#books are not inherently any more valuable than any other form of media.
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there’s been ‘audiobooks aren’t reading’ discourse on booktok lately (embarrassing), and in the margins of that - and also on here recently - I keep seeing this idea that reading ‘too much’ or too fast’ is bad............genuinely, who cares? how is that anyone’s business?
‘people are focusing on numbers instead of reading quality books just to post about it on social media!!!!’ do you actually know that? if an individual realises themselves that they’re doing that, and thinks it is bad....they can stop. if you are not that person how would you know?
similarly it goes hand in hand with this vitriol against skim reading - oh no! someone is reading fast and not taking in every single word! sometimes they miss things! clearly this is because they’re obsessed with showing off how many books they read in a year and they’re not comprehending anything in the books. Not, i don’t know, they’re a bookseller and it’s literally their job to know about as many different books in all sorts of genres as they can. or, maybe they just want to have a broad understanding of lots of books even if they’re not obsessed with all of them! maybe they like listening to things in the background while they work. stop treating every single book as if it’s the pinnacle of literacy that deserves your utmost attention!!! like if you can understand people can watch random movies or tv shows for fun, or in the background while they’re focusing on other things....you can understand people do that with some books too right? and it doesn’t inherently mean they do that with every book they read?
it seems to be this mindset that skim reading is like......a binary thing that you do or don’t do. Not something you can choose to do on certain books, certain chapters, certain paragraphs, and also vary the speed of your reading.. I skim read books sometimes because I know they’re not personally for me but I want to finish them so I can form a full opinion of them, or be able to recommend them to someone I know might like it. I am an illustrator and listen to audiobooks all day while I work and use the library so it’s no cost of time or money to do this a lot. and if I’m skim reading a book and then I realise I am actually loving it...get this.....I can start reading it slower. I can even read it again.
in conclusion it’s truly so embarrassing to watch people arguing about how other people consume media?
#laya talks#and people on tumblr stop having superiority complexes about people on tiktok youre all the same xx#(same @ tiktok ppl about twitter)#books are not inherently any more valuable than any other form of media.#like I don't judge people who don't read much but man if you're gonna start acting like this?#go outside!!!!!!!! nobody cares!!!!!#also I genuinely do not believe that anyone has NEVER skim read a book ever.#or a part of a book. you're telling me you've never been so excited about what's happening you have to read fast to find out what happens#next? that's literally what it is!!#(also if someone is judging how much I read i literally don't care I just feel sorry for them for caring about something so stupid)
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i’m not anti-intellectualist by any means and i do believe that seeking out knowledge and new ideas in the form of books and art is a key to gaining wisdom and insight and even happiness, but i’m also not for people forcing themselves to read things they really don’t want to read or are not interested in simply because they fear they’ll be considered ignorant and not-smart by society or academic establishments or peers if they don’t
rather, i believe anti-intellectualism would diminish greatly if we stressed why these books and art and media are interesting and worth our curiosity and engaging with today instead of the culture of distributing checklists of “smart” books and media and “dark academia” subjects that just seem ever-shrouded in white elistism and obscurity when there’s much more to them than that
learning and seeking knowledge are not inherently pretentious pursuits, but educators over time haven’t actually stressed why leisure learning and reading are valuable or how they are enjoyable, which leads to a lot of people outside of rigorous academic institutions to think “well this old book is just pretentious imperialist garbage since it’s clearly boring and so i’m gonna be against traditional means of learning because i don’t want white academia to dictate my worth” and then others respond to this with “haha you’re just ignorant and i’m better than you because i love this old book” and the cycle perpetuates because we’re all lacking moderation in our thinking
#books and literature#books#bookish#anti intellectualism#intellectual#literature#books and libraries#art#dark academia#poc dark academia#chaotic academia#academia#elitism#opinion#unpopular opinion#imperialism#ya books
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Someone called me wise today and at first I laughed but I think it was probably a good thing that someone resonated with my policy when it comes to learning how to write, so maybe other people will too.
Value can come from anything
Worth can be derived from anywhere
I’ve always had this policy when it comes to media, that high art isn’t the only kind of art that should matter. When I suggested some books for one of my students (I’m a tutor, not a proper teach), I said ‘you like fantasy and action, so here are some suggestions.’ My super told me that I should be suggesting real books, and gave me some samples that suggested books I recognize as classics. So I made up a list of classics. And I included ALL of the same books. Instead of ‘the Percy Jackson series’ it was ‘the lightning thief’ specifically. The idea that some genres are inherently less valuable than others is ludicrous. Quality is quality no matter where it’s found. And isn’t it more important for the kid to be interested in reading at all?
And shit media doesn’t have to be award winning to be valuable either. A mediocre series can still teach you things. Analysis, even just paying attention to media is engaging in a useful way. If you look at something you’re enjoying and go ‘I like the way they portray such and such’ or ‘I feel this could have been done better,’ then you’re doing GOOD WORK. It doesn’t matter if it’s high art or a webcomic, paying attention to something, giving it time and effort, engaging meaningfully, that’s what gives something value.
In other words, value isn’t something inherent, it’s something created by the reader. You are the one who creates value, not the author, not some stuffed up administrator.
Classics are worth reading because they have the potential to be valuable. There is value commonly derived from them. They portray common concepts that’s worth teaching to people, and kids especially. But to say that media that isn’t two hundred years old is automatically worthless, or that art that isn’t meant for the sole purpose to be studied rather than enjoyed, it’s an insult to art and the history of humanity with their tendency to create art with anything they have at their disposal, berries, or a block of wood, or even just their mouths and voices.
This policy goes for teaching too. I’m an English tutor without an English degree. Most places I tried to work were scared off. But I put in my hours, I practiced and learned and taught myself, and hell, I even taught someone else. I watched YouTube videos, read writing books, wrote and wrote and wrote. I read, and more than that, I watched things with intent, squeezing everything I could find for every drop of value I could. I used sword art online and sao abridged as an example to my mentee of what power editing can have, I learned how to marry the concepts of theme and character arc from red vs blue, I read every single page of tv tropes to familiarize myself with techniques and common motifs. High learning only has as much value as you can derive, and same with “low” learning.
Now that’s not to say that you should listen to the advice of every random asshole, but rather that any research you do is REAL research, that any form of trying to improve yourself is Good and Important. Even if you don’t have a fancy piece of paper to go with it at the end of the day.
Read the classics, but read that show you’ve been liking lately. Read that comic, read that podcast, that fanfic, that YouTube retrospective, that fake-musical album, that indie animation, just READ. It’s never a waste of time.
#Writing#writeblr#writers of tumblr#the one caveat is that if you write prose you do at some point have to consume prose#and whatever medium you create#but that doesn’t have to be the only thing you consume
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ooohhh would you mind sharing the reasons you don't like booktok? i have some reasons of my own but im really interested in the opinion who actually has to deal with the consequences of it all more directly. only if you want of course!
Oh goodness, grab your beach towel anon. Usually you'd have to go to the sea for this much salt.
(Prefacing this with the fact that this is just my opinion, not meant to be emblematic of like... booksellers as a whole, or my employer, or anything. It's also anecdata; nothing here is backed up by anything more than personal observation. I'm just a guy with a keyboard and an attitude. This also isn't meant to be a dig at anybody's taste in books/stories. I'm a supernatural blog, I have no legs to stand on in that regard.)
The things I most dislike about booktok, in no particular order:
1). The tendency toward quick consumption of stories without deeper or more lasting investment is an issue I have with a lot of media (see: Netflix dropping an entire series of something that everyone has watched, and then moved on from, in a week), but I think the problems inherent to that model of engagement become acute when the media in question is books. Novels are long-form storytelling by design; you're meant to sit with them for a while. Books in a series can take years, even decades, between publication. It's hard to convince people to engage with stories on that kind of timescale when we're constantly having our attention spans whittled away under a neverending barrage of buy-the-next-thing consumerism.
2). Tiktok is not only a principal motivator for this kind of behavior, it literally could not exist without it. Booktok doesn't encourage people to sit with books for a long time. It encourages you to *constantly* be consuming something new, *constantly* be pushing your friends to do the same, *constantly* be gaming the algorithm if you want to have any kind of significant presence. The environment does not encourage deep-dives; it leaves no time for contemplation. If you're participating in the culture as designed, you move through books very quickly.
From a business perspective (i.e. the capitalistic one), this is great. From the perspective of an indie bookseller, this is a pain in the ass on so many levels. Have you ever worked a retail Christmas rush? Where something you'd normally sell maybe three of in a year is suddenly The Hot Item, and the public demands you have 9000 of them in stock overnight?
It's unpleasant, is what I'm saying.
2b). The other thing this encourages? Stories that do not challenge people. Again, this is not to slander anyone's personal tastes. But ask yourself: what plays well to the greatest audience? What is most likely to draw customers, gain views, boost engagement? It isn't nuance. It isn't subtlety, isn't grappling with complex morality. All of those are things which I personally find intensely valuable about the experience of reading, and which I find pretty uniformly lacking in booktok's thing-of-the-week. This has an interesting overlap with the resurgence of censorship and purity culture that I think is worth examining, and maybe I'll rant about that some other time. As it stands, I find the trend toward Marvel-ification of fiction (simpler! louder! less nuance! more buzzwords!) to be obnoxious.
3). Speaking of buzzwords, the trend toward marketing new fiction using only a half-assed combination of tropes and comps drives me up a wall. I can't tell you how many ARCs I've seen in the last few months with bare-bones summaries and blurbs to the effect of "for fans of enemies-to-lovers and Game of Thrones, an endearing story of found family and the power of love!" Ok?? Fine in moderation, I guess, but even if I liked all of those things, what is in this book? Did the publisher not bother... asking the writer? Did they not leave them time to write a proper summary? Did they just not care, and hope replace a genuine marketing strategy with SEO?
Idk, maybe there's a benefit to this I can't see. Drives me absolutely bonkers, though.
4). The tags for my original post mentioned Colleen Hoover, who is the target of my ire at the moment because I've been pulling books for her fans all week, per point (2). No offense intended to Ms. Hoover, who I know nothing about but I'm sure is a perfectly normal author looking to get paid for her work, or even to her books, which are not my kind of thing but clearly are somebody's. FULL offense to Hachette for those books, though. They are everything I hate in paperback form: boring, ugly cover after boring, ugly cover. Really REALLY cheaply printed; about 1 in 3 arrive with some kind of damage, because they're so badly made that they don't hold up to even light jarring during shipping. The binding is... sad. Like. Even very bad books deserve better than this. But does the publisher care? Are they motivated to craft a higher quality product? Like hell they are! Because every booktok-er will buy them anyway. They're not interested in a product that will last; they're not looking for an object to cherish for life, a book to pick up and read over and over and over and over again until the spine cracks and the pages start falling out. That'll happen to these goddamn things by the second reread, but how many of them will get that reread is debatable, because by then I'll be selling that crowd The Next New Big Thing.
Anyway. I'll stop there. Thank you, anon, for your ask, and giving me a chance to vent a little bit. Wishing you a hot tea and a good, well-crafted story to liven up your day <3
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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?
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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.
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St. Bahkita - by Antonina Whaples 2021
Mixed media painting
Medicine people are more apt to be holding and releasing large facets of consciousness in this time. The message has been clear: go easy on yourself, pace yourself, rest often, and communicate only as needed.
It’s felt for a while that the medicine world has been deep undercover, and there’s been some in-fighting amongst the spiritualists about facets and tenants of what should be allowed to proliferate, and what is ultimately harmful to us all. Those who are still in fear of punishment, but truly animated by Spirit are being initiated through their own personal Great Mystery in various dimensions of Spirit World and this time-based concurrent reality. Those who were unjustly punished will be granted many graces in this time. Those who unjustly punished them will have their graces stripped away. To every season, turn, turn, turn.
In the next 6 months, some study could be used towards the influence of Saturnian energy on the consciousness we inherently perceive and struggle with when it comes to the panic it induces to begin to accept reality as fuzzy-wuzzy until a new clarity is discovered. When reading astrological reports with Saturn in Aquarius, make sure to try to relate to any patriarchy messages coming down through the spirit sponge to a fun, positive archetype in your mind. As in: what if so-and-so were here at this moment to give me encouragement, how might that sound in my head? In other words, redefine the voices in your head to send you intel and self-talk that is, at the very least, highly amusing.
And it’s not just the medicine people “feeling it” - there is a great number of uninitiated psychics and healers of all nations who are undergoing a psychological and personal spiritual awakening. There are new nations of imagination being introduced to the grid. “Boys have become men” so to speak - whatever your relationship to gender or sexuality - your inner masculine has had to arm wrestle his way into the current condition, and he deserves an epic theme song.
The divine feminine is asking this timeline “are you living with art? Are you living with heart?”. It’s been the remembrance of the knowledge we’ve been tuned into our whole lives (and the ones in the past), coming forward in an epic sweep. If your waters, earth, or air was littered with shipwrecks, mine fields, and poison gas - you’ve been feeling the triggers in every element of your life.
Take a moment to consider the reality of your lived experience, the spirals that they take, and the ultimate return to yourself through it all. We are cyclical creatures, animals of a planet, who rise and fall with the sun and the moon, and steer our destinies in the field of ownership of our minds. Like never before the nations of this planet have been revealed to themselves through the eyes of others. It’s not a surprise to begin to discover who has been avoidant of mirrors (literally, and in the outside world). Be cautious of reading too much into the “whys” of the action (or lack thereof), and be more conscious of your personal power to co-create entirely new realities, and the dominion you’ve been given karmically to do so.
Many in the mojo have discovered that there are personal power rules to any craft, be it intrinsically practical or utterly magical. Deep awareness of the lessons of the past and present are becoming embarrassingly clear to the lot of us. When responsibility needs to be claimed, it is actually an act of courage to pick up what is yours and transform it into something useful. Those who have abused their power are being dosed out timely warnings and opportunities for recompense. Those with real healer hearts should remove themselves from scenarios where other’s energy sources are disruptive to the real work being done. Revelation of this personal removal is indeed a tricky communication from Spirit and your Guides. Be watchful of subtle cues from the universal communicators in your day to day, and make sure to acknowledge that just because it’s happening, doesn’t mean something is wrong.
It’s a big message from the Spirit World these days that spiritual activity is only on the rise. Apparently many nations have called in some very powerful healing requests, and this ancient technology supersedes the forward drive of whatever other power players there are. For those obsessed with the advancement of this timeline and the legacy that they will leave, this spiritual thumbprint will be difficult to navigate. If you find yourself cursing in traffic, using expletives to explain everything, or decide that everyone is evil, you’re probably just normal.
Universal Spiritual Law has been triggered on many levels for some time. Although to many it feels like the spiritual authority and power of those they pray to is waning in this timeline, the personal revelation of spiritual truth is a promised covenant of this era. We will all discover the unveiling of our personal identities to ourselves, and revel in the discovery and love of who we were created to be. Self love and the care of the Self is and will become a spiritual dawn of community care, with generations of young people focused on how to make environments feel safe, comfortable, and healing. As people further emerge from their dwellings and interact with the outside environment it will feel like we are rediscovering our world. Absence has made the heart grow fonder. This refreshment will quickly fuel the arts and further encourage entrepreneurial growth. Those in the art sectors of the economy will breathe a sigh of relief to discover that their exploits, struggles, and expressions are important, valid, and very valuable. Quality of creation across the board will be re-evaluated. Less focus will be paid to functionality of design or shows of artistic mastery, nor will it be another reductive view into the abstract. This new art coming from this era, and the one to come, will be focused on process and emotion, meditation, feeling, intuition,spirituality, and self love. Everything for quite a while will feel very “personal” and people as a whole will need the niche of creation in their day to day routines in order to feel grounded and supported. This will take many forms, but ultimately be incredibly expressive. This new expressive voice will sound quite different from the ones that came before, and new definitions reflective of our human experience will be written in our history books. One day we’ll look back and realize just how much we knew all along.
Shamanic Reading for the Next 6 Months:
July: Elk
August: Deer
September: Whale
October: Squirrel
November: Butterfly
December: Coyote & Possum
The animal medicine consulted for the next six months indicates that timing in the natural world is healthy and centered. The more focus we as animals pay to our cycles with the natural world around us, the more healed we will become. Our focus will shift from drive to trust as we learn the ebbs and flows of the world around us, and are able to remember it through generations of whole peoples.
It will be a gentle fall into the Autumnal season, and the equinox promises to bring balance and opportunity for healing, forgiveness, reconciliation, and internal restfulness. All empathic people will feel this gentle spiritual wave as they continue to tune into the larger frequencies of the changing season.
The thinning of the veil will be informed by the emotional work we do in September, with focuses on the deep waters of emotional consciousness. It will not be surprising if you are able to, without even realizing it, leave behind facets of yourself that no longer serve you. On a very literal note, I have gotten messages for several decades now that we need to be listening to the frequencies of the whales regularly in order to heal from the psychological trauma of the past, especially war and slavery. The Whales have kept an unbroken consciousness in the waters of this world, and they are trying to reconnect with us in order to help us heal. This is part of the cycle of how animal nations help and heal each other. Other animals are very clearly able to communicate complex matters to each other and we are being invited to the pow wow to listen, learn, and grow.
The Gathering energy of All Souls will be a much needed source of energy for the late Fall and Early Winter dynamics arriving at the end of the year. It will truly feel like it is time to begin to hibernate sooner than usual. It will not be because of bad weather, but because people are choosing transformative activity of the inner self over social interaction. Something about the high Yang energy of the beginning of this 6 month journey has worn us out, and we’re ready for the respite offered by our cocoons of choice.
December is notable for further explanation as it is two animals together: Coyote and Possum. In this case we can trust that these tricksters are up to some good, and there are safe passageways being opened this holiday season that may not have been available in the past iterations of the holiday cycle. Watch as things mysteriously go right, and try to lean into your trust of your intuition and spirit guides as they whisper to you all the right answers to the final exam.
#shaman#shamanism#medicinewoman#winstonsalem#northcarolina#psychic#spiritualhealing#art#artist#medicinestory#spiritualart#spiritguide#spiritualguidance#animalmedicine#animaltotem#spiritanimal#energyhealing#reikimaster#reiki#energy work
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This might sound stupid. I feel insecure about my intelligence or how smart I am or if I am clever (I don't really know the difference). I find myself comparing myself with others that are in better classes than me get higher grades, participate more in class. Or just know an answer that I don't know. It is a vicious cycle: and i am aware I should focus on my own path rather than others. But it is difficult and I end up mimicking their personalities in the hopes that some of their intelligence will rub onto me. Like there was someone who was reading dystopian books so I started to and there was also someone who watched marvel movies so I did. I enjoyed it but my reasons for engaging in those activities didn't feel authentic. I also copy their mannerisms, like usually they are quite social and always talking about crazy concepts or they're telling funny jokes. Naturally I would say I am reserved but when around people like that I feel pressured to be the same so I bridge onto their thoughts and act loud and crazy but it feels forced. Something else that stems from it is just my experience with intelligence. I find it difficult to follow instructions sometimes and I end up making stupid, dumb mistakes that frustrates me when I realise I make them. I feel like people always know so much about a topic and I know nothing. I'll admit in my spare time I don't research things I just watch shows/movies and draw. But it doesn't feel nice being out of the loop. My memory sucks too. I just feel like my brain is not normal
Mainly I feel like what I want is tips on how to develop my intelligence.
But also what I should do to maintain a healthy personality because I feel like I don't have one.
I'm just asking because I try not to do these things I mentioned but I don't know what to do
I don't think this sounds stupid at all! I think this is something a lot of people struggle with, especially when it comes to comparing themselves with others.
I actually want to start by talking about something you said in the middle of this ask. You mentioned that you find it difficult to follow instructions, that you make "dumb" mistakes, and that your memory is bad. You also mentioned that you copy people's mannerisms and interests, and that overall, you feel like your brain is "not normal". This might be jumping the gun (and it's important to remember that I'm not a therapist, psychologist, psychiatrist, or medical doctor), but have you ever been evaluated for a neurodevelopmental disorder? Conditions like ADHD and Autism can present with symptoms that remind me of the experience you're describing, and so it may be worth speaking to a doctor to see if that's what's causing your difficulties. A lot of the time, people with neurodevelopmental disorders or learning disorders grow up thinking that they're unintelligent, when really their brains just work differently than other people's.
That kind of brings me to the next thing I want to talk about. How important is it to be smart or clever really? Having esoteric knowledge is rarely useful in any practical situation, and it's not inherently any more valuable than anything else. And on the flip side, I'm sure there are things that you're better at than your friends- maybe you're a better artist, or you're more creative, or you're kinder, or you're braver, or any other number of things. You don't have to be any particular kind of way just because other people are. In fact, that diversity in personality traits and strengths is what makes people so unique and interesting. I know it can feel like your grades in school are the most important thing, but in the real world there are so many other characteristics that matter. The most successful people in life aren't the ones who are the smartest; traits like grit and conscientiousness are much better predictors of future success than IQ is. It's important to me that know that you're good just as you are. You're enough by being yourself.
Okay, so getting to your actual questions now, because I know how frustrating it can be when you just want a list of actions to take and instead you get a lecture on changing your mindset. "Intelligence" is kind of a squishy concept that incorporates a lot of different elements, but I would focus on trying to develop intellectual curiosity. A simple exercise you can try is just Googling the answer any time you have a question about how the world works. Because it's a question you had, you're more likely to be interested in the answer and to remember the answer.
I would also try to find a form of learning that you enjoy. Maybe reading books is difficult for you, but listening to a podcast (I recommend Stuff You Should Know, Radiolab, and Freakonomics, and if you like Queer Eye, Getting Curious with Jonathan Van Ness is also good), watching a YouTube video or TikTok (Contrapoints, VSauce, AsapSCIENCE, It’s Okay To Be Smart, TED-Ed, VOX), watching a docuseries (such as Explained or Connected: The Hidden Science of Everything) or documentary, or listening to an audiobook will be more engaging for you. The more information you interact with, the more you'll know, and the more you'll become interested in other things. You can also try to learn something new, like a new language (try Duolingo, Memrise, or busuu) or learning a new skill (Coursera is good for that kind of thing).
As for maintaining a healthy personality, I think it's really normal to feel like you're still figuring it out. Discovering and developing who we are takes time and exploration and trying things on to see if they fit. I think a really important part of that process is trying out the things your friends like and seeing if you like them, too. So I don't think you're doing anything wrong by reading dystopian books or watching Marvel movies because your friends do. I don't think there's anything inauthentic about liking things that other people introduced you to, but there's also nothing wrong in deciding that those things aren't for you. Try a bunch of different things (activities, genres of media, foods, whatever you can think of) and see what you enjoy, regardless of who introduced you to them.
In terms of more concrete personality traits, this might sound like strange advice, but I would try taking a bunch of personality tests (for example MBTI, Enneagram, VIA Character Strengths, Strengthsfinder, your zodiac sign, your Hogwarts house, whatever you can think of). Not because they have any real validity in terms of telling you who you are, but because I think being able to look through the different traits and compare them against how you view yourself can be helpful in figuring out what’s true about you and what you like about yourself. In turn, that can give you a more concrete idea of "who you are". And from there, I think maintaining a healthy personality is about reminding yourself who you are in situations where you're pressured to be someone else and focusing on playing to your strengths instead of focusing on the ways you don't match up to others.
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bro..... im sooo tired of ppl being whiny freaks about ppl liking fictional shit ‘~too much~’. like bitches are literally fully convinced if you prefer acting out certain ideas in fiction but not irl, thats not your normal preferential boundaries but rather your brain is a mental illness BOMB and you need to be fucking hospitalized for being imaginative and having autonomy. like yall if its not taboo or smth shut uuuuhp man you’re not ‘concerned for their health’ or w/e you’re fully just tryna get away with being a nihilistic asshole who lacks sympathetic reasoning skills. listen to me. fiction is valuable. the thoughts we have on it are important. the personal lack of value you happen to put on a media is next to worthless. its not a fuckin waste of time dude, creators are people, who live in the real world, they experience it and have ideas through it and about it, they form and tweak their ideas while still definitely existing in the real world, and then put that back into the world with a new angle and new perspective, to share with other people definitely encountering it in , you guessed it , the real world. thats not disconnected. its not nothing. these things do not magically appear from fairytale land, they are created. stories mean smth, people tell them for a reason, its ok to feel smth for any story, why would we even tell them if not with the intention to impact others emotionally somehow i mean??? fiction does not Just affect reality, it is valuable to real life society, it is a functioning thriving part OF reality.
humans have told stories since the dawn of our existence. it is literally all but an inherent species trait for us to imagine things, its tied to each and every one of us, and to reject ‘fantasy’ as smth worthless to human life is frankly just fuckin wrong and weird of you. bitch we are Supposed to get outside the box, the fandom ppl you cringe your pants over arent thinking abt fake shit too much, you guys very often just arent exercising abstract thought and imagination enough, which actually hurts your ability to engage with it critically in all the ways its meant to be. if you dont see the value in fiction its because you put in no effort to form the analysis skills. in other words, you idiots dont get the hype bc you’re too stupid to get how you're supposed to compare a book to the real world it came from. ‘uu but cmon not everythings valuable what about [tumblr designated cringe media]-’ 1. ok! somehow you havent come to this conclusion yourself yet but thats not real, whatever ppl get to enjoy is not all abt you, your bias means less than dirt to others outside of hivemind social medias, you can keep it to yourself, ppl shouldnt care about it bc it means nothing outside of ur own space, its literally funny to me that you’re so elitist you want me to cater my interests to you, Your Standard Of Quality Isnt Universal, 2. ranking the values of fiction is the waste of time here, if you compare mlp to pride and prejudice ill dissect your teeth, different emotional impacts from tragic to funny to Just A Vibe are all able to be assessed as ‘valuable to somebody else so leave well enough alone’ if you dont have 2010+ funnyman brainrot disease that makes you incapable of reflecting on anything you can find a way to joke abt first.
i mean seriously like. whenever randos start engaging with medias you ppl dont like or in ways you dont get, the strawmans yall make up to get to be cringe culture vultures abt such benign shit, and almost Always at the expense of neurodivergent people with a deeply rooted undertone of extreme ableism might i add..... its just so selfish. u have a brain ok, you’re manipulative but we both know you dont Actually think ppl automatically default to being a waifu obsessed incel rotting away at their basement computer, stagnating their social skills and straying further and further from reality with each passing day, a poor disturbed wretch that you just HAVE to save from themselves, all bc they say they. prefer fictional porn or w/e to having sex irl. buddy thats not a big deal, theyre normal, just different from you. theyre fine, you’re just uncomfortable. as a functioning adult you’re gonna have to try and recognize that sometimes that feelings gonna be 100% on you, and you cant always just lie abt the validity of it to make ppl feel obligated into agreeing with you. this is gonna be one fragment of their personhood and your self obsessed brain imploding over how unrelatable that is doesnt fucking matter, grow up bitch like. how detached do you have to be to think thats so unstable or morally wrong.... its just a completely inconsequential preferential decision that only affects them and isnt a wrong choice at all cuz nobody has to get their dick wet if they dont wanna for any reason ever and thats gotta be that tbh.... and it kills me cuz they still inherently experience the real world and are capable of thinking abt it critically,,, even tho they... masturbate to drawings or w/e the fuck ppl think is unhealthy ???? like? imagination is just fun we dont need to moderate it anymore than we moderate other fun activities i mean lol ksdjfsd this is the DEFINITION of ‘just vibing’ no one FUCKING cares and it deosnt fucking matter the way you desperately try to make ppl think it does just so u get to be loud abt ur shortcomings as a decent understanding person.
‘uuuuuu im sorry but thats unhealthy :///’ you sound like a goddamn maniac dude stories are not unhealthy having feelings abt them is not unhealthy thinking some anime bitch that was DRAWN TO BE HOT , IS HOT, is not UNHEALTHY and you clowns arent convincing anybody you ‘care’ abt that concept anyways !! im losign my mind here skdlsdfsd medias are literally DESIGNED TO DO THIS TO PEOPLE... WE’RE SUPPOSED TO FEEL THINGS FOR IT.... IT IS WHAT MAKES THE ART WE’VE TAKEN PART IN FOR CENTURIES, “ART”.... ITS JUST... HAVING IDEAS AND EXPERIENCING IMAGINATION..... whats wildly unhealthy actually is yalls toxic obsession with ‘harsh truth’ and validating your stupid ass cwinge feewings to the point where everything that gives your underdeveloped selfish ass hives has to be a matter of health and morals and whats ‘best’ for everyone. u dont know that shit!!!! ur a petty brat and im not ur mommy ok i wont baby you so u dont feel like the shitty whiny person you are, you need to grow and do better and think outside urself already, dont put the responsibility of making u feel right for judging somebodies benign hobbies on me. i wont bc its wrong and unnecessary. you’re not a savior no ones falling for that lmao you’re just a bitch girl xoxo get over it shit truly does not matter. let them write nsfw self insert fics instead of banging !!
to make it real do yall really not Get that basic consent kinda doesnt just mean ‘no when im not in the mood at the time’ but it means ‘no if i just dont fuckin feel like having sex ever for literally any reason at all bc i choose what i do’ and pressuring them, even with what your warped brain translates as the best of intentions, is inherently disgusting? especially with the ‘i know how to help you’ attitude like......... ohhh die soonly ew lmao! lay off this nasty shit already please it doesnt matter! stop trying to make it matter!! its not hurting you or them you stupid tumblr phd ass!! and like again yeah some media shits just truly gross but tbr now its like even That kind of shit, the Real social issues caused by Actually problematic media that ppl should discuss Genuinely without ulterior motives, is being used more and more rampantly as just a stepping stone to get to the needless mockery of other harmless things in the media they want an excuse to bag on.......... like a bitch cant just be grown and talk about problems at face value without getting a bully jab in. smhhhhh you all fuckin suck please just stop talking already. so anyways yeah being attracted to fictional characters instead of real people or w/e IS funny, funny how many boyfriends they have when u have none xoxo theyre having fun and you can die sad abt it they get to die 5 times in an angsty fantasy fic and be brought back with mouth to mouth by fuckin kakashi every time and then they go get lunch irl while ur updating tinder bitch ... different fucking strokes ig !
#long post//#i would like one free ticket to pop off please. thank you#can i cash it in immediately if you dont mind
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By Drew Shepherd
“You’re so judgmental!!!”
That’s the response I get when I delve a little too deep into my analytical side.
I’m somewhat of a perfectionist myself, so it’s no surprise that I hold others to my own lofty standards. And that’s one of many flaws I’m still working on.
There are certain times, however, when I’m unapologetic in my ways. And as you can see by the title of this article, this is one of those times.
The ability to screen out promiscuous women is one of the most valuable skills any man can have. It keeps you from wasting precious resources on a girl who couldn’t care less about you, and it protects you from being yet another clueless man in the dark.
A girl who sleeps around is never a good choice for your investment. And no matter what our culture tries to prove, the truth is that past sexual experience will always affect future relationships for the worse.
That’s why I created this list of 15 red flags to look for when you evaluate a potential partner.
This list is by no means exhaustive, and I’m sure there are plenty more signs you should be aware of too. But this one is intended to be a relatively quick check, and I’ve tried to limit it to signs you can notice within a few weeks at the most, or that you can easily find out with a scan of her social media.
Now I’m sure both you and I will catch some flak here for being “judgmental”, but remember, it’s not wrong to look out for your own interests. And in order to protect those interests, you need to discern the character of the people closest to you.
Being judgmental is assuming people’s character based on qualities outside their control. Discernment is deducing their character based on info they freely provide.
Only a fool would need a DNA test on an apple tree to confirm what it is…
Smart people just look at the fruit.
The 15 Red Flags Every Man Should Know
#1 She can’t stay at home. / She’s a party girl.
What it means: She needs excitement.
If she can’t enjoy a quiet night at home, walk away.
These kind of girls seem fun and interesting at first, but their lifestyle gets old fast. Plus there’s no telling how many intoxicated guys have taken their shot at her.
So find a girl who would rather read a book, watch a TV show, work out at home, cook a new meal, or talk to her friends on the phone.
“But that doesn’t sound like fun…”
No, most guys would say it doesn’t. But you know what’s more important than fun in relationships?
Stability.
A girl who runs out of her place every night has a need for excitement. And that need will find a way to bite you.
Sure, everything will be great when you’re both in a good mood, but what happens when she gets bored, or worse, when she’s unhappy?
If she needed excitement before she met you she will need it afterwards. And those thrills won’t be limited to a few drinks with the girls.
Most people are plenty fun when you get to know them anyway. So instead of worrying about that, ask yourself some more important questions:
Will she be there during a rough patch in your life?
Will she say “no” when a bigger fish comes along?
Does she avoid situations where she’ll be unnecessarily tempted?
Those are the questions you want answered (indirectly of course—actions speak louder than words).
Work on all those first. Then you can talk about fun.
#2 She has too many male friends.
What it means: She’s addicted to male attention.
Notice I said friends here and not acquaintances.
There’s nothing wrong with a woman having a conversation with a man. And if you do have a problem with that, you’re too possessive. A woman making small talk with her male coworker isn’t cause for concern.
But if she has close relationships to other guys, and she consistently talks to them about personal issues, that’s when you should be worried.
The true number of platonic male-female relationships is very small, and most of them only exist due to special circumstances.
But for the most part, men and women do not just become friends.
The truth is that the two sexes are equal, but different. And it’s tough for us to form close bonds outside of a romantic or sexual relationship.
Any girl who has tons of guy friends is bad news because almost all of them are attracted to her. And since she hasn’t made an effort to turn them down, it means she’s addicted to their attention.
If you don’t meet the requirements of such a popular girl, she’ll eagerly pick a replacement from her pool of waiting “friends”.
#3 She has tattoos or piercings on interior body parts.
What it means: She’s impulsive.
I’ve never been a fan of tattoos, so I wouldn’t look for a significant other who has any. But this red flag is more about the positioning of the ones she has.
If a girl has tattoos or piercings on any interior body parts (i.e. her upper thighs, torso, etc.), it is not a good sign. And here are only a few reasons why:
Someone had to put it there
People don’t get tattoos to cover them up
She makes long-term decisions based on short-term results
It’s just a terrible choice all around. Why would you taint the natural beauty you have with a man-made distraction?
It doesn’t make sense to me.
But in a way, I guess you should be happy when you see a girl like this. She’s made your job easy by effectively saying, “Don’t take me serious.”
#4 She’s a (moderate to heavy) drinker. / She does recreational drugs.
What it means: She allows unnecessary temptation.
Contrary to popular belief, human beings are not inherently good. And when given the choice, we will always be inclined to do what’s morally wrong.
Many times our conscious thought overrides this inclination, but whenever alcohol or drugs are involved, that inhibition goes out the window.
The point here is related to the first red flag about party girls—she allows herself to be tempted. And why would you ever trust a girl who intentionally lowers her self-control?
You are playing with fire and you know it.
Yes, crimes like theft will always be wrong, but we all have a responsibility to lock our doors.
#5 She’s a man hater. / She tests you to see if you’re man enough.
What it means: She lacks healthy relationships with the men in her life.
“All men are blah blah blah…”
“Guys only care about blah blah blah…”
“Men don’t deserve blah blah blah blah blah…”
Yeah, it’s annoying.
Man haters are the worst. I understand that some of us really are terrible, but if every guy she meets is like that, take a look at the common denominator.
Yes, I’m tough on the opposite sex sometimes, but even I know that there are fantastic women out there.
You can’t let the good ones convince you that all girls are sweet and innocent, and you can’t let the bad ones blind you to the praiseworthy women either.
The same is true about our side.
So if a girl always complains about the men in her life, she’s either still bitter about a failed relationship, or she presents herself as an object for men to lust after.
#6 She can’t put her phone down. / She’s addicted to social media.
What it means: She craves attention and drama.
The online version of too many male friends.
A smart girl knows that male attention doesn’t result from her “amazing personality”.
The number of friends and likes she gets is directly proportional to how attractive people think she is.
This stuff is honestly common sense by now but you still see the same thing all the time. A fairly attractive girl only has to post a few pictures, and boom, she’s got 50 dudes trying to hit her up.
She probably won’t give any of them the time of day—unless one of them is like, so hot—but at least she got her daily attention fix. Plus she’s found a new group of reliable “friends” to support her.
It’s ridiculous. And don’t even get me started on the drama.
If she’s more interested in her phone than she is in you, don’t try to change her mind.
#7 She’s comfortable in revealing clothes. / She’s insensitive to male touch.
What it means: She’s used to it.
Do you really think she dresses that way for you?
Do you honestly believe it’s normal for guys to hug and hold her like it’s no big deal?
She’s used to it, man. And even if she isn’t promiscuous now, it won’t take much effort for her to get that way.
But going back to her style of dress, you might believe her choice of clothes doesn’t matter anymore. You think that times have changed, and this girl is different. So different in fact that she’s above all of human nature.
Yeah, keep believing that.
The reality is that men are visual creatures. And both men and women instinctively know that the way a women dresses determines the type of attention she gets.
Our society doesn’t like to acknowledge that fact nowadays, so we try to ignore it as best as we can.
Instead, we say she has high self esteem, that she deserves to show off her body. And if you don’t like it, you’re living in the past.
But please don’t buy the “I’m-proud-of-my-body-so-I-need-to-be-half-naked” excuse.
People who are comfortable with a fit body, or great wealth, or whatever else they have don’t feel the need to show it off. They rest assured in the knowledge that it’s there.
The only people who show off are the ones who need validation. And they always need it from multiple people.
So if any girl shows too much skin, or if she’s fine with being hugged or touched any kind of way, you need to reconsider.
#8 She believes that things just happen. / She follows her heart. / She’s in love with “love” and relationships.
What it means: She lacks emotional control.
These girls are tricky for inexperienced guys, so let me explain.
It feels great at first to be the focus of a girl’s undying love. And the highs of having a beautiful woman enraptured by you is something straight outta the movies.
But guess what?
You will never be the only one.
You just happen to be her drug of the month. And all it takes is a more attractive or manipulative man to change her loyalties.
That is the dark reality of girls who “follow their heart.”
So instead of chasing a girl who’s crazy….about you, find a girl who tempers her heart with her head.
Don’t be afraid of love. Just make sure it’s the real thing first.
#9 She uses profanity.
What it means: She doesn’t value purity.
I don’t like profanity.
Sure, I went through a phase where it was cool to sprinkle in some “sentence enhancers”, but even then it still felt wrong.
Pure speech is something I value now, and it really does bother me to hear people—male or female—casually drop f-bombs. I don’t give them a stare or anything, but I know that profanity usually indicates that something is off in your life.
That’s one reason why I never use profanity on this site. Out of all the posts on HFE, I haven’t used a single curse word, and I plan to keep it that way.
But getting back to the meaning of this red flag, it just shows a lack of class.
If a girl doesn’t have the decency to control something as simple as her conversation, think about how ugly the rest of her lifestyle is.
#10 She’s friends with known promiscuous women. / She takes an interest in promiscuous celebrities.
What it means: She won’t be shamed for sleeping around, and she will probably be encouraged to do so.
Men compartmentalize their friends.
Of course not every guy is the same, but usually he’ll have his videogame pals, his college study group, his boys from work, his basketball squad, his fantasy football crew, and so on.
And what’s funny about all these friend buckets is that they usually include men from all walks of life.
You’ll have a mix of low income guys, wealthy guys, smart guys, dumb guys, you get the point. But as long as they all have that one thing in common, they don’t really care about much else.
Women are different.
Almost every girl I know has friends who are very similar to her. Everything from the way they dress, to the grades they get, to the income they earn, to the guys they like, and even their political stance—it’s almost always the same.
While men care more about the one activity they have in common, women focus more on similar lifestyles.
And now you see where I’m going.
You may not be able to tell if she sleeps around, but if you know her friends do, it’s a giant red flag.
Even if this girl is completely innocent, she knows her friends won’t look down on her if she does indulge, and that’s why she’s surrounded herself with them.
It’s even worse if she takes an interest in promiscuous celebrities. They’re just like her friends who get around but with additional influence and social status.
If [blank] can do [blank] and still be [blank], why can’t she?
#11 She uses New Age lingo. / She’s into horoscopes.
What it means: She won’t take responsibility for her actions.
If you meet a girl who always goes on about people’s “energy”, the workings of karma, or the meaning behind her horoscope, you need to run and run quickly.
I have numerous reasons why I wouldn’t get with a girl like this, but one of the more practical ones is that she won’t take responsibility for anything.
The stars are what drive her behavior, and she will be justified in spiting you because her negative-energy-sense was tingling.
It’s bad enough dealing with people who can’t control their impulses, but if she truly believes that “the universe” is causing her actions, avoid her at all costs.
#12 She has no discernible skills outside of her physical appearance.
What it means: She’s going down the wrong career path.
Everyone needs money. And if that need is not met, people will resort to all kinds of evil to meet it.
If this particular girl doesn’t have any marketable skills outside of being “hot”, she is going down the wrong road.
Eventually she will…
A. Find some way to make money off her appearance
B. Get bailed out by another man, or…
C. Be left in a financial hole when her beauty fades
Now you could argue that A wouldn’t be too bad of a scenario depending on the work involved (e.g. innocent modeling), but none of these are favorable to her developing a solid set of skills when she had the chance.
Not only has she put herself in a position where her beauty can be abused, but she’s also shown that she’s fine with being a drain on people’s resources.
That’s not good.
Everyone needs a strong work ethic, no matter who they are. And if she doesn’t have one, she’ll be pressured into compromising situations.
#13 She rushes the relationship. / She’s a little too perfect. / She tries too hard to seem like a good match.
What it means: She’s overcompensating.
Another tricky one here.
The average guy won’t deal with many girls like this, but the name of this site isn’t Hunger for Average, so you need to look out for this one.
As you start to care more about your appearance and get your life in order, you’ll notice that girls will seemingly come out of nowhere. And the ones you were invisible to before will make it obvious that they’re interested.
Sounds great right?
But the problem is that some of these girls won’t have the best intentions.
Almost every semi-attractive girl has been treated like a princess her whole life (and that’s one reason why a man who’s trained himself to be immune to beauty is so attractive to them).
But the side effect of this treatment is that many women expect partiality from every guy they meet. So now when they see you—a man who’s in good shape and has his life together—they don’t see a person, but rather, a tool who has the means to carry “her highness” through life.
This is particularly an issue with a girl in her late 20’s or early 30’s. Her internal clock is ticking and she knows she has to find a man before her beauty fades.
But you can’t let her clock dictate your life.
People get burned all the time by making hasty choices. And it’s a known manipulation tactic to rush people into big decisions.
Yes, there will be girls who genuinely like you, and they’ll be eager to start something special together. But you need to be aware of the other scenario too.
Beauty doesn’t get ignored. And if an attractive girl hasn’t locked down a man by this time in her life, it’s very possible that she used her beauty for other means when she was younger, and now she’s scrambling to find a man who doesn’t know any better.
Of course this isn’t always the case. Breakups happen and some people just have an unfortunate streak with relationships. But barring any significant change to her appearance, and without any other special cause, the former is a real possibility.
Remember that your interests are important too. And you are not obligated to take any dude’s leftovers simply because she needs a man now.
“But she’s changed! She’s not like that anymore! And she’s committed to doing better!”
That’s great. And I applaud her. But that doesn’t mean you owe her a relationship.
I’m all for acceptance and forgiveness, but I also know that forgiveness isn’t the removal of all consequences.
#14 She accuses you of being promiscuous, or worse, tries to prove you are.
What it means: She’s telling you how she would act if she was in your position (a.k.a. projection).
A girl who makes accusations like this doesn’t understand how any decent looking person could say no to their suitors. Especially since she could never hope to do the same.
You’re just a stupid boy who couldn’t possibly deny easy pleasure, and it’s her job to prove that assumption right.
It’s all so silly.
I’ve dealt with girls who tried to find faults that weren’t there and I had a real good laugh afterwards.
But while it is funny that a former acne-faced, overweight, emo guy would have to convince anyone he’s not about that life, I am very serious about guarding my integrity.
So if any girl accuses me of something like this, I know we need to part ways.
#15 Your gut tells you so.
What it means: You’re not comfortable with her.
Attraction is weird.
The first time anyone sees a person they like, comfort is nowhere to be found. There’s excitement, there’s anxiety, and there’s interest—not comfort.
But that all changes as time goes by.
The more you get to know someone, the more comfortable you feel around them.
The guy you thought was an antisocial creep just happens to be the life of the party. The girl you thought was such a snob before is actually kind and warm-hearted. And this new familiarity generally leads to more comfort.
But if time passes and you still don’t feel comfortable around this girl, it’s a bad sign. Your body is subconsciously telling you that something about her is off. And you know deep down that you can’t trust her.
“But didn’t you just make fun of girls and their ‘negative-energy-sense’? So how is it okay for guys to do the same thing?”
Because what I’m talking about here isn’t just a feeling. What I’m describing are physiological changes that happen solely because of this person.
Yes, it sounds far-fetched, but if you are fine around every person except her, something is wrong. And I’m not talking about a few butterflies in the stomach here.
If you start breaking a sweat when she shows up, if your sleep schedule suddenly changes, and if you’re always on your toes around her, your body is in alert mode. And instead of being able to work, or perfect your craft, or do anything else, you will constantly be thinking about her.
But again, don’t confuse this with some middle school crush obsession. This is about a girl who won’t give you any assurance that she is committed to you.
You will have to do everything to keep the relationship afloat, and that always leads to disaster. The minute you fall short in her eyes your worst fear will come true.
Of course you still want to be as attractive as possible to make her decision easy, but if the success of the relationship depends solely on you, find someone else.
Good leaders set an example for others and create a vision for the future…
They don’t do all the work.
Successful relationships will always take effort, but if you can’t relax at all with her, it’s a bad sign.
Weed ‘Em Out
So if you read this whole post, you’ve probably noticed a theme here.
All of these are signs that stem from a lack of one character trait:
Self-control.
This list is all about discerning if a girl has that one critical trait.
If she doesn’t have it, don’t try to change her, don’t make excuses for her, and please don’t waste time thinking about her. Just walk away.
And if you have a hard time doing that, ask yourself if you would help a man who acted the same way.
Sure, this may all seem cold-blooded, but when the stakes are this high, it’s always better to be safe than sorry. There is simply too much at risk when you choose a long term partner. And if you can’t trust someone you’ll eventually think about marrying, you need to end it as soon as possible.
No amount of beauty is worth the headache and embarrassment. If a woman’s actions show that she doesn’t respect you, move on and find a girl who does.
Just remember that nothing here is foolproof either. Some girls are crafty and they won’t show many of the signs listed here—but that’s okay.
The point isn’t to catch every girl who’s like this. The point is to save time by weeding out the easy ones. And once you do that, you’ll be closer to finding a girl who’s worth the investment.
So be smart, stay strong, and have a little fun too. It’s easy to get too serious about things like this, but keep a good attitude and you’ll be fine.
If you know what all to avoid, just imagine how much you can cherish a keeper.
-Drew
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an essay exploring why Susan Sontag may be weary of images by now, from an anthropological perspective.
/ visual anthropology —
The use of photography and film within anthropology has accelerated fairly proportionately with the increase of the image in popular culture over the past hundred years. The image can be anything we decide, and has become an important aspect of modern existence. Anthropologically speaking, Mead has argued that, both implicitly and explicitly, the discipline has had to accept the responsibility of making and preserving records of human beings on this earth (1995:3). This use of the image has served anthropology well, however in an age where immediate reproduction, sharing, and communication of images is the norm, it is necessary to question their capacity and potential for exhausting effect as mere images dominate the world, and seem to stimulate everything (Mitchell 2005). Within this, it is valuable to consider the intents and power of the image makers alongside the images themselves. The following essay is a brief exploration into this debate, considering the power of images within anthropology and the wider world, their relationship to text and other forms of visual practices, and how the intents of the image producers fit within the influence of images themselves. This will be situated around and within the research of writer, filmmaker, and political activist Susan Sontag, and considering whether or not she is weary of this potential power of images. It is clear that the image is an instrument of power (Morgan 1997) but it is through deep consideration as to where this power comes from and what it affects that it is possible to determine why Sontag may be weary of them.
The image has always been a point of contention within the anthropological discipline. Film and photography’s power in anthropology is rooted in structures of oppression, with its history steeped in naturalization of negative racial stereotypes and its constant need for ethical reevaluation. However, by initially and stubbornly relying on note taking and ethnographer’s memories, anthropology became a science of words, with those who relied on words being unwilling to change (Mead 1995). There is still a certain degree of pushback, but with the increase in participation and research under the guise of visual anthropology, the image has gained a degree of respect within the discipline. Despite its many intellectual turns and transformations, anthropology has become and continues to be a highly visual practice, which has resulted in, intentionally and incidentally, a rich photographic and image-based legacy (Edwards 2009). Further to this turn in anthropology, visual research pushes the boundaries of disciplines, allowing for a freer movement of information. Though not strictly anthropologically, Sontag has researched images and human interactions with them almost exhaustively for over forty years, framing images almost as if they are animalistic in their influence and portrayal of human life, yet with a constant reminder of our power and intent of production. Sontag notes early in her book On Photography that to photograph means to place oneself in relation to the surrounding world in a way that feels like knowledge, and therefore, like power (1977:2). Images produced in real time can act as immediate records, holding people accountable, while also providing a platform for performative action. This is extremely powerful in regard to what goes into the creation and production of an image, and what comes of its existence. Photographs are experience captured, appropriations of the thing being photographed (Sontag 1977) though unrooted and ungrounded in time or reality due to the fact that they give people and imaginary possession of a past that is unreal (Sontag 1977). This is, in a sense, taking a carbon-copy of the world from a certain perspective. Sontag points out that the awareness of an event that gathers when photographs are taken is purely constructed (2003:17) as opposed to objective portrayals of reality. Even within image making under the guise of artistry there is a common understanding that artistic intent is rooted in creating a reflection on reality, whether it is a rejection of it or not. Anthropologically speaking, the rare combinations of artistic ability and scientific fidelity that have provided exceptional ethnographic films can be cherished, but it is not necessary to demand that film and images in the field have the earmarks of a work of art (Mead 1975). This is due to the fact that anthropology, which is seen as a social science, is often corralled into purely written academia, where image making itself, let alone image making with artistic value, is looked down upon. However, recently, with the industrialization of general use photography, it now, like every mass art form, is not practiced by most people as an art; instead, as a social rite and a tool of power (Sontag 1977). As Sontag points out, photography and image making has gone from an elite activity to something that is practiced widely, and can be used as a tool for the implementation of influence by many. It is important to consider who is doing the making and why they are making within discussions of fatigue regarding the production and consumption of visual texts.
Images are tiring. It is no wonder Sontag may be weary of their power — however ambivalent, images still demand attention, require engagement, and encourage action, even if the result is action against their desires. The energy required to produce and decipher images is boundless. The conscious effort it requires to avoid absorbing images, especially with the advent of public commercial advertising and increasing popularity and reach of social media, gives them power in the sense that there is a sustained effort expelled in avoidance. Even if this represents a stand against images, the negative connotations and constant awareness of their pervasive and nonconsensual influence on the mind inherently acknowledges the power they hold over us. Images also have power through their applied personhood — they exhibit physical and virtual bodies, and behave with a voice and a face that confronts the viewer (Mitchell 1996). With this constant confrontation comes a potential for exhaustion, especially when considering that the point of a photograph or other visual text is to provoke, whether that be an action, thought, or even just a memory. The photograph, Sontag argues, provides a quick way of seizing something and a compact, transferable way of memorizing and distributing it: “Nonstop imagery (television, streaming video, movies) is our surround, but when it comes to remembering, the photograph has the deeper bite,” (2003:19). Referencing images as our nonstop surroundings gives weight to the argument that Sontag is tired of the power of images as they are extremely pervasive and intervene in everyday life. Mitchell argues that images may actually be a lot weaker than is usually considered (1996:74), such as the point where images can become banal due to their pervasiveness in everyday life. Desensitization seeps in and response limited, though this does not discourage an image’s power, especially considering every engagement is particular and objective to the perspective it comes from. Photographs can, and do, faithfully record gruesome cruelties and crimes, which one can feel obliged to observe, but Sontag argues that one should be obliged to think about what it means to view them and how much it is possible to fully comprehend what they show (2003:75). Visual texts may create a physical separation between viewers and what is being portrayed, however it is in actuality a process that brings the viewer close, their understandings of faraway happenings supplemented by a magnifying glass that gives the picture unnecessary, indecent information (Sontag 2003). This is a return to her ideas about photographs and image making being reflections or copies of reality as opposed to reality itself, expanding on this idea by including notions about photographs exposing a harsher sense of reality then is necessary. The camera is an instrumental extension of our senses that ruthlessly records with little abstraction (Collier, Collier 1986) however it is human direction that the camera follows. This can be applied to any reproduction of reality as photographs furnish evidence — the camera record justifies and incriminates (Sontag 1977) whatever the photographer or image maker decides. At this juncture, the question is begging to be posed — is the image powerful, or are the image makers loud through their images?
As Sontag famously began many of her publications with the statement “to collect photographs is to collect the world,” (1977:1) and over forty years later, at a time where images inflict their influences and desires in every conceivable form at every conceivable turn, it is important to consider where this power truly comes from. As text has dominated the anthropological discipline for most if not all of its existence, it is necessary to consider if written elements are what critiques, especially writers, should be weary of. Text is thorough, complex, and considerably influential, and thus assumably extremely powerful. Textual accounts, however, do not collect the world as Sontag argues photographs do. Sontag argues that a written account may struggle more, depending on its complexity, reference, vocabulary, and distribution, to reach a wider audience than a photograph, which has only one language and although must be ‘read,’ is destined potentially for all (2003:17). Although arguably images need a certain level of education to be purposefully read, writing skills and proficient literacy are an extreme privilege that make non-visual texts inaccessible. Ethnographic textual accounts cannot have the same representational agency as images through their inability to be easily accessible, and are thus often less powerful for a wider audience. The process that goes into education, research, and production of a piece of writing, especially an ethnographic text, arguably requires subjectivity and a specific perspective and experience of the world for it to be successful, even if the aim is to be objective. Photographs, additionally, are as much an interpretation of the world as other handmade visual pieces, such as paintings and drawings, are (Sontag 1977), and arguably as dependent on and influenced by the author’s perspective as written pieces. But while perhaps photographic images are not statements so much as pieces of the world, miniature realities so to speak (Sontag 1977), it is important to note that though photographs are representations of a certain physical reality, the decision of what to photograph, when, from what angle, and how to distribute the resulting image is as much an interpretation as any other form of making. This is an important aspect of image making to include in any discussion of power and production — intent.
As has been previously discussed, Sontag argues that textual accounts seem like a less deceptive way of distributing fractions of the world as it encourages mental imagery as opposed to visual depictions, which she notes provides most of the knowledge of how the past looked, and how far the present reaches (1977:2). This provides evidence to the idea that the author is less weary of textual accounts for their apparent transparency, whereas she is more aware of the possibility of negative intent with photography. Thus, it is arguable, though perhaps controversially, that Sontag is not weary of images themselves, but indeed the power of images being produced by those with certain privileged intents, such as journalists, for example, who have created an immense market for the steadily increasing flow of information about the agonies of war (Sontag 2003). Such as with war photography, the author questions awareness of suffering that is registered by cameras which flares up, is shared by many people, and fades from view (2003:17) and by considering the end result of incessant depiction of violence in the name of image making. Sontag has pointed out that images have the power to create and reinforce reality, especially when something like the suffering of war is photographed is shared to those who are elsewhere, following it as ‘news’ (2003:19). It is important to note that the author does not claim it is the images themselves that generate the power, but the actual act of the creation of the images. Thus the power to be weary of is not the images but the maker, the operator, the distributer of the reality captured. This is further emphasized considering that the act of looking, seeing, and absorbing imagery, however consciously, can contribute to the physical formation of the social structures of a viewer’s world (Morgan 1997). Sontag is indeed, and rightfully, weary of the power of images for their ability to convey the desires of the image makers, which can go on to alter the audience’s perceptions and constructions of their world. It is important to recognize the power of an image while understand that the power is socially, culturally, perhaps even politically, given to it (Wolff 2012). An image does not exist autonomously with power: it is imbued with power ascribed to it from its maker and from its viewers. Sontag, who reminds us that to simply photograph something is to confer and reaffirm its importance (1977:22), would understandably be weary of the mere possibilities of power this could bring, especially with an image in competition with text. Mitchell has argued that images want equal rights with text, seen as complex individuals occupying multiple identities, though not to be leveled with or turned into language (1996:82). The root of image production is inherently complex and multi-faceted, so it is easily conceivable that the subsequent visual texts produced would be, too. But the power to make someone feel, not feel, act, not act, to make something happen or not, the power that is exerted over viewers is not the fault of the images themselves, but of the image makers. Images are merely the catalyst or conductor. Our relationship with images, such as with other objects, is often emotional, and often retain the idea that images and objects are powerful in and of themselves — but it is important to note that this is not the same thing as believing the power exists within the image (Wolff 2012). The power that is perceived to be based in the image is not. This is why Sontag is rightly weary of the power of images — it is really the power of the producer embodied. As Sontag points out, “The photographer chooses oddity, chases it, frames it, develops it, titles it” (1977:27) and there is no point at which the image is autonomous from its maker.
At its forefront, this essay has been a critique of the power of images as a whole, touching upon differing debates inside and outside of the anthropological discipline. It has delved into detail, however, as to why they are so powerful, especially in comparison to reality and to textual accounts, and why writer Susan Sontag may be especially weary of them. By being critical of the power of images it is possible to understand the true nature of their uses within various disciplines and across a variety of fields. Film and photography have not endured a simple or easy path within the anthropological discipline in particular, but visual research, which has both academic and applied uses (Pink 2003) is increasingly valued in anthropology and beyond. Sontag has researched and written an extensive amounts on images, which was briefly chronicled at the beginning of this essay, along with photography and image making’s place within artistic and anthropological disciplines. Working with Sontag’s extensive body of work on images and on war, determining the origin and power of images was key to understanding where their influence and nefarious ideals could come from. While the author may be understandably weary of the power of images due to their pervasiveness and influence, it is important to note that the production and intent of such images are where the power originates and is affirmed.
The camera’s machinery allows us to see and record without fatigue as the memory of film replaces the notebook and ensures absolute and utterly powerful quotation of reality (Collier, Collier 1986), but it is only ever a portion or section of reality that has been decidedly copied by an individual maker. It is through the action of deciding what to make an image of, where, when, and most importantly, why, that the image itself gains its power. That is why this essay concludes with the decision that it is not merely the power of images that Sontag is weary of, but the power of image makers and all that they imbue into their imagery.
/
Collier, J., Collier, M. (1986) Visual Anthropology: Photography as a Research Method, Albuquerque: University of New Mexico Press
Edwards, E. (2009) Morton, C. (ed) Photography, Anthropology and History: Expanding the Farnham: Ashgate Publishing, Ltd
Mead, M. (1995) Hockings, P. (ed.) ‘Visual Anthropology in a Discipline of Words’, Principles of Visual Anthropology De Gruyter. pp. 3–10
Mitchell, W. J. T. “What Do Pictures ‘Really’ Want?” October, vol. 77, pp. 71–82
Mitchell, W.J.T. (2005) What Do Pictures Really Want? Chicago: University of Chicago Press
Morgan, D. (1997) Visual Piety: A History and Theory of Popular Religious Images, California: University of California Press
Pink, S. (2003) ‘Interdisciplinary agendas in visual research: re-situating visual anthropology’, Visual Studies, 18:2, pp. 179-192
Sontag, S. (1977) On Photography, New York: Picador
Sontag, S. (2003) Regarding the Pain of Others, New York: Penguin Books
Wolff, J. (2012) ‘After Cultural Theory: The Power of Images, the Lure of Immediacy’ Journal of Visual Culture, 11:1, pp. 3–19
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Foregrounding confrontation
Confrontational and/or disruptive activism can often be feared or shamed, by both those on the right and left. But what if it’s a sign that something good, productive, and radical is happening?
Following a week of protest targeting London’s key infrastructure by Extinction Rebellion, the topic of disruptive direct action has been once again made the topic of national conversation. Putting aside the very real issues with XR’s politics and relationship to the police to one side (this is not that piece), their activity has at least represented some of the most sustained, organised and spectacular direct action seen in the UK for some time. Reactions have ranged from inspired to derogatory, to somewhere in between. A glimpse at this can be seen through The Guardian’s reporting on the 21st April, where a couple from St. Helens in Merseyside were interviewed who had travelled down for some bank holiday shopping:
““I agree with some of the points but I disagree with the methods,” Michelle said after a lengthy discussion with an activist, adding that the movement appeared quite London-centric. “It wouldn’t happen in St Helens,” added her partner.”
This is, of course, nothing new. We find the same reactions whenever there is a tube strike in London, or whenever any activist group takes direct action for any number of reasons. The invocation is made loud and clear: think about all the innocent people you are disrupting. You are causing needless harm. You are being rude and confrontational. You need be mature and sit around the table with those in power to make the change you want. In this vision of politics, political ideas can be divorced from the methods used to achieve them, as evidenced in the Guardian quote above. The political ideas aren’t the things that’re really engaged with or critiqued (indeed, they’re usually brushed aside: yes yes, we all want higher wages; yes, we all care about climate change); rather, it’s the disruptive and confrontational methods. It’s the textbook media/elite response to disruptive protest: focus on disruption or property damage to evacuate the event of all meaningful politics.
What’s concerning is that this objection isn’t even exclusively the property of the reactionary, conservative right – some leftists engage in it too, perhaps more subtly. Think about, for instance, some of the supposedly ‘radical’ lecturers in universities, who take pride in their ‘critical’ scholarship yet balk at the idea of actually taking direct action or standing up to university managers. Or some people in the Labour Party whose so-called socialist ‘credentials’ stem not from any serious radical praxis, but rather simply a position in a social network, a circle of friends masked by institutional rhetoric and elected positions. Time and again I have encountered people who consider themselves on the left, but feel uncomfortable and uneasy about being disruptive and confrontational to the point of actively stopping such action from happening.
There seems, then, to be a theoretical gulf between strategy and tactics on the left; leftists have the theories to critique the big picture (why capitalism is bad, why the gender binary is bad, etc.), but not the theories about tactics needed to actually intervene in this big picture. What I want to do in this piece, then, is to try and integrate those two theoretical strands. Rather than think political ideas/strategies and political methods/tactics apart, they need to be thought together. To do this, I centre the moment of confrontation in any direct action – the confrontation between you and a security guard, an angered commuter, an angered manager, a sexist male leftist, a racist white ally –and all the emotions (anger, anxiety, confusion, glee, sadness) that comes with. Rather than bemoaning these moments of confrontation, I instead try to critically value them, and see where that takes us. In other words, what if confrontation, far from being a negative sign in activism, is actually a sign that something good, productive, and radical is happening? This is the question that undergirds this piece.
Theorising confrontation
To begin we need to note the observation made by numerous cultural and social theorists as part of the recent “affective turn” in the arts and social sciences that emotions and feelings are not individualised phenomena. While mainstream discourses around wellbeing, mental health, self-care and happiness present emotions as coming from within our minds, as a problem for the rational liberal individual, these theorists have argued that while emotions or “affects” are of course instantiated at the levels of chemicals in the brain, they ultimately exist on the plane of social relations. We are always sad/happy/angry about something or other or for some reason or another; emotions thus involve directions and orientations towards some object. Our emotions are always related to something or other in the social field – hence why, if I were asked “where is the anger?” in a given situation, I wouldn’t point at the person getting angry, but at those spaces in between the angry person and the thing they were angry at: a virtual field of relations going back and forth between subject and object, reshaping each of them as they move.
The feeling of confrontation, of being confronted, of being critiqued, should therefore be theorised as the affective dimension of a system of power being questioned. The moment of confrontation doesn’t emerge because of some combination of “individual” interiorised emotions – because, for instance, an individual protester is “inherently” angry as some interior quality. The anger, anxiety, discomfort, awkwardness, joy – you name it – that comes in these moments is the affective surfacing of multiple deeper world-views coming into friction. The people targeted in moments of confrontation don’t get emotional for no reason. It’s because, often, what’s happening to them baffles and disrupts them at a very fundamental level. The ways of life they have become attached to are being broken through political action, prompting an emotional, bodily, affective response – an embodied breaking of that previous attachment. This is not a failure of radical activism and direct action, but in fact a condition for its existence. We have to accept that and work with it, planning for the risks involved. Sometimes we may even have to encourage it. [1]
In other words: the commuter’s rage is capitalism getting emotional. The foul-mouthed tirade that assaults our eardrums does not stem from this individual commuter’s bad temper – though that may aggravate it – but instead a system of power being challenged and disrupted.
Rather than being an arbitrary nuisance, then, confrontation is demanded by radical politics that seeks systemic transformation. If we want a total transformation of the economy and society, then we will find ourselves coming up against the deeply held identifications, communities, and desires that some people have formed in relation to the capitalist economy and society. We are going to have to disrupt their everyday understandings and navigations of the world. Simply, dismantling imperialist white-supremacist capitalist patriarchy is going to piss some people off; it’s going to make white people feel awkward, embarrassed, and uncomfortable when they’re called out on their conscious and unconscious racism; it’s going to prompt men to get defensive when their sexism shows. These varying emotional responses, which will vary in different contexts and depending on the relation of power being questioned, should not be conceived of as the outward pouring of an individual’s ‘inner’ emotions. Instead, they represent a broader social system of power being rattled, making itself heard through the chemical neurotransmitters that jump from neuron to neuron in our brain and the air that rises through our lungs and passes through our vocal chords in an emotional act of speech.
The fact remains though that these moments of confrontation are difficult and often unpleasant, for all involved. In the workplace, speaking up, confronting your superior, can risk your job and your material security. In the street, taking direct action, you risk being castigated by an angry disrupted bystander, and perhaps even being physically hurt. Learning to persevere and critically value these moments, and not be afraid of them, takes concerted persistence and effort; a whole new way of living contra how we may have been brought up.
On this point, Sara Ahmed’s recent book Living a Feminist Life is a valuable resource [2]. In the conclusion, Ahmed offers up a “killjoy manifesto”, making a passionate defence of the killjoy: the person who confronts questionable jokes at the dinner table, causes discomfort and upset, that quite simply refuses the imperative to keep everyone happy. Ahmed notes how our definition of happiness has changed since the Middle Ages and the rise of positive psychology, such that ‘happiness is defined not in terms of what happens to you but of what you work for’ (265). Happiness becomes the precious project of the individual that cannot be disrupted and must be honoured. To be a killjoy, then, is not to want everyone to be permanently unhappy, but to refuse this imperative to be happy, the expectation of happiness, the fetishization of happiness. For this imperative to be happy not only works to nudge people into norm-conforming behaviour, but also to silence violence around us, to pathologise the highlighting of injustice. When happiness becomes an imperative, unhappiness becomes the failure to be happy (which then causes more unhappiness), rather than, as Ahmed notes, a ‘refusal, a claim, a protest, or even just some ordinary thing, a texture of a life being lived’ (58). To pathologise direct actions because they make people unhappy is therefore also to reinforce this imperative to be happy, fed to us through our families, popular culture, and the ‘happiness industry’.
From this Ahmed arrives at the principles of her killjoy manifesto: I am not willing to make happiness my cause. I am willing to cause unhappiness. I am willing to support others who are willing to cause unhappiness. I am not willing to laugh at jokes designed to cause offense. I am willing to live a life that is deemed by others as unhappy and I am willing to reject or widen the scripts available for what counts as a good life. I am willing to snap any bonds, however precious, when those bonds are damaging to myself or to others. And so on it goes. Let us stick by them at family meals, social occasions, and in our activism, face to face with the police, security guards, infuriated members of the public, and more.
“Good” and “bad” confrontation
We have to be careful with the argument so far, though. I have to stress that I am not valuing confrontation in itself, as some fetishized object. After all, is a fascist not “confronting” a Muslim woman when they hurl racist abuse at her? Is a sexist man not “confronting” his partner when he engages in domestic abuse? These kind of things are clearly indefensible from any serious political and moral perspective, and pose questions for my arguments above. As extreme examples, they show that confrontational politics has the potential to become something unproductive and even potentially dangerous. To put it in cruder terms, then, when is confrontation “good”, and when is it “bad”?
Let us bring Chantal Mouffe into the conversation here. For Mouffe, antagonism (as expressed in the moments of confrontation noted above) is the essence of the political, which she defines as ‘the dimension of antagonism which I take to be constitutive of human societies’ (On the Political, p.9). In simpler terms, social issues always involve decisions that require people to make a choice between conflicting alternatives. In that the very act of decision requires a prior period of undecidability, when the various alternatives are all on the table, antagonism (expressed here through the conflicting alternatives) is constitutive of social life and politics. Antagonism is also present in the realm of political identities. Mouffe notes that political identities are constitutively relational: a ‘we’ can only be defined by establishing an exterior ‘they’. You only know who your ‘friends’ are because there are other people who are ‘enemies’ from which you distinguish your friends from. Antagonism is therefore present in the very ways we define ourselves; it cannot be escaped, denied or negated, as liberalism attempts to do. It has to be accepted as the foundation for political action.
Whether confrontation is “good” or “bad”, then, is ultimately a question of politics. The confrontation of the fascist is bad because it is fascist. The fascism provides the framework for the entire confrontation, from beginning to end. This is why we object to fascist confrontations, arrange anti-fascists marches, no platform fascists, and the suchlike. We, the anti-fascists, confront the initial confrontation.
It’s all well and good saying this, but life is rarely so simple. In most situations political actors find themselves in, what is politically objectionable is not always clear; the water is politically muddied. The classic example is in activist movements when, for instance, there is someone involved who is considered a ‘good activist’ but has a questionable history of sexual harassment, for example. Confronting this person (almost always a man) risks causing divisions in the movement, derailing months of often unforgiving work, and leaving no legacy, to the detriment of the many people who could potentially benefit from the movement’s actions. But equally, keeping things as is threatens the safety of (again, almost always) women in the movement, which could well only multiply if left unchecked. Finding adequate solutions out of these contradictory situations is often difficult and absorbs a huge amount of mental and emotional energy for activists involved, which in this case often tend to be women, BAME, trans, disabled, or LGBTQ+. They are serious issues that need to be accounted for in any discussion of confrontation.
In these cases, I think it’s important to stress that the moment of confrontation doesn’t necessarily mean excommunication or furious tirades (sometimes, though, these may be necessary). While it may appear that’s what I’ve meant throughout this piece, really it isn’t; instead confrontation instead just means occupying and time and space that one isn’t normally supposed to, and making very clear an injustice is happening that wasn’t really being spoken about before. Considering this, while it’s tricky to make any blanket statements here because every situation is riven with its own nuances and complications, I think it’s fair to say that some kind of confrontation has to occur in these situations. The precise form that takes is up for debate. But surely, something has to be said, a confrontation has to happen.
Confrontation then, is no easy matter, no thing to be uncritically fetishized. I certainly wouldn’t want the takeaway of this post to be “it’s okay to be an arsehole”, as if every act of confrontation is de facto ‘radical’ (as I argued above, it isn’t: it’s a matter of politics and context). Our lives are built from relations of care and dependence, and these need to be taken seriously; we need to care for others. But surely, in the midst of the ever-growing need to totally overhaul the way we treat nature, the economy, and society on a global scale, modesty should not be the default disposition in our activism. Confrontation should never, at least, be feared. It should always be a serious option, always on the table, and never shied from.
Footnotes
[1] This idea of confrontation essentially being fundamental to political life is stated here with great inspiration from Chantal Mouffe’s work. See On the Political and The Return of the Political.
[2] Ahmed is just one example of the exploration of the interconnections between emotions/affects and politics, which is most seminally demonstrated in her work The Cultural Politics of Emotion. Others include Brian Massumi, Gilles Deleuze and Felix Guattari’s Capitalism and Schizophrenia series, and Lauren Berlant. The traditional left exists at quite some distance from these theories, sometimes to the degree of mocking them for being too ‘postmodern’, but it’s clear they have utility for any truly radical political project involving direct action. Beyond this piece, I encourage readers engaging with them.
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Hey! I want to preface this by saying I have enormous respect for the degree of serious engagement and academic-grade analysis you apply to the topic of visual design as it relates to myth in media, whether concerning SMT or otherwise. I might have differing opinions on a lot of the more divisive subjects of discussion (Notably - i’m head over heels for Amemiya and Nirasawa’s work and also don’t mind the encroaching tokusatsu influence in much of SMT’s current/future output) but I feel like those divisions are a source of more discussion in your work rather than something that generates antagonism (snark aside). On that note, I wanted to say that after reading the Odin article (Which is pretty much a thesis btw good job) I wanted to pose the question: Is there intrinsic value in drawing exclusively from source material? I don’t necessarily think the best course for any given demon design profile is to produce whatever adheres most clearly to known parameters or the archetypal depiction: there’s definitely a dignity and clarity of form to Kaneko’s more “classical” designs but I also feel like they pale in comparison to his more abstracted or complex concepts. In a lot of cases, the dissonance between a classical archetype and a wildly differing depiction is a feature for me, not a bug: it creates an appealing mystery, or invites speculation, or implies an aspect of the character that defies human analysis surfacing. I don’t see the appeal in a gallery of characters with little or no deviation from their existing forms - I guess what it comes down to is whether we consider adherence to the source more or less valuable inherently than the creation of an intriguing design - the concept of say, “Michael” as a mythological figure will survive interpretations that differ from the stricter parameters of the source but without those interpretations we might miss out on Amemiya’s design, which I think is visually compelling even divorced from SMT altogether. I think “style” in “style over substance” is itself a form of substance…
Obviously this is kind of compressed analysis, without a real conclusion - i’m more raising a topic discussion, and i’m also heavily biased by both my own visual tastes and my profession as an illustrator myself (I’m in the process of releasing my second artbook, an Ars Goetia edition) but i’m intrigued to hear your thoughts. Is SMT more valuable as a vault of untouched “accurate” designs or as a platform for creative reinterpretation?
Wow, thank you for this thoughtful submission! I’m glad you got a kick out of the article. And yes, this one was longer and way more involved than my actual college thesis. :p Luckily, I can answer your core question (which I’ve bolded) fairly quickly as much of what’s in the article is built off of previous discussions over the years.
Basically, I think source designs (whether Types I or II, going by our data) are generally more appropriate for SMT demons because:
unlike so many other interpretations out there, SMT strongly asserts its demons are intended to be the actual characters from myth
if this is true, they should resemble their given forms (or functionality) because they have symbolic significance afforded to them by their respective cultures
That’s a succinct way of putting it, I think. The whole point of the Ultra Odin discussion is that his form is pretty meaningless to Norse culture and Odin’s own identity. But you also mentioned Michael, a perfect example:
First we have Kaneko’s kinda boring but VERY Orange Crush SMT1 Michael; despite this, it still conforms to the general notion of anthropomorphism for angels (something affirmed early on in the writing of the Hebrew Bible and particularly by the apocrypha of the early centuries BC). Importantly, not only can a human-like angel relate better to humans, they represent divine order in God’s creation; and note, even the “weird/horrific” angels of the Ezekiel vision have a clear rhyme and reason to them.
Then there’s Amemiya’s Michael. Straight up, it gets symbolism wrong. Whether or not Michael is just the arms resting on the tongue-vomiting head, behind them is that serpent-like thing. Of course, in traditional art Michael is often seen surmounting the Satan-serpent but here a serpent appears not just as equal but its tail technically above the arms and head. Therefore, does this design actually thoughtfully represent Michael the archangel? Based on Amemiya’s commentary, no, it doesn’t. It just represents Amemiya’s own interpretation. That’s why, to me, this is a design failure within the context of SMT.
I also personally don’t think of the characters of myth as intrinsically unknowable, mystical entities; whether it’s the influence of my pile ‘o books or not, I feel they are quite knowable, just to different degrees. The deeper question that stems from that is myth’s application and place within human societies, old or new, one that poses subsequent questions about their chosen symbolism like “why is Odin an old man?” or “why is Michael human-like?” Unfortunately, we can’t directly ask the ancient Norse or Hebrews about their deities but we can interpret what they left us.
Of Kaneko’s oeuvre, I generally like the Type II designs the best, as they hew close to sources but also include appropriate elements related to their functions; Tlazolteotl proved to be a useful example of this in the article. Myths represent things positive and negative, but in a series like SMT that asks you to interpret gods, demons, and their ideologies for yourself, a “neutral” design sense that transplants their actual symbolism is crucial for an informed and nuanced structure. If everything is a “monster” by default, like Amemiya’s Michael, then nothing will appear positive; if everything is symbolically meaningless, like Ultra Odin, then the art itself becomes divorced from the narrative.
But none of this matters because everyone knows to just go for the Neutral ending, anyway. :p
Hopefully, though, that clarifies my stance on the matter! Thanks! (And your Goetia art is great, btw... I’m bummed I missed out on the Kickstarter.)
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hello dear mod, thank you for everything you do. i have a question i apologise if it's heavier than the tone on this blog. recently a popular italian blogger said that race in italy is racist&was a product of il ventennio. i am french&i understand that we in europe don't like to say the word 'race', but i just want to understand how the construct of racism in italy, especially with all the far right/macerata from an italian persepective. I did read amara lakhous. thanks for everything you do!
Hi! Sorry for the late answer, it’s just such a complex matter to talk about and I’m not entirely sure I have the right perspective to handle it properly both as a white woman and as someone who lives in a city where that’s still relatively not diverse. Plus I study languages so I’m not really in the area - I basically really wanted to do right by this and I hope I will.
Disclaimer: it is true that in Italy the very concept of race, at least the way we know and use it in English is racist and a product of the ventennio. Whichever its etimology and original denotation, the word race (razza) has been very clearly connotated since Fascism: if you say men have razze, you’re implying some men have a pure, superior razza and some don’t. Nowadays in Italian dogs and horses have razze, not people. So, usually, if someone uses ‘race’ in italian as opposed to, say, ethnicity (etnia, colore), you’ll be quite sure they’re racist. It’s not that just because people don’t use the word they can’t be racist, but it does say something about how hard it is for us to cope with the American concept of race and the discourse that follows. The paradox is Americans are rightly very sensitive and careful about what they call race, when from our pov they’re just seeing it all from an inherently racist perspective: there are whites and then there are “people of colour”, all of them. Basically, a white race and then all those other races. Again, all of them. We can’t quite wrap our head around it, especially since we don’t really have a concept of, say, “brown” people. Come over in August, we’ll all be brown. We like a tan. It’s just beyond us.
Moving on to racism. It is possibly the most divisive thing in Italy right now and any conversation about it will escalate quickly because a) no one ever admits to being racist b) not everyone necessarily knows they are, if they are. Like everywhere else, it’s not always glaring. It’s not always a “racist slurs” kind of thing. There are subtle forms of it even here and not just in the alt right: I believe many liberals are actually as racist as one gets, they just don’t show because they never deal with people of colour in the first place. I once interviewed an otherwise pretty decent man who told me immigrants today don’t actually come here willing to work and therefore should be sent back home, another one praised a city he visited because he saw no blacks selling stuff there. I think it speaks volumes on how complex this thing is getting: you can deal with assholes who are 100% assholes. You can ignore them and decide they’re not worth your time and energy. But when they’re half-decent it’s just disheartening and makes you wonder where we’re going. Another reason conversations about racism often won’t end well is they slip into politics and fascism is far from over. Even though more-or-less openly fascist parties didn’t do well at the latest elections, the winners (League and the Five Stars) are firmly anti-immigration, making it about law and order as any Trump of the world would.
Having said this, race as we discussed it might be rooted in Fascism, but is the same true for racism? It is and it isn’t. There’s evidence that sub-saharian Africans were of always discriminated against. We had our own slave markets we don’t learn much of in schools, and while it’d buy and sell people of any race black Africans were definitely amongst them. There’s recently been a lot of discourse about how (in)accurate Still Star-Crossed was, with someone arguing that Alessandro de’ Medici was just an example of a class of black nobles. I’m afraid that’s not true. If I’m referencing to this particular period of time it’s because Renaissance is a personal interest of mine: The Ugly Renaissance will offer information about racism against dark-skinned Africans in 15th-16th century Italy. While light skinned Africans were considered as white as any European, sub-Saharans were thought to be strong and valuable workers, but also “uncivilized simpletons who could never hope to occupy a position of parity with the white majority”. That was a long time ago, sure, but it was bound to remain embedded in people’s mindset. And it did in ways we’d think were behind us by now.
Now, subtle forms of racism aside, there are many racists of the in-your-face, insulting type, more and worse than I ever thought possible growing up. They’ve actually probably always been there, it’s just now they have the Internet so they feel somehow validated and it’s made them unashamed to be openly hateful and ignorant with the support of the right.
However I have to stress that there many, many many more, non-racists. When fascists parade in our streets, anti fascist marches will follow. There’s always a firm reaction, it’s just decency doesn’t make any noise and rarely makes it to the headlines. Anyway I’ll give a few pieces of news encapsulating the two souls of Italy:
Refugee drowns in Venice as people film on their phones and do nothing
Teenager saves black child from getting hit by a train in Milan
Mein Kumpf-owning man shoots black immigrants on sight
Italians protest against racism
Refugee killed in Fermo after defending his wife from slurs
1500 in march to commemorate him
Black man shot to death in Florence
Italians join black people in march to commemorate him
So there’s the bright side I guess, we are genuinely engaged and young people who actually read books know we’re a country with very diverse genes, owing much of our language and culture and even food to “others”. This matters deeply to me because I think othering is the root of most, if not all, issues in our societies. This is a cultural problem first and foremost and I actually believe that. We often speak of inclusiveness or tolerance, but these are all patronizing concepts to me. Who the hell do I think I am to include or “tolerate” someone? No, I have to know in my heart of hearts that “others” aren’t to fear.
Anyway, racism is definitely an issue that exists and that’s getting worse. I’ve personally come to conclude racist behaviours in Italy are caused and fueled by three broader factors that often inform one another.
Ideology is the most glaring: most racists are unapologetic fascists and racism is mounting and growing together with a wave of nostalgia for Mussolini’s party. A lot of fascists obviously never lived under the Duce in the first place, but they have a misguided perception of the ventennio as a time of justice and order where trains would run in time and so on. Something you’ll hear from time to time is that the duce “ha fatto anche cose buone” (also did good things). To these people, the presence of black people or muslims goes hand-in-hand with crimes and chaos: they’ll rape women! They steal and murder! They’re drug dealers! The fact that these things are sometimes true because eventually a rapist or killer or drug dealer will statistically have to be black is irrelevant: if caught off guard they’ll admit to believing every racist stereotype out there.
Xenophobia is more nuanced. The reason I don’t necessarily associate xenophobia with racism is that, until just a few years ago, the most feared foreigners in Italy were the very white Romanians and even Albanians before them. The media are also to blame for the way headlines were worded and they still tend to, often unwillingly, magnify the one crime someone black commits as opposed to those commited by Italians. The Macerata episode was most probably “inspired” by the killing of a young girl cut into pieces by at least one Nigerian immigrant. What do you now, since the news spread every Nigerian person has become a public enemy. Another huge media-related problem is they’ve created an unjustified alarm on the refugee emergency, treating it as if more people than in the past were arriving in our country (they weren’t) and as if the situation was completely out of control (it isn’t, although it’s not easy either). Crime is just one thing, though: people are afraid because our times are scary and dangerous, there are no jobs and the welfare is dying. They are hoping the government will help them and fearing that we’re too many for it to be sustainable. There’s a common misconception for which every immigrant in Italy is being hosted in a hotel and given 30 euros per day while unemployed Italians don’t have any money to buy food: while you can argue that the immigrant will only get 3 of those 30 euros, Italians still live this as if those resources are being spent on foreigners as opposed to themselves because scapegoating is a human, if wrong, thing. Clearly this is turning into a war of the underprivilegeds that will only result in diffidence and hatred, and the staggering misinformation about black people being all but enslaved in some areas of out country isn’t helping.
Conservativism, finally, is a branch of ideology but it’s not necessarily related to actual racism (though it can be). There are some who are entirely cool with people of other ethnicities as long as they “don’t bother” them. They’re too culturally lazy to accept anything different than what they knew as children, they fear Christmas will be cancelled and they don’t want, say, mosques, because they hardly know what they even are. They’re usually the same people who are annoyed by vegans: probably harmless, but they certainly don’t help.
Again I hope this helps. I really tried to be clear and truthful and not offend anybody.
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