actually wrote a pretty big master-post on chapter 4 not too long ago which I think more or less sums up my thoughts on Ouma’s behavior in the post-trial! You can find it here if you want (it’s pretty long and I tried to answer a whole bunch of questions about Ouma in chapter 4 specifically, since it’s the chapter I get asked about the most).

More specifically though, I’m afraid that there is no easy, definitive answer to that question. I can only share my personal opinions about how I believe Ouma felt in that scene. And personally? I do think he was genuinely upset and distraught about Gonta’s death, that he even momentarily considered giving up all his plans and being executed alongside him, and that he cared about Gonta and deeply regretted using him as a sacrificial pawn in his plans.

I’ll discuss what I mean in more detail, but it’ll probably get pretty long, so I’ll put the rest of this post under a cut as always!

The thing is, though, I’ve shared my personal thoughts about the chapter 4 post trial many times, including my reasoning and all of the textual evidence that shows how much Ouma cared about the rest of his classmates. But ultimately, there will probably always be some people who disagree, because their reading of the text will always be a little bit different. Unless we ever have an interview from Kodaka in the future where he directly says, “this is what Ouma was thinking and feeling at this exact moment,” there really won’t ever be a way to know what was going through his head with 100% certainty (and I do feel like leaving it open-ended is something of Kodaka’s intention, anyway, especially since Ouma is supposed to be a very polarizing character).

That being said, I do think it’s worth analyzing the text and drawing your own conclusions, because ndrv3 is a game that changes a lot depending on how you interpret it, and Ouma’s character is included in that. It’s really easy on a first playthrough to get wrapped up in what Ouma says or does without really looking at why he says it, or at his underlying motivations. Going back through the game on a replay though, I do personally think it’s possible to guess at what he might have been feeling during those super conflicting scenes in chapter 4.

In my opinion, I think Ouma did truly care about Gonta as a friend, and that his guilt and remorse over what he did was genuine. Not only did Ouma and DICE have a very strict taboo against killing (mentioned directly in his motive video in Japanese, though the part about it being an actual rule was stripped from the localization), but we don’t see Ouma’s façade crack like this very often. Most of the time when he does his trademark “crocodile tears,” it’s with his very loud, exaggerated crying sprite, and he bounces right back to acting normally within a moment or two.

There are a few exceptions to this, of course—he uses the “crocodile tears” sprite to cry at Kaede, Amami, and Toujou’s deaths, but it’s still very likely he was shaken up by seeing them dead). Nonetheless, we don’t see his much more subdued crying sprites more than a handful of times, particularly in the chapter 4 post-trial just before Gonta’s execution, as well as in Momota’s flashback in chapter 5 when he talks about how Ouma actually hated the killing game the whole time.

I’m aware that some people simply brush these moments aside and assume that Ouma is lying though all of them, but I personally just can’t agree with that interpretation. Assuming that Ouma is lying whenever he shows remorse or guilt or hatred for the killing game means assuming that he’s telling the truth in pretty much every other scene—which doesn’t make much sense, given that his entire character is centered around the concept of lying, as well as moral ambiguity and subverting expectations. Assuming that Ouma actually means what he’s saying 100% of the time unless it just happens to involve showing any kind of guilt or remorse turns him into a very boring, predictable, uninspired character (none of which are words I would use to describe him personally).

Ignoring those moments where Ouma shows genuine attachment to his classmates and distaste for the killing game also means ignoring several key pieces of evidence and clues about him that we are directly provided in the game, including his motive video and Momota’s flashback in chapter 5. Personally, I don’t feel like there’s any reason to include these scenes at all unless it’s to help shed light on Ouma’s motivations and provide players with a clear reason to try and go back through the game again to look at Ouma’s actions through a new perspective.

I also feel that Ouma genuinely cared about Gonta because to put it simply, there was no incentive for him to lie in that scene. He got absolutely nothing out of it—and considering he turns around and starts playing the villain on purpose all of 5 minutes after Gonta’s death, he definitely wasn’t trying to earn sympathy points or trick the rest of his classmates into trusting him. In fact, he could’ve easily tried to make himself look more sympathetic by putting all of the blame on Miu for trying to kill him, or even on Gonta. But instead he fully admits to coming up with the plan to kill Miu and spends the entire post-trial trying to convince everyone not to hate or blame Gonta.

If he was truly as sadistic and horrible as he pretended to be, I think he would’ve pulled a 180 and started throwing names and insults around while Gonta was still alive to hear it, not after he was already dead. If he didn’t care at all about Gonta’s feelings, he had no reason to try and take all the blame on himself while insisting that none of what happened was actually Gonta’s fault. If anything, revealing himself to be this horrible, evil villain who enjoys seeing other people suffer or die would’ve really been adding insult to injury, and probably would’ve crushed Gonta completely, even before his execution started.

But… Ouma doesn’t do any of this. Despite having every opportunity to either portray himself as more of a victim and fling all the blame on Miu and Gonta, or else to completely embrace being a villain who loved seeing people suffer, he doesn’t do either of these things. The way I personally see it, Ouma waits until Gonta is already dead, and when the rest of his classmates begin pushing him for answers about the outside world and demanding to know what Gonta saw, that’s when he finally snaps and resigns himself to acting like a villain in order to make everyone hated.

You could argue that trying to make everyone hate him had a twofold effect: it helped set the stage for him to pretend to be the ringleader in the next chapter, which he clearly wanted, but it also was a way of taking things out on himself and shows just a small glimpse of how much he hated having to dirty his hands in chapter 4. After all, Ouma even says it himself: that the “role of a villain is perfect for him,” because he’s already made everyone hate him. We see Ouma occasionally tease or antagonize the rest of his classmates plenty of times throughout the game, but it’s true that he doesn’t really step into that “villain” role until the end of chapter 4, once he’s crossed a line that he can never come back from by manipulating both Miu and Gonta to their deaths.

None of this is to say that what Ouma did to Gonta is okay, by any means. I think he definitely did care about Gonta and even thought of him as one of the few trustworthy people in the killing game, even someone close to a friend, but that doesn’t mean that manipulating him and using him like a chess piece was okay in the end. I just also think it’s important to realize that there were plenty of extenuating circumstances that led Ouma to act the way he did—including the fact tha he knew Miu was going to kill him, that he already suspected she had measures to prevent him from fighting back or killing her himself in the VR world, and the fact that he did not want to die or get everyone else killed in the trial.

It’s possible for people to care about others without necessarily treating them the best or doing the right thing. A huge part of Danganronpa, something that’s been evident from the very first game, is that sometimes characters can and do hurt each other, even when they care about each other or wouldn’t be a threat otherwise.

It’s the existence of the killing game itself that causes so many characters to go to extremes that they normally wouldn’t, whether it’s Maizono trying to frame Naegi in dr1 despite caring about him a lot, Kaede deciding to try and commit murder under everyone’s noses despite trying to unite the group and wanting everyone to trust her, or Ouma using Gonta as a pawn to kill Miu in his place because he didn’t want to die.

At the end of the day, people are still probably going to have very polarizing opinions about Ouma and the things he did in chapter 4, and that’s honestly okay. In my own opinion, Ouma definitely isn’t a completely flawless, innocent baby who “did nothing wrong”—he absolutely is manipulative, cold, and calculating when he wants to be, and it’s a fact that he got two people killed, even if he didn’t want things to reach that point. But I also personally don’t think it’s fair to write him off as the exact kind of “evil villain” he pretends to be; not only is it a shortsighted interpretation of his larger motivations, but it also completely ignores any replay value and completely shoots down the appeal of trying to interpret Ouma’s thoughts and actions because “he was lying about feeling bad anyway, what’s the point in analyzing him.”

Tl;dr: I do think Ouma cares about Gonta, that he probably even thought of him as the closest thing he had to a friend in the killing game, and that what he did to Gonta in the end wasn’t okay. I think he really did respect Gonta for being such a sweet and kind person, but that he also knew Gonta was extremely naïve and that he would be one of the easiest people in their group to manipulate, hence why he decided to rely on him instead of anyone else. Their friendship is an important part of both of their character arcs, but it’s definitely not what I would call “on equal footing.”

I understand why Ouma’s actions might make some people really resent him, but I also believe that kneejerk reaction of anger and dismissal is exactly the point: Ouma does feel terrible about the things he did, but he doesn’t want anyone’s sympathy or forgiveness, not even the player’s. This, in my opinion, is why he starts embracing the villain role so completely from this point on, and why he’s never quite able to make the same sort of cold, calculating sacrifices in chapter 5 that he did in chapter 4.

I hope this helps answer your question, anon, along with the other chapter 4 post I wrote! Thank you for all your support!

[thedorkmagiciangirl]

The Missed Thematic Importance of Anzu’s Speech

Okay everyone in the ygo fandom guess who watched Anzu’s speech to Kaiba in the sub and had FEELINGS?

And to be honest, I think all of people miss what she’s saying, especially in the original Japanese since some people are more familiar with the dub.  So I am going to explore what she says, what it means, and how it connects to Yu-Gi-Oh!’s themes as a whole.  Let’s get started.

All right, what should happen first is that we actually establish what she says, right?

Here are her speeches, manga and sub.  I’ll probably make another post about the dub version of her speech later.  I’ll be using the official Viz translation for the manga and the Crunchyroll translation for the sub, which while they have their inaccuracies are accurate enough for our analyzing purposes.

Manga:

Kaiba:Games mean conflict.  A combat between two enemies...It’s the same for all of them!  Cards...chess...the bloodsoaked wars of the human race...all these are different kinds of games...Do you know what God gave to people so they could play games in this world?  A single chip...called life.  When I threw my chip of life on the board...Yugi exposed his weakness and lost the game!

Anzu:That’s not true, Kaiba!  You’re the one who lost! 

Kaiba:What?

Anzu:You say people struggles are a game!  That’s totally wrong!  Facing yourself no matter how tough things get...and keeping up the fight...that’s what games are really about!  You bet your chip of life as if it meant nothing!  You lost to yourself!  When you realized you were going to lose, you didn’t have the courage to keep living!  Listen...real courage is protecting that chip you have in your hands...No matter what!  The moment you give that up is when you lose!

Jonouchi also chips in after this, pointing out that it was Yugi who saved Kaiba’s life when Kaiba was throwing it away.

Sub:

Kaiba:You showed weakness in the end, Yugi.  If you were willing to send me into the abyss, you would’ve won.  As a duelist, you made a foolish choice.

Anzu:You’re wrong!  You’re the one who lost the game, Kaiba!

Kaiba:What?

Anzu:Kaiba, you tried to throw away your most valuable chip: your life.  You lost to yourself!  You didn’t have the courage to face yourself to the end!  Real courage is to protect your chip - your life - no matter what the situation.  You lost when you threw it away!  Yugi saved your chip of life!

Now let’s break it down.  Anzu uses some gaming metaphors here (appropriate for this series) and other roundabout ways of speaking, so let’s put it in more direct words.  What is she trying to tell Kaiba?

Being courageous is being willing to live, and by extension, never giving up on life.  Courage is living with your failures, with loss, and with regret.  This is her philosophy.  Every time a dancer falls, she gets back up and tries again.  Every time someone told her they didn’t believe in her dream (given that she assumed Yugi and Jonouchi would make fun of it, it seems likely that this happened in the past) she keeps working at it anyways.  It’s even similar to what she says following the duel with Johnny Steps.  She yells at him for quitting because as she says, she’ll fail a hundred times but she’ll still pick herself up and keep trying.

What’s important about this is that it serves as counter to Kaiba’s philosophy, taught to him by Gozaburo.  Losing.  Equals.  Death.  In Kaiba’s philosophy a loss is final.  It’s the end.  Anzu is telling him that’s wrong, and that a loss is only the end if you make it so by gambling away your chip of life.  Indeed, it’s actually similar to what Mai says to the Other Yugi at the end of their duel in the Duelist Kingdom finals about loss.  There are two kinds of loss, one that is a stepping stone forward and one that is the end.  The difference between a loss that’s a step forward and a loss that’s the end is in your mindset.

Contradicting philosophies are a core element of yugioh as a whole, and duels are really just elaborate metaphors for showing these philosophies come into conflict with each other.

Anzu using the same analogy Kaiba did is also a rejection of Kaiba devaluing life by reducing them to chips to be gambled away.  No, she says, life is not worth so little.  The chip of life is the most valuable.  It’s to be protected.

Now, I know what you’re thinking.  Or I can guess at least.  But, Dork Magician Girl, you’re saying, Kaiba didn’t just gamble away his chip of life for nothing.  He was dueling for his brother, and Anzu didn’t know that at the time!

Good point, I say to you, reader.  But it ignores a few key points as to what happened in the duel.

1. His threatening suicide was not a strategic move.  It was one born of emotion.  Prior to his doing so, he has a vivid hallucination of failing to save Mokuba, and then Kid!Seto, in the manga, glares at him, and in the sub, yells at him.  He was not making a plan to try to save Mokuba.  He was desperate, not thinking things through, and he had other options, as I’ll point out below.  This means his impulse to try to commit suicide was just that, an impulse, and Anzu is right to point out that that should not be your impulse.  It really shouldn’t be.

2. Now this is more up to interpretation, but let me ask you a question. 

Did you think Kaiba thought Yugi would back down, or did he make that plan with the full intent of dying? 

... If he made that plan with the full intent of dying, then Anzu was right on the money, regardless of the limitations of her knowledge.  He was throwing his life away, so he wouldn’t have to live with having failed Mokuba.  And I personally think he was planning on dying.  Remember that Kaiba is more familiar with the Other Yugi than Yugi.  Remember that the Other Yugi was going to go through with it.  It’s ambiguous here what he intended.  But either way, Anzu still has a point.

In a way, it was a win-win for Kaiba; if Yugi backed down, then he won and would have the chance to save Mokuba.  If Yugi went through with it, he would be dead and wouldn’t have to live with his failure.  But the second option is selfish; it gives up all hope of saving Mokuba through another route because Kaiba would rather die than admit weakness.  (Like, he could have told Yugi about Mokuba and probably gotten him to back down that way.  The suicide gambit was not the only way Kaiba could’ve gotten Yugi to back down.  But it was the only way for Kaiba to avoid expressing Actual Human Feelings or depending on someone else to help save Mokuba. Kaiba will do anything to save Mokuba...except depending on others, asking for help, exposing weakness, or talking about feelings.  See the finale of Virtual World Arc 1 where if it wasnt for a Deus Ex Machina he would have gotten Mokuba killed because he was too prideful to go along with Yami’s plan.  Also, he’s deliberately withholding this information from them, though there isn’t a good reason for him to do so.  In the manga he says “I’ll gladly die for the cards” just to make it look like he has no other reason to threaten suicide.  Why?  Because Kaiba, that’s why.)  Anzu calls him out on this, because that is cowardice to be unwilling to face your own loss, which beside his pride, is Kaiba’s main flaw.  He cannot accept defeat, loss, or failure.  She’s right on the money, and we’re gonna go into this more later.

3.Sure, Anzu may not have known about Mokuba...but she still hit the nail on the head about Kaiba’s philosophy.  He’s not able to recover from losses.  He’s hung up on the past.  He can’t overcome grief.

The divide between looking at the past and looking at the future is another central theme in Yu-Gi-Oh!, placed at the forefront in the Battle City Arc.  The Other Yugi’s goal is to find his memories, and in the end he literally relives the past.  However, Seto Kaiba represents the opposing viewpoint, especially in his duel with Ishizu when he rejects her philosophy.

“The future is infinite!”  He says.  “The past is a series of footsteps!”

How ironic then, that in the end, he cannot stop focusing on the past, when everyone else is moving forward.

In the Dark Side of Dimensions movie, Yugi and co. sit atop a rooftop talking about the future.  They talk about their dreams and plans and eventually decide that when Yugi creates his first game, they’ll all play it together.  Meanwhile, Seto Kaiba broods alone in his lab, recreating the past through Atem’s hologram as he’s surrounded by a bunch of “sycophants” as he calls them.  The parallel here is clear.  Yugi is not alone, and he’s moving forward from Atem’s loss.

Kaiba is not.

In the end, Seto Kaiba uses his dimension cannon to go to the afterlife, with no guarantee of returning.  He cannot promise Mokuba that he will return.  He reaches the afterlife and reunites with Atem, but he may have killed himself in the attempt.  The ending is ambiguous, up for everyone watching to decide for themselves.

What I believe is that Seto Kaiba chose to live out his philosophy.  Losing equals death.  Just as Anzu warned him, in Duelist Kingdom all that time ago, he gambled away his chip of life.

[crispyapplepies]

AkuRoku Defense pt 2

Axel and Roxas’s ship has had one of the most bizarre fandom journey’s i have ever come to witness. It has gone from being one of the most popular ships maybe ever, to being dead cancelled over a supposed age gap and I find that completely unfair, especially when it speaks to so many innocent people who emotionally depend on the ship, (yes innocent includes the spicy people because art literally is not a crime). So its time to defend it.

Brief Review on Nobodies vs Aging

First of all, l already explained in part 1 what the Nobodies Don’t Age thing means but I’ll go over it again briefly, since it can be confusing, though also many people seem to demand their hands be held rather than use their imaginations to understand. Even so, here’s the short version just for a review:

-A person in KH is made of a heart, body, and soul.

-The body reflects the heart in KH. (See: replica bodies taking on the appearance of the heart that’s inside them). 

-A nobody lacks a heart, making them just a body and soul. They’re advanced zombies of sorts.

Nobodies do not age because they have no heart for the body to reflect. This is why they won’t change until they form one. Change includes age

-Ergo, you can imagine any age you like for Axel to be nobodied, cuz he was frozen at that age and did not change for 10 years. Not until he met Roxas. 

We’ll come back to this again later.

Axel Loves Roxas Canonically

Second of all, Axel loves Roxas and you are allowed to interpret that as platonic, familial, or romantic, I don’t care as long as you’re not forcing that idea on others like the ship police. That said, people are allowed to explore how romantic this love potentially is. 

And what you might like to know is that the canon is even open to this. Axel’s love for Roxas is canonically expressed, and if you would like, you can even interpret that love as romantic. See below:

We are going to look at the japanese translation because AS ALWAYS good old SENA is here for the straights and erases the gay, like clockwork. 

In English, Axel says this:

Axel: I wanted to see Roxas. He...was the only one I liked... He made me feel...like I had a heart. It's kind of...funny... You make me feel...the same...

Axel’s line here in Japanese:

Axel: I wanted to see Roxas... I loved him. Being with him... it made me feel like I had a heart. I feel it from you, too... the same kind of....

You may notice that as romantic as the line “he made me feel like I had a heart” sounds, the original can be read as wAY gooier, specifically cuz of this word:

好き: "suki"

Now here’s the thing. Japanese is a pretty vague language which is why context is so important for these things, as well as what you say, and what you don’t say. 

“Suki” is a very key word here because it is often used in romantic confession scenes.

(I have no idea what this panel is from, I apologize lol) 

It CAN mean something casual, like “I love video games”, but considering Axel is saying this with his dying breath, I don’t think we should be treating it as some hyperbole. He is referring to a person and it is meaningful. However. It is still a word with plausible deniability. Japanese has several words for love, “ai” for example being one of the most inarguable means of referring to romantic love. So choosing “suki” still leaves room for the homophobes to disregard it as something not romantic. Which makes it objectively inconclusive. Here is the thing though… they specifically chose that word, suki, a word which IS so often used in a romantic context in many anime and manga. 

They also chose to use that word rather than something objectively platonic. Which means you also cannot conclude Axel did NOT mean it romantically. Given his devotion to Roxas, and the fact that they chose this word of all words for him to say… I’m personally going to assume it’s romantic. You are free not to interpret it that way. But I am because I am considering the fact that they did not choose something strictly platonic. 

(My translator friend actually freaked out when I showed her this, she’s translated and seen enough confession scenes to know what connotations that particular word comes with lol). 

If you’ve read my queer coding doc, you may recall I also go over how this is one of the most important tricks with queer coding. You write something that CAN be viewed as queer but with plausible deniability for straight people to ignore it. It’s a means of protecting oneself and the text from homophobic oppression. It is a legitimate practice. So even though it can be denied as a queer text, it can also very very well be viewed as a definite queer text. We are choosing to queer it here. It is not as explicit as it could be, but it is still very bold, suggestive coding considering the homophobic world we live in, and especially with KH2 being released in 2004. 

“But Age Gap!” (ughhhhh)

We’re back to this cuz I also finally have the Japanese version of that infamous page in the Day’s novel to look at.  

I hope you’ll forgive me if I get a little bit salty but I don’t like to repeat myself lol so I’m gonna try to keep this section short and to the point.

In this interview with Nomura, he expresses that nobodies do not age, and they exist as they were at the time of becoming a nobody. He then suggests Xemnas seems 30 ish.

Now I truly do not care to hold your hand through the process of thinking creatively because you should be using your own imagination, if you have one, to think critically and creatively about what this idea means.

Kingdom Hearts is a FANTASY game. Nobodies are a FANTASY concept. They can break ALL the rules about real life that you want them to. But I will go ahead and explain this for you even though I’ve already done it many times, in this very document even and in other meta posts.

The body reflects the heart. Nobodies are frozen as they are from the moment they are “born”, which is to say the moment they are created. Glorified zombies. They aren’t going to age unless they form a heart. Why does Xemnas look 30? He has a heart! Or he was formed 10 years after TerraNort defected. You tell me. Why did Ienzo age? I dunno, you tell me! Either he formed a heart and didn’t know it, (he’s passionate about his work, he loves Ansem the Wise, any number of things could’ve made him form a new heart), or he was nobodied later in life. Axel is frozen at whatever age he was when he was nobodied, all the while Ienzo could’ve been nobodied 10 years later. It’s a fantasy, and these are fantasy rules. That scenario can happen. YOU decide. Until the canon tells us for sure, your imaginations can run wild with explanations. Even if the canon does tell us, you can still imagine whatever you want for your own headcanons. Freedom is amazing, it’s salty and sweet. 

Now let’s talk about that annoying page in the Days novel people keep shoving in my face.

This one right here. The official english translation is this:

That’s not the worst translation I’ve seen them put out there. But let’s look closer at the Japanese:

 Here, Axel says he thinks Roxas is about 10 years separate from himself, but things like age don't exist for nobodies.

Already that’s making a lot more sense to me for nobodies since we are told nobodies do not age. As such Axel speaking like he is 10 years older would feels almost contradictory when he has no heart and cannot change. 

This wording is important. Recall me saying that Japanese is very vague so all of the context matters. No one is denying that 10 years passed between Birth By Sleep and Axel meeting Roxas. However. Nobodies don’t age.

(please dont make me explain that a third time in this essay alone)

The Japanese and English both express that age does not apply to nobodies, (as discussed above^^^^) and the Japanese furthers this with its wording. They have 10 years of separation between Axel being nobodied, and Roxas existing.  

Axel saying in English that Roxas is simply 10 years younger than himself is rather misleading considering the ambiguity of the original. I can’t fault the translators too much for not understanding this nobody concept so well because it is obviously confusing. However, I do not think Axel was saying Roxas is literally, in real life human somebody terms, 10 literal physical years younger than him. He is expressing that he became a nobody 10 years ago whereas this guy became a nobody very recently, and it shows with how little he can even function right now. A zombie who has been wandering around with no heart for 10 years meets a fresh zombie wandering around with no heart for 1 day. 

I know antis are gonna use it against us no matter what, but at least know that akuroku is not inherently pedophilia nor is it inherently an adult/minor ship.

In many of our headcanons, Axel was frozen at age 18 or 19, with Roxas being 16. Absolutely no one is required to view them with a big age gap because imagination is free and you literally have no right to police it, but also because the canon expresses these nobodies as beings outside of the realm of age. They do not operate under real life rules or somebody rules. Think of Steven Universe where Rose was thousands of years old but only “grew up” as a person when she fell in love with Greg, a human in his 20s-30s who asked her to consider other people’s feelings. Consider the mind of a nobody as a state of Neverland. You aren’t gonna age unless you step out of it and change. Mature. Isn’t it sad that Axel did not feel like he had a heart until Roxas? No wonder people ship it!

Coding is Obvious

Finally I wanna conclude on a simple thought. This interview right here? I’d be curious what the original Japanese actually says lol but the english translation of it says that romantic akuroku was not Nomura’s intent. 

Here’s the thing though. If you know anything about queer coding, you know that using romantic coding between 2 male characters is signaling something. It is not something you should ignore. It would not be there if the characters were meant to be viewed as objectively straight. And for something “unintentional”... there sure is a lot of coding at work here.

From Axel pinning Roxas down and asking him to come home in a very sexually suggestive pose,

to watching the sunset in sheer bliss together just enjoying the peace of reunion,

to watching the sunset together while talking about what LOVE is, specifICALLY romantic love,

To this. And I already told you what this was in Japanese.

I’m not saying Nomura lied…

But I am saying that a whole staff worked together to create these games, and it is very difficult for me to believe that no one thought to say “these characters appear to be romantic, let us change the scene to be more platonic” if the characters were not meant to be romantically suggestive. 

Tl;Dr I wanna live in the timeline where people let you ship akuroku lol

[catflowerqueen]

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

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

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

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

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

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

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

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

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

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

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

[blue-bird-lamentation]

this the story post: melohax[.]tumblr[.]com/post/639167543643340800/warning-spoilers-ahoy-only-read-this-if-youve the game has like so many secret scenes it shocked me

Thank you so much for the link!!!

I really liked reading it. I tried to skip the hikikomori route part as I will try to calmly play it, but I‘ve read a few and, as a person who saw that seen of a man trying to cut a tree and saying “you’re not my son” it intrigued me a lot what kind of information I will get from there.

I’m still puzzled and still didn’t try to see what would happen if I collected the wrong letters and if I has opened the door to Mari.

I went far on this answer and wrote a lot of random topics that are also mentioned in that post and other things I remembered too. It’s still too messy, but my memory is fresh and I decided to write about what I was thinking, even if not organized. Sorry for using your ask, but I was inspired by the link, which I think it’s a very interesting reading. I’m also sorry for the mistakes and I may come back later to correct them. There are so many fascinating things in the game, and so many others I haven’t yet explored, besided I feel good writting all of this as it is kind of asfixiating to thing about it and not having anyone to discuss it with.

This game was a rollercoaster. I knew from the begining that the cute artstyle and the pastel colours in the begining were deceiving, especially when you start in a weird whitespace room and take a knife. Omori as a black and white coloured character among the other paster colours also felt weird.

One really interesting comment I received from my brother when he watched me playing a bit, in a fight, was  “oh your character is the real neutral one, the others seem happy” while all of them were in neutral mode. Also his happy expression was scary and he was the one who got to maniac aside from villains (at least for me). The fact he has a knife intrigued me a lot if I should really fight but at first it looked like there were no consequences (aside from feeling tremendously bad for being called bunny killer. Also about these little enemies, it’s interesting how many of them were bunnies when the person we find who has a bunny is Aubrey, which is also the girl from the group that is now “against us”, at least most of the time in the real world).

Also about the knife, there are two other moments that totally hit me:

- the suicide in whitespace, which could foreshadow his suicide in some routes, but is also the means to wake up;

- Kel and Aubrey in the real world who call us out for bringing a knife, which, since the begining, was the correct thing to do.

I really wonder a lot about his family and their decisions.

It’s been 4 years. I wonder if Sunny’s mom ever put him into some kind of therapy, I wonder if her absence was on purpose because she wanted him to say goodbye to his old friends one last time. I wonder if Kel’s visit wasn’t a coincidence. I wonder if Hero coming back was also part of a last chance to bring Sunny back. I don’t know if the other route answers it, but seeing the notes and messages that mother leaves, she seems to be worried about him. I would say a mix of worry and fear, so there must be some strong reason why she’s not there besides going to buy some furniture or whatever.

Saying this, I think only Sunny’s parents know more or less what happened, but not from their son’s mouth, from autopsy report perhaps. The house was adapted to the changes: no family picture, as opposed to what I saw in Kel’s house (and I wonder if it’s only because of Mari or also with his father too as described by the cutting tree scene. I had thought this was directed to Omori and not to Sunny, but this is also part of the dream realm, so it could be Sunny’s interpretation to the end of his parents marriage which was related to Mari’s death), Mari’s bed is gone (which made the scene when she knocks the door even creepier. I never got to open the door because I was scared, but I’m also curious). Also about the 4 years,  I liked the detail of the 4th floor sign in Last Resort, which was resting there on the floor, as the number is also cursed because it symbolizes death.

I find fascinating how the complexity of the situation is represented in the dream world. His team is composed by his old friends, which are human. Mari and Basil are also human but they weren’t totally present. Mari is the safe point and overprotective of Omori, but she is also the element who encourages him to face his fears. As he faces his fears, he unravels more information about what he repressed, also helped by the presence of the blackspace Basil. But it’s ironic as the more he unravels, the more corrupted the story seems to evolve, but also the more they lose the main purpose of rescuing Basil, which is more evident in the deeper well.

I believe the human figures are the most important to him, and then there are the elements that combine real world figures with fantasy, as the candyshop girl and the fiction space boyfriend. Each story is fascinating but it also makes you lose focus on what you were supposed to do. And in my case, there was a point where I just wanted to wander around in these stories because I was to afraid to face the real story that was masked by this fictional colourful world.

These olde friends represent perhaps what Sunny never wanted to have lost, but also what he does not want to face.

When Sunny woke up in the hospital, I first followed the kids, and no, that wasn’t the right path. That was the safe path, where there is no confrontation with reality. As it was when Sunny was with company. I think it is Aubrey who says he doesn’t like to be alone, and well, that was me the whole game, imploring to not be left alone, because once the character was alone, his world seemed to be corrupted by the black space, which was also a stepping stone to reach the truth, the dark truth.

And I really like how this is all Sunny’s mental effort, which, I would say, it’s helped by him leaving his house and meeting his friends once again, as well as facing Basil one more time.

I was really sad with how the story developed. What started I was assuming it was a facing your fears story, transformed into an overcoming someone’s death, which at first I thought it would be Basil’s, to go to Mari (which was a total mystery to me why had she died (my ingenuity believed it could have been some traffic accident or something else) at first), to go to save Basil again, but now with some dark remarks about the character himself. In the middle of this development, first time the character wakes up, it is clear that the dream world character is not the same as the real world one, age wise, but is part of him.

I had written that at first I was reluctant about the fights, but well, they were necessary to me to face the villains of each arc. But at the same time thery were never too difficult (I think the most difficult part to me was to be strong enough for the Dino Dig and the rest was pretty easy). When, at the end Sunny had to face Omori I was shocked. So, the guy I had been training which was very seemingly sadistic, did I simply train him so that if Sunny wanted to face his trauma, he would hunt him with his strenght? Like the stronger I made him, ther bigger the reluctance to overcome the past. And while this sadistic character seems to be what I would compare to a Chara in Undertale, to me it was the harsh self conscious, critical part of him who could never forgive for what he had done. And which was also manifested as the monster surrounding him and Basil. It was their perception that what they had done was unforgivable, but at the same time neither of them wanted to carry that burden alone: Sunny “forgot” it, Basil manifests it by making those toxic remarks like “you aren’t going to leave me alone again, are you?”.

I don’t know if we get to see more of Basil’s backstory but he also got me curious. I think that what both of them did was bad, but given what happened between Sunny and Mari, it was really hard to know how to face it. I don’t think it makes them willingly villains, but scared children who were very self conscious and didn’t know what would happen if people found it out.

However, hadn’t Basil been there, Sunny would have been found right away next to Mari’s corpse. So I wonder what led Basil to propose such idea and to make Sunny’s burden heavier, which made him ambiguity of his disappearance with the will to save him as a friend.

I don’t think it was an ill intention, but Basil created excuses to protect Sunny because he was important to him and to the group. As the photo album showed, Sunny was the younger element, seen as the baby of the group, and he was shy, but he loved his friends even if he looked the most expressionless.

I think these elements awoke in him the need to protect Sunny from the darkness that lied ahead his actions, but he didn’t realise how heavy of a burden that would be. At the same time he probably had some issued regardin expectations and self worth which probably told him that they could never be tied to such a cruel action, even if it was accidental.

In my perspective he didn’t see the dark shadow surrounding Sunny at the time, but he engraved the memory as an act not commited by Sunny but by something surrounding him, pretty much like when he started attacking him at the end.

I like to think that, good ending wise, the malevolent side, Omori is not necessarily a potential evil that was always within Sunny, but the self guilt and lack of self worth. The fact the Sunny wouldn’t leave the house and didn’t even take good care of his health shows it. He is self destructive, because guilt consumes him, not a person who needs to apply suffering in the outter world for his own satisfaction. The whole struggle is within Sunny and not ot become a bad person per se.

Some of Basil’s dialogue was too much for me, mainly when he kept repeating for Sunny to not leave him. However I totally understand why. Sunny covered the what had happened while Sunny had to live those years knowing what they had done, as if he was the only one carrying the burden.

It’s a real complicated story where everyone was the victim.

It was so hard to see how sad and angry Aubrey was, and how she had to make new friends to overcome, how alone she was all the time. How Kel kept being such a good person, however had to move away because he didn’t know how to face the others, afraid of being misinterpreted. Hero’s pictures with Mari break me everytime. “A match made in heaven” Basil had written in the description of one of the photos. The fact that he is the element in the group that cooks, but 4 years later he had given up. The fact he can’t face Mari’s grave. The way Kel describes his struggle over Mari’s death. The way he didn’t make new friends in college, although he says it was lack of time. Basil is completely broken and can’t even touch the camera anymore and tries to “destroy” the old memories, which Aubrey discovers. Sunny’s parents, as their life turned upside down. And probably everyone around was too afraid to know how to act around them.

I really like how despite everything, the human figure that Sunny creates of Mari is forgiveful and so cheerful. Mari is such a good influence that wants to help him overcome the trauma for himself (especially when she helps him overcoming the fear of drowning and calls him Sunny for the first time. The ways she asked for his forgiveness for pushing him so hard into playing the recital. It is still part of Sunny’s dream but it’s so in Mari’s character. I believe this part is also connected to the scene where we see her saving Sunny in the real world).

I will end this text here. I will eventually come back to it, and to the omori tag, because this is certainly a very good game with a lot of space for debate and reflection.