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#(reading about a protagonist who has no mental changes over the course of the story is no different than watching... a nature documentary)

reikiajakoiranruohoja · 2 years

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Thoughts on why adaptations rarely depict the source material ft. Dracula Daily

Now as we come to the finish line of Dracula Daily, there are many thoughts stirring in my head about it. I feel the strongest is how much of the actual story has been lost through adaptations.

Now, I have always known this, Frankenstein taught me well about the disconnect. But being a fan of urban horror makes vampires and therefore Dracula a much closer thing for me.

The biggest change you often see in adaptations is treating Dracula as Lucy's and Mina's saviour. He comes to take them from their stifling Victorian lives and gives them agency through vampirism. After all, those stuffy Victorians would never understand the sexuality of a woman!

Yet, reading the original novel, that is almost the opposite of what happens. Both Lucy and Mina are happy in their lives. Not in a 'they don't know any better' -way but actually and honestly happy. They have significant others who love them and would move mountains for them. Though they might be socially restricted by the society they live in and Mina honestly would do better in more open times, neither woman is trapped in their life.

We all know Dracula is a metaphor for an evil foreigner trying to corrupt good British women. Yet in adaptations trying to downplay this, the actual happiness of the women is ignored in favour of making Dracula the rescuing man.

In general, adaptations tend to vilify the protagonists in order to make Dracula look better.

One of the common methods is combining Jonathan and Renfield into one character. This conviniently removes Jonathan as a competitor for Mina's love and naturally continues the mindset that mentally ill people are lesser. In these adaptations, Jonathan's big rebellion is Renfield's big rebellion. A brave but in the end futile effort to stop Dracula.

This of course also means Renfield as a mentally ill yet very much intelligent person is completely removed.

Adaptations also tend to make the Suitor Squad into much more competent and hardened vampire hunters. Van Helsing is not someone who feels great regret over killing the brides, but a cold and ruthless vampire hunter. Quincy and Arthur often are omitted and Seward's age fluctuates a lot.

In short, what makes the heart of the novel is removed. The love the heroes have for each other is twisted and removed in favour of showing how backward the Victorians were.

To me, especially after reading through the novel through Dracula Daily, the sheer amount of care the heroes had for each other makes the story. Even when the men are idiotically removing Mina from important meetings, it backfires on them. Mina, despite her own self-doubts, is one of the most valued members of the group. She collected all the information together, she used something traumatic to get back at her abuser and even when she was almost turned, could still use her wits to help her team.

Mina is the MVP of the team and making her only important through her love of Dracula or even being the reincarnation of his wife removes so much of her badassery. Mina as a character does not need Dracula to be a strong character, she is strong -despite- him.

#Dracula daily

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true-blue-megamind · 2 years

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FAN THEORY SOMETIME EVENTUALLY: Hal is NOT Megamind’s Greatest Enemy

I’m back! Real life is consuming massive amounts of my time, so I’m afraid these Fan Theory Thursday posts have become sporadic. I'll try to write them as often as possible. Special thanks to Dalniente for suggesting this topic and sharing his fan theory! You rock! Please note: while fascinating, this blog article is going to get dark. IF DEPRESSION IS A TRIGGER, READ AT YOUR OWN RISK! This post may also leave you with an uncontrollable urge to hug a certain blue super-genius. Don’t say I didn’t warn you!

Finally, if you are that single strange individual who has been reading these posts for over a year without actually watching the movie… Well, I’ve probably given away nearly everything already, but nonetheless: SPOILER WARNING!

It’s clear to any fan of this wonderful DreamWorks film that Megamind has been through a lot. Not only was our favorite blue hero ostracized, bullied, and raised in prison, but we see him facing yet more hardships during the narrative. In fact, according to one fan theory, although his triumph over Titan is the primary story arc, the super-stalker is not the greatest foe Megamind faces.

It all begins with the blue man’s emotional turmoil. As I’ve mentioned previously in Megamind’s Psychology, the film’s protagonist seems nearly obsessed, at least during the first half of the story, with both his presumed evil nature and the idea of destiny. In fact, it appears that this has led him to construct his entire self-identity around supervillainy—something that only changes when his preconceived notions do. Such a drastic alteration, however, is often painful, and this one was no different.

Megamind, at the beginning of the film, obviously feels that fighting a nemesis provided his only reason for existing. This is because Metroman unwittingly offered mental engagement as well as something to work toward. More specifically, their fights were a perfect excuse for Megamind to invent, plot, and challenge his own brain. Without this, the blue man feels unfulfilled and purposeless. He clearly states that fact while he and Minion discuss creating a new hero. The thing is that, as Dal suggested in the Evil Lair Discord, losing his former adversary doesn’t merely leave him without an objective, but also disrupts the very stability of his existence.

“He wants his life back,” Dal explained. “Literally, he says this: his goal with the infuser gun was to get his life back to the way it was ‘when the world was perfect and rosy.’”

The problem, of course, is that this is easier said than done. Megamind feels like a ship adrift in the ocean with no compass or destination, and like many of us would in those circumstances, he falls into making some bad decisions. Those choices only make his predicament worse. After losing the his excuse for the battles and inventions that gave his life meaning, Megamind begins a relationship with Roxanne under a false identity, has a massive argument with his only friend, Minion, and chooses the worst possible person to imbue with superpowers. (You can read more about what might have led to that particular misstep in Why Did Megamind Choose Hal.) All of this ends badly.

Let’s look at the argument first. Not only does the blue man likely feel terrible for hurting his friend—there is ample evidence that he does care about Minion—but, following their fight, his henchfish walks out, presumably for good. This is significant because it further destabilizes Megamind’s reality. Minion was far more than a, well, minion.

“It was Megamind and Minion against the world,” Dal said, describing that incident. “And now it is just Megamind.”

It must have been hard enough to be an isolated refugee from a destroyed planet, but without his only friend, the blue alien is truly alone. That loneliness further increases when Roxanne, the only other person to have positive interactions with Megamind during the film, rejects him.

This remains true even though Roxanne Ritchi’s feelings in that moment were both justifiable and reasonable. Upon discovering that the man she’d fallen in love with has been lying about his identity and is, in fact, the same supervillain who regularly kidnapped her, the woman feels understandably shocked, betrayed, and upset. However, it appears likely that that may not have been the way Megamind saw things. Once again, Dal offered some insights

“Roxanne is furious with him, and reacted to his feelings for her with something I read as shock and some incredulity, but which I think Megamind would be way more likely to read as disgust,” he stated. “She insinuates that she thinks he is truly evil, which he would be very willing to believe, at this point.”

Heartbreak is never easy, but when it follows on the heels of other personal hardships it can be even more devastating. The blue man’s emotional response to this final blow is beautifully portrayed in his shattered expression and a single hopeless word: “no.” This is because Megamind truly doesn’t believe she would ever be with him. (He states later on that, being the bad guy, he can never “get the girl.”) This is precisely why he found it impossible to reveal his true identity to his date—although, to his credit, it appeared he was attempting to summon the courage to do so before his disguise failed. He believed that the only way he can have even a taste of romance is by pretending to be someone else.

Add to all of this the setback in the blue man’s emotional growth and it’s not difficult to see why he might be so strongly affected. As mentioned in an earlier post, The Warden, there is evidence that Megamind was pushed into supervillainy from a young age. Thanks to his interactions with Roxanne and a little initial reevaluation of his life, he had started to believe that perhaps he actually could be good until everything fell apart. As a result, his journey to heroism stalls and, had his integrity or will been less strong, he might have abandoned it permanently.

When the cumulative impact of these events is considered from a psychological standpoint, it is frankly amazing that Megamind’s melancholy is not even more severe. He has essentially lost his job, so to speak, his sense of purpose, his best friend, and the girl of his dreams all in a short period of time. As Dal expressed it: “as far as he knows, he has lost everything.” Considering that, when this occurred, he was already emotionally scarred by being orphaned, bullied, and raised in incarceration, the man’s resilience is certainly noteworthy. However, that doesn’t mean he was immune; far from it. Dal pointed out how one scene, following his breakup, illustrates exactly how bad Megamind’s emotional state had become.

“When he gets back to the Evil Lair, he has not slept. Minion is still gone… And [Megamind] does not sleep. He gears up to fight Titan in an untested battle suit, and says that line about: ‘It's time to go down in style.’”

At first glance, viewers might assume that the blue man is referring to Titan going down, or perhaps to himself inevitably losing the battle and returning to jail, but Dal suggested that the statement may hide a darker meaning. Megamind might, on some level, intend for this battle to be his last. It’s possible that what he really means is that he wants to go out with a proverbial bang.

That’s right. Megamind, at this point in the movie, has developed situational depression, perhaps even passive suicidal ideation. He has hit rock-bottom, he feels his life has crumbled into pieces, and his actions have become reckless.

“I do not think Megamind cares a whole lot, in that moment, whether he comes back from this fight at all,” Dal explained. “I think he is desperate and angry and upset and self-destructive… But also, he does not actually want to die. This is an important distinction. He wouldn't mind being dead but he does not want to die; he wants his life back.”

This fan theory makes sense. Keep in mind that re-establishing the status quo was, after all, the entire reason for creating the Infuser Gun in the first place. What the former villain really wanted in that scene was to return a sense of stability, order, and purpose to his existence. This may also be why, when everything else falls apart, Megamind appears to fixate on his battle with Titan.

“We see this in the way he interacts with Titan,” Dal stated. “He waits for HOURS before going to see wtf is up. He is dismayed to realize how far sideways his ‘turn Hal into a hero’ plan has gone, and he pulls out all the stops in goading Titan into fighting after all. He does not stop to think about whether this is a bad idea—he does not care. Titan is the one shot he has at restoring some sense of familiarity to the world… And he gets what he's looking for! He is so relieved to finally lose. Finally, for a few bright seconds, the world makes sense.”

That brief moment of emotional and mental clarity is also what jolts Megamind into action when he realizes Titan is homicidal. After reveling in a feeling of renewed purpose, the blue man suddenly realizes that his life can still have stability. That completely changes his outlook.

“At this point I think he is probably back to wanting to live, because this is where he finally displays some self-preservation. He felt okay for like three whole seconds and a fight; it's enough to get him into a less awful head space and into survival mode,” Dal said.

When Titan begins destroying Metro City, it pushes Megamind to overcome his internal struggles because he sees that the problem is much larger than its immediate effects on himself. This is important for three reasons: it reconnects Megamind with the world around him, proves that despite being a supervillain he possesses empathy, and provides him with a new purpose. All at once, the blue man understands that his reason for living doesn’t have to come solely from having a nemesis; it can be something bigger and more meaningful than that.

Thus Megamind defeats his greatest enemy: depression. The fact that he has to face this particular monster during the course of the narrative makes the former villain both more realistic and more impressive. It’s relatively easy to fight another person compared to battling darkness within yourself, and actually conquering the latter takes enormous strength of character. Yet Megamind does exactly that, becoming a better man and building a better life as a result. It serves to offer a message of hope to others fighting the same foe. The inclusion of such a deep and mature theme in this animated film is simply one more reason why it is one of the greatest things DreamWorks has ever produced. Little wonder that so many, even among adults, are devoted fans of this amazing movie.

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addictedtostorytelling · 2 months

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Hi, aj!

How are you?

This will be about ER. Who is your favorite character and why?

hi, anon!

i'm well! how are you doing?

honestly, i have a hard time deciding on one single favorite character on er, just because a) there are so many characters i absolutely adore (mark, susan, carter, benton, lucy, and neela among them), and b) my answer tends to change based on the era.

that said, forced to choose, i'd say my all-time favorite er character is abby lockhart.

while certainly there are some parts of abby's storyline i enjoy more than others—i've never really liked any of her canon romances, tbh—in terms of her personality and overall arc, i find her so endlessly compelling.

given what her background is, she reads exactly as she ought to.

she is so real and three-dimensional and dynamic!

watching the way she evolves over the course of her nine years on the show is one of the great delights of er's later seasons for me.

and, of course, maura tierney is such a consummate actress! i can only imagine that had she not been in direct competition with west wing-era allison janney for most of her er career, she probably would have much more major award show hardware on her mantel for this role.

just on a pure character design level, i love abby's wry, sardonic sense of humor; that she is a fellow minnesotan and has that "well, i guess this may as well happen—" kind of fatalistic midwestern outlook; how she occasionally is possessed of a streak of "bored housecat" naughtiness; how deeply she cares about her patients and will go out on limbs for them, oftentimes literally; her complicated relationships with her family members; how steel-trap clever she is; the way she struggles with her self-esteem; how she has to really work to initially find her confidence and speak up but then becomes such a firebrand (and sometimes rebel) in the department; her love for dead flowers; her deadpan comedic scenes; that she has some of the deepest, most fleshed-out female friendships on the show (particularly with kerry and neela); the way she so often self-sabotages and then has to deal with the consequences but always does deal with them, however roughshod the effort; how she gradually overcomes her hard start in life and eventually grows into this really graceful, wise, centered person, both professionally and personally; etc., etc., etc.

i also love that her story isn't a linear one: that she starts and stalls, not only along her path to becoming a doctor but also with her own recovery from alcoholism and her mental health issues; her interpersonal relationships and her struggles with her own self-doubt.

the way she is written is remarkable in a good way.

she is allowed to make mistakes to a degree that few female main characters on primetime television ever are—to fuck up royally and even at times be downright unlikeable—and yet she is also allowed to progress, however slowly and unevenly, and to grow.

to me, her long-in-coming triumphs are that much sweeter and more earned because of her numerous setbacks and failings along the way. you really do travel a wending road with her, and by the time you reach the end of it, the destination is so welcome.

there are multiple abby-centric episodes that are among my favorites of the whole series, including episodes 07x07 "rescue me," 10x12 "nicu," 11x10 "skin," and 14x08 "coming home."

i've said it before, but i have never seen such a well-done character sendoff episode on any series as episode 15x03 "the book of abby," which serves as a bittersweet, beautiful forty-five minute love letter to our much-beloved protagonist as she leaves county general for the last time.

her overall arc is one of the best examples of character development i've ever had the pleasure to watch.

thanks for the question! please feel welcome to send another any time.

#answered #anon #asks: er #**#my meta #meta: er #meta: abby #let's talk shop #er

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weepli · 2 years

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Chak De and SRK

(A couple of months ago, for the 15th anniversary of Chak De, I wrote this article for a publication. It was commissioned, edited and published, but it was taken down the same day. The editor told me it was “technical glitch” but now, it’s been 2.5 months and the glitch hasn’t been sorted. In the meantime, I’ve heard of other writers’ work being taken down from that site if it spoke about minority oppression.).

When I first watched Chak De! India 15 years ago, one of the things that instinctively bothered me, though I was too young to articulate it then, was that when Kabir Khan and his mother leave their home, amidst the accusation of being a ‘gaddar’, no neighbour or friend is standing up for them. Is there no one in their mohalla who they were friends with, I wondered? Wouldn’t someone miss them? And wouldn’t they silently, if not publicly, ask the others to be more kind?

Fifteen years later, I know the answer. They wouldn’t. We wouldn’t.

As I sit down to write this, the news coming in from everywhere is proof that nothing much has changed in the last 15 years. Things only seem to have become worse. I read on Twitter that the Indian Women’s hockey team has lost the Commonwealth Games Semi-Finals to Australia 3-0 in a penalty shootout. Fifteen years on, Indian women’s hockey is notoriously neglected. Gender discrimination is rampant. And, of course, Muslims are still perceived as enemies of the state.

No one knows this better than Shah Rukh Khan.

Chak De! India was a story of the quintessential underdog triumph. It wasn’t just the triumph of a women’s team over the dismal conditions and mentality of families, media, and fans. It was as much (if not more) the triumph of their Muslim coach in his attempt to prove his patriotism.

Chak De has achieved cult status in the country. There are still memes referencing 70 minutes of crucial and intense time. The title song became a national sports anthem, and the dialogues are a part of everyday life. The brawl scene in Mcdonald's became an example of implicit brand placements, mentioned in B-schools and quizzes. “Ja Dikha de apne launde ko” was a mantra of female solidarity. There’s a lot to celebrate about Chak De and the impact it has had on our pop culture over the decade and a half. A sports film par excellence, it doesn’t lose its thrill even with multiple rewatchings. And, of course, Shah Rukh is gorgeous.

It also marks one of the first times he truly embraced his Muslim identity on screen. (Sure, he played a Muslim in Hey Ram, but that never captured people’s imagination the way Chak De did). In Chak de, the Muslim identity is a crucial part of the plot, and it is emphasized with the references to his name, his betrayal, and his religious/inspirational chants. SRK goes on to play the Muslim protagonist in multiple films after this — My Name is Khan, Dear Zindagi, Raees, and the upcoming Pathan.

In 2017, journalist Rana Ayub said about SRK in an article on NDTV, “In a country where it is rare to find a Muslim or a Christian character as the lead in films, with minorities usually reduced to caricatures and stereotypes, the fact that the biggest star plays a Muslim in three simultaneous films (Ae Dil Hai Mushkil, Dear Zindagi, Raees) is a strong message to a country, a rebellion that needs to be noticed and lauded.”

This week, we have another movie releasing by two superstars: one a Muslim man, one married to a Muslim man, with children named after rulers who happen to be Muslim- Taimur and Jehangir. Calls to boycott the movie grow louder, the posters and WhatsApp messages about the same more and more disgusting. Aamir Khan has declared that he loves India. Of course, we need to wear our patriotism on our sleeves. Whether it is with a birth certificate or with the shouting of slogans, with the display of the National Flag or standing up in the movie hall when the anthem is played, we are all being asked to prove our patriotism again and again and again. No one more than Muslims in India.

If you are a privileged Muslim actor in India, you can continue making movies worth 100 crores that will face threats of boycott, and maybe your family members will end up in jail for months on flimsy charges. For a regular ordinary Muslim person, you might get lynched if you are suspected of eating a certain kind of meat.

In the final scenes of Chak De! India, the team overcomes all kinds of external and internal challenges to defeat the favourites, Australia, and win the tournament. Yet, it is not just the journey of the women who have faced gender stereotypes, family pressure, anger issues, and race and language discrimination. It is as much a journey of their Muslim coach, who will finally make it back ‘home’ where he was labeled a traitor and forced to leave. It is a grim picture that Chak De presents. That nothing will ever be enough to get the kind of acceptance and belonging all citizens of this country should feel. Maybe if you do something as grand as winning a world cup, you might be spared for a few days.

Maybe.

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user-needs-new-hyperfixation · 6 months

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uh as someone who is in svsss fandom; not sure what that other person was talking about in terms of everyone “glossing over” how it ends. people know it’s bad. that’s... kind of the point, both of the entire series and that scene. spoilers for that, and the rest of svsss though I’ve done my best to keep everything vague, but you can choose to disregard this and I wouldn’t fault you for this. tl:dr svsss is definitely not for everyone and if this isn’t your thing, probably not for you. sorry in advance for the essay. it is an absolute train wreck, which is kind of the point.

that scene involves sex. that scene involves one person withdrawing consent. that scene continues despite the withdrawal of consent, and mind you it’s not what most people would call erotic by any definition.

this book is a horror that gets masked by the comedy from an unreliable narrator; what if you got isekai’d into the absolute worst of the worst online web novel, that is just porn and a revenge catharsis male power fantasy, what if you were stuck there? what if you were stuck in the role of a character created to be the source of misery, a character who actually has to suffer that horrifying punishment that is inflicted by the protagonist of this revenge fantasy by the end if you fail to change a story that’s already been written?

it’s a terrible world to be sent to because the book is deconstructing that entire genre that honestly I don’t think exists to the same extent in english, it’s a genre that is made to sell chapters via exactly that; a revenge catharsis story built on male power fantasy, with flimsy justification for porn at every turn. so this terrible situation to be in ends like that; with god awful porn tropes everywhere, of course the world ending and trying to avoid it involves sex that, if anyone involved with was real, would be horrifying.

the main romance is, as has been joked about, a solid red flag finding solace in another solid red flag. they’re both doing terribly mental health wise without much prospect of getting better but considering the circumstances it’s the healthiest dynamic they both could be in.

i’m not saying it’s a perfect story by any means, but I feel like people’s disdain for it often comes from the expectations. if you go into this with the expectation of it being like tgcf or mdzs you will be blindsided by all this, and it’s a lot to be suddenly exposed to without warning. personally I would absolutely not have enjoyed this as a romance primarily; but I still do enjoy it as a black comedy that hides the horror of what it’s deconstructing, and basically just happens to have an absolute trash fire romance in the background.

if you somehow got this far; thank you. if you don’t want to read svsss that’s fair, it really isn’t for everyone for various reasons. but if you’re willing to read it, reading it as a romance might not be for you. the protagonist and point of view for us is a very unreliable narrator and I’m not sure why entirely but this fact gets thrown out a lot when people get around to reading it.

I don't think it's necessarily unfair to say it gets glossed over at least in the sort of...idk, public-facing side of the fandom? Like I'm sure there's deeper discussions and meta and such going on within the fandom, but from the outside I've seen like 3-5 posts about the darker stuff and 100 cutesy memes of the curly haired guy being a whiny baby 😅

THAT SAID, I really like how you've broken down the premise here, and it is very interesting. I love SO MUCH about MDZS even though I don't like the sex, and I love MXTX's storytelling, so I could definitely be down to read some dark comedy-horror trope deconstruction from her. I do think that management of expectations is a big part of it: I daresay most people come into MXTX novels via MDZS or TGCF first, and both of those are certainly to large degree romances. So it kind of makes sense that then people head over to SVSSS expecting more of the same and get unpleasantly surprised. I appreciate both you and the other person I was talking to kind of breaking down the differences. I definitely do feel like, if/when I do read it, I'll be going in now with a much better sense of what to expect and how to interpret it. Thanks so much!

#asks

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athanasius-symposium-of-writings · 2 years

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Running Up That Hill (A Deal With God)

Chapter Fourteen

Warnings: death, grief, you get a cat tho yay, Jake's growls aka heavy making out

A/N: im really blaming these gifs okay im trying make a slow burn but i played myself

Chapter Thirteen | Chapter Fifteen

The origin of Heroes vary depending on the theme, lessons, region, or simply the idea the writer wants to convey. All stories, or most of them, start with a key life changing moment. Of course, the writer or verbal storytell gives you a bit of background, a starting point or point of view to see the protagonist in before the life changing moment. The moment which causes the hero to take a certain path.

There's destiny, circumstantial, and forged.

At least, that is how you guess how heroes are made in the comics and books you read.

Maybe you are a hero of circumstances?

Anubis returned you home with very little time passing by. Something about the mortal realm and the realm of the Gods time passing by differently.

"Remain safe, little mortal. Take this." Take this was more like 'see this. It's yours now'. An elegant grey cat with golden eyes. She sat on your couch staring as if awaiting your return. You always wanted a pet! Cats or dogs or a hamster, any animal really to keep you company. She presented herself as if waiting for you to pet her. Which you did a lot. "Bastet's personal familiar. Love her and her protection will be with you."

No costume but you got a cat!

For some reason the cat is the only normal thing to happen to you at this point of the day.

You agreed to help, both because of fear of angering him but also you needed answers… And to deal with the familiar rage you thought long gone.

Oh, there was doubt… Lots… Yet, you believe him after going into your father's room and finding out why he would be in there for hours on end some days. The bulletin board is covered with photos and the threads connecting everywhere, the walls covered with notes and newspaper clippings.

It is wild to see all this!

You stand in the middle of it dumbstruck. "Dad…" Looking at the wedding photo he has of your mom holding a baby you and himself holding up the marriage certificate. Mom had you before marrying dad, dad's family didn't like that.

Mom and him looked so happy at that moment.

Now both of them are dead, together like they wished they could've been. But… You are alone.

Time passes by, hours passes by until the evening arrives and you didn't realize you fell asleep in your dad's bed until your phone went off. The cat resting next to you gives you a pleasant warmth to wake up next to.

Two missed calls from Steven. One from Marc. A text from Jake.

Using three different cell phones must be annoying to handle with bills. At least you know who is texting you or calling you rather than guessing based on who greets you first.

The rapid knocking on your door causes you to get up though sluggish in your movements. The cat walks with you as dad's room door is once more closed off, you rather not have your boyfriend (or Jake) see what he once was into. The cat goes into your room and lays down on your bed.

The worst luck is Jake is standing at the door— Kneeling down with a lockpicking tool in his hand.

"Were you standing there that long?" Asking as your head tilts to the side curiously.

"You didn't pick up," Standing up at his full height, eyes gazing over your shoulder into your dad— Your flat now. "We got… inquietud." Those dark brown eyes go to you, studying how clearly you have been crying, the messy hair clearly announcing you slept. Jake is the observant one since he only appears (according to Marc) when danger is around. Both mental and physical. Guess he was concerned about you (or you might be projecting). He never makes you uneasy or scared, but you can't keep eye contact with him for long right now.

"What to come inside? For coffee?"

Jake lets you set the pace and tone for the evening, they heard what happened to your father a few hours ago. Your father put Jake Lockley as both next of kin and emergency contact; with no family or anyone he could trust in England around he figured Jake would do fine.

Marc saw the body, saw the signs of what appears similar to Ammit's magic on your father's body. He knows something has been going on since Jake makes more appearances than usual. None of them know that you know what's going on.

"Here, café con leche." Setting the mug down on the table as he sits down. Polo shirt, flat cap, fake mustache, killer tío vibes; Jake Lockley here in the kitchen taking a sip of your coffee. He sets it down after a good long sip.

"Tastes the same way your papi made it."

You nod with your head down, "H-he showed me how… To ma-make cáfe for him." Back when he would leave for police work, every morning you would try to make coffee he likes so much. He liked his coffee strong with milk but not too much milk. "H-he.." Tears running down your face, hands shaking, silently crying is something you mastered when living with your aunt. Blurry eyes opening and closing, all of the emotions spilling out.

"Déjalo salir." Let it go. He is not the emotional alter, Steven is and a lot better at the comforting thing, yet he doesn't trade spots with him as he stands up letting you go over to him and cry. You grip and sob into his shirt, his arms around you as if trying to keep you safe from anything hurting you further. "Continua... que yo estoy aquí, no te preocupes." I'm here, don't worry. Keeping you company in the kitchen, not letting you cry alone.

When the crying has passed and his shirt is stained with tears (you offered to replace it and apologized though he waved it off), he remains with you now in the living room letting you mindlessly talk about plans for what to do with your dad's… "Not right now." Taking your phone out of your hands and tossing it on the small table in front of the couch.

Jake is very physical when it comes to certain things. When he kisses you, you don't take offense to him trying to console you. This is his attempt by kissing you, having you think about nothing and going on instinct.

Steven’s kisses are like yours: messy, learning, and unsure.

Marc's kisses: experience, can be a bit overwhelming, and controlled.

Jake's kisses (with tongue for he doesn't go half way): dominating, overwhelming, experienced, and breath stealing (not taking).

His hands touch you everywhere causing you to wish you could feel it on your bare skin. You shiver, moan, gasp, and soon breathing heavily for air. Body hot and mind swimming from the endorphins he has your brain being flooded with.

He can— They can't bring back your father and vengeance will only give momentary satisfaction, either way they refuse to leave you in pain.

"Jake." Your clothes are bordering on being stripped off. "Hmm~!" Back arching towards his hand sliding under your shirt downwards towards between your legs. The sounds you make are addictive and said so with a growl in Spanish in your ear. "Fuck that's hotter then I imagined." Later Jake is going to tease on those words. For now he is content in getting you off without actually fucking you.

Steven can have all that given he met you first.

"Oh, wow!" What a reaction to actually feeling excited, horny excited! "What did you do?" Questioning Jake who is using his thigh to grind against your clothed cunt.

"Shh, no questions." You listen so he doesn't stop setting your body ablaze.

#moon knight #reader insert #fanfiction #moon knight reader insert #moon knight fanfic #moon knight fanfiction #ao3 fanfic #jake lockley #marc spector #steven grant #steven with a v #marc spector x reader #marc spector x you #steven grant x reader #steven grant x you #jake lockley x reader #jake lockley x you #moon knight x you #moon knight x reader

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r95irth · 6 months

Text

I was reading a Manhua (yeah when i'm not in a very good place i read Manhua/webcomic thing) and i thought i had found one that was quite good...

But then this morning as i read one chapter I was hit so so hard by the disgusting mentality that sipped through??

Not only the mentality behind this twist is disgusting and full of classism, but it's not even well written at all. At no point before this was foreshadowed, and to resolve it the author had to pull a name of a character we never heard before to save the protagonist's family side...and completely foresaw one side of the problem.

Explanation :

Protagonist (modern girl transmigrator) learns that her grandfather was sterile and he tricked everyone, having someone else get children in his stead to continue the bloodline. So now her family is in troubles because you know they aren't NOBLE (totally forgetting that noble don't marry anything but other noble as a norm, so fuck the grandmother's nobility bloodline i guess) BUT DOn't Worry author has a solution to save the ass of the family branch the protag is on! See, Papa of the protagonist is actually the son of the BROTHER of grandfather (we didn't even knew he had a brother) so his bloodline is real! few! The other son however is not, of course he is not noble, he was ugly anyways. (design of the character matter!...kinda...)

So that is actually very poor writing. So i'm already pissed. But what takes the cake is the behavior of everyone regarding the bastard girl of the protagonist uncle (you know the fake noble, the ugly one).

You see this bastard girl looks around 12 years old. (She just appeared into the story, that was also clumsily written). She wears rags and in flash back is shown to be working as a maid in the palace, so obviously she wasn't treated very well by her family (including heroines papa). Arrives the heroine in the palace, who is treated super well by everyone. So of course she is a bit jealous, though nothing much. Except that uncle is ordered by grandfather to try to kill the protagonist. He fails gets caught and granfather to save his ass decide to EXECUTE HIM (he is his fakeson anyways i suppose?) so she is suddenly fatherless...And when she is introduced, it's to show the guard dragging her out of the palace saying she will be executed like her traitorious father. The protagonist casually decides she won't do anything about it (because she feels it's a trap...okay but huh, even if it's a trap you are letting her die?) then changes her mind because bastard girl says she knows her grandfather secret (the infertility thing) - and then the bastard girl was taken and interrogated by protagonist'smalesfans. She is treated very very badly, especially when they discover she had a poison vial given to her by granfather. It's clearly stated she had been asked to poison the protag with it or she is to be killed by grandfather. and she has all those interior monologue about how people treats her like she doesn't matter at all, don't even see her or care if she will die (and yeah girl unfortunately you are right). Obviously malefans are angry at her for attempting to kill their dear protagonist. Okay fair she would have killed her.

But then there's a scene between protagonist and the bastard girl, where basically protagonist says "you intended to use the infertility secret against us right? you thought you and i were the same :T not noble and though you could have this over our head!!" (ahahah bad luck for bastard luck she is the only filthy commoner!! can you feel my annoyance ??) - and then goes on telling bastard girl that it's normal wanting to survive and she doesn't mind her trying to (so i was like "okay at least tell her her life matters!!") but then adds "i just 'don't want to have a selfish ugly and filthy thing like you at my side" and then kicks her out. TO THE STREET. A 12 YEARS OLD ORPHAN.

And i'm like GIRL, MODERN GIRL INSIDE THE BODY WHERE ARE YOU?? DO YOU ACTUALLY BELIEVE YOU ARE SUPERIOR BECAUSE YOu'RE NOBLE ??? WTF ??? Besides it's not like protagonist is selfless either. She is using the original heroine of the story for her own gain and to survive too. The original heroine should have had a romance with the crown prince (not here) she should actually live as an adopted daughter of a noble family (she is her maid now) and she should be taught magic by this character (who is now protag's LI so like always in thsi story he cares only about protag. No other character matter, male or female, his personality is now "in love with protag") I'm like "go look at yourself in the mirror, you're not a noble woman either èé you're using plot to survive too you hypocritical bitch"

I just lost all my respect for the protagonist like this. PFIOU! Nothing up to fumes.

I really hate when the transmigrator in story ends up affirming those societal class ideas. usually they end up slapping maids to reaffirm they are their superior which is already annoying but wow this. THIS was another level. This whole arc was bad.

I continued reading and it didn't really get better. The final plot twist about the heroine was better written but ableist (she is suddenly ehalthy again bc magic...i was expecting a support device to help her get better but no, magic cure)...and in the final arc the Bstard girl is brought up, used as a lure to replace the heroine in an assassination attempt, then never discussed again. So i suppose dirty bastard commoners are only here to be used by the noble. The original heroine who has joined the femalelead stans decides to go study magic (good for her) and it's hinted something is going on with her previous male lead but meh.

But yeah the arc i ranted about is the downfall of the heroine , after that she uses a very dirty startegy with the two princes, (asking the 7 years old prince "who do you like more? your brother or your mother? :) the two of them can never survive so you have to choose - only for in the end managing to make the mother survive withh him in exile...-yeah how a 7 years old without support and a fugitive are going to survive? Who cares-) - then traps the "dirty concubine" in a scheme making her pass as a cheater so the king orders her execution. (When she is many things but not a cheater and seemed genuinely in love with the king as the only way to trick her in this scheme is making her have hallucination and see another's man corpse as the king's corpse, which caused her to break down in tears and wail...when the real king who was not under the illusion could see it).

Look i don't ask my heroine to be pure and never use dirty trick. I wouldn't like JGY or WWX if I did. But in this manhua the heroine is just so selfish and cruel during those moments and it's never aknowledged??? There's a lot of bullshit monologue about how it's for the best but if you use your brain 1 seconde you consider 'for who?" and then it falls apart.

I'm just realli disappointed in this one.

#melie tries to read manhua #and fails

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cyndavilachase · 4 years

Photo

I’m Looking Forward Now 💖Thank you and good bye

So, it’s been a little over a week since Steven Universe Future ended…

I’ve been hesitant to write this, honestly, but I’m tired of holding myself back from properly expressing myself in fear of appearing overly invested in the media I consume, even in private. Writing helps me organize my thoughts and feelings, and I feel like these thoughts in particular may resonate with many, so I want to share them. I want to talk about what Steven Universe has done for me personally, both as an artist, and as a person.

I’ve been around since the day the first episode of the original series aired. I actually remember when Steven Universe was just a logo on Wikipedia’s “List of Upcoming Cartoon Network Shows” list, back when I was a freshman in high school. It piqued my interest, but when commercials finally dropped for it, I thought it was going to be bad because of the way marketing handled introducing Steven as a likeable character. There was still something about it that made me want to give it a chance though, so I went online and watched the pilot before the first episode's release. I was hooked immediately. I knew I was going to love it, and I did. I fell so absolutely in love with Steven as a character, and the world that he and the gems lived in. I became obsessed. I was always so excited for new episodes to come out. Little did I know what else it would do for me as I went through my adolescence alongside it.

As the show progressed, it was evident that what I wanted out of a western animated childrens’ cartoon was finally coming into fruition: this show was becoming serialized. There was continuity, there was plot, there was character development-- it was getting deep. It was pushing the groundwork that Adventure Time laid out even further (thank you, Adventure Time).

I will give credit where credit is due: earlier western childrens’ cartoons I grew up with like Hey Arnold, and Rugrats, among others, also touched on heavy topics, but Steven Universe was able to take similar ideas (and even more complex ones, concerning mental health and relationships) and expand on them outside of contained episodes and/or short arcs. These themes, which were a part of the show’s overarching story, spanned across its entirety. Continuity was rampant.

What did this mean? It meant kids cartoons didn’t have to be silly and fun all the time and characters weren’t just actors playing a part in 11-minute skits. Steven and the gems would remember things that happened to them, and it affected them and how they would function and play a part in their story. This was a huge deal to me as a teenager. I always wanted the cartoons I grew up with featuring kid characters to feel more. In my own work, I often felt discouraged when combining a fun, cutesy western art style with themes as dark or layered as anime would cover. I always thought it had to be one or the other because an audience wouldn’t take a combination of the two seriously enough, based on discussions I had with classmates, friends, and online analysis I read at the time. Steven Universe proved to me otherwise. This show was opening the door for future cartoons exploring in-depth, adult concepts. I felt so seen as a kid, and was inspired to stick with what I love doing.

I was actually very worried about the show’s survival. It was in fact immensely underrated and the fandom was miniscule. Then in 2014, JailBreak dropped, and it’s popularity exploded. Part of it was because of the complex plot and the themes it was covering like I mentioned, but also because of its representation.

I remember when fandom theorized that Garnet was a fusion due to grand, tragic reasons. Turns out, she’s simply a metaphor for a very loving w|w relationship. This was huge. I cannot stress how important it is that we continue to normalize healthy canon queer relationships in childens’ media, and Steven Universe finally was the first to do that proper. Introducing these themes offers the chance for a kid to sit there and ask themselves, “Why is this demonized by so many people?” I asked myself exactly that. Ruby and Sapphire were my cartoon LGBT rep. They were the first LGBT couple I ever ecstatically drew fanart of. I was dealing with a lot of internalized homophobia at the time, and they showed me that I was allowed to love women and feel normal about it. The process of overcoming this was a long one, but they played a part in my very first steps into becoming comfortable with my sexuality. I could go on and on about it’s representation in general-- how it breaks the mold when it comes to showcasing a diverse set of characters in design, in casting, and in breaking gender roles. It’s focus on love and empathy. Steven himself is a big boy, but he's the protagonist, and the show never once makes fun of his weight, or any other bigger characters for that matter. It wasn’t hard to see why the fandom had grown so large.

Fandom was always a joy for me. It was a hobby I picked up when I was in middle school, like many of us here did. I would always cater my experience to fun, and fun only. I only started getting more deeply involved in SU’s fandom when I had just turned into an adult. During the summer of 2016, between my first and second year of college, I drew for the show almost every day non-stop when the Summer of Steven event was going on and posted them online. This was a form of practice for me in order to become not just more comfortable with experimenting with my art, but also to meet new artists, make new friends, and learn to interact with strangers without fear. I dealt with a ton of anxiety when I was in high school. When I was a senior applying to art school for animation, I decided I was going to overcome that anxiety. I made plans to take baby steps to improve myself over the course of my 4 years of college. Joining the fandom, while unforeseen, was definitely a part of that process. I started feeling more confident in sharing my ideas, even if they were fan-made. I fell in love with storyboarding after that summer, when I took my first storyboarding class, and genuinely felt like I was actually getting somewhere with all of this. I remember finally coming to a point in my classes where I could pitch and not feel hopelessly insecure about it. I was opening up more to my friends and peers.

But this process, unfortunately, came to a screeching halt.

My life completely, utterly crumbled under me in the Fall of 2017 due to a series of blows in my personal life that happened in the span of just a couple weeks. My mental health and sense of identity were completely destroyed. All of that confidence I had worked for-- completely ruined. I was alone. I nearly died. My stay at college was extended to 4 and half years, instead of the 4 I had intended. I lost my love for animation-- making it, and watching it. I could no longer watch Steven Universe with the same love I had for it beforehand. It’s a terrible thing, trying to give your attention to something you don’t love anymore, and wanting so desperately to love again. I dropped so many things I loved in my life, including the fandom.

Healing was a long and complicated road. I continued to watch the show all the way up until Change Your Mind aired in the beginning of 2019, and while I still felt empty, that was definitely a turning point for me with it’s encapsulation of self-love. I was hoping James Baxter would get to work on Steven Universe since he guest-animated on Adventure Time, and it was incredible seeing that wish actually come true. The movie came out and while I enjoyed it and thought highly of it, I was still having issues letting myself genuinely love things again, old and new. It was especially difficult because cartoons were my solace as a kid, when things got rough at home. I remember feeling sad because the show ended, and not getting the chance to love it again like I used to while it was still going.

By the time Steven Universe Future was announced, I was finally coming around. I was genuinely starting to feel excitement for art and animation again. I wasn’t expecting there to be a whole new epilogue series, but happily ever after, there we were! Prickly Pear aired, and the implications it left in terms of where the story was going did it. I was finally ready to let myself take the dive back into fandom in January of this year. My art blew up, something I wasn’t expecting considering my 2-year hiatus. Following this, I was invited into a discord server containing some of the biggest writers, artists, editors, and analysts in the fandom. I had no idea there were so many talented people in the fandom, some already with degrees, some getting their degrees-- creating stuff for it on the side just for fun. The amount of passion and productivity level here is insane, and so is the amount of discussion that has come out of it.

I didn’t realize it at first, but it was actually helping me gain back the courage to share ideas. I lost my confidence in pitching while I was taking the time to heal, and graduating meant there would no longer be a classroom setting I could practice in. This group helped immensely.

I have made so many friends through this wonderful series, and I have so many fond memories talking to like-minded creatives, getting feedback and a myriad of sources for inspiration, as well as all of the memes and jokes and weekly theorizations that came about as we all waited on the edges of our seats for episodes to air. I needed this so badly, I needed to get back in touch with my roots, when I would go absolutely hog-wild over a cartoon I loved with people who loved it as much I did. Future has been a blessing for me in this way. I graduated feeling like I was back at square-one, but now I feel like I’m on my way again.

It’s 2020 and while I’m doing great right now, I am honestly still recovering from the total exhaustion that followed after graduating a few months ago, and finally leaving the campus where my life fell apart behind. Needless to say, watching Future was like looking into a mirror. Watching one of my favorite characters of all time-- one that grew up with me-- go through so many of the same things I went through not too long ago was absolutely insane to watch unfold. It’s such an important thing too, to show a character go through the process of breaking down over trauma and all the nasty things that come with it, and to have them go on the road to healing. Steven got that therapy. He wasn’t blamed. The gems were called out. The finale was everything I could have ever hoped for. The catharsis I experienced watching it was out of this world.

As I continue my own healing journey, I will always look up to the storyboard artists, revisionists, and designers that I have been following over these past 7 years, as well as the new ones introduced in Future. It's been such a joy watching these artists release their promo art for episodes, talk about their experiences working on the show, and post the work they've done for it alongside episodes airing.

Thank you Rebecca Sugar, the Crewniverse, and the fans, for making this such a truly wonderful and unique experience. Thank you for reminding me that I am, and always will be, an artist, a cartoonist, and a fan. Thank you, my followers, for the overwhelmingly positive response to my artwork. I have had so much fun interacting and discussing the show with you all again over these past few months. Steven Universe and it’s fandom will always have a special place in my heart, and it will always be a classic that I will return to for comfort and inspiration for decades to come. I am sad that the cartoon renaissance is over, but so many doors have been opened thanks to this show. I am so, so excited to see what this show will inspire in the future, and I hope one day I get the opportunity to be a part of that.

Goodbye Steven, thank you for everything. I wish you healing, and I wish Rebecca and the team a well-deserved rest. ♥️

-Cynthia D.

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felikatze · 3 years

Note

give me the a brainworms i am deeply invested in this man

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okay first of all you asked for this. second of all if i am a little off track from the game that is explained by me just building thoughts like building blocks without looking back. third i was supposed to be studying for an exam but this counts as practice right? it's character analysis anyway lmao.

buckle the fuck up, my dearest anon, because I have sub headings.

1. A as the Player Character

Let me begin with why I am obsessed with this horrid little guy in the first place: he's a silent protagonist. I am always obsessed with protagonists. It's a law of nature. I love taking hollow characters and dissecting them for scraps. It's a long standing practice of mine.

Being a silent protagonist, A, as X, does not have a set personality. However, there are patterns. Firstly, as any semi-silent protagonist, A is a reactive character. He does not start incidents, he only responds to situations, presented by the Sephirah, as they arise. He does not actively seek out new information, merely going about the routine of expanding departments, but expresses curiosity when information is presented to him.

I'm aware fandom likes to characterize X and A differently, likely because they are initially presented as different characters. I, on the other hand, would like to pose the theory that they are more similar than expected.

I believe that A is also a reactive character, rather than active. Despite the fandom wiki describing him as stubborn, the goal A pursues with such fervor, the completion of the Seed of Light, is not actually a goal he set for himself. Carmen is the one who set this goal for him by leaving him her legacy.

Throughout the backstory we get relating to the Cogito Project, A is Carmen's assistant, whereas Carmen is the driving researcher. This is how many of the City's inhabitants seem to be; going with the flow of goals set for them by superiors. Yes I will get into his attachment to Carmen later.

The above is not to say A isn't stubborn. Once he has accepted a goal as his own, he will pursue it at all costs, as is obvious from any and all flashbacks leading to horrible deaths. But the point isn't his pursuit of the goal, but where that goal comes from. Even Lobcorp itself supports this, despite what Hokma may say; A as X follows the "simple" task of managing the Corp's day to day activities, and executes any mission given to him by the Sephirah. He outranks them, and doesn't actually need to do their missions, but does so anyway. Players are driven by the reward offered by those missions, of course, and A might be the same in that regard. Nonetheless, at no point in gameplay do you do anything somebody else hasn't told you to.

The overarching narrative of the Script would be the most obvious example. Every single person in the game follows the script, whether they know it or not.

Lastly on this note, a phrase we hear attributed to A, "Machines must behave as machines." Now, Angela may be attached to this phrase because it bears significance to herself as a machine, and informs most of A's unjust treatmeant of her. However, what if it doesn't just apply to machines? The phrase reads as such, "Everyone must act according to their own role."

2. A, Carmen, and the disease of the mind

So, A will at any cost pursue goals Carmen set for him. Question is, why? The obvious answer would be saying he's in love with her, which like, true. But also, how did Carmen come to be so precious to him?

Let us return to the comparison, "This is how many of the City's inhabitants seem to be." We don't really know why exactly most characters joined Carmen, excluding mainly Daniel and Benjamin. But this does not mean we can't have theories.

Carmen's ideal was curing the "disease of the mind." What is the disease? Complete hopelessness. The inability to form aspirations and dreams, to think of a better future. A is a very reactive character who does not set goals for himself. Therefore, I personally conclude, that initially, Carmen's ideology resonated with him because he could identify with the disease.

This is the point where I start rewatching Lobcorp story clips. Dear god.

So, by briefly binging day 27 onward, I've come up with lines that very much support this lil theory of mine:

First, from Carmen, a description of the disease, "People lock away their own potential."

Second, a line from Angela, after the memory synchronization, "You've locked yourself in this prison without bars."

Carmen describes A as humble, and Benjamin thinks he is warm. If I suppose A was one of the diseased initially, Carmen would be the catalyst for this change. Carmen was someone with big aspirations, with plans to heal what is wrong with the City, and it gave him hope. He was one of the diseased, but through time with Carmen, with that relentless optimistic spirit, he may have been cured, for a time. It's not a stretch to say that she was his light.

But lor shows us what happens when the seed of light sprouts wrong, doesn't it? It distorts. A grasped hope for the first time and then it is ruthlessly crushed. Carmen was everything. Yes, A is described as a jack-of-all-trades, as a genius in all pursuits he puts his mind to, but what does that matter in the face of someone who can unite people? Who can give them hope of a better world? Who can inspire them to actually use the talents they have?

And what kind of pressure is it to put the legacy of a messiah in the hands of the diseased?

3. A and the Perception Filter: A is weak to White damage

No, I am serious about that. He's extremely weak mentally. Obviously death of a loved one is a changing experience for absolutely anybody, but Carmen's death destroyed him.

Not only did he refuse to confide this grief to anyone and bottled it up, now everybody looked to him to lead the project, but he just isn't Carmen. He isn't an ambitious person, he doesn't have the same optimism, he can't bring people together, but people expected him to, and he failed. Hard.

While he was without a doubt talented in science, he was also just an average guy.

After her death, A grew to hate humans. He lost trust in them. He refused to confide in anyone, and be confided in by anyone. Thus, the team fell apart.

In both lobcorp and lor, we get interesting tidbits about precations taken to protect the manager.

Firstly, Lobcorp's perception filter. The cartoony art-style of the game is a result of the game being in first person. Through the eyes of the manager, everything is cartoony!

This is a measure undertaken to specifically protect the manager's psyche. Angela tells us that, before it was deployed, the manager would frequently go insane, one notable incident including the manager trying to hang himself. When we first hear this, the previous managers and X are still separate in our minds. However, they're all A! A went insane multiple times without it.

This is understandable, considering that employees also frequently go insane and try to kill both themselves and others. But they're there in action, confronting the Abnormalities directly. Just watching them made the manager go mad. They could not handle the responsibility for the employees' deaths.

In lor, Angela explains why she picked the Rabbit Team from R Corp as their main contractor instead of any other team. One team was simply too big for L Corp's narrow hallways, and the other team... dealt in psychic damage. It was simply too big of a risk for the manager. But the manager is always secure behind the cameras. Would that teams methods just be that brutal visually, or would their attacks have reached the manager?

Combined with his immense grief at all of his friends and coworkers dying in part because of him, A cannot bear to look at death.

4. A's greatest flaw: Avoidance

A common thread during Core Meltdown flashbacks: A refuses to look at suffering. He just can't. Whether it be looking away from Elijah writhing on the floor or hanging up on Daniel's panicked report of death.

This is actually the thing Angela takes the biggest issue with, and what hurt her most. A would never look at her, acknowledge her, and she did not understand why. But I think A did not refuse to look at her out of maliciousness. Rather, it was out of grief over Carmen. He could not look at her without being reminded of what he lost.

Angela's creation came about because A wanted someone to guide him, someone like Carmen. He threw himself into the project to the point it made Benjamin happy that A was passionate about anything again. But as soon as the project he distracted himself with is complete, he is filled with regret. Carmen cannot be replicated, and he breaks again.

Furthermore, tying this back to my first point about A being a reactive person, we see Angela take charge over A. She's the one recruiting employees and leading the business. It was likely a relief for him to be able to step down from the leading position.

But avoiding it made everything worse. He did not act when he saw Elijah's unchecked ambition, he did not act beyond a simple check at Gabriel's decay, he gave Giovanni the same hope he clung to to no avail, et cetera et cetera.

Avoiding his problems is making them worse and sending everything down the drain (including his psyche), so he deals with it the only way he knows how, avoiding them more!

Biggest example of A's big avoidance problem as his psyche crumbles: the memory wipe. A, in perhaps his one singular moment of acknowledging his emotions, recognizes that he is incapable of fulfilling the Script in his current state. His grief is just too much.

By erasing his own memory, he could start fresh without his grief, because he might've really killed himself otherwise. His suffering became bigger and bigger, and he coped by avoiding it.

The memory wipe allowed him to distangle his problems. Through his interactions with the Sephirah (which I will not individually detail for the sake of my sanity and because I dumped all this on a friend on discord already), he can deal with and actually process his issues one at a time.

As the motto describes, only by facing the fear can he build the future. Only by finally facing his grief and acknowleding it, seeing that the past cannot be changed and he has no choice to move forward, can he actually do so.

5. The Sephirah as ghosts

Lobotomy Corporation feels like a ghost story. I've touched upon this in my previous A post.

As you reach the Corp's lower levels, there are less Sephirah. First there are four. They act like normal employees, and do not breach into the story's underbelly until you reach their core supressions and the facade breaks. Second, counting Tiphereth as one, there are three. They still go about their duties, but they know what they are. Third, there are two, and the facade is gone. They know what they are, and they will tell you about the sins of the past.

And finally, you reach Keter, and there is only one.

This gradual decay of the facade is what really gets to me. I said that by interacting with the Sephirah, A deals with his issues one by one, but that's what the Sephirah are, in this case. Representations.

The people the Sephirah used to be are dead, and the Sephirah are their ghosts. The core supression involve putting these ghosts to rest. Doesn't it match the progression of a typical ghost story? Find the ghost, find what they used to be, and help them move on.

So, if everyone is a ghost, then A is alone.

But, behind the scenes, the Sephirah are still there. They are still people, and they have changed for the better, too. As always, A simply does not look.

(Does he even see the good others see in him? Does he look away from praise, too? Did he even realize Benjamin's admiration for him? Will we ever know?)

6. A's end.

A's progression of moving on would be fine and dandy if it did not end as thus: A does kill himself.

A sees himself beyond the point of no return. Everyone is dead. He is alone. Carmen is never coming back. He can't call it quits now, or else everything has been in vain. (Even if the last days show us a part of him wants to just quit, so badly.)

So, there's only one thing left to do: follow the Script to its ending. Fulfill Carmen's legacy at all costs. Death as the ultimate release.

This is the point where I admit I do not like the death as release trope. But the game does a good enough job as presenting it as the only option A had, or the only option he saw himself as having.

However, I've mentioned it before, I'll mention it again: A was not alone. Death was his release, but he left wreckage. In order to end his own suffering, he inflicted the same pain he went through on others.

Throughout the game, he moves on and pushes through. The ending shows that in reality... he didn't.

At least in lor the characters stick together and help each other heal.

This has been most of my thoughts on A, amounting to my longest analysis post ever, having taken me approximately two and a half hours to complete, and clocking in at 2337 words including up to this paragraph.

Thank you anon for giving me the incentive to verbalize all of this, so I can finally be at ease having inflicted my thoughts on everybody else.

#Feli gets asked #lobotomy corporation #ayin #library of ruina #also i saw apparently another fandom besides lc uses the ayin tag which is just fun to watch honestly #many characters could rival this word vomit probably but as i said i already inflicted most of my thoughts abt netz on my good pal borgor #thank you borgor for dragging me back into projmoon stuff. also curse you terribly #long post #Feli speaks

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insanehobbit · 3 years

Text

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.

#cloti

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hageny · 3 years

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Succession Thoughts: Gerri x Roman

AN: The first point in this post was requested by @thinkingfixatingobsessing, so credit goes to her for the idea.

WARNING: Mentions of child sexual abuse in point one.

1. What In Here is Real?

A lot of fans tie Roman’s ‘dog cage’ experience to his adult need for degradation, and certainly there is a valid reason. The murky circumstances surrounding the incident(s) in his childhood--Roman remembering being forced; Connor and Kendall remembering him liking it; Connor remembering what their father said about “two fighting dogs” in relation to the incident--make it difficult to say how much of what Roman remembers is real and how much is his emotions skewing his memories. What is totally overlooked is the scene above, which takes place in Austerlitz. The family has just arrived at Connor’s ranch for the not-so-optional family therapy session when Roman says something very interesting to Connor, telling him that he plans to tell Alon Parfit, the group’s therapist, that Connor molested him as a child. Given Roman’s ‘dog cage’ revelation only one episode later, it struck me as very interesting that Roman makes a joke about what is for many a deep, childhood trauma. Now, I should clarify, I don’t believe Connor in any way abused Roman, and it seems fairly obvious Roman was just doing this for shock value, but there is a point to be made here. It seems pertinent to ponder whether Roman’s ‘dog cage’ experience could tie into a deeper, darker truth in his childhood. Maybe it’s possible that Roman actually did go into the cage willingly, and to some degree submitted--as much as someone who is emotionally/mentally abused as a child can--to his siblings’ game. All of them being children themselves, they wouldn’t have had the insight and maturity to understand his behavior was abnormal. What we do know of Roman’s experience is that it caused him to start wetting the bed, and he was eventually sent away to St. Andrews; again, he thinks this occurred against his will, Connor says he went willingly. What is interesting his Roman’s description of the effects of the ‘dog cage’ incident closely aligns with what may happen to a child who is molested. As Roman puts it, “Kendall locked me in a cage, I went weird, I started wetting the bed, and that’s why dad sent me away to St. Andrews.” Now, I should be clear, I am not a mental health professional of any sort, so all of what I say here is gleaned through years of reading about crime stories and second-hand research, but re-watching this scene caused me to remember that when Jon Benet Ramsey was murdered, many wondered--and still do--whether it was possible she was molested as a child due to her still wetting the bed at the age of six. From what we can gather, Roman would have been probably around the same age, if not older, when the alleged ‘dog cage’ incident occurred; his mentions of ‘going weird’ could be his best way to articulate what could have been a mental breakdown suffered during his childhood. His parents, having no clue what to do with him, would have naturally sent him to a rigorous, regimented school that, they believed, could have righted his ‘abnormal’ behavior. There are many signs children can possibly exhibit as a result of sexual abuse, but a few of them struck me because they describe even Roman’s adult behavior:

Regressive behaviors or resuming behaviors they had grown out of, such as thumb-sucking or bedwetting

Overly compliant behavior

Decrease in confidence or self-image

Change in mood or personality, such as increased aggression

We notice Roman’s lack of confidence constantly over the course of the series. In Sad Sack Wasp Trap, we see him studying his body carefully in the mirror, obviously displeased with what he sees, and then quickly buttoning up his shirt when Grace enters. As an adult there’s no question that he is--around his father, especially--overly compliant, going along with what Logan says and most of the time unwilling to buck him. While Roman is certainly not aggressive in the sense of being a danger to others, we do notice that his temperament borders on the aggressive quite a lot of the time, and he has a sadistic side, taking pleasure in tormenting others for his own amusement. We also know that the infamous Lester McClintock--Mo-Lester--was a friend of Logan’s; while it’s not stated that he abused any children, if he was a family friend, there is a possibility he was around Roman as a child. Connor, in Safe Room, does tell Willa that Logan wouldn’t let his kids get in the pool with Lester, so the possibility of his being a pedophile is there. Maybe the abuser was someone else. Maybe Roman wasn’t abused at all and I’m way off base. But I bring the point up for discussion only because as I pondered it, I myself began to wonder.

2. Patrick Bateman

SPOILER ALERT: The ending to the movie, American Psycho. is discussed below.

In I Went to Market, Shiv makes a quip when Roman tells her he has a hobby, saying to him, “Killing hobos isn’t a hobby.” Anyone old enough to remember--or old enough to have watched American Psycho or read the book--will remember that Patrick Bateman, the novel’s famous protagonist, descends slowly into violence as his disgust for society deepens, and begins literally killing homeless people on the streets of New York City, using homicide as an outlet for his uncontrollable rage. For the sake of convenience, I will discuss the movie a bit here, as I read the book years ago and do not remember much. The end of the movie is open to interpretation, leaving the audience to decide whether Bateman did actually kill anyone and it was cleaned up for him because he was wealthy, or whether he simply fever-dreamed the experiences. It’s interesting that the show draws a tie to Patrick Bateman and Roman, but having considered Bateman’s behavior there are some similarities. Roman, like Bateman, has a total disregard for the lower class, no more openly displayed than in the pilot episode where he tears up the check in front of the little boy at his family’s baseball game. He also, as noted in the previous point, has a temper, sometimes flying quickly off the handle when things don’t go his way. He is tightly wound, constantly agitated by the world around him, and driven by impulse. Where Bateman’s impulses lead him to murder, Roman’s take a different path, leading him to push the envelope of appropriate behavior for shock value, or drop and pick up girlfriends like objects. While Roman certainly would never kill anyone in a literal sense, he is not afraid to destroy those beneath him without a second thought, obliterating Vaulter simply because he wants to, manipulating the staff into admitting they want to unionize--which might’ve saved them--and then handing his information over to his father so as to leverage himself and his desire to shut Vaulter down over Kendall’s desire to keep it open. The point is is that the show, by drawing a link between these two characters, could perhaps be suggesting to the audience that Roman’s behavior, like Bateman’s, requires an understanding of nuance. Bret Easton Ellis, who wrote the novel, grew up in an environment similar to Roman’s, coming from a wealthy family, deriving much of his literary material from what he witnessed as a child and an adult. It could perhaps best be said that both characters are a study in how environments shape people: what they bring out in them, and what they create that, for better or worse, can be left to bubble just below the surface.

3. Only Good?

This point will be fairly brief, but I did find it pertinent to comment on how many people in the fandom--maybe younger people who don’t understand the show’s nuances--seem content to constantly cast Gerri as an artless bystander to the cruises situation when this is simply not the case. It could be that some don’t recall, but in the above scene from Pre-Nuptial, Shiv demands that ATN lay off Gil Eavis by blackmailing Gerri, telling her that if she doesn’t get her way that she will blow the lid on the scandal that centers around Lester McClintock. What’s most important is the fact that when Shiv mentions the “cruise division horror show”, Gerri never asks for clarification regarding Shiv’s point. This, obviously, is because Gerri doesn’t need it. While I am not suggesting Gerri knew all along about the scandal, her lack of need for Shiv to clarify what she means by “the cover-up” is an indicator that Gerri not only knew what was going on before the audience did, but perhaps also had a hand in hiding what was happening. There could be many reasons she did so, but I felt compelled to make this point because so often people believe Gerri was caught off-guard by what was occurring at Brightstar, when in fact our introduction to her in the show was intended to serve as an indicator of her character. The phrase, “stone-cold killer bitch”, used flirtatiously by Roman, was not only intended to amuse, but also to give insight into her character. In order to survive and thrive in Waystar, Gerri would have had to have been anything but an artless child, and her reputation as a ‘stone-cold killer’ is apt, as it describes the sort of character a person generally has to take on in order to climb the ranks of the corporate world. Gerri’s panic as the cruises situation unfolds is not due to the nature of the incidences (nor is Shiv’s for that matter)--it is due to the panic she feels at having to take the fall for what occurred. What actually happened, the facts of it, don’t really bother her. That’s what makes a killer.

#gerri/roman #gerri x roman #gerri kellman #roman roy #succession #succession hbo #hbo succession #succession thoughts

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nikadoesanart · 3 years

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Why I think Bones animated the light novels in the order they have so far

Before I start, I will preface this by directly quoting Asagiri as he did say himself:

“...each of the plots in [novel] Volumes 1 through 4 are independent with their own timelines that follow different protagonists, meaning you can start them in any order.” (55 Minutes, Afterword, Yen Press translation)

This was of course written at the time of 55 Minutes being written (which was first released in October of 2016), but this has so far held true for all of the following light novels except for Storm Bringer. So officially speaking, you don’t necessarily have to read the bsd light novels in numerical/release order or chronological to the story order either, though you’d probably want to have read or watched 15 Years Old before Storm Bringer. Also, considering that 55 Minutes and Dead Apple are the only ones that take place during the main story, you may want to have at least finished season 2 or read up to the end of ch 37 in the manga so that you’re familiar with the characters (because these two take place shortly after where s2 left off).

Now that that’s out of the way, let’s get to why I personally think that Bones has decided to adapt the light novels that have been animated so far in the order that they have. Seeing as Dead Apple was pretty much requested by Bones for Asagiri to write (according to his afterword in the novel), I won’t really be going over it.

Anyway, my theory is that they chose to adapt Entrance Exam>Dark Era>15 YO because in that order the light novels are most relevant to which part of Dazai’s past and mental state are tied to the current main story arc being animated. This doesn’t make Dazai the protagonist in the main story, in fact he never has been as of yet, but this is how the audience is able to slowly uncover Dazai’s past and try to learn about how his mind works. Keep in mind that even the novels with Dazai’s name in the title and even what few scenes there are focused on Dazai and his POV in them, they are not actually from his POV and we are given the absolute minimal clues as to what he may be thinking.

In s1 we don’t know much about his past yet but Entrance Exam/Azure Messenger helps to highlight his eccentricities while also showing his cunning, but also addresses the question of how Dazai and Kunikida are able to work together. Atsushi himself starts the arc off by questioning how two people with seemingly such incompatible work ethics and personalities are able to work together and even became work partners in the first place.

This was cut out from the anime but the novel also shows how Dazai can act sketchy at times and acts on his own behind people’s backs. There were also a lot of overall changes from the Entrance Exam novel to the point that I find it more fitting to refer to the novel as Entrance Exam and the animated arc as the Azure Messenger arc due to how much was cut and changed, but that’s not the point here.

Next, Dark Era shows not only that Dazai used to work in the Port Mafia, but also some of his closest connections within it and why he left, which becomes relevant during the Guild arc. It also introduces us to the Lupin bar, which Dazai is later shown holding a match box from there as a relic of Oda, who he always thinks about/remembers in difficult situations. Dark Era is also where we’re introduced to Ango and what led to Dazai pretty much despising and refusing to forgive Ango.

15 Years Old mainly shows us the relationship between Dazai and Chuuya. This includes how they first met, the earliest instance we know of when Dazai can act his age, but also touches on the topic of Mori’s leadership. It takes place shortly after when Mori became leader, so the choices Mori makes during this time are crucial to both him and the PM. The importance of Mori’s leadership is later mentioned again during the Cannibalism arc, and we see Chuuya respecting Mori as a fellow leader at the end of 15 YO. We also see in 15 some of Dazai’s mentality as a strategist and leader when directly under Mori’s influence, and it is Mori’s teaching that got Dazai to a point that the only reason Fyodor was able to be found in s3 was because Dazai claimed that it’s how he would act in that situation. This is shown in some of Dazai’s unnecessary cruelty and use of excessive force during the arc (ie. continuing to shoot a dead body). 15 also shows not only how Dazai and Chuuya first met but also how they are both able to act their age around each other. Their constant bickering shows that they can both act like the teens or young adults that they are (depending on when we’re looking at) but also that they already have at least some respect and trust for each of them being their own person and each having their own strengths. They’re both being used as very important and powerful tools by their respective groups during 15, but they still realize that the other can each make their own decisions. Dazai is the one that tells the Sheep that Chuuya is his own person and Chuuya assures Shirase and Yuan of the captured members safety and he later realizes the extent of Dazai’s foresight after asking him to spare the kids, which Dazai mentions was part of his original plan anyway.

What’s interesting to me is how during the Rimbaud fight, Dazai claims that he’s started to become interested in living again yet only 1 year later in Storm Bringer, he is at his absolute worst in terms of what we’ve seen so far of his mental health. In regards to everything that went into Dazai’s mental health plummeting between 15 and SB and then improving again between SB and the Dragon Head Conflict, for now we can only hope to one day learn more about the DHC, how Dazai and Oda first met and what happened to Dazai during Chuuya’s first year in the PM. Also do keep in mind that 15 Years Old was originally written at Bones’ request (you can read the full afterword here).

In my opinion, when you think of these as some of the reasons for the order of the light novel adaptations so far, it makes sense to me. I do still question why we got Dead Apple instead of getting 55 Minutes animated, as they take place at around the same time on the timeline. However, if Dead Apple and even the Walking Alone OVA have proved anything, it’s that Chuuya’s mere presence alone brings in the money. Entrance Exam and Dark Era are respectively light novels 1 & 2 but #3 is Untold Origins of the Agency, which has a short story about Atsushi’s entrance exam being planned (A Day at the Agency) followed by the story of how Ranpo and Fukuzawa met and how this led to the need for the ADA to be founded. Personally, I don’t think Untold Origins is too necessary to the main story until Bones gets to animating chapter 71 onwards. In fact, if you want to look at the order of the Japanese release dates for the novels, Gaiden (January 2016) came out between Untold Origins (May 2015) and 55 Minutes (October 2016), yet with the official translations for the novels it’s been skipped over. But at the end of the day, the order Bones has chosen so far is by no means wrong or right. I’m not sure if the information regarding who chose which novel to adapt when is available to the public (if it’s in an interview or one of the guidebooks, hopefully there are translations available so please lmk if you know anything!), but hopefully Asagiri was involved in that part of the decision making as bsd is originally his story.

If you want to see my more in depth predictions for when the remaining light novel anime adaptations would take place (as in which order they’d be animated) and my estimated screen time for each, you can check it out here.

Also last minute thought/realization but they probably could’ve animated A Day at the Agency instead of Entrance Exam and achieved almost the same goal? I think I’ll revisit this idea later after rereading the novels eventually.

#bsd #bungou stray dogs #bsd analysis #bsd spoilers #bsd theories #bsd light novel #bungo stray dogs #bsd anime #bsd dazai

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yurimother · 4 years

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The Best Yuri of 2019

2019 was a challenging year for many, in and out of the anime community, which is still reeling from the horrific attack at Kyoto Animation’s first studio in July that killed 36 people. However, I want to take this moment, as we start a new decade, to reflect on some of the greatest achievements in Yuri.

2019 marked the genre’s 100th anniversary, 100 years since Nobuko Yoshiya released her landmark lesbian novel Yaneura no Nishojo that shaped and created Yuri as we know it. It was possible Yuri’s best years ever, as more incredible titles were released and localized, we experienced fantastic events and moments, and more. This article is part of my continuing celebration of all things Yuri!

Note that many of the works mentioned came out before 2019, but they either were first released in English during 2019 or hit particular high points during this year. Now then, here is the best of Yuri in 2019!

15: SukeraSparo

This Japanese Yuri visual novel developer is starting to reach new heights as they set their sights on releasing new and innovate Yuri titles. The English release of The Expression Amrilato, an educational Yuri visual novel that teaches the player Esperanto, was one of the most unique and creative works I have the pleasure of playing this year. But, they outdid themselves this year, releasing a sequel, Itsuka no Memorajxo, creating one of the most beautiful Yuri games in Folklore of Kudan, and founding a sister brand, SukeraSomero, “to fill the world with YURI!”

The Expression Amrilato is available in English for PC on Steam and Mangagamer

14: Mage & Demon Queen

This outrageous and vivacious webcomic hits its stride in Season 2. After setting a solid foundation, this masterpiece by Kuru “Color-LES” is finally able to explore some more interesting plot lines such as its characters’ pasts, conflicts between the demons and humans, and figuring out who’s gonna be the bottom (it’s Malori, it was always going to be Malori). It is chock full of modern humor and moments I can only describe as hilariously kinky, while rarely feeling gross of sleazy. I can only wait to see what is next for these star-crossed lovers.

Mage & Demon Queen: is available to read in English on Webtoon

13: Yuri Anthologies

In 2018, Yen Press gave us the first hint of some Yuri anthologies starting to squeak into the West with Éclair, but 2019 threw the floodgates open! New works are coming out in both Japan and the West, featuring multiple artists coming together to create works featuring workplace romance, isekai, first-time stories, and even MARRIAGE!! Additionally, creators released volumes collecting their various short stories, like Rouge Nagashiro’s Eve and Eve, and some series saw multiple artists contribute to an already established world such as in the Bloom Into You Anthologies.

12: SHWD

Sono’s science fiction Yuri doujinshi series, published in English by Lilyka, is everything I did not know I wanted in a Yuri series. It showcases pulse-pounding action as the women of the “Special Hazardous Waste Disposal” fight to take down the horrific Dynamis. It has musclebound beasts of women that exude strength, power, and femininity at all times. And it has a compelling story about overcoming personal conflicts and learning to rely on others.

SHWD is available digitally on Lilyka

11: If I Could Reach You

No other series this year delivered an emotional gut-punch like If I Could Reach You. This tragic and beautiful manga by tMnR follows a young girl as she attempts hopelessly to overcome her attraction to her brother’s wife. Everything from the artwork to the dialogue masterfully communicates the devastation and pain that the protagonist Uta feels. It is beautiful and devastating, and I carry every awesome moment on my mind continuously.

If I Could Reach You is available digitally and physically in English from Kodansha: https://amzn.to/36vsYPe

Honorable mention: SQ/Tamen de Gushi/Their Story

2019 was a little bit of a slow year for Tan Jiu’s webtoon, thanks to an extended hiatus, especially when compared to 2018’s triumphant and spectacular storyline. However, small moments of genius like Sun Jing’s father’s phenomenal visual monologue keep this work in peak form top and my heart. I hope that its recent Japanese serialization on Comic Walker help even more people enjoy it.

10: Still Sick

In my recent review, I called this workplace romance a “Yuri manga for Yurijin,” and there is no way I could come up with a more apt description. Still Sick surprised me with its self-awareness, knowledge, and commentary on the genre. It has an incredibly deep story about two complex and layered characters that ignite each other’s passion, in more ways than one.

Still Sick is available digitally and physically in English from Tokyopop: https://amzn.to/2rVRH07

9: Going Beyond Girl Meets Girl

Yuri stories tend to repeat the same story, two girls meet, they fall for each other, they get together, THE END! The past decade or so has finally seen more stories adding sexual elements, in contrast to earlier S works, and some even explored the dating life of two schoolgirls. However, we have recently seen something remarkable: works featuring couples “graduating” (literally or metaphorically) and enter the real world. Series like Citrus, Kase-san, and, briefly, Bloom Into You explore the relationships as they exit the honeymoon phase and get into the meat of lesbian livelihood.

Kase-san and Yamada is available for English preorder: https://amzn.to/2MXnp4w

8: Nagata Kabi

Over the past few years, Nagata Kabi has redefined what the Yuri genre can be. Her powerful autobiographical manga essays My Lesbian Experience With Loneliness, My Solo Exchange Diary, and Genjitsu Touhi Shitetara Boroboro ni Natta Hanashi communicate her experiences with queer identity, mental illness, and alcoholism. No work of fiction could ever hope to reach Nagata’s strength and crushing honesty. Nagata’s manga has and will continue to change readers and the genre for years to come.

My Lesbian Experience with Loneliness is available digitally and physically in English from Seven Seas: https://amzn.to/2MZ7DWJ

7: Bloom Into You

Nakatani Nio’s popular Yuri series Bloom Into You crushed it in 2019. It concluded serialization, ending on an incredibly high note, and dominating the market in both English and Japanese, selling over one million copies (well deserved). Additionally, Sentai Filmworks released an excellent collector’s edition of the 2018 television anime adaption that is now a must-have for Yuri collectors. But my favorite aspect of this series is the spin-off light novel series featuring one of its best characters, which have already begun English release.

Bloom Into You: Regarding Saeki Sayaka is available digitally and for physical preorder from Seven Seas: https://amzn.to/2SVPVHG

6: Heart of the Woods

When I heard that one of the co-creators of Highway Blossoms, one of the better English Yuri visual novels, was creating his own studio, I was pretty excited. But nothing could have prepared me for Studio Élan's first release, Heart of the Woods, which blew me away. The enchanting adventure full of exceptionally queer characters shattered every expectation I had. I am looking forward to its Switch port and voice acting patch, as well as more titles from Élan.

Heart of the Woods is available for PC on Steam. Switch edition coming later this year.

Honorable mention: Hayama-sensei to Terano-sensei wa Tsukiatte iru

Oui Pikachi’s manga about two teachers navigating a new relationship is one of my new favorites. Everyone is so supportive of the title characters as they stumble their way through an honest and mature love. However, I am only giving it an honorable mention this year, as I am sure it will be on this list next year after Seven Seas releases the first volume in English as The Gym Teacher and School Nurse are Dating!

The Gym Teacher and School Nurse are Dating! is available for preorder in English from Seven Seas: https://amzn.to/39JhXMs

5. Sexiled

Ameko Kaeruda’s spectacularly feminist and outrageously funny light novel series Sexiled is could ever ask for and more. I feel in love with its compelling female characters and their riveting battle against the sexist conventions of their society, all of which painfully mirror reality. This work is cathartic, empowering, and so very, very gay.

Sexiled is available digitally in English from J-Novel Club. Physical edition coming later this year: https://amzn.to/35u6NaW

4: Yuri Life

I adore domestic Yuri. Granted, I love a good romance and fantasy, but so many of these stories exist that it feels overwhelming, and sometimes it is just good to sit down and read about two women who love each other living their everyday adult lives in bliss. Kurukuruhime’s Yuri Life, which I have enjoyed ever since it was first uploaded to Pixiv and am so proud to own in print, is precisely that. Nine couples being cute and living together in a variety of humorous, scandalous, and adorable situations. Yuri cohabitation has never been so good! Now, if I could only get some Yuri titles about women raising kids together…

Yuri Life is available digitally and physically in English from Yen Press: https://amzn.to/35stSLg

3: Children’s Cartoons

For the past several years, children’s cartoons and media have slowly begun to allow bits of queer representation onto the screen. While we are still a long way from having Elsa kiss a girl, the small and large victories on children’s television give me hope. Some of my personal favorites include an episode of Nickelodeon’s The Loud House about a lesbian date, a lesbian couple and agender character (using they/them pronouns) in Craig of the Creek, the female protagonist of Twelve Forever developing a crush on another girl, and of course the unbelievable amount of queerness that She-Ra and Steven Universe shove into every moment. I wish I had more series like these when I was young, and I am thrilled that my students get to grow up with them.

2: Our Dreams at Dusk (Shimanami Tasogare)

Yuhki Kamatani’s Our Dreams at Dusk is easily 2019’s best manga. The incredible story explores many real aspects of LGBTQ identities, gay, lesbian, trans, non-binary, and asexual included, in an emotional and resonating masterpiece. The artwork is stunning and more expressive than words could ever be. I stand by what I said in my review, that Our Dreams at Dusk is the greatest manga I have ever read and wholeheartedly believes that it was deserving of the only 10/10 score I gave in 2019.

Our Dreams at Dusk is available digitally and physically in English from Seven Seas: https://amzn.to/2s282AE

Honorable mention: ‘The Conditions of Paradise’ Licensed

One of the best moments of this year came out of Anime Expo when Seven Seas announced that they had licensed Morishima Akiko’s Rakuen no Jouken and would be releasing it as The Conditions of Paradise in 2020. Not only is The Conditions of Paradise a fantastic and mature work of Yuri literature, but it is also over a decade old, having been published originally in 2007. This license, more than anything else, helped me realize how far Yuri came this year. Not only is the hottest new series being adapted, but a historic and profound classic of the genre.

The Conditions of Paradise is available for preorder in English: https://amzn.to/2FjTE9M

1: Yuri Publishers

Not too long ago, it was rare for us to see more than a few Yuri manga releases in a year if any, but now we are at the point where a publisher can do an event announcing five Yuri licenses in a single day! As of this year, all the major publishers, and plenty of smaller ones, are actively licensing, adapting, and publishing amazing Yuri works: Yen Press, Viz, Kodansha, Seven Seas, Tokyopop, Renta, J-Novel Club, and more keep giving us incredible Yuri. I also have to mention the incredible work Lilyka Manga is doing, working directly with mangaka to adapt Yuri doujinshi titles into English, something I would have never dreamed of a few years ago.

As Yuri enters its second century, we are staring down the rest of 2020, a year that will no doubt go down in current Yuri history. The year will see a record number of Yuri manga releases both in Japan and from licensed series in the West. We are getting several promising anime series like Adachi to Shimamura, Magia Record, Oshi ga Budoukan Ittekuretara Shinu, a Princess Principal movie, and more. I cannot wait to see what this year will hold for YuriMother and the Yuri genre. I hope you all stick with me through it as we navigate the waters of a newer, gayer, and greater world of Yuri.

#yuri #lgbt #lgbtq #lgbtq+#2020 #2019 #list #essay #news #queer #wlw #gay #romance #manga #anime #video games #gaming #games #bloom into you #their story #the loud house #steven universe #kase-san

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akatsuki-shin · 3 years

Text

Review: Scum Villain’s Self-saving System (SVSSS)

Notes:

(Very) long post ahead

Contains spoiler

This is my personal review and does not represent the entire audience, you are free to agree or not agree with what I’ve written here

Feel free to reply/send me a message if there are things you want to discuss

Summary:

SVSSS tells the story of Shen Yuan, an avid web novel reader - particularly the stallion genre - who died suddenly from food-related incident after having just finished reading a famous (yet controversial) web-novel "Proud Immortal Demon Way".

Upon his wake, he discovered that he had been transmigrated into the world of that very novel, moreover into the body of the story's most-hated scum villain, Shen Qingqiu.

In his previous life, Shen Yuan had frequently criticized the "Proud Immortal Demon Way" and its author, "Airplane Shooting towards the Sky", for he found the web novel full of wasted potentials. Now having been sent to live in that novel's story, a mysterious system assigned him with a mission to fix the very plot he had been denouncing - and of course, to save himself from the tragic end of the original Shen Qingqiu, who was fated to be mutilated into a human stick by the story's protagonist, Luo Binghe, his own disciple.

STORY: 7/10

I personally have not read a lot of "isekai" stories. However, what makes SVSSS interesting to me, compared to most transmigration stories I've seen in the past, is because the main character was not thrown into a completely strange, unknown world, but rather into the universe of a novel he had been closely following up until the very last second of his life.

And what's more? He does not have complete freedom in modifying the story however he wants, but supervised by a mysterious system that will reward him for correct decisions, and punish him for wrong choices - with being deported to his original world as the ultimate punishment should his points fall below the set limit (a.k.a. he would really lose his life because he is already dead in his original world).

The fact that Shen Yuan, now living as Shen Qingqiu, possessing complete knowledge of the original story, yet still unable to foresee what butterfly effect his actions will cause to the plot and characters is perhaps the most appealing aspect of this novel.

Shen Qingqiu in his previous life was no different than us - a normal, modern young man from the 21st century. His thoughts and opinions on the situation, the way he reacts on certain matters, his internal monologues are all realistic and easily relatable. It feels as if I myself have partly become Shen Qingqiu, as well, looking at how the story progresses from a first person point of view, because if I were to be in his shoes, I would probably react in the exact same way as a modern person thrown into an ancient fantasy world.

Nevertheless, this "omniscient reader" point of view is not without a flaw. Although Shen Qingqiu himself is gradually blending in, accepting his new life in the ancient cultivation world and no longer seeing the other characters as mere "fictional characters", because his mindset is that of a modern man, I find it difficult for myself as the reader to perceive the world of SVSSS as an actual, stand-alone world. Until the very last page of the story, I still feel like I'm looking at a fictional world, feeling detached to the universe and characters because I'm not "living" in it.

Another aspect that I think could've been improved is the romance development between Shen Qingqiu and Luo Binghe. I have full confidence that post-story Shen Qingqiu loves Luo Binghe with all his heart, but I seriously have no idea when and how he reached that point.

In the first half of the story, upon having accepted his new life as Shen Qingqiu, his feeling towards Luo Binghe is more like fondness and endearment. Perhaps he does like the character Luo Binghe, and considering that he, along with the rest of the web novel's readers, hated the original Shen Qingqiu to the core, of course he wants to treat Luo Binghe and the other characters better (otherwise, how could he save himself from that nightmarish fate as a human stick).

Later on, he learns of his mistake, how he could've made better decisions, and tried to understand Luo Binghe better, redeeming himself. Perhaps his love towards Luo Binghe began to grow along this path, but I honestly don't see it being told to me, as the reader. All of a sudden he is willing enough to "offer" himself to calm the maddened Luo Binghe. He's been proclaiming himself as a straight man all this time and never once did I see him agreeing with himself that he is going to accept his feelings for Luo Binghe. When I read this later part, I feel like I've just jumped over a huge chunk of development. Because up until that point, Shen Qingqiu still only gives me the feeling of a teacher who adores and cares for a special disciple of his.

All in all, if I were to summarized the plot, I think SVSSS is an interesting, curious story. The fact that Shen Qingqiu was tasked to fix the original novel's flaws makes me want to continue reading for as long as I can. What change is he going to make? What effect will be caused and what chain of events will follow? Furthermore, if you're looking for comedy, then you've come to the right place. With an internet-literate modern man experiencing living in an ancient, fantasy novel, Shen Qingqiu's reactions will never be boring to see. Even the banters and exchanges between characters are so realistic to the point that it is almost possible to imagine them visually.

Also, BingQiu is cute, I take no criticism.

CHARACTERS: 6/10

The distribution of that overall score of "6" is actually as follows:

3 --> Shen Qingqiu

1 --> Shen Jiu

1 --> Luo Binghe + Yue Qingyuan

0.5 --> Liu Qingge

0.5 --> Everybody else

Notice that in the previous section, I barely talk about any other character than Shen Qingqiu? It's not just because he is the main character, but because the other characters are seriously that un-interesting. In fact, I regret to say that personally, I think the characters are this novel's weakest point.

Or to be more precise, the characters' depth.

Shen Qingqiu by himself is a great character. He is calm, logical, knows when and where to put his "omniscient reader" knowledge to good use. He is effortlessly hilarious even if he himself doesn't realize it, but at the same time, despite the mountain of curses he often uses, he is still a good person at heart. I think he is the sole reason that the story could remain interesting until the very end.

But sometimes he is a bit too ideal, almost always having the correct solution and/or countermeasure to every situation even if the plot has changed massively from the original web novel that he knows. Especially when it turns out that he has discovered a way to revive himself after self-destructing at Huayue City, it makes his initially heartbreaking sacrifice less......touching. Because it feels as if he's been scheming this to be freed from the current ordeal, maybe to escape the system, as well.

Furthermore, no matter how much of an expert he was of the "Proud Immortal Demon Way" universe, he still just passed away and was transmigrated into a foreign world. Although the system initially banned him from being OOC, other than some panicky internal monologue, there was almost no trace of him looking distraught when being faced with the unthinkable situation.

Plus, Shen Yuan was different from Airplane Shooting towards the Sky who, even if he were to return to his original world, would have nobody waiting for him. The description of his family was pretty clear. Not only he comes from a well-off household, his family seems to be quite a happy and harmonious one (especially how he used to dote on his younger sister). How come there is not one single moment when he thinks about the family he has left behind and simply carries on with his new life as if nothing happened?

Now Luo Binghe, the second main lead and the one paired with Shen Qingqiu.

Before he fell into the Eternal Abyss, his character actually seems pretty solid. But post-darkening, I don't know why I can't get a good grasp of his character.

The "clingy, crybaby boyfriend" aspect is pretty clear, no complaint there (although the moments of his crying feels too comical for me). Other than that, I don't really feel the "powerful Demon Lord" vibe from him.

Yes, there are descriptions of how powerful he is, how frightening he can be. But it's just not solid enough for me. I understand that he is supposed to be a character with unstable mental, but there are simply not enough part where he is shown to be a proper, powerful Demon Lord because he keeps breaking down each and every single time. The "glass heart maiden" aspect isn't bad, but when it's used in an overly comical way, the character simply loses the charm he's supposed to have.

Even Yue Qingyuan, who's only a minor character, had such a strong charm that slaps you with the biggest plot twist in the whole story when it was revealed (to us, the readers) who he actually is.

Ironically, the original Luo Binghe (Bing-ge) was able to present the character's true image and complexity even if he only appear in less than 10% of the entire story.

And even more ironically, the original Shen Qingqiu a.k.a. Shen Jiu, is probably the most complex character to have ever existed in there (and he only appears in, what, a couple of extra chapters).

(You know what? If MXTX just goes with the original Luo Binghe x Shen Qingqiu, including all of their complexity, I think the development, conflict, and resolution could've been more deep and complex - but yeah, it ain't gonna be "Scum Villain's Self Saving System)

Liu Qingge is okay and actually quite lovable. It's just that I feel it's too easy for him to appear anytime, anywhere there is a problem, as if he's some easy way out.

Other than those I've mentioned above, I literally don't have anything to comment on the other characters because... I don't even know if there's anything to comment. They really come and go just like that and leave no big impression on me.

TECHNICAL ASPECTS: 6/10

This here is basically just some technical things that were a bit unfortunate, because if only they were improved, the story could've been better.

1. The story is clearly written from Shen Qingqiu's point of view, but it will suddenly switch to Luo Binghe's inner thoughts every now and then, making it inconsistent.

2. Description of time and environment. Sometimes it's really difficult to tell in what kind of place the scene is happening, whether it was day or night, whether the characters still remain in the same place or have move elsewhere. Transition when switching locations is also not described enough.

3. As much as I love the story, I feel like it's progressing too fast without any significant crisis. It just ends like that with no massive ordeal or mystery to be solved. I think this is related to Shen Qingqiu's "omniscient reader" point of view because it makes me feel like "hmm yeah, it's just another part of the story, they're going to go through this just fine"

Still, I understand that this is MXTX's first novel. In fact, most of the aforementioned issues (including the characters) have undergone immense improvement in her second novel (MDZS), so I don't think I have anything to worry about.

OVERALL SCORE: 6.3/10

It's worth to read, really. If you just want to enjoy a cool, funny, and cute "isekai" story, I can definitely recommend this. But don't expect some deep philosophical shit, because half of this novel is made of shitpost (I shit you not).

Moral of the story though?

See how market demand kills content creators' freedom and creativity.

Airplane Shooting towards the Sky, the author of the controversial stallion "Proud Immortal Demon Way" literally told Shen Qingqiu at the final chapter of the main story:

He's actually written deep, aesthetic stories before, but they were all unpopular. Only when he wrote this harem novel full of fan-service - disregarding plot depth, plot holes, cheap characterizations - did he finally gain popularity and was able to obtain sufficient income to feed himself.

He was grateful to Shen Qingqiu for "messing" up the plot of his novel, changing it into how it is now, because it allows everything he originally wanted to write - but couldn't - to come true.

In previous chapters, he also said that he actually wanted to make the original Shen Qingqiu into a three-dimensional, more complex characters, but the netizens didn't appreciate it and were complaining instead. Hence he was forced to make the original Shen Qingqiu into a plain old scum villain with no redeeming quality at all - even though in his original script, this character has a complex background that causes his current known personality.

Shen Qingqiu and Shang Qinghua might be talking about it in their usual, funny bantering, but who dares to say that this isn't an issue being faced by almost all content creators in the whole world?

How many content creators have been forced to sacrifice the creativity value and quality of their work in order to satisfy the taste of majority?

How many content creators have been made to revise their works by editors in order to fit into a certain agenda or market trend?

Unless you're a massively popular creator or a powerful individual, chances are you will never have the chance to create a content you truly want to make for a living.

In any case, there may be other authors who are better than MXTX in this world, but I love her works because despite the fictional content, the comedy, the silliness, etc, there are still at least one aspect that reflects the situation of the real, current world, and when you realize it, the realization can be quite a slap to the face like "hey, wait a minute, she's right you know?" See less

#Scum Villains Self Saving System #SVSSS #BingQiu #Shen Qingqiu #Luo Binghe #Review #Danmei #Mo Xiang Tong Xiu #MXTX

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prettywordsyouleft · 4 years

Text

To Be Continued - Part 7

Summary: As an author, you had created Brian Kang for your current trilogy series to represent the ultimate man that everyone would love, along with Charli Evers - your female protagonist. What you hadn’t expected was for him to find a way out of the story and begin shaping up your world instead

Pairing: Brian Kang x female writer (ft. Park Sungjin)

Genre: writer au / romance / fantasy

Warnings: fictional characters coming to life / a bit of angst here and there / Sungjin as a cop (or does that only affect me?) >_>

Word count: 2198

Preview | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | Epilogue

It was as if you were writing a new novel. Instead of focusing on how Charli Evers would finally get with her battered beau, you were at the peak of experiencing all the emotions and excitement that came from a new romance. You were enjoying playing the main protagonist for the first time in your life as well.

“What are you doing?” Brian asked with a hint of amusement in his tone. You leaned in even closer, already entangled together on the couch after watching a movie, and lifted your index finger.

“Counting.”

“Counting what?”

“How many lashes I gave you,” you murmured, your gaze honing in on one eye. You let out a whistle when you finished. “I gave you so many! Why are you this perfect?”

“I don’t see myself as perfect at all. You sure made a point of that in my creation, too.”

“How? You’re handsome, protective, honest, playful, charming, sensitive, and did I mention handsome?”

Brian’s lips curled up some from your description. “I think you might have said it twice.”

“Because you truly are that good looking!” you surmised, and Brian chuckled.

“Is being handsome all that matters to you?”

“Well, no.” You blinked a couple of times whilst trying to come up with an answer that didn’t make you feel shallow. The truth was, you really did enjoy looking at him a whole lot.

Over the past two weeks, that was what you had done an awful lot of. No matter what mundane task Brian did, he looked exceptional doing it. His laugh was music to your ears, and his voice made your heart flutter constantly. Any time he smiled, you worried your knees would give way, and on the rare chance they actually did, the way he caught you so easily with his strong embrace had you swooning further.

You wondered if this was all a dream. Instead of Brian coming out of your laptop, and your novel, perhaps you had died from your illness. That would explain why everything lately had felt so heavenly at his side.

Either way, you didn’t want to wake up or move on to the next realm. This was where you wanted to remain forever.

Especially when he kissed you. Leaning in to break you out of your reverie, Brian’s luscious lips pecked yours twice, a chuckle vibrating out of him when you realised you had zoned out again. “You’re too adorable.”

“Hardly.”

“If you keep calling me handsome, I’m allowed to call you how I see you.”

You sighed heavily and attempted to pull away from the man. “I don’t want to be just adorable if you’re handsome, Brian.”

“What do you mean?”

“Charli Evers is beautiful! She’s stunning and successful and has a body that would make any male swoon over her. She’s a goddess, and I’m just adorable.”

“You’re really adorable when you’re jealous,” he mused and shook his head, reaching out to pull you back in close to him again. “Charli isn’t real like you are.”

“What if she comes to her senses and finds out that you’ve left that world. She could come here, and it would be no competition between us!”

“You’re right. It wouldn’t be. Because I’d choose you over her every time.”

You scoffed loudly and pulled yourself away again, going over to the kitchen to get a drink of water to cool down. It was hard enough having insecurities as a person, and when you had lived alone, you barely thought of them, too busy up in worlds like Captivated to truly care. Your flaws, at points, made good fodder for some character traits, but you never wrote yourself fully into a world. You had come close in Destined, but even the main protagonist there was far more charming than you were to hook Park Jinyoung as she had.

Brian’s arms slipped around your waist, and he dropped his chin onto your shoulder. “It’s all about perception. You see Charli as superior to you. But she’s the type of woman you see in a magazine. Flawless, beautiful, and whilst you no doubt have made her relatable to your fans of the series as a person, as she does have a good soul, you are real. You aren’t sculpted to perfection. You aren’t going to star on the front cover of any Vogue or Marie Claire. Instead, you are starring as my leading lady.”

“I’m not sure if I’m flattered or not,” you mumbled, turning around to face Brian. “Maybe I want to be on the front cover.”

“It’s not in your personality to stand out like that. You much prefer this lifestyle. Domestic and homely and comfortable.”

“So she’s sexy, and I’m homely,” you deducted, whilst Brian groaned loudly.

“Can’t we go back to the part where we were thinking of just us? I don’t like you comparing yourself to someone else.”

“I’m sorry,” you admitted, lowering your gaze from his. Brian had a habit of making sure you were always looking at him, and he easily fished out your gaze again, smiling gently when he caught your eye. You sighed. “I guess whilst I made you to be the dream guy for me, and those who read my series, I never quite realised the impact you would have on my world if I actually had you.”

“If I have to make a point of telling you how much I appreciate and adore you daily, then so be it.”

“You shouldn’t have to though,” you pointed out, going around him and heading into your office. Brian followed you and leaned against the threshold as you sat down in your chair.

He nodded his head. “No, I suppose I shouldn’t. But isn’t that what makes a relationship work? I support you, and you support me. When one of us feels lower than the other, then it’s important to make sure they feel cherished and loved.”

“Loved?” you repeated, your eyes widening at his choice of words. Brian cleared his throat noisily, looking around your room as opposed to keeping eye contact. You smirked. He was cute when he was embarrassed.

“Isn’t it time to write, Miss Writer?”

“Perhaps I just got some inspiration for my starting point of Eternity. I mean, in the story, Charli Evers is cherished and loved by Brian Kang, isn’t she?”

“Have your fun at my expense.”

“It’s all those good lines I breathed into you. No wonder you make the world swoon, Brian. You’re full of the perfect lines to make any girl weak at the knee,” you told him as you opened your document for the final piece in this story. Admittedly, it was blank and had remained that way for some time. You knew it was because you were too busy with Brian in person that you couldn’t possibly think about writing about him as well.

However, you had received notice from Lily earlier in the day about your next deadline, and so you had promised after one movie tonight, you would end your evening with starting the next novel.

Glancing over at Brian who was still in the doorway, you smiled, and he nodded. “As long as you know it’s your knees I want to make weak every time. Have a good session, my love.”

However, two days later, you were still staring at a blank page. It wasn’t without trying, of course. You wrote, only to erase the sentence immediately. You told yourself to just let the words flow out and not edit them until you were done. Except nothing but a trickle of nonsense made it onto the document each time and after every gruelling session, you found yourself exhausted, mentally, and from simply staring at a blank page.

In all your years of creative writing, you had never been as stumped as you were now. It made no sense! You were living and breathing your own romance in life. Surely, the amount of affection Brian poured over you would easily inspire you enough to write it out. And generally, when you stepped into your office to write, it came from feeling inspired and uplifted to write about a world where love conquered all.

As soon as you were in front of your laptop, however, words failed you.

You had tried everything, from changing your writing schedule to practising with unrelated scenes. That had you hopeful. Every time you wrote a drabble about something outside of this series, you were capable of penning an entire world. In fact, you had now written a series of short stories about random characters and scenarios with relative ease. The success you felt from doing these was short-lived as soon as you opened Eternity, however. Nothing formed, nothing came to mind.

Nothing.

“Maybe it’s because I don’t want to share Brian with Charli,” you wondered out loud, immediately shaking your head. Whilst the Brian you were falling for fast, was that of the same Brian Charli would risk her all for, inside your literary world, you felt no need to keep him to yourself. You wanted Charli and Brian’s story to wrap up with a neat bow after their final tribulations of proving their love would outshine the obstacles in their way. You were determined to gift your readers what you had planned all along for the star-crossed lovers. And you needed to send Charli off on her merry way with a confirmed end.

Whilst your story with Brian continued.

“Just write something, Y/N!” you instructed yourself to do, poising your fingers above the keys.

It was a struggle, but they began to move, and you hoped this time would be the official start of your novel.

“So, what do you think?” you asked cautiously, staring at Lily as she read over what you had sent her.

Your editor didn’t say a thing, and sometimes that was a good notion. You had rendered her speechless yet again.

However, you knew better than that. She wasn’t speechless, she was in disbelief. Lily finally looked at the web camera on the video call and blinked several times. Pulling off her glasses, she wiped at them before placing them back over her eyes. And then she screamed incoherently.

“Lily, I can explain.”

“You better, and fast,” your editor stated back, trying to recompose herself. “This isn’t your writing.”

“Well, it is,” you told her, attempting to smile. Her laser glare wiped it off your lips, and you groaned. “So I think I’m having a writer’s block.”

“But you don’t suffer from writer’s blocks, you overcome them before they get to that level. What have you been doing for the last month that this is all you can turn in for me to look over?!”

“I’ve been a little preoccupied,” you announced, rocking back and forth in your chair. “And it’s sort of been hard to write.”

“I don’t buy it. You love to write.”

“I mean, I have been writing,” you agreed, grinning sheepishly. “Just not on what I’m contracted to be doing.”

“Y/N!” she whined, and you sighed heavily. “How are you going to make up time if you don’t even have a first chapter formed?!”

“I don’t know exactly, but do you think delaying the third story, especially since my second one is only at the publisher’s now preparing to print, can happen? I’m sure we don’t need to bang this series out one after the other. The hype from the wait will make it only more worthwhile for the fans!”

“Not if you plan on producing this type of rubbish! There’s no life in this part you’ve sent me! It’s as if Brian’s soul was sucked clear of this world and only Charli remains.”

You choked on the drink you had reached for, and this alerted the man in the adjacent room, your hands waving him off inconspicuously before Lily saw him.

You didn’t know what your editor’s reaction would be to find out your writer’s block stemmed from you dating someone. And you certainly didn’t want to find out either.

“That’s it, I’m coming over!”

“Lily, that’s unnecessary. You don’t have to!”

“Oh, but I do. My star writer is fumbling around and not focusing enough on what she needs to be doing. Boot camp is on its way.”

“I could help her,” a new voice added to the conversation and you clamped your eyes shut as you heard the wind being knocked out of Lily entirely. Brian crouched down at your side and smiled at the camera. “Lily Morton, correct?”

“You know my name.”

“Of course. You’re an important figure in my life.”

“I… I am?!”

“I mean, you help Y/N with her stories a whole deal, so that’s a special role to have.”

“Y/N, who is this person? He looks far too familiar and yet I feel I haven’t quite met him in the flesh before.”

“It’s a--” Catching yourself from your stalemate sentence, you smiled. And for some reason, you felt compelled to introduce him properly to someone. Before you even realised it, the words fell from your mouth.

“You’ve kind of met him already, Lily. This is Brian Kang, the star of our series.”

_________________

Part 8

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