#i think it hypothetically could become a film but i think it would lose like 80% of its effect
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after actually watching it im doubling down on my statement about prima facie being a weird play to adapt into a movie
#just watched it and holy shit jodie comer what an actor....#that is a beast of a book#i think it hypothetically could become a film but i think it would lose like 80% of its effect#espc bc she acts out everyone else from her pov and acts out the rape scene itself#i cant imagine how they would film that if not ... actually seeing it happen which would suck sooooo bad#maybe im just not being imaginative enough but like. it would be a suckass movie.#also the WATERRRRRR omg#how they dont wipe the stage down after and we see the streaks of water through the second half#as if to say the pain and trauma hasnt left and stayed with her#(also i totally called the cases at the end lighting up)#i mean the writer is adapting it for screen but like i still dk why u would do that
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It kinda hit me, that should actors lose the "perpetual likeness recreation license" battle for any reason (which I desperately hope against and don't expect to happen thanks to the concurrent strikes but, just thinking hypothetically here)-
Especially when you consider the possibility of doing the same for main characters, as Disney-Marvel is all but ALREADY doing (like, many MCU actors have everything but their faces CGIed on at this point)...
Technically...that's not even live action anymore. That's just hyperrealistic animation.
Thing is, I suspect photorealistic animation IS going to become A Thing one way or another - again, I very much hope this isn't THE way, but, I mean, the idea has been there for decades and the gaming world has been seeking it forever...though as the tech reaches a point where each advance is negligible, a lot of us getting kinda sick of it the quest to render every ass hair on the random background easter egg streaker character and looking more toward what kinds of wacky stylized stuff and performance optimizations we could do with that computing power. In fact, Advent Children is an example of bridging this gap between the gaming world and the realistic cinematic animation world, despite coming LONG before this conversation.
So after, if we're unlucky and get it the bad way, a few obnoxious months of Disney calling their latest hyperrealistic animated film "live-action" and making everyone with an ounce of sense want to scream because we fucking know better like that whole "live-action" Lion King shitshow, I can't help but suspect that ACTUAL live-action will be demanded, used, and respected as its own separate medium - and animation will have to work to distinguish itself.
So if and when this happens, if and when photorealistic animation becomes its own thing rather than just a tech demo gimmick and/or a greedy studio cost-saving measure - what can we expect that to look like?
My projection based on what we already have and why we might already choose animation over live action is - wild concepts, over-the-top execution, and stylization that would be difficult if not impossible to achieve with practical effects. After all, these are already reasons we use CGI when it's not a cost-cutting measure! So, we'll likely use that for things where we don't want it to be realistic in anything more than Aesthetic. At its best, we want it to feel touchable, and immersive, but not necessarily believable.
Meanwhile, based on the conversation we're already having, I'm confident when I say I predict that "true live action (real) (not clickbait)" will be a race to the bottom on reliance on post-processing, and a practical effects renaissance that creates an engineering arms race so intense it will become a massive source of new inventions to make normal people's lives meaningfully easier off camera. At its best, it will be about balancing wild concepts with grounded reminders that WE MADE THIS AS REAL AS A WORK OF FICTION CAN BE.
I for one REALLY look forward to the latter, especially since I see it starting to happen anyway.
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Digital Culture - Blog 6 - Nanotechnology
The Ethical Implications of Nanotechnology
Nanotechnology is defined as “a branch of engineering that deals with the design and manufacture of extremely small electronic circuits and mechanical devices built at the molecular level of matter (Chen, 2002). Nanotechnology can be very beneficial for humans, particularly in medicine, industry, electronics, energy and aeronautics (Ferreira & Filipe, 2021). There are a few applications of nanotechnology happening right now in the world. In electronics, carbon nanotubes are being used instead of silicon to create microchips. In energy, nanotechnology is used to manufacture solar panels that work more efficiently than current solar panels. Nanoparticles have been used to attack specific cancer cells without causing damage to other cells in the body. Nanoparticles have also been added to sunscreen (Iberdrola, 2021).
Much like the Nuclear Arms and Space Races of the past, nanotechnology has also gotten the attention of countries in both the Eastern and Western World. China and the United States are viewed as two nanotechnology giants who are front-runners, competitors and collaborators in the field (Dongab et al., 2016). The National Institutes of Health in the USA and the National Center for Nanoscience and Technology, China, were both set up in the individual countries for the purpose of nanotechnology (Dongab et al., 2016).
Although there are many benefits to nanotech as listed previously, hearing that the US and China are competitively involved in anything scientific can seem terrifying as is, without considering the dangers of nanotech. Nanotech could potentially be utilised by the military or terrorist groups to create miniature weapons or explosives. Additionally, armies could develop “disassemblers” to attack physical structures or even biological organisms at a molecular level (Chen, 2002). Personally, the idea of using disassemblers to get rid of the junk in my shed does sound appealing, but what happens if you lose control of the disassembler and they gobble up your house and surrounding neighbourhood? This is what is known as the “Grey Goo” scenario - where those disassemblers would start to disassemble every molecule it encounters (Chen, 2002). This is completely hypothetical, however I have found a CGI animated short film of what this may look like below:
youtube
Other dangers of nanotechnology include surveillance, such as tracking and monitoring (Chen, 2002). Although you may think that this is not that terrifying as your phone already listens to you and websites track you, I don’t enjoy the idea of potentially being bugged with molecular-sized GPS trackers, cameras or microphones.
I believe that nanotechnology does have the power to be really helpful within medicine and the environment. However, I do think that there should be strict laws governing the uses of nanotechnology. It should be viewed like nuclear technology, based on how nanotech can be used for dangerous purposes and can become volatile if not controlled.
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References:
Chen, A. (2002, March 3). The ethics of nanotechnology. Retrieved December 15, 2022, from https://www.scu.edu/ethics/focus-areas/technology-ethics/resources/the-ethics-of-nanotechnology/
Filipe, J., & Ferreira, M. (n.d.). Analysis of nanosciences and nanotechnology and their applications [Abstract]. Www.scopus.com.
HaiyanDongab, YuGaoa, J.Sinkob, P., ZaishengWua, JianguoXua, & LeeJiaa. (2016, March 02). The nanotechnology race between China and the United States. Retrieved December 15, 2022, from https://www.sciencedirect.com/science/article/abs/pii/S1748013216000165
Iberdrola. (2021, April 22). Nanotechnology: A small solution to big problems. Retrieved December 15, 2022, from https://www.iberdrola.com/innovation/nanotechnology-applications
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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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Albums I want to get the “Jagged Little Pill treatment” & why
My list of albums that could become stage musicals like Alanis Morissette’s Jagged Little Pill (without all the enbyphobia and lying to fans).
Electra Heart by MARINA/Marina and the Diamonds
The album is genius! The title character represents different archetypes of women in pop culture, House Wife, Beauty Queen, Homewrecker and Idle Teen. Maybe the hypothetical show could follow different characters who represent each archetypes till they die from an OD on sleeping pills (since Electra is canonically dead now & that’s how she died) and meet up in the afterlife. Or maybe follow one character throughout different stages in her life (which would be the archetypes, starting with idle teen, then beauty queen, then homewrecker, and lastly housewife) till she dies. Or maybe no one has to die. Either way “Fear and Loathing” would make a great finale song, either as the character(s) self-reflecting on their life and desiding to making a change, or self-reflecting on a life already lost forever.
The Family Jewels by MARINA/Marina and the Diamonds
For similar reasons for Electra Heart. This show could be about an overachiever who comes from a respected family that’s hiding dark secrets and goes through different traumas and has a breakdown, eventually seeing her achievements as the only thing that makes her worthy. I think maybe a male family member who she only refers to as “Hermit the frog” abused her sexually(?) when she turned seventeen without getting caught, causing her mind to break. She copes by using dirty humor, which her family disaproves of, and habits like smoking, drinking, partying, etc. She also has issues with an NLOG mindset, exhibited in the song “Girls”. She dreams of fame—it consumes her, since it would be the ticket out of her family and Hermit the frog, plus, success is her drug. But she's rejected. She eventually runs away to work on her dream without family issues in the way. I think the character does get the fame they want, but at the cost of losing their family and being lonely due to lack of friends. I admit I don't understand as much as I do with Electra Heart, but I think there's definitely a story there.
Folklore by Taylor Swift
Evermore by Taylor Swift
I think everyone and their grandma wants this, right? Taylor could write a musical for sure. I think these albums could possibly make one show. I think it would be funny if the show was called Woodvale because of all the conspiracys. I imagine “Woodvale” is the town Betty, Augustine, James, Inez, and maybe Dorothea and once Rebekah live (since so many songs mention a small town). I imagine it's a fishing community because why not. I want to make a more detailed and mapped out description of what I imagine this is one day.
Evelyn Evelyn by Evelyn Evelyn/Amanda Palmer and Jason Webley
This one is just asking to be adapted! It's all there! I actually think this would work better as an animated film. I've seen the idea of Tim Burton making this a stop motion picture thrown around by most and I think that's a great idea. A stage musical would be cool too.
Strange Trails by Lord Huron
This album is so good! It's such a shame that it's only known for “The Night We Met” & Thirteen Reasons Why. I love that song, but the whole album is great. I have a whole mapped out idea of the story of this album, but this post would be way too long (it might already be) so maybe I'll make it later someday. EDIT: so apparently there’s already a story attached to this album(?) If so that's cool. This album’s so epic and would make a great show I think.
Atlas: Enneagram by Sleeping at Last
If you don't know, the Enneagram is “a model of the human psyche which is principally understood and taught as a typology of nine interconnected personality types” (according to Wikipedia). If you want to know more I recommend Josh Keefe’s videos on it. He breaks it down pretty well. This show could be about nine people going through life. Each song is a solo from the person who represents that enneagram.
#marina#marina and the diamonds#sleeping at last#taylor swift#lord huron#evelyn evelyn#amanda palmer#jason webley#evermore#folklore#folklore love triangle#electra heart#the family jewels#strange trails#atlas enneagram#musicals
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Oh The Humanity! AU Masterpost
Hi! Making a masterpost for this AHiT AU so y’all have one place to just find all the important bits that I and other folks in the fandom have done for this AU! Everything will be under the read more
AU Premise: Snatcher steals a time piece from Hat Kid and Bow Kid to mess with them. He tries to use it during one of the Death Wish fights, but turns out the particular time piece he stole was faulty/ something was up with it/ he broke it in a weird way that really messed it up. Because of this, when he broke the piece, instead of rewinding time back a few minutes, it sent his form back about 300 years, returning him to human form, but with all his present memories. Now, he’s stuck as a human as and has to wait for the Time Traveling Alien Kids to fix the time piece and return him to normal, while also being forced to confront his past.
You can find most of this in the tag #oth!au. I will also be updating this as new stuff gets added or if I find that I’ve missed something. Let me know if there’s something I missed that you’d like me to add, cuz boy howdy i didnt realize how much is stuffed into this AU, and I dont remember what I’ve already said and what I’m saving for future stuff:
Significant Events in the Main Timeline story (these are kind of in order and kind of not. There’s more to be added, just not yet):
this au has a bunch of different endings thanks to the lovely ahit fandom’s contributions.
This all happens sometime after This comic. So, by the time OTH!AU happens, Moon and Snatcher are at least on“awkward acquaintance” terms with eachother and snatcher is trying to be nicer to him. He’s still got his moments of being rude and snappy tho, but thats just because he’s snatcher.
The first actual post i made In regards to this AU+ @positive-polygons comic interpretation of the beginning of the AU. He breaks a weird time piece he stole and he reverse ages back to being alive again. : Link Link1 Link2 Link3
Snatcher asks moonjumper to watch over Subcon while he’s stuck like this Link
Bow takes him to Nyakuza Metro to get new clothes. He trashes the Prince get-up as soon as possible. Link
Arctic Cruise Arc Link1 Link2 Link3 Link4
Some comics, they learn his name is luka at some point
Moonjumper is taking care of Subcon. They do things way differently than snatcher but they’re trying their best.
Cooking Cat comes by to cook and help out. She’s very motherly to everyone. She’s taken Mu on as an apprentice, so she’s usually there with her whenever she drops by.
The birds are wrapping up a collab movie. The main cast are invited to the premier party, as Hat and Bow acted in the film. Snatcher gets to wear a nice suit and he has some interaction with the conductor and grooves. Link Link
at multiple points, MJ checks in with snatcher for status reports on how subcon is doing. This is usually where their bonding moments happen and they become less and less awkward with each interaction.
At some point around mid to late story, they find out that Subcon is starting to freeze over again. Snatcher was the only one who could melt the ice so this now gives them a time limit.
The Mirror incident Link Link second fic by @greentrickster
as snatcher gets along with the kids more, they remake his mailman hat so he can use badges and equip him with his own umbrella. Link Link
at some point snatcher realizes he doesn’t wanna go back to being a ghost.
Main-timeline ending is a Boss battle with Vanessa. Link
General Headcanons:
Almost everything you need to know about moonjumper and the prince and vanessa’s relationship Link
Snatcher and Vanessa have known eachother since they were kids. Their marriage was arranged, but they were good friends
OTH! Snatcher is aroace
about snatcher’s feelings on defeating vanessa (*human!/final boss vanessa ending) Link1 Link2
This fic has a really good interpretation of the horizon that I’ve pretty much adopted, myself. Link
regarding snatcher’s expression of empathy and emotion both as a human and as a ghost Link1
Snatcher gradually takes on a fatherly role towards the girls. He is constantly trying to deny it as he comes to realize it but eventually accepts it.
he’s actually pretty graceful with the umbrella Link Link
Hat kid’s a good leader, but she can often be reckless and stubborn. Significantly more chaotic of the two space gremlins. She’s a lot like snatcher in a lot of ways, and because of that they are constantly butting heads but they get along better as Snatcher both gets used to being human and grows fonder of the two girls. She’s a bit closer to Snatcher, having been the most adamant about being his friend (initially out of spite but yknow) and they have a lot in common.
People frequently mistake snatcher for being Hat Kid and Bow Kid’s visiting father. They usually comment on how much he looks like he could be HK’s biological dad. Both are in denial of this throughout the main timeline of this au. It’s a running gag. Link
snatcher is sometimes completely oblivious when he enters Dad Mode sometimes
Bow, on the other hand is generally a bit more shy and careful than hat kid is. She tends to take the passenger seat, taking on a more supportive role. She’s also way more polite. In this sense, she has more in common with moonjumper, and gets along with them quite well and she frequently goes to visit him the most often, on her own.
Her and snatcher’s relationship kind of parallels snatcher’s relationship with MJ. Snatcher, having once been a big jerk to these kids, is now trying to teach bow to take more of a leading role and be more confident.
as this au takes place not long after the Clearing Incident comic, Snatcher and MJ’s relationship is a bit awkward in the beginning. Over the course of the AU their relationship would build up to be more brotherly.
the subconites like moonjumper but they miss their boss. MJ spoils them tho, which they appreciate and occasionally take advantage of Link Link
moonjumper learns to stand up for himself, snatcher learns to be more vulnerable
moonjumper is the badgeseller. Only hat, bow, and snatcher know this.
snatcher very much enjoys feeling warm, its one of few saving graces he clings too in the stressful early part of the story.
snatcher doesnt like looking at himself in this AU. He’s very self-conscious about his “pathetic human body.” He doesn’t like being pitied and he doesnt like being seen as weak.
snatcher frequently has nightmares about his past.
after recieving the mailman hat, people start refering to him as The Mailman. Link
his voice frequently cracks a lot, especially in the beginning, since he keeps trying to use his Loud Ghost Voice, which can do a number on human vocal chords. Link
the kids bully him constantly Link Link Link
his arc is that he learns that it’s ok to be human and it’s ok to be vulnerable and to open up to people, and he learns to accept his past and who he used to be
the girls accidentally call him dad sometimes, which freaks him out at first, but he gets used to it eventually. Link
he adopts them, for sure, it just happens post- whatever ending.
beard. Link
Spin-off AUs, Alt Endings, and Fanfics, Oh My!:
That ending where habijob kills moonjumper Moonjumper goes to fight Vanessa, alone. In one version they win, and in another, they lose, and snatcher has to return to ghost form to retrieve them from the horizon. by @habijob Link Link Link
From The Horizon fic by @greentrickster Link
@lindendragon‘s hypothetical endings where snatcher is captured by vanessa Link Link
@fedoraspooky‘s spinoff au where the timepiece takes him back even further and turns him into a kid Link Link
@positive-polygons‘s Vanessa Spinoff Link
@doodleimprovement‘s Royal ending Link
@erekiosuncreativeideas‘s fanfic, Being Human, her version of the au’s story in chronological order starting from when he breaks the timepiece Link
@lemonadesoda’s Fanfic series, And I Don’t Think You Hate This As Much As You Wish You Did, fills in and expands upon the ideas in my comics for the AU Link
#a hat in time#ahit#the snatcher#the prince#bow kid#hat kid#moonjumper#ahit headcanons#oth!au#Oh the Humanity Au#oth!au masterpost#good lord i didnt realize how much this au had#but i think this is good for now#i'll add more as i go#i know for sure that theres more fics to add but i'll do that later i just wanna put this out#added some stuff
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Kipo’s Final Season
Well, it was a journey you guys.
Inevitably it’s bittersweet, because while it WAS a happy ending… You know. It’s an ending! Phenomenal final season, final trio of seasons, the show really wrapped itself up, but I’m empty that it’s gone now!
It’s why I held off on watching the final season… My heart wasn’t ready to let go yet. And sure, if the third season were suddenly to get a BUNCH of ratings, we might get those additional motives that Radfor Sechrist hinted at the possibility of! But I’m still sad because the main journey is gone, and the cast, as we’ve gotten to know them, have left!
Not entirely, but still! I will have to say that Kipo, Benson, Wolf, Mandu, and Troy are ROCKING all of their new looks! I love that Kipo looks more like her dad Lio, too! Speaking of which, I really enjoyed seeing Dave and Lio get along unintentionally… It was AMAZING to see Song return, and I just…
I’m SAY, you know! I’m sad to see it all go. It really felt a final farewell to all of the cast and world we love… We got to see the return of various characters, including Fun Gus, of all people- Love the way his and Emilia’s arcs sort of tied together! And I love the symbolism of Emilia losing herself, as the idea of her becoming the very thing she swore to destroy… Those are great stories to me, haunting and chilling!
LOVE how this year has been bringing us Gay Proms! First Grom, then Prahm! Prahm was great… I love Doag, though I feel sorry for her because of that NAME… But good for you Hoag, you’re a father and you let those paternal instincts override any fear, paranoia, and prejudice you may have had! Sure the warning didn’t come through in time, but at least you tried! Good for you…
Also, I know Asher and Dahlia had a minimal presence, but I ENJOYED every last second of them we got, even as background characters! I loved the way the arc progressed, the stories behind Mutes and Humans getting along… It all felt so organic and natural, you know? And HUGO…!
I’m not over his death. The worst part was that he DID redeem himself and fully change, so… It wasn’t like one of those Redemption-equals-Death cop outs! Hugo had already gotten his redemption. The crew really just wrote that for the sake of stomping on our hearts, huh? WELL THEY DID… Rest in peace, you funky mandrill! His arc was particularly brilliant and naturally-flowing, I love that final callback to his mess with Aurum… Hugo was just being that moody, temperamental older brother who’s a teen and insists he’s not going through a phase- But he loves his little sister and will humor her!
I miss him already… And I LOVE his interactions with Wolf, as siblings by proxy of Kipo, but also their shared cynicism and trauma as I speculated about! Hugo making a blanket-cloak for Wolf, to replace the old one she had, which represented her trauma and past… I hadn’t even considered it, but it’s right! The way Hugo and Wolf’s arcs together to take out Emilia, only for Greta of all people to make a final point… It was amazing! Superb, brilliant, it was EXACTLY what I wanted to see and MORE! How we had this powerful and meaningful growth for the two of them as siblings in their own right, without necessarily having to rely on fighting… Just quiet moments!
And Kipo… I love you Kipo! I was afraid the show might give us an arc of Kipo being ‘cured’ and having to struggle with no longer being part-mute, even if she were to eventually get that back… And they didn’t! They let Kipo be Kipo! I love her nature as a girl of two worlds, and how she brings both worlds together into one seamless creation! And her DNA gives me hope of a vaccine being made…
I’m still sad over the deaths of Yumyan, Margot, Rupert, Camille, Brad, Billions, etc.! Remember the fallen… I was REALLY wishing the show would have them brought back to their old minds, and while still having them around in spirit sort of helped (as they were basically senile after the ‘cure’)… COME ON, this show has already been so bright and optimistic and hopeful in many other regards! Is it too much to ask that the ‘cure’ gets reverted, that they recover their old minds! It’s really messed up particularly with Margot and Rupert, as they were KIDS… Rupert was just being held hostage, and Margot DID make the effort to change her mind, just like Hoag she didn’t expect Emilia to be ahead of her! Maybe if we get that hypothetical sequel film with Wolf, MAYBE we could have Margot brought back… Or at least go over Wolf’s thoughts of Margot technically betraying her, but to save Rupert, and ultimately doing the right thing- Only to die! I wish we got to discuss that.
Interesting that they never go about the origins of Mutes, but honestly… Not too important to me? The exact cause wasn’t a big deal to me, what matters is that it happened and now it’s here! Speaking of which, I LOVED the Dave episode… Controversial opinion, I think he’s a great character! I love how the show confirmed he was there as far back as THE beginning, and he was just… VIBING the entire time, over a fan! What DID happen to the fan, I wonder? Imagine if it got destroyed- Or even better, if it just ran out of battery! The implication that the fan somehow was able to run for two centuries, but still ran out of energy… Lol.
THAT episode was a masterpiece of morbid humor, what with the idea of this one loser being THAT caught over a fan, Dave being responsible for skyscraper ridge… And that bit of Daves getting KILLED, but it’s never explained and then just sort of glossed over- It’s arguably amongst the pinnacle of morbid humor! The kind that just happens, and because it’s left unexplained it’s just BETTER, more horrifying, whilst funnier… And Benson! Like I said, the background, unspoken, but obvious implication that the Daves and Fanatics (is that what those humans called themselves?) slaughtered each other until one was left. YIKES… But it was still so brilliantly done and conveyed, it really is the epitome of dark humor to me!
Benson got his kiss! He got his kiss with Troy! And now they’re running a restaurant together, Cappuccino gave them a SIX star review… But please don’t call them potato noodles. They’re fries. I can overlook anything, but NOT that! But now I crave that hypothetical sequel film that Radford Sechrist hinted at… Gimme gimme, please! Mostly I just want closure on those Mutes who got ‘cured’, I know it’s immature, but please bring them back!
All in all, this was just… BRILLIANT! It was GOOD, and it makes me even sadder because I found myself so happy to see these characters progress, like with Zane, or Greta… Wolf letting go of her cloak, she’s so PRECIOUS I love her so much, and I love how Hugo was like an older brother to her and I miss him already! I love Kipo, I love Benson and Dave’s backstory, I love Troy, Asher, and Dahlia… I want MORE, please! I feel like I’m not yet ready to let go. And maybe I don’t necessarily have to, but still…
And it’s absolutely wild to me, because this all happened within a year. It’s been a journey, huh? Once it was as simple as getting back to her old home… And while Kipo lost that, she made a new, better one! And I love that, but I’m also going to miss it- Because it feels that just as we got it back, we left! Well, I can always return in my own way, but for now…
THANK YOU, to everyone who worked on this show! I’m going to miss Kipo and the Age of Wonderbeasts! It was utterly brilliant, and I’m glad you got to tell the story you wanted! Here’s hoping you get to indulge in the world of Kipo maybe one last, or two, times!
#kipo#kipo and the age of wonderbeasts#kataow#kipo oak#kipo wolf#kataow wolf#kipo hugo#kataow hugo#scarlemagne#kipo benson#kataow benson#kipo troy#kataow troy#kipo dave#kataow dave
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(Google translated)
Dan Stevens, who grew up in Wales and south-east England, spent his summer holidays at the National Youth Theater at the age of 15, and he was drawn to the stage while studying English in Cambridge. Since his big breakthrough as Matthew Crawley in the hit series “Downton Abbey”, he has also repeatedly appeared in films such as “Inside Wikileaks - The Fifth Force”, “At Night in the Museum: The Secret Tomb” or “Beauty and the Beast” . Most recently, Stevens played the Russian Schnösel singer Lemtov in the Oscar-nominated comedy “Eurovision Song Contest: The Story of Fire Saga” from Netflix. At the beginning of June, the German film “Ich bin dein Mensch” by Maria Schrader celebrated at the Summer Berlinale Premiere, which starts on 1.7. comes to German cinemas regularly. Stevens plays the role of a love robot in it. Unlike on the screen, however, the 38-year-old prefers to speak English in the zoom-conducted interview. He chose a brick wall with a lion motif as the digital background. No allusion to the song “Lion of Love” from “Eurovision Song Contest”, but a photo of the famous Ishtar Gate in Berlin’s Pergamon Museum, where “I am your human” was filmed last summer.
Mr. Stevens, in your new film “I am your human” you play a humanoid robot that is entirely geared towards fulfilling the romantic needs of a skeptical scientist. You yourself recently described the film as “delightfully German”. How did you mean that?
I wanted to say that here pretty big questions - such as what actually makes a person or how much perfection love can take - are negotiated in a very light-footed, elegant and sometimes humorous way. In my experience that is a very German quality. At least I have often seen with many of my German colleagues and friends that they are very good at not discussing difficult issues exclusively deadly serious and melancholy.
Where does your personal connection to Germany and the German language come from?
My parents had friends who lived in Bielefeld and we used to visit them in North Rhine-Westphalia during the school holidays. Traveled from England by car! That’s how I learned a little German as a child, and later I learned it as a subject at school. I even did a short internship there through our friends in Bielefeld. I really love the language. Funnily enough, I was later able to use my knowledge of German professionally, because my first film was “Hilde”, in which I was next to Heike Makatsch played the British actor and director David Cameron, who was married to Hildegard Knef. After that, I always hoped that there might be another chance to speak German in front of the camera, because playing in a foreign language is an exciting challenge. When the chance arose to shoot “I am your person”, I could hardly believe my luck.
Did you know the director Maria Schrader who gave you this chance?
Funnily enough, when the script for the film landed on my table, I had just watched the Netflix series “Unorthodox”, which she directed. I had also watched a few episodes of “Deutschland 89”. In general, I knew that she was a great German actress, not least because friends who knew their way around the German theater scene often raved about her. Working with her was a joy now. Her understanding of actors is quite instinctive and brilliant. I have seldom seen someone who can help an actor who is having difficulties with a scene with such simple means.
The fact that you had already seen “Unorthodox” shows, of course, how quickly “I am your person” must have been implemented in the past year …
Oh yes, that was really quick. In March I was still in New York and was about to premiere a new play on Broadway. But then the pandemic came, everything was canceled and I flew back to my family in Los Angeles. A few weeks later, Maria and I met each other via Zoom - and shortly afterwards I was sitting outside in a café in the Berlin June sun for the first time in months to discuss the upcoming shoot with her. That was pretty surreal because I hadn’t actually left the house since March.
Is it correct that you oriented yourself to Cary Grant and Jimmy Stewart to portray the romantically programmed robot Tom?
In any case, these were role models that Maria and I spoke about. When you think of the game between the two of them, you always see an enormous clarity and directness. Cary Grant, for example, was always quite funny, especially in his romantic roles, but also flawless in an almost artificial way from today’s perspective. I found that very suitable for a robot. Apart from the fact that the ideas that Tom and his algorithm have of romance and love are certainly also shaped by the classic romantic comedies from Hollywood. Oh, the woman is sad, so I’ll bring her flowers! Such automatisms from the stories from back then were very appropriate for Tom now.
Keyword role models: Who shaped you in your career as an actor?
There were of course many. Jimmy Stewart was certainly something of a role model. My mom and I watched a lot of his films when I was little and I was always impressed by the kind of sweet tragedy that went into all of his roles. But maybe Robin Williams’ work influenced me even more. I always found the incredible variety of his films remarkable. He could make his audience laugh hysterically like no other, but also move them to tears in other roles. I always wanted to emulate this range.
In fact, the range of your roles is enormous and ranges from the Disney blockbuster “Beauty and the Beast” to a comic adaptation in series format such as “Legion” to bulky independent films such as “Her Smell” or the horror thriller “The Rental “, Which we just released on DVD. Is there a method behind this diversity?
Not in principle. I like variety, but I’m not just looking for roles that are as different as possible from one another. Rather, there are always similar factors that I use to select my projects. Sometimes there is a certain director that I really want to work with. Or the role itself is irresistible because it presents me with acting challenges. And sometimes a script is just fantastically written and I am interested in the topics it is about. With “I am your person” it was definitely the latter, especially since the timing was just right. In 2020 there were so many societal questions that ultimately touched the core of human existence. Such a script, which deals with something very similar in a light-footed way, was just fitting.
A few years ago you said in a questionnaire from the British Guardians that your greatest weakness was not being able to make up your mind. So every time you are offered a role, do you ponder whether you should accept?
No, no, when a script appeals to me, it actually does it very quickly. It’s such a gut feeling. If I’m unsure and skeptical, that’s a good indicator that this is not the right thing for me. That with the difficulty in making decisions related rather to something else. For example, it takes me forever to order in a restaurant because I can never decide what on the menu appeals to me the most.
You became famous with the role of Matthew Crawley in the series "Downton Abbey”. Did you immediately suspect at the time that something big was going on?
At first we were all pretty clueless. There are really many British history series, and we were one of them. When the first season aired in the US and was a huge success there, it was pretty unexpected. I never expected the impact the series would have on my career.
Barely ten years later, are you still being asked about the role?
Oh yes, regularly. Probably nothing will change about that either. I got out after three seasons!
In the meantime, however, the flamboyant Russian singer Alexander Lemtov from “Eurovision Song Contest: The Story of Fire Saga” should also be a character with whom you will be immediately associated, right?
Right, it has been mentioned more and more recently when people recognize me on the street. This charming, silly film obviously had a nerve with the audience last year in the middle of the corona pandemic. Especially since the real Eurovision Song Contest had been canceled.
The film was the number one topic of conversation on the Internet for a while - and Lemtov GIFs and memes were everywhere. Did you follow that?
It was really hard to avoid it. I wasn’t looking specifically for what people were posting. But of course my friends passed a lot on to me, and there were already some very funny Lemtov things. But he’s also a figure made for GIFs.
Another question every British actor under 40 has to put up with these days: Would you like to become the next James Bond?
Oh, of course, everyone gets to hear this question again and again who meets certain criteria. But it is completely hypothetical. Although a few years ago I read in an audio book by Ian Fleming’s “Casino Royale”.
You mentioned earlier that you and your family have lived in the United States for a long time. How big is your homesickness?
I actually feel very comfortable in Los Angeles. But every now and then I miss the sidewalk culture of European cities. People on foot, street cafes, things like that. Last year the longing for it was particularly great, although it was of course clear to me that there was a state of emergency in Europe too. In any case, I found myself reading books that were set in Europe and made me homesick. Which is why the unexpected trip to Berlin was really a boon.
You are also an avid cricketer. That’s certainly difficult in Los Angeles, isn’t it?
There are quite a few cricket clubs here. The only problem is that the few people who do the sport here are so good at it that I have problems keeping up. That’s why I always lose sight of the matter here a little. Even as a pure TV viewer, it is not easy to stay on the ball, because of course there is no cricket broadcast here at prime time. But as soon as I’m home in England in the summer, I really want to play again!
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I heard a rumor that there was a plan to kill Wally off at the end of S1 in the fight with the JL. If Wally were to be killed in that battle (presumably by Barry because that was who he was up against) I don't think Barry or Dick or the League really would ever properly recover from that.
That's an interesting rumour.
No idea if there's any truth to it (I sort of aggressively "Death of the Author"-ed YJ after it became clear that the showrunners were blatantly trying to extra-textually re-write their show, retcon critical pieces of narrative and generally paper over huge structural problems that should have been addressed in planning or caught in the edit) but if there was an earlier/ alternative Season 1 plan where Wally was meant to die at some point, it might go a ways toward explaining why he was so casually written out in Invasion with basically no time given to exploring the reasons why he left, and why Outsiders barely gives him the time of day and seems to focus only on a really early-season-1 version of Wally in the few moments it remembers to give a rat's backside about the specifics of his character.
Although "leaving the life" in Invasion could just as easily be a cheap contrivance to keep the writers from having to put in the effort of writing two distinct speedster characters at the same time once they introduced Bart, and to take Wally and Artemis out of the game ahead of time so that they wouldn't have to figure out how the day-to-day status quo of the S2 Team would change after she "died", so YMMV on that.
Although, if they were going to pull that trigger, I think the structure and scope of Season 1 would have been the best suited out of any part of the series to carrying a proper post-death/grief/recovery story. The cast was just small enough and the overall stakes just low enough that it had the breathing room to fit the kind of slower-paced, detailed character-specific storytelling needed to make these things really resonate.
But back to the matter at hand: In terms of writing, I think that a hypothetical Wally-dies S1 climax episode would have been written very differently, since Auld Acquaintance has him and Artemis teaming up to take down Arrow and The Flash using their little airlock trick, not to mention the extreme tonal difference it would need. (And not for nothing, I actually really like how Auld Acquaintance played in canon; I think it was a great capstone on the coming-of-age story, showing how well the Team actually functions and how bad of an idea it is to underestimate their physical, mental and tactical capacity by having them hold their own against their own mentors, coming full circle on how the League was coddling them at the beginning.)
With all that being said though, I agree: losing any member of the Team in the first season would have irreversibly changed things. All deaths are tragic but there's something especially gut-wrenching about the death of a child, no matter how mature or responsible that child might have been. And especially if it was Wally, who'd been there from the start and was so personally important to so many other characters.
Dick we've already discussed, but Barry in particular would be inconsolable. No teacher or mentor or parent-figure ever wants to outlive their kid, and from the tie in comics we're given explicit evidence that Barry was initially very resistant to taking on Wally as Kid Flash because he didn't want or feel ready for the responsibility. And if he had been the one to cause it? It wouldn't matter if he intellectually understood he was mind-controlled and not in charge of his own actions, it wouldn't matter if Wally's own parents, the League and the Team understood that and didn't hold him responsible... knowing that he had been turned into the weapon that killed his own nephew would be soul destroying. It wouldn't surprise me if, in this hypothetical, he was to hang up his cowl - at least temporarily - and/or to become an incredibly staunch opponent to the continued operation of any underaged proteges in the aftermath.
Then there's Justice League, all of who would be at least somewhat complicit. Either directly, or tacitly through inaction, they condoned and enabled the formation and continued operation of the Team. Not to mention Bruce, Dinah and Red Tornado, who were directly responsible for making sure the proteges were properly trained to handle themselves, and selecting missions that were of appropriate risk both in terms of physical danger and what the kids were being exposed to. For a Team member to die on-mission - even if that mission was unsyndicated - and especially on the back of the reveal that the original Speedy had been kidnapped several years earlier and replaced by a sleeper agent clone?
It would have been, if not the complete end of the Team and potentially an end to the League allowing any minors as "side-kicks", then at the very least the start of incredibly (but justifiably) tight restrictions and oversight on the Team's operation, regardless of what the Team's members might want or think.
And on one hand, that could have been an extremely interesting potential story to tell; to follow the Team not only as they struggle to recover from the loss of a integral founding member and close friend, but watching them fight for the continued existence, value and operation of their unit in the face of that tragedy.
But on the other hand - that narrative would have been an extremely hard sell. It would be very difficult to keep the Justice League seeming at all heroic and not horrifically morally callous for allowing the continued operation of child heroes after one of them had not only died in action but died in action as part of a unit operating under their direct supervision. And that's without even going into the in-universe ramifications on public opinion of the League if the news got out.
So yeah, I can understand why any writer would shy away from that. There's a reason why explicit child-death is still considered a huge taboo in most mainstream films, games and TV shows, even when those stories are otherwise fine with including death and violence.
But make no mistake: nothing would have been the same if Wally had died.
#and the fact that so little changed for the characters and Team after the Season 2 finale#and - heck - after the death of Jason in the first timeskip#is a pretty damning reflection on the values of the narrative as a whole#Young Justice#YJS1#Wally West#Kid Flash#Barry Allen#The Flash#Character Death#Child Death discussed#Hypotheticals#youmaycallmeyourhigness#3WD Answers
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THE AARONS 2020 - Best TV Show
It was prime time for TV in 2020, with many more free hours to fill. I managed to get through a lot of my backlog in fact, finally getting around to watching shows like The Strain. It’s a show about a deadly disease that tears society apart because a lot of arrogant people think they are exempt from quarantining. The disease turns people into vampires, so it’s technically escapism. Here are the Aarons for Best TV Show:
#10. The Plot Against America (Miniseries) - HBO
It’s not TV, it’s not HBO, it’s real life. The Wire-creator David Simon’s penchant for illustrating the human fallout of institutional failures made him a perfect collaborator for HBO’s Plot Against America, an adaptation of Phillip Roth’s alternate-history novel. Following a Jewish family in New Jersey navigating the increasingly-fascist America of a hypothetical Charles Lindbergh administration, the show is a terrifying warning of what happens when hatred and conspiracy theories are allowed to accumulate political force. Notably, while the book ends with history back on the right track, the closing moments here are left ambiguous. The show was a limited series, but in many ways, The Plot Against America is ongoing.
#9. Mrs. America (Miniseries) - FX
Its interests are married to The Plot Against America, but Mrs. America traces the country’s rising extremism from a more historically accurate perspective. The miniseries centers on political activists in the 1970s on opposing sides of the proposed Equal Rights Amendment, but its dialogue isn’t a strict dichotomy. The episodic format is expertly utilized to build out intersectional ideas from the likes of Rose Byrne’s Gloria Steinem, Uzo Aduba’s Shirley Crisholm, and Margo Martindale’s Bella Abzug, detailing the difficulties in building a diverse coalition, and the dangers of a single-minded one. Drawing parallels to current debates, its compelling centerpiece is how conservative Phylis Shafley (Cate Blanchett) successfully defeats the Amendment; voting against your own self-interests, Mrs. America says, is as American as apple pie.
#8. The Outsider (Miniseries) - HBO
Societal collapse comes from within in the two shows mentioned above, but the threat in HBO’s adaptation of Stephen King’s 2018 novel is decidedly an “other.” King clearly had his mind on modern manipulations of truth when crafting the ingenious premise: a man is arrested for the murder of two young boys due to irrefutable DNA evidence, only to provide an air-tight alibi for the crime. To match King’s procedural prose, HBO brought on The Night Of’s David Price, who layers the original work with meticulous mysteries. The Outsider has all the pulpy jolts expected of the author, but the show’s true horror lies in its overbearing grief, best brought to life by Ben Mendelsohn’s Detective Anderson. To say more would be to spoil its secrets; you’ll want to be on the inside.
#7. Perry Mason (Season 1) - HBO
Just like the famous fictional attorney, HBO can’t seem to lose, with Perry Mason marking its third entry on this list. The reimagining of the long running court drama actually takes place before the character’s illustrious law career; here he’s a down-on-his-luck private eye caught up in a scandalous child kidnapping case. The result’s a gangbusters production of old-fashioned moody noir: political corruption, femme fatales, and a more morally-complicated Mason, as played by The Americans’ Matthew Rhys. The lavish period details and character-actor cast, including Shea Whigham, John Lithgow, and Tatiana Maslany, will help draw viewers in, but, I’ll confess, I was already hooked by the season’s chilling opening moments.
#6. Zoey’s Extraordinary Playlist (Season 1) - NBC
Dour seasons have dominated this list thus far, but Zoey’s Extraordinary Playlist sings a different tune. It’s a lovably oddball premise: an accident during an MRI causes a young woman, played by Jane Levy, to hear other people’s thoughts in the form of popular music. It’s all karaoke, but, emphasized by the presence of Skylar Astin, a worthy inheritor to Crazy Ex-Girlfriend’s musical-comedy crown. The tracklist, workplace antics, and love-triangle drama all exist in a comfortingly familiar network TV realm, but the show takes additional steps for inclusion with stories highlighting Zoey’s genderfluid neighbor (Alex Newell) and an American Sign Language performance of Rachel Platten’s “Fight Song.” During a year in need of shuffling off stress, there was no better time to queue up Zoey’s Extraordinary Playlist.
#5. What We Do in The Shadows (Season 2) - FX
FX’s expansion of the mockumentary feature film of the same name lit up some of the darker corners of its universe in the show’s second season, transforming mundane-seeming material into something completely, uniquely batty. Each creature of Shadows took their turn in the spotlight this season, from a middle-management promotion gifting energy-vampire Colin Robinson unlimited supernatural power, to undead Nadja befriending a doll possessed by her own ghost, to Matt Berry’s Lazlo forging a small-town persona as a bartender/volleyball coach to escape a vengeful Mark Hamill. As always, it was the sympathetic Guillermo (Harvey Guillén), a Van Helsing descendent desperate to become a vampire, who gave the show its emotional stakes, and the vampires within a different kind altogether.
#4. Stargirl (Season 1) - DC Universe
Shadows was lit, but few things burned brighter this year than Stargirl (perhaps too brightly for the flamed-out DC Universe). The superhero drama is one of several that will outlive its original streaming service - fitting, given its obsession with legacy. Based on a character created by DC Comics stalwart Geoff Johns after the tragic loss of his sister, the show finds a young girl taking on the mantle of a fallen hero after moving to a town run in secret by supervillains. With sprightly fight choreography and an unabashed embrace of its comic book lore, Stargirl outshines the overabundance of small-screen superheroes out there. Its highlight is the bright performance of lead Brec Bassinger; put simply, she’s a star, girl.
#3. BoJack Horseman (Season 6b) - Netflix
Throughout its run, BoJack Horseman garnered acclaim for routinely delivering unexpected pathos, and the final season kept it on that track until the end. ...Get it, because horses run on tracks? The unexpected porter of television’s legacy of antiheroes ended in much the same vein as its sister shows - with consequences finally catching up with its protagonist. No amount of fanciful animal puns could soften that painful catharsis, as the show finally trampled its tricky web of abuse through bittersweet means. The series closed out with an especially thoughtful scene, the kind viewers who looked past the wonky pilot years ago were regularly blessed with; to the very end, BoJack, you were a gift, horse.
#2. Better Call Saul (Season 5) - AMC
As good as Bad ever was and better than ever before, the fifth season of AMC’s spin-off completely upended the world of its eponymous lawyer while bringing Vince Gilligan’s universe one step away from full-circle. Saul Goodman found himself in way over his head, and viewers found themselves way on the edge of their seats, as his first foray into “criminal” lawyering swiftly dovetailed with an escalating drug war. Despite the emotional distress of watching fan-favorite character Kim Wexler placed in perilous situations, there are no objections to be had with the drama’s continued masterful storytelling. Ramping up the slow-burn storytelling, season five saw Kim and Saul’s relationship develop in rich and unexpected ways, while still keeping their final fates unresolved. Fans are thus waiting with bated breath for the show’s final call next year.
#1. The Great (Season 1) - Hulu
Who could be the best but The Great? There was a minor television controversy this year over Netflix marketing The Crown as a historical drama despite its fictional interpretation of events; The Great has no such pretentions. An asterix adorns every title card of the show, letting viewers know that its take on Catherine the Great’s coup against Emperor Peter III of Russia is only “an occasionally true story.” The show indeed is not great for education, but it’s the most entertaining television of the year, locking stars Elle Fanning and Nicholas Hoult in a battle of wits and a fight for the country’s soul under the watch of The Favourite co-writer Tony McNamara. The uproarious comedy slyly collates leadership based in cruelty with leadership based in goodwill in the background of its quite bawdy escapades, a subtle bit of relevant political maneuvering that lets it successfully claim the crown this year.
NEXT UP: THE 2020 AARONS FOR BEST TV EPISODE!
#tv#TheAarons#TheAarons2020#TheAaronsTV#best of 2020#the plot against america#mrs america#the outsider#perry mason#zoey's extraordinary playlist#what we do in the shadows#stargirl#bojack horseman#better call saul#the great
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The Treatment of Capt. Syverson- Chapter Three: Therapeutic Activity
Pairing: Captain “Sy” Syverson x OFC (Shane Benton)
Summary: Tensions reach a boiling point during treatment one evening, Shane goes to her own veteran for advice, and takes the first step toward happiness…hoping beyond hope that everything doesn’t blow up in her face.
Masterlist with links to all parts HERE!
Word Count: 2.4k
Warnings: None, yet… ;) But maybe I should be putting language warnings in here…there are some bad words. And not to spoil but…there might be a bit of kissing in this one…
Author’s Note: Guys, I cannot stress to you enough how much I am enjoying telling this story. My goodness. To sort of combine my passions of writing and Henry with something I know so well like therapy (I’m a secretary like Heather, not a therapist), it really just makes me happy. The next chapter is already done, also, it was initially part of this chapter, but it felt too long, so I’ll be posting it separately later. I know, I’m a tease. Have Henry spank me. Lol.
Disclaimer: Unfortunately for me, Henry is not mine, le sigh, and all mention of him, his characters, any characters from his films, or his precious doggy, Kal, are strictly for transformative and recreational use. I neither ask for, nor accept payment for the work I post on Tumblr or AO3. Unbeta’d because this is for fun and escapism.
Tags:
@onlyhenrys
@cavillryarchive
@summersong69
@titty-teetee
@bloodyinspiredfuck
"This sounds…kinda dumb…" Sy expressed his thoughts on today's warm up with Shane.
"Oh, trust me, it looks even dumber than it sounds. But it works. And it's easier on your knees than doing it the right way. You ready?" he looked at the treadmill, inclined at 3% grade as if it was Everest itself, and looked back at her. "I'll start slow." she raised her eyebrows at him.
"You know just what to say to a girl." he teased as he stepped up, still gingerly, even after eight weeks of therapy. Crutches mercifully jettisoned two weeks ago. He was on his way to being his fighting fit self. With a foot on either track beside the belt, but facing away from the control panel, he waited for her to press start. He took a breath and nodded.
"Test the belt with your bad foot first, and then when you're ready, step down with it. Remember what I've told you about which foot should lead when ascending and descending stairs or hills?"
"Good go to Heaven, Bad go to Hell. So I go up with the good leg and go down with the bad leg."
"A+ student. Okay, when you're ready…any time…Sy, this is an hour session…I have to kick you out in 55 minutes…chop chop." she cajoled him, but he wasn't budging.
"It feels…weird going this way, Shane." If she had been a less kind person, she would have called it whining…she called it nothing, instead.
"I know. Do you need to walk backwards around the clinic a little more to get you used to that sensation?"
"Hell yeah. If that means you're gonna spot me like you did before…felt kinda like dancin'." it was a perfectly legitimate and above-board treatment strategy. They stood back to back, Shane guiding Sy as he practiced walking backward and pushing off with the extensor muscle group, which had been weak. Sy had suggested holding hands, but Shane had compromised with the idea to link arms. Not that she wasn't dying to hold his hand…she was. But that had not been the time. The time was still weeks away. At least.
"I was thinking I'd have you try it with Jordan. He's got a free hour right now. And I can assess your technique. How does that sound, Twinkle Toed Romeo?" Immediately he placed a tentative foot down onto the slow moving belt trying to adjust to the odd sensation of walking up a hill backward.
"Ah, so I now know that all I have to do to get you to do something silly is threaten you with Jordan. Filing that away for a rainy day."
"Come on, you're breakin' my heart, sunshine."
"Aww, don't be ridiculous. I've seen therapists do way more embarrassing things to their patients in the name of treatment."
"Tell me!"
"Sorry, but it's classified information. Protected under the Health Insurance Privacy and Portability Act. I could literally get fired for telling you, and there are way cooler things to get fired for!" She'd always said it. And she meant it. She didn't fool around when it came to HIPPA, and there was no way she was gonna lose her job over a stupid slip like that.
"Any examples of things you'd rather get fired for?"
She thought for a few minutes. She used to have a list.
"Hmm, telling off my bitch of a boss," he looked shocked at her use of a bad language word, which he'd never heard from her. She nodded. "Telling off an asshole patient," sleeping with a patient…
"What about sleeping with a patient?" It was late in the day, the only person still there was Heather in the office, and a few therapists still documenting. Nobody in the gym to hear him echo the thoughts in her head. As if he could read them as clearly as a page in a book. Large print. She looked at him in shock.
"Sorry. That was over the line."
"It was…but…"
"But?"
"But…it would not be the least cool reason to get fired."
"It wouldn't?" she shook her head, reluctantly.
"Especially if the patient was…amazing, and kind, and…fucking gorgeous…"
"Young lady, that language today, I have never!" he exclaimed clutching at his broad and beautiful chest.
"I know, but, Sy…this is all hypothetical, and theoretical, and IF I was GOING to get fired how would I CHOOSE for it to happen and WHAT policy I would go against. People don't just CHOOSE to be fired, you know?" she was nervous and rambling.
"You know what people also don't choose? Who they care about, and have feelin's for. Who they--"
"Don't finish that sentence, Sy." She couldn't hear him say the word he was going to say. She couldn't let him start that. Not when there was too much complicating their situation.
She walked off to her treatment room, needing some space. Some time.
She didn't get that space or time. Sy hobbled in behind her, looking like a man on a mission. And she knew from his war stories that his missions tended to be successful…even the one that got him his walking papers wasn't a total loss.
"Sy, you still had like, five minutes on the tr--"
His big hands found the sweet spot where her neck met her skull. He took a big breath and closed the distance between them, his lips landing light as feathers on hers, her soft skin welcoming the roughness of his beard, though everything else about the kiss was terribly gentle. Almost chaste. Even his beard wasn't so rough that she worried about beard burn…she'd be filing that away for later, as well. Against her willpower and better judgement but in full cooperation with her desires and instincts she began kissing him back, daring to deepen it by opening their mouths a bit, and sliding her hands up the back of his red tee that sported a black skull. All of his shirts were entirely too tight, but you'd never catch her complaining. Even after several months away from active duty and really, most activity at all, his body was still so solid and powerful.
"Ain't that a daisy…Fuck, I've wanted to do that since my first appointment." he chuckled, lightly.
"Sy…"
"Don't. Don't try to argue or tell me you don't feel it. This energy between us. I've seen it in your eyes, Shane. I've felt it when you touch me. It ain't nothin, sunshine. It's a whole lotta somethin'."
"I know, but I need this job. And I WANT this job. Being a therapist is the only thing I've ever wanted to do. Helping people. People like you. Getting them better. It's what I was meant to do. And there's no place like this in the area for me to treat such a diverse clientele and build my skill set. It's not without it's problems, but it's where I'm meant to be."
"I get that. And you should do what you were called to do. You're too good at this not to do it. But Shane, isn't it worth pushing back on some policy if it could mean you get to have some personal happiness, too?"
"I'm worried they'll make me choose." Actually, it was more than that. She was worried about which choice she'd make. Giving up a ten-year career with excellent benefits despite its pitfalls, or giving up someone she could hardly stop thinking about, who made her heart pound when he smiled, and who was rapidly shaping up to be someone she could see herself sharing a life with…making either choice terrified her for very different reasons.
"You shouldn't have to choose. Any boss who'd make you deny yourself what we could have just because of some ridiculous policy…well, they ain't worth the gas that brought 'em to work today. Y'understand me?"
She nodded, smirking at his idiom, "You don't know my boss."
"Well, maybe I oughta GET to know her, if it's like that. I have a way of throwin' my weight around, case ya hadn't noticed." he shot her a smug grin.
"Ya don't say?" she retorted, brimming with sarcasm, literally still wrapped in the evidence of said weight in the form of his muscular arms, warm and thick, encircling her. Even though she felt like her life was up in the air, she had never felt more safe. "I'll try to have a chat with her about it this week. Our schedules rarely align, and usually that's how I like it, but I'll try to move some things around if nothing naturally falls into place."
"I'll be happy to lend my voice or even come talk to her, if need be." he offered, ever the gentleman.
"I appreciate that, Sy, truly. But I think it would be best not to involve you unless it becomes absolutely necessary. We have several more treatments to get through today, though. You didn't finish on the tread mill, do you think you're warmed up enough?"
"Oh, darlin', I'm plenty warm." he grinned down at her sliding a hand down her side.
"Shit, am I gonna have to start being extra careful with what I say to you until this gets sorted?"
"I really doubt it'll matter, Shane. Ain't much you can say I can't make dirty." she could tell by the satisfaction on his face that this was a point of pride for him.
"Lay down and shut up."
"Yes, MA'AM!" he complied with a little too much enthusiasm. She didn't know whether to roll her eyes with amusement or grow increasingly feral…apparently there was room for both as long as she didn't act on the latter. Yet.
~~~~~~~~
She dismissed Sy for the day, instructing him to behave himself until she gave him the all clear, and even then, if she got the green light to see him outside of therapy, sessions would still be about getting him stronger, and not flirting. Or at least mostly. They settled on a 90/10 ratio by the end. She was a weak woman.
She went into the office where one of the senior therapists, Anita, was still charting and snacking on some pretzels.
"How was your day, Nita?" she asked affectionately. Anita had been her mentor since she started with the clinic over ten years ago, and was now part time, flexing toward retirement. She'd miss her.
"Oh, long, Miss Shane. As they tend to be more and more these days. What about yours?"
"Ah…just…nothin'." she shouldn't go into it all until she talked to Susan, their boss.
"Mmm, that's no nothing nothin', that's a something nothin'. Come on, kiddo. Spill." she offered Shane one of her pretzels and kicked out the chair next to her. Again, she was a weak woman. She took a pretzel, sat, and chewed it for a moment, collecting her words.
"What do you think about…starting relationships with patients?" she searched her reaction for any snap judgement or emotion, but only a narrowing of her eyes occurred.
"Is this about that Captain Sexypants who just left?"
"I'm going to kill Heather. I'm not the one who came up with that nickname and I'm not the one who started the whole having feelings conversation. I was going to be miserable until he was discharged, at least."
"Why would you need to make yourself miserable, Shane?"
"Because the policy. About dating patients."
"Technically the policy only says you shouldn't treat family/close friends if you feel you wouldn't be able to maintain objectivity or would be uncomfortable yourself. But that you should disclose any relationship to your supervisor for review."
"See, what's Susan gonna say?"
"Who cares? The policy is the law. And the board of directors governs the policy. Not her. Tell her in an email if you can't work out a time to talk to her before you see him next. Hell, I sent my boss a memo back when I started dating Ron. And look at us now! 20 years strong."
"No way!?" Shane was flabbergasted. She had never known that Anita's husband Ron had once been her patient.
"Oh yes. I wasn't long out of PT school, my first husband had passed away and I needed an income, so I got my PT license and about a year into working here, Ron got put on my schedule. I knew from the eval, he was meant for me. So I typed up a memo, sent it to Morton, our boss at the time, and told Ron I was free on Friday after work."
"Sy just…I don't know, we have this…connection…a spark. I've never felt it with anyone else."
"Are you concerned that seeing him socially would affect how you treat him here?"
"I'm more worried keeping my feelings for him bottled up while I treat him will get so distracting I'll become less effective."
"Well, then, if you get any push back, tell Susan that." Anita said. "Just be forthright. Honest. And speak with integrity. She'll have no cause to refute it, then. And send it tonight."
"Okay. Thanks Anita. You're the best."
~~~~~~~~~
Shane spent too long, probably an hour, at least, drafting her email to Susan. It read:
To: Susan DeForrest
From: Shane Benton
Subject: Re: Treatment Policy
Susan,
I wanted to bring to your attention a situation that has presented itself with one of my patients. I have been treating him almost exclusively for several weeks now, apart from my week on PTO, and he has progressed to both of our satisfaction as well as the ordering physician. However, we have come to be quite friendly and he has expressed great interest in seeing me outside of therapy. This is something that I too would like to engage in, and I plan to accept the next time I speak with him.
From my understanding of the policy, the only thing that would prevent me from treating him as a social acquaintance would be my own comfort level and ability to remain objective. I have every confidence that my objectivity regarding his case will remain intact. I am also completely comfortable with it, and if that changes, I will transfer him to another therapist. Furthermore, I have no doubts that I will be able to maintain the highest level of professionalism throughout our treatments.
Thank you, and if you feel we need to discuss any of this further, please let me know.
~Shane Benton, DPT
And send…whew. She needed a big glass of wine tonight.
~~~~~~~~~~~
Up Next: Chapter Four- E-Stim
#netflix sand castle#sand castle#henry cavill#henry cavill fanfic#henry cavill x ofc#captain syverson#captain syverson fanfic#captain syverson x ofc
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idk if your requests are open still but royal loki concept with a midgardian reader— yeah? maybe? take it wherever you want from there and be creative because your other fics are and just amAZING! i might be late but anywayy— happy birthday, even though it was yesterday!
Midnight’s Mischief (Loki x Reader)
Read on my AO3.
Summary:
You only wanted to feel like a princess for a night.
You didn’t expect to meet an actual prince.
Rating: T
Word Count: 2.7K
Warnings/Tags: Fluff, Dancing, Royal Loki, some Cinderella Elements
A/N: Listen you can’t give me so much freedom like this because I feel in my bones this is going to turn into a multichaptered fic and I have a million other wips side-eyeing me rn
Tag List: @shiningloki @imnotrevealingmyname @wolfsmom1 @hanyasnape @lukeyirwy @toozmanykids @rorybutnotgilmore @myraiswack @green-valkyrie (Tag List is currently open! If you’d like to be a part of it, let me know!)
BEING IN A whimsical, fairytale ball has always been high on your list of escapism fantasies.
You wondered if princess parties (like the ones in movies) were actually real when royalty was still a thing. If they got to attend extravagant, lavish balls in venues that seemed to reach the high heavens, with castle corridors illuminated by candlelight and crystal chandeliers. Whether fact or fiction, you’ve never been more excited for a night than you are now.
Just for tonight, you allow the indulgence of looking—and feeling—like royalty.
Your heels clack against the marbled tiles of the venue as you and your friend Leigh navigate your way to the Regency Ballroom. Careful not to trip over your ball gown, you glance at Leigh. Beside you she shimmies, adjusting the top of her gown to fit her boobs better.
“I feel twelve,” she mutters, brazenly cupping her breasts.
“Oh, please. As if you’ve never wanted to be a princess for a night.”
“I mean, yeah, when I was twelve. And I’m saying this with love, but the fact that you’ve got on a fucking crown isn’t exactly helping me feel like an adult here.”
Your cheeks grow warm. “I’m sure I’m not the only one,” you say, a little defensive. “And by the way, it’s a tiara.”
Leigh smirks at you, perfectly painted lips curling at the edges. “Twenty bucks?”
“Fifteen.”
“Bo-ring.”
“Fine.”
She claps her hands, looping her arm with yours. The Regency Ballroom is right ahead. “I hope you know that I agreed to this because you said there’d be some yummy men. Potential knights in shining armor, all that jazz.”
“And I value your honesty,” you say, nodding a thank you to the servers who open the large doors as you approach. “But, for the record—”
“Whoa, the organizers of this thing were not playing.”
It’s true: the place is more than what you imagined from the email invite you received prior. Aside from the grandeur of the venue itself, the entire ambience transports you into what feels like another world entirely. Soft, regal music swells from the mini orchestra that plays on the raised platform, and everyone’s dressed in gowns of all colors and periods and styles.
It makes you a little giddy to see everyone commit to the event to such an extent. You wish this becomes a regular occasion.
“You don’t mind if I ditch you, right? If I, hypothetically, find someone cute?” Leigh grabs a glass of wine from a passing waiter. “Because I saw this guy in a tailcoat on the way inside, and he was kinda giving me looks already, so…”
Leigh is neither best friend nor fair weather friend. She’s in town for a few days, and having been partners in a high school class once, she somehow felt the need to ring you up, pleading for you to take her anywhere because she was dying of boredom.
You mentioned that you had an extra ticket, and she said yes before you could even finish your sentence and tell her it was to a costume ball.
“Hey, no worries,” you beam, plucking the wine glass from her fingers and taking a dainty sip, “by all means, mingle! Meet someone! Get swept off your feet! It’s a party. It’s what I was going to do whether or not you came anyway, so don’t be too guilty.”
“Okay, great!” She kisses you on the cheek. “Because he’s kind of already waiting.” Leigh jerks her head to the buffet table across the room, where a broad-shouldered man stands tentatively, shifting his weight from one foot to another. He’s clearly waiting for someone—that someone specifically being Leigh, if the not so surreptitious glances your way are any indication.
Before she can leave, a lady with a hoop skirt that’s draped more than the large windows of the ballroom comes into your peripheral, something glittering atop her bouffant hair.
You lift your chin at Leigh triumphantly. “Pay up first, baby, you saw that tiara.”
“Fifteen.”
“You said twenty!”
“I changed my mind!” she calls as she lifts the hem of her gown off the floor, retreating. Laughing, Leigh waves and you bring up a hand as the man places a meaty hand on her shoulder blade.
Well. You knew you’d lose her for the night. Just not this quickly.
Still, what you said is true. Leigh’s absence doesn’t dampen your mood. You’re happy standing by the tables at the side, observing people and their different gowns, with a glass of rosé in hand. Couples trickle into and out of the ballroom dance floor; others mingle by the tables like you, occasionally nibbling on the fanciest finger food you could ever imagine. The light reflecting from the gorgeous, majestic chandelier dances over the partygoers, and you revel in the moment, wanting to commit this to memory. Simply existing in it. The minuet transitions into a waltz, and more people and their partners taking to the dance floor with excited grins on their faces.
You would like to take your dress out for a twirl at some point before the night ends. If only a gentleman were to ask.
“That’s a lovely color on you, my lady.”
Speak of the—you turn around, glad you didn’t startle so much to the point of spilling perfectly good wine, to face whoever spoke to you. A subtle smirk plays on the face of a lithe man dressed in what looks to be costume straight out of a period film. Or fantasy period film. It doesn’t really make sense, but somehow he makes it work.
You glance down at your gown: a rich forest green with silver detailing cinched around your waist. “Oh, uh… thanks.” You smile politely.
Only it falters after a couple seconds, because he pins you with an expectant look. “My… lord…?” you try, uncertain.
Satisfaction spreads across his face, confusing you mildly. Did he really wait to be addressed…?
“Would you care to dance?” he asks, taking a step towards you and bending forward. A bow, you realize, as he holds the posture while awaiting your answer.
“O-okay, sure.”
You slip your hand in his outstretched one, his slender fingers clasping around you and leading you gently to the middle of the dance floor. His back is as straight as a board as he guides you towards him, and when you’re a pace away he pulls you closer. His hand settles on the small of your back, yours on his shoulder.
And then you’re waltzing; slowly, tentatively, shyly. Though he takes the lead you can’t follow as well as you should, your bafflement blocking you from waltzing like you do in your daydreams. And as weird as it sounds, he’s distracting you from dancing—even if you’re dancing with him.
He’s good-looking. Strong, cutting features with a regal gait. He stands much taller than you are, his head angled down towards you so his green eyes pierce you with the intensity of the sun at high noon.
He doesn’t break eye contact with you. As much as you try to look away, fixate your attention instead on the couples that sway around you, your gaze always finds his. And he probably hasn’t looked away from you once. There’s no malice in it though—he regards you with somewhat of a silent, amused curiosity.
If it’s awkward to be dancing with a good-looking stranger who seemingly can’t take his eyes off you, it doesn’t help that you’re both painfully silent. You expect him to make polite small talk as he guides your steps—only aside from the lovely orchestra playing and the faint chatter of the attendees around you, all that’s heard is the sound of your breathing.
The music winds down, violins sustaining their last note, and your expectations are shattered once again when instead of this mystery man guiding you into a twirling finish, he spins you into the next dance.
Another waltz.
“Do I scare you, princess?” he asks, raising his chin slightly.
You jump a little at his sudden question. “Um. Maybe a little?”
The man sighs, giving a short chuckle as he shakes his head minutely. The hand on your back releases you as you circle around him, one of your arms outstretched as gracefully as you can manage, before you come back in front of him and rest your hand back on his shoulder.
“Perhaps my reputation does precede me,” he mutters.
You blink, even more confused now. “Sorry?”
“Do you…” He narrows his eyes in near disbelief. “Do you not know who I am?”
“I think I’d remember if you told me your name,” you say with a sheepish laugh. Of course you’d remember. With a face like his and the rich voice to match, meeting him on a night like tonight? You’d remember it forever.
“Ah. Then—forgive me, my lady.” He pulls away from you to bow cordially. “Prince Loki, of Asgard.”
Stunned doesn’t seem to cover the emotion racing through you. No one else seems to mind that you’ve both stopped smack dab in the center for him to bow to you with a flourish of his cape. He looks up at you, expectant, yet again, and so you hastily curtsy and mumble your name.
He rises, taking you once again in his arms and picking up where you left off in perfect rhythm to the music. It’s a little disorienting. Your mind struggles to catch up: so far he’s bowed to you twice, is leading you through a perfect waltz, and is, apparently, a prince.
“And your kingdom, my lady?”
“What?”
“Am I to believe you’re a princess with no people to rule over?” he smirks.
And then somehow, realization dawns on you: he’s an actor. Trying to get you into some kind of fantasy, medieval, whatever character to really sell the idea to yourself that you have actually been whisked away, into a story akin to fiction.
“Okay,” you snort, “since we’re doing this whole made up thing, fine, I’ll humor you. Uh”—you rack your brains, glancing at the chandelier overhead—“Genovia.”
“Genovia,” Prince Loki repeats, as though testing the name on his tongue. It comes out melodic and velvety, making you shiver involuntarily. “Sounds… quaint. Not as dreadful or painfully dull as some of the other kingdoms I’ve heard of tonight. What in the Nine is New Jersey?”
You laugh this time, an actual belly laugh, your head tipping back in mirth at his delivery. You sober up sooner than you’d like when you see he’s still absolutely mystified.
“Well, that’s what it is,” you add helpfully. “Genovia… it… yeah.”
“What are your people famous for?”
Damn. He’s really making you think. “Gosh, um…” You blow out a raspberry. “Horses? Apples? Archery? Oh! Mattress surfing.”
Prince Loki hums thoughtfully. “I’ve never heard of it.”
Either he’s an exceptionally good actor, or he really hasn’t seen The Princess Diaries. Or, a part of you begins to argue, he could actually be who he says he is—
But that wouldn’t make sense.
Could it?
“Well, what about you?” you say quickly, seizing the opportunity to deflect. “What’s uh, what’s Asgard famous for?”
“The Realm Eternal,” Loki says, completely serious. “Warriors of strength, leaders of justice.” He pauses at your lost expression. “Have you not heard of it?”
You have a feeling he has more to say, so you shake your head. Prince Loki spins you around once, before continuing.
“Asgardians are the peacekeepers of the Nine Realms, endowed with strength of all facets to keep the realms from falling. Thwart the possible dangers it can be to itself before it starts, or finish disputes where they arise. We protect. Asgard plays a vital role, if not the most vital of all the realms.”
“And you’re their prince.”
The corners of Loki’s lips curl upwards. “One of them.”
“So you have a brother.”
You’re not sure why you’re still entertaining him at this point. The waltz’s cadence does nothing to separate you from each other, and neither does the lively first note of the polka. Instead Loki’s leading you into a quicker step, bouncing in the most poised manner you’ve ever seen a man dance in.
“Aye,” he says. “Most prefer him to myself.”
“I prefer you,” you blurt out mindlessly, immediately feeling regret in the form of heat crawling up your neck.
Prince Loki’s piercing green eyes light up in surprise. “Not many would,” he murmurs.
“Well, I mean—” you backpedal, “—I don’t—I haven’t met—”
The entrance to the ballroom rattles in its hinges, followed by a booming thud. Heads swivel to the source of the commotion and even the orchestra falters. You are no exception, craning your neck to look behind Loki and at the doors.
He is the only one who seems completely unfazed.
“Perhaps that is for the best. Ready for our big finish, princess?”
Bang! The doors swing open, and strange men in very detailed costumes—metal armor, odd-shaped helmets—charge in, long spears in hand. Your mouth falls open. You’ve never seen anything like them. The attendees gasp collectively, some dancers pulling away from their partners to retreat to the sides of the room.
But Loki places his hands on your hips, lifting you off your feet and into the air, and instructs, “Eyes on me, princess.”
“Wh—” He spins you around, the world around you blurring, and you fix your attention on him so as not to get dizzy. “Prince Loki, I think we should get ou—”
He sets your feet on the ground, a mad intensity in his eyes—and Loki wraps his arms around you and kisses you.
Well. You’ve had multiple daydreams about how tonight would go. This is definitely not one of them.
His arms tighten around your waist, and swarms of butterflies erupt in the pit of your stomach. Your feet are on the ground, but with your fingers and toes tingling with every soft movement of his lips against yours, it feels like you’re floating. He’s kissing you. You’re kissing him.
The clanging of armor jolts you apart, but Loki keeps you within arm’s reach. Your heart pounds against your sternum.
“I like it when you say my name,” he murmurs.
“Prince Loki!” one of the strange men shouts. The prince in front of you flinches slightly, and then huffs in amusement.
“Don’t like it when they do.”
“I—what?”
Loki sighs. “I’m afraid I have to bid you good night. And farewell.”
“Wait, who are they?” Question after question presents itself, your mind a jumbled mess and your knees still shaking from that damn kiss. “What do they want?”
“The Einherjar. Ah. Well.” He brushes a thumb over your cheekbone. “What’s life without a little mischief?”
“Your Highness!”
“Where is he?”
He pulls you by the elbows, pressing a chaste kiss to your cheek, and whispers in a voice that could melt butter, “Something to remember me by.”
And then he takes off, a cheeky grin splitting his face as he keeps his eyes trained on his pursuers, slinking through the crowd and towards a nondescript door. An exit.
The strange men sift through the partygoers. Some shake their heads in fear, cowering; others shrug. You simply hope they do not approach you. And by some mad stroke of luck, when they’re a few feet away from you—they ignore you entirely.
Loki catches your eye by the small archway, and with a mischievous wink and a heartstopping smile, he disappears with a flash of his green cape.
You exhale, a little shakily, as one armored man shouts instructions and points to the door. They bolt after him, each footfall thunderous. A few seconds tick past, and once the clatter disappears completely the orchestra warms up again.
Back to normal. Just a little. But you—you’re still reeling from what just happened.
Leigh sidles up to you, poking your side.
“So,” she says, “who was the knight in shining armor, and what’d they want with him?”
His kiss, the feel of his mouth against yours, still tingles at your lips, lingering like the warmth of a fire. You stare at the open door, still trying to make sense of what on Earth just happened.
“I… I think I just met a prince.”
#by belle#rorybutnotgilmore#reader request#loki x you#loki x reader#loki fluff#tom hiddleston x you#tom hiddleston x reader#fluff#ao3 author
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if at first you don't succeed - (BanJu)
"Okay, everyone settle down." Izumi's voice somehow manages to quiet the clamor that had erupted the minute that Juza and Banri walked into the practice room.
The rest of the company is all there, under Sakyo's orders, a (mostly) captive audience waiting to see the events of the evening unfold.
The actors are all sitting, arranged in a ring around the edge of the room. A few of them chatter to each other as their director reviews her notes.
"So tonight will be a special practice. We'll be rehearsing a scene with Juza and Banri, which will be filmed and posted at the end of the session."
At these words, more chatter breaks out form the crew, each of them speculating about the elephant in the room.
Sakuya raises his hand.
"Yes, Sakuya?" Izumi points to him briefly with her pencil.
"Isn't it also special because it's a kiss scene?" He asks, his eyes alight with excitement, completely unaware of how much rage those simple words ignite in his fellow leader and star of the scene.
Izumi sighs a little wearily, only imagining the level of difficulty that this rehearsal will bring. "Yes, Sakuya. That's also special."
"Learning how to kiss someone for a scene is nothing to be ashamed of," Tsumugi chimes in. "It's an important skill for a well-rounded actor to have."
Sakyo nods in approval. "Not only that, but getting into the mindset of a character with a different orientation than yourself is an excellent test of both skill and character." He shoots a sharp look in Banri's direction. "All characters should be played with care and intention, but stories of representation are especially important."
Sakyo looks around at all the faces of the budding actors around him. "You never know who might become strengthened by your performance. Someone may take away a feeling of belonging where before they felt isolated." He adjusts his glasses matter of factly. "Our job is to touch the hearts of our audience. If we can achieve that, then we know that the perfomance was a success."
At this, he looks to Banri again. "You will have not only us as your audience, but all of our fans as well. They will all be observing your performance, from all walks of life. You need to touch their hearts and put on a respectful and convincing performance."
With this, he walks around to sit beside Izumi, observing both Banri and Juza carefully. "You'll need to stretch that muscle of empathy that's been left dormant for so long, Settsu."
Banri grits his teeth. He's already sick of this scene, and they haven't even started yet.
"Thank you, Sakyo. Tsuzuru, could you give them their scripts?" Izumi asks, beginning a header for her notes.
Tsuzuru gladly obliges, and begins to explain the premise. "So, this scene is about rogue space travellers, who are harbouring secret feelings for one another. When their ship starts to have problems, it gives them an opportunity to confess."
Juza and Banri both flip through the script. Banri cringes as he reads the dialogue. This is what he's supposed to say to Hyodo? Ugh. This stuff is so sappy. The last lines nearly make him gag. 'We're a constellation?' Why doesn't someone just put him out of his misery?
He looks over to catch a glimpse of Hyodo's reaction, but he's stoic as ever. Juza nods once or twice. He doesn't seem fazed by the dialogue at all. "My character is part cyborg?" He asks Tsuzuru, who nods.
"Yeah, Tim covers the technical parts of the ship." He explains, then glances to Banri. "And Jal covers the mechanical parts. He ran a repair shop on their home planet, so he's good at fixing things."
Banri gives a huff in response.
Izumi claps her hands. "Alright, guys. Let's get rolling!"
The practice goes off without a hitch. Both Banri and Juza are inspired to beat each other at acting, and Banri for one is determined to not lose his cool.
However, as the kiss scene approaches, he feels his palms begin to sweat. How is he supposed to kiss Hyodo? Let alone in front of all these people?
He's so distracted that he misses his line.
"My bad," he mutters, flipping through the script to find his place.
"You're overthinking it." Sakyo says.
Banri rolls his eyes. A big load of help Sakyo is being by pointing it out.
They try again, and this time they make it right up to the line with the kiss. Banri is supposed to initiate it. It's supposed to be passionate.
But he just can't muster the motivation. His lips end up smashed against Hyodo's in nothing that resembles a kiss, pinching his own lip painfully in the process.
"Stop," Izumi rubs at her temples, assessing how best to help them.
Banri can hear a few of their audience members snickering, but a glare from Sakyo shuts them up quickly.
"Okay, we made contact. That was good," she starts out. "But it felt way too forced. Literally." She sighs. "This is a tender scene of their first confession. The kiss should carry the energy and mood leading up to it."
Juza nods. He seems completely unperturbed, and if anything, a little annoyed at Banri for not getting it right.
Banri's hackles raise, his irritation growing at Hyodo's lack of reaction. This is embarrassing! Isn't he embarrassed?
They try again. The lines leading up to the kiss. Banri grabs Juza's arms. Juza touches Banri's cheek.
Banri turns bright red.
He breaks away from their intimate position, covering his face with his arm. "Dammit... can we take five?"
Sakyo makes a noise of irritation, but Izumi grants him the break.
Banri stalks off down the hall to the lounge. He needs a drink of water. Some fresh air.
He doesn't get much alone time, as Hyodo had followed him out.
"What do you want?" Banri asks, clutching his water bottle almost defensively.
Juza stares at him. "I don't think you're gay."
Banri laughs out of sheer surprise. He's bringing this up now? "Gee, thanks pal." He rolls his eyes and is about to brush past him, when Juza grabs his arm.
"But people who know who they are, one hundred percent? Shit like this doesn't faze them." He says. There's no malice in his tone.
Banri stares back at him. "The hell's that supposed to mean?"
Juza looks down at the floor and lets go of Banri's arm. "Just... feelin like you're supposed to feel certain ways about things or that you have to feel certain things... it's limiting." Juza meets his eyes. "Don't limit yourself, Settsu."
Determination is laced throughout his golden eyes. "You're better than that."
Banri doesn't know what to make of this.
He falls back on his reliable method of teasing. "Careful Hyodo, you're starting to sound like you give a shit about me."
"Not a chance." Juza growls, though there's a slight smile on his face.
Banri smirks in return.
Next time they resume practice, the kiss goes off without a hitch. They even go on a bit longer than necessary, much to Azuma's amusement. They're able to record the video in one take, which Izumi is eternally grateful for, and Sakyo deems this punishment a constructive success.
Banri finds himself thinking about his character later that night, while lying in bed.
If he and Hyodo were trapped in space, how would they survive together? Would they grow closer? Would he feel differently about him than he does now?
When he realizes what he's thinking, he snorts at himself for being stupid. Hypothetical space travel doesn't affect his real life.
But in the darkness of their room that night, he swears that he can hear Juza mutter "Goodnight Jal" before drifting off to sleep.
He thinks they could make it.
#a3!#a3! ask blog#a3! crack#a3! memes#banri#juza#banju#<backstage>#// this got fluffy oh no#// hope u enjoy the banju crumbs
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Liar Revealed! A Bug’s Life Essay
A Bug’s Life is my favourite Pixar movie and thus, it turns out I have a lot of thoughts about it. In this case, what was originally my interpretation soley in response to points I’ve seen raised on YouTube and TV Tropes has spun off into this mega essay.... all focused on a single scene.
But hey, it works with one of the film’s main messages; that something big grows out of a small idea!
The scene is the most notorious in the movie, at least from what I’ve seen, and I’m inclined to agree it’s the weakest part of this giant clock. But why is it like that and how could it have been handled better?
As I’ve said, this is actually my favourite (albeit not what I consider their very best) of Pixar’s output, and I wouldn’t have been able to go into such depth without a huge amount of love for the finished product, flawed as it may be.
It’s also possible I’ll write a more generalised thing on what I love about the film in the future, but I won’t promise anything o7;; 🐜
The Lie is ...laid
Actually, I should talk about two scenes. First is where the Lie is established:
After the humourous mutual misunderstanding between the Circus Bugs and Flik, the former are quite horrified to discover they’re expected to fight the Grasshoppers off themselves instead of putting on a show. Ahh, that old classic~
But no, they want out and Flik, who has just been informed by them during the welcoming shindig, is understandably rattled and despairing over this addition to his list of failures. He says the fallout will not only brand him, but his hypothetical grandchildren as a Terrible Loser and even says he’s as good as dead as soon as the other ants find out. Owch.
Before things get too heavy, the focus shifts around until The Bird becomes the main immediate threat. The whole Bird scene leads the ants to become convinced the Circus Bugs are really amazing warriors and, as this is the first time in what could be years that they have a crowd cheering for them it’s the success and Flik’s later idea to make a Giant Mech in the shape of a Bird instead of planning any actual combat that convinces them to play along.
So, that’s the lie set up and solidified. Now for the eventual fallout:
During a fun party after the Bird has been built, an ominous force arrives... PT Flea, the Jerkass ringmaster who had fired the Circus Bugs. This local bug promptly ruins everything by literally shining a light on the Circus Bugs and their nature as such, and then Flik is accidentally outed as the Guy Who Thought Up The Bird.
The Liar Revealed Trope
I would link the TV Tropes article here, but as tungle doesn’t like external sites I’ll just quote the more relevant parts from it:
“Liar Revealed in the Internal Reveal of The Lie, the facade maintained by a protagonist which provides the primary dramatic tension for the plot. This usually sets up the third act where the protagonists are forced to deal with the consequences of the lie on top of any external threats.
There are a few usual ways this ends up. If the lie was for selfish reasons, the protagonist will doubtless face the wrath of those he lied to, but along the way end up having a change of conscience, and try to redeem themselves through good acts and An Aesop about "what really matters". If the lie was well-intentioned, the protagonist may still find that others turn their backs on him, but go on to carry through with what they said they'd do anyway, proving themselves a hero after all.
It's worth noting that this trope is particularly easy and common to misuse, either in the tendency of the protagonist to Maintain the Lie for reasons that make no sense except for dramatic tension or of the deceived to turn against the protagonist for the deception in spite of other considerations that should by all rights absolve him.”
And in the folder there’s a specific entry for this film:
A Bug's Life has Flik supposedly finding "warrior bugs" to save his colony after misconstruing a situation. When he realizes his mistake (that they're circus performers rather than trained warriors), he's forced to keep the lie going in order to not cause panic among the other ants. Once the colony finds out, it inevitably results in one of the most painfully Played Straight examples of this trope in animation history...
As you can see there, the dislike for this scene has seeped into the entry. Of course, TV Tropes is pretty informal and I like that, but it’s telling that this is a general perception.
Continue reading below the Cut! ✂
What I don’t like
So, I think my main issue with the scene boils down to... it’s very nebulous and unclear as to what’s so bad about Flik lying. Between the Council, the Queen and Atta, there seems to be a jumbled, confusing motive traffic jam that somehow results in what TV Tropes refers to the Liar Reveal Trope being played “Painfully Straight”.
But uhh, what’s the problem? Yes, Flik lied, but we know that wasn’t something he’d planned on doing, it was his attempt at damage control. The other ants don’t know that part, but still, what are they objecting to, specifically? That the Circus bugs are Circus bugs? That the Bird Plan was Flik’s? That.... lying is treated at an absolute moral failing regardless of the circumstances??
The council dudes are like: “OH WHAAAAT, the defence plan was by Clowns??” [No, it was Flik] “OH WHAAAT, we don’t have our mafia money prepared what if Hopper finds out we nearly sicced a fake bird on him!?”
The part about objecting to Clowns drafting the defence plans is actually the more reasonable explanation, but I guess they presumed warriors habitually made Decoy Bird plans instead of fighting themselves? There’s already a hole in their objections but it only gets worse.
The Queen is like: “Wow Flik evidently you’re a self serving prick. Anyway the best thing to do is pretend this never happened and no we’re not going to tell Hopper.”
Why the fuck would that happen? ‘Oh sorry Hopper we got sidetracked doing a ...thing... so we’re still picking your food no please don’t break my legs’
But also, why THE FUCK is this the plan? Some ruler you are, you old prune. ‘We have the bird all made and ready to go but oops the idea came from a DIRTY LIAR so we’re going to return to the doomed harvesting racket even though we’ve been set an outrageous amount and we can’t possibly hope to catch up and even if we had been picking the food the entire time it was established earlier on we won’t have time for our supplies on top of all that.’
Fucking.... astonishing lack of logic. YOU MORONS HAVE NOTHING LEFT TO LOSE, GO WITH THE BIRD! Flik himself says something to a similar effect lol
But noooooo, his arguably selfish lie [which is more Omitting the truth once he knew it, really] has forever doomed everything, apparently. Honestly it comes across more like they just hate Flik and see anything he invents as doomed to fail, so the second the truth emerges that he spearheaded the Mech Bird they dismiss it as a lost cause. Even though everyone worked together to build it, and Flik’s inventions weren’t the issue but him being awkward and clumsy. But seeing how Flik’s mere presence in his first scene seemed to drive the Council members into a quivering fury, it really does feel like their objections are from them refusing to give him a chance.
And then there’s Princess Atta. Hoo Boy.
In this scene, she comes off as being ridiculously vindictive, petty and hypocritical. This applies to the Council too, but it’s more galling coming from Atta as by now she’s realised that Flik gets a lot of flak [yay wordplay] from the others and she had resolved to give him more credit. BUT OOPS, that didn’t last!
She takes the Lying thing so personally, acting like he was cheating on her or something. “You lied to MeEeEee” well golly gee whiz, was there any particular reason why he would tell you the truth? Other than his rather obvious crush on you, that is? Cause that would still be a weird reason, seeing how the ‘lie’ was after he’d finally got a bit of decent treatment from the others, why would he wanna upset the apple cart?
He probably feared coming out and confessing to Atta [or anyone else] that they’d lose all faith in him and scrap a valid plan that was the only way out of the grasshopper racket mess. Which would be a bit silly and probably the result of someone with low self esteem and confidence issues overthinking the situation but it’s Exactly what actually happens!
It wasn’t a personal slight against you, Princess! To quote Helen Parr: THIS IS NOT! ABOUT! YOU!!
And wooow, you must be awfully chilly up there on your high horse, Miss “Lied to Flik to get rid of him earlier in the film”! Did you ever feel like fessing up? Like ‘hmm I’ve grown much fonder of this doofus, maybe I should be honest with him before engaging with some more light flirting’ ? Maybe if you had, he woulda been honest in return!
I don’t even see why she and the Council bothered lying about their Snipe Hunt ploy, seeing how now they act like he crossed a moral event horizon. Why even bother making a phoney baloney decoy idea to get him away, when they clearly dislike him enough to play the Brutally Honest card without fretting over his feelings. They coulda just ordered him to stay in a corner away from interfering but instead they’re willing to risk his life on a wild goose chase.
...And she then Banishes him! For what?? Lying? About what, the circus bugs or the bird plan? Both?? It really feels like her taking undue personal offence and the Council hating him and the Queen being old and senile.
So yeah, wow, this scene has what I think is the Unintended side effect of making me hate the stupid jerkface Ant colony as every named ant in it except for Dot fucking suck and throw Flik under a bus the second they deem him to be untrustworthy. In spite of, like, that the plan itself was solid and that the Circus Bugs have all been proven to be Good Eggs. They don’t give him a chance to explain and made their own bed to lie in, so I feel dark joy and satisfaction when the grasshoppers do arrive and kick them around some more.
Wow gee, if only you dumb ass ants had some sort of already made contraption to fall back on?
Why is it like this?
I can only make guesses here, be warned!
From what I’ve gathered of an older version of the story, mostly via Wikipedia, I kinda feel like the exposing would have fit that take better. In the beta version of the story, instead of Flik the lead would have been “Red”, who was a red ant and circus bug from the start. The first draft Circus lot woulda been out to scam the ants initially and I guess would have grown genuine fondness with time. The idea of an outsider flim flamming his way into the good books and later being exposed makes the overblown outrage a lot more understandable. But that’s my hypothesis for the direction they ultimately didn’t go in. Also look at how Red looks like a fuckboi here:
But in the final version, Red doesn’t exist! Flik is a part of the colony from the get go, but also apart from it cause no one likes him as, again, his ideas were good but poorly executed and he seemed to be a hindrance. But the ants should at least see that Flik is genuine in his attempts, that he’s trying his best and they should maybe cut him some slack.
The way the ants have their knickers in a twist doesn’t gel so well with the “Well meaning screwup” angle, especially compared to a possible “Opportunistic so-and-so who doesn’t have real attachments to the colony” route.
Also it may be worth noting up there where I put a TV Tropes excerpt, I bolded the relevant half of the run down, but it seems the other half applies much more to this first draft. Interesting...
So I don’t know, but I got the idea that the scene in the movie is basically a holdover from earlier that didn’t get sufficiently updated. The Liar Revealed Scene is the first thing I’d change if I were rewriting the script, and I might go back and change it again after other parts had been redone too, cause the story needs to flow from point A to point B etc. smoothly or else viewers will get annoyed and point it out in Youtube videos or overly long tumblr text posts.
How could it be fixed?
I’m not saying I’m sitting on the perfect idea of a rewrite. But the main thing is what I already touched on, the jarring disconnect between what happens and how the stupid ants respond.
Like, Atta’s sudden grabbing of the Jerkass and Idiot Balls in this scene. Wouldn’t it have been better if she was instead unsure and conflicted? She had lied to Flik earlier and, unlike the Council, was shown to actually realise Flik Has Feelings Too and apologised for the general lack of faith. She didn’t come clean about the Snipe Hunt Lie, so that could be weighing on her during this scene, maybe she would have been the only Council member to Not want to kick him out but felt pressured into it and hasn’t got into the groove of being the Future Queen enough to pull rank and talk them down from being hate filled twats. Maybe someone will mention the flirting that had been happening as muddying her judgement?
That’s my main idea, compare that with her barging in and taking undue personal offence and shooing him off. She’s supposed to feel like she’s doomed to fail too, so her facing a moral dilemma and falling on the wrong side of the fence could tie into that! (To be honest, her arc is kinda undercooked so hey, I’m killing two birds with one stone here!)
Flik being banished at all is a casualty of The Narrative, that he and the Circus Bugs have gotta go away temporarily for the finale to be cooler and more exciting. It’s a Necessary Weasel of writing and you’ll find them in every story ever made. Sometimes things have gotta happen cause Story Structure. The trick is having them more organic and concealed.
So yeah, have the Old Fogeys be in the wrong [which is so far unchanged] but also the majority of the ‘voting’. Make it difficult for Atta to choose between loyalty to the colony as a whole and her sense of duty versus trusting in Flik, who she now knows to always have his heart in the right place. She comes close to standing up for him and herself, but ultimately falters and gets pressured into the call made in the movie. She’s still ultimately responsible as leaders are, but in a much more sympathetic way.
Summation
This got way longer than I had initially imagined, and that’s even after I cut stuff in the editing process! Let’s quickly review the three main points I’m trying to make.
The Issue with the scene - A big song and dance is made over The Lie, but no reason why it’s such a terrible thing is offered. A perfectly sound plan is dismissed nonsensically.
Suspected reasoning for the writing - The tone matches a potential alternate story much better, where someone would have lied for self serving purposes instead of for the greater good.
A suggestion for a rewrite - Make it much more nuanced and fitting the character arcs. Give the characters a reason to react the way they do and have different responses per person. If the ants are going to drop the Bird plan, at least offer a more viable alternate route than going back to what wasn’t working before.
Does it really matter?
Well, I don’t expect a 22 year old film to suddenly get a rewrite, no. And I maintain that it’s a real gem which deserves much higher praise with the other Good Pixars instead of being so constantly overlooked.
Part of what spurred me to think about the scene and what I’d alter is seeing it referred to as ‘Kinda Bad’ in a youtube video that was talking about another Liar Reveal scene in another movie, and that is a bad take, but the point about how clunky this part is isn’t wrong. I don’t want people to dismiss the whole, beautiful image cause one section of it doesn’t vibe!
It doesn’t ruin the picture, but when people have something negative to say it’s this which is the magnet. And I’m kinda guilty of doing the same thing here, haha. But I wanted to really dissect and examine it, to figure out why it’s like that and to guess how simple it may be to rework. It’s bittersweet, but there ain’t such a thing as a perfect movie.
This has been fun for me to go into though, and it’s nice to get thoughts out from just swirling around inside my head, so even if barely anyone sees and makes it through this whole dissertation, I’m glad I wrote it out. It’s a funny way to derive enjoyment from the bumpy part of a beloved movie, but hey, I’ll take it~
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Andreil Fic Rec
I’ve always wanted to do a fic rec so here we are! I’ve read a lot of Andreil recently and these are my top 28 favorite Andreil and AFTG fics
1. Trust Fall (And Welcoming Arms) by SpangleBangle
85k | Explicit
Life goes on after the Foxes win the championship, and for Andrew and Neil it’s uncharted territory with only each other for guides. Maybe it’s time to put away some of those hard edges, and learn how to touch more softly, and speak more honestly. And if they falter, they have their family to help them get back on their feet.
2. Learning To Feel (When You’ve Forgotten How) by thegirlwiththeprettybrowneyes
43k | Teen | No Proust AU
On the night before his first day of therapy at Easthaven, Andrew blows out his legs and decides he isn’t going to bury his feelings anymore, consequences be damned. In return, he gets a schedule change, and a very strange new therapist.
///////
“Doesn’t mean I wouldn’t blow you,” Andrew finished, looking anywhere but at Neil’s face.
Neil looked like he had just realized the sky was blue. “You like me,”
Andrew sighed. “Yeah,” he said, resigned “Yeah, Neil, I like you,”
///////
No Proust AU
3. Broken by Jeni182
34k | Explicit
Andrew attempts suicide and he and Neil try to navigate his recovery and healing together.
4. Waves by Jeni182 (sequel to Broken)
94k | Explicit
Broken Part II - Neil and Andrew try to navigate life post Andrew’s suicide attempt now that he’s in Denver and Neil’s in his last year at PSU.
5. Funky Happenings with the Fox Family by dobbypussypopper
29k | Teen | text!fic
naughtygayweedcrime: did I rlly just see neil say woke
naughtygayweedcrime: what a surreal timeline we live in
dumbfool: allison is trying to teach me how to meme so I can get hip
naughtygayweedcrime: bless your poor soul
davidwymack: sometimes I regret living
davidwymack has muted exyllent, damnwilds, + 7 others for 30 minutes
6. Something in Return by reaching _my_summit
31k | Mature
“Andrew Minyard, how will you celebrate winning your final college Exy championship?”
“I’m going to Disney World,” Andrew deadpans.
- - -
Andrew’s final year at Palmetto State comes to a close. His future is upon him and there are plans to be made. Years ago, Neil asked Andrew to stop smoking in exchange for something. Andrew finally knows what he wants in return.
7. The Unloved Kids by AlrightDarlin
35k | Not Rated
“I intend to treat them the same. I need strong athletes, not toddlers,” Wymack starts, but sits back with a sigh, running a hand over his face. “But hypothetically, if I had to look after a bunch of toddlers on the weekends…”
Betsy’s eyes crinkle with her smile. “Are you asking advice?”
“They’re screwed up enough,” Wymack says, “I’m not trying to make it worse.”
(David Wymack takes his little nightmares and does his best to corral them and love them within an inch of their lives. He can’t change what happened to them, but he can be there for them now.)
8. Turn it Off by elawless
10k | Mature
“It hurts…so much…too…much” He choked out between breaths. “I want to let go so…bad. I am so close”. He lifted his head to look at Andrew and saw no blue in his eyes and believed Andrew was real, but the rest of the pain was. It was just enough for him to trust Andrew with what he would say next.
“Stay. Give me Neil back. Don’t leave.” Andrew could no longer cover all of his desperation, his voice seemed to crack on the last word.
“Just let me turn it off. Just for today. Neil will come back. Bring him back, for the both of you.”
9. VW Actually Means “Very Weird” by exyjunkies
15k | Gen
If it was just going to be the two of us, then why bring the Volkswagen?
So that if I end up murdering you on this road trip, I’ll have enough space for clean-up.
Neil and Andrew take on the Pacific Coast Highway over the span of two and a half weeks, with a surprise for one of them at the very end.
10. Puzzle Pieces by Nikotheamazingspoonklepto
59k | Explicit | Series
Neil’s life is a puzzle, the people in it are the pieces that give everything meaning. Together they make a picture of happiness.
11. diet mountain dew by reaching_my_summit
2k | Teen
neil thinks andrew is very pretty.
he tells andrew exactly that.
12. For Science by ClockworkDragon, DeyaAmaya
8k | Explicit
“Here’s what I propose: we’ll play a game, and I’ll even let you pick which one, but we’re going to set some stakes. I’m not going to let you talk big and walk away free of punishment if you lose.”
Without hesitating, Kevin asked, “Fine, I choose Trivial Pursuit. What are the stakes?”
Allison put a finger to her lips and tilted her head, as if she was actually thinking of a response and didn’t plan this whole thing days ago.
“Hmm, did you know the spirit store recently added fox themed thigh-high socks to their stock? They’ve become quite popular amongst cheerleaders.”
This statement seemed to throw Kevin off because he just stared blankly at Allison until she continued. Andrew was not, however, an idiot. He could see where this was going.
“How about whoever loses has to wear the socks for an entire school day; including morning and evening practices?”
“Holy shit,” Nicky whispered. “You are one devious bitch.”
Allison winked.
13. ain’t no rest for the wicked by dearhappy
8k | Teen | Lucifer!AU
“You really expect me to believe that?“ Neil asks, "Especially when his girlfriend said that he’d always been worried about what you’d ask for in return, and that he called you the Devil.”
“I don’t lie,” Andrew says simply. “You can think whatever you want.”
“Why was he so worried if that was all it was?”
“He made a deal with the Devil,” Andrew says, “Tell me you wouldn’t be worried about that.”
14. Not Damsels, not Knights by my_unlikely_hero
93k | Mature
Neil is not a damsel, Andrew is not a knight, Riko is not a dragon. Nobody gets saved. Not really.
Or:
Riko goes too far, and Neil is left in pieces.
15. The Continuing Adventures of the Nine-Nine by gluupor
48k | Gen | Series | Brooklyn 99!AU
A series of short, ridiculous, mostly plotless stories featuring the Foxes as the cops of the Ninety-Ninth Precinct.
16. Not Only You and Me by orphan_account (part of a series)
18k | Explicit | Porn!AU
Andrew, Neil and Kevin film Foxy’s first gay threesome porn scene.
Cue the feelings.
17. High School Science by fuzzballsheltipants
30k | Teen/Explicit (parts 1-3 are Teen and part 4 is Explicit) | Series
High School!AU
18. False Equivalence by sunrise_and_death
22k | Teen
Some part of her had known it would come back to Neil. He was the one who had cracked the twins the first time. Of anyone, he was the most likely to have a solution for this as well.
Although the events of the previous year resolved a lot of issues, Katelyn quickly discovers that not every problem has been addressed. As she attempts to map a future in which Aaron has both her and his family, she finds herself once again working with Neil Josten—to unexpected results.
19. trans andrew by aceaaronminyard, autisitcandrewminyard
30k | Explicit | trans!Andrew
a fanfic series for a tfc au where andrew minyard wasn’t registered into the system as andrew doe but as erin doe.
mostly set post-tkm. mostly porn.
20. Advice and Amusement by Autumnalhogwarts
11k | Teen
After a series of failed attempts to woo Renee, Allison turns to Andrew for help. As Renee’s best guy friend he’s in a unique position to offer advice. However, that doesn’t mean he’ll be willing to.
21. Kidnapped by Shell_Writes
21k | Explicit
Neil and Aaron get kidnapped by four deranged men while the team is on a camping trip. shit happens and they have to escape this horror house. together.
22. Return of Dad!Mack by SensationalSunburst
14k | Gen | Series
Dad!Wymack & Mom!Abby
23. For He’s A Jolly Good Felon by gluupor
4k | Teen | Felon!Neil
What’s a guy to do when he’s forced to go to his conservative, homophobic aunt and uncle’s for Thanksgiving dinner?
Why, invite along his ex-con, tattooed, argumentative roommate as his fake boyfriend, of course.
24. make my heart shake (bend and break) by WaifsandStrays
4k | Explicit
Aaron develops a fascination with Kevin’s dick, has a sexuality crisis and feelings and fails to process any of it.
25. Across the Water by transandrewminyard
13k | Teen | trans!Andreil
Perhaps several years too late, or maybe right on time, Neil Josten runs away from home and tries to dream a new life for himself. How poetic that his first night out on his own would deliver him to a stranger who seems to understand everything he’s been through, and then some?
26. Prompt: Andrew and Neil get to babysit Sophie by orphan_account
14k | Mature | part of a series
What it says on the tin, basically.
Aaron and Matt leave for a few days and ask Andrew and Neil to babysit Sophie. Baby-sized exy is involved. Also lots and lots of angst. But there is a happy ending!
27. Salt Bros and Roller Derby Vixens by moonix
14k | Teen | Series
Roller Derby!AU
28. Absinthe Makes the Heart Grow Fonder by priorwalter
12k | Teen | Felon!Neil, Author!Andrew
“So,” Neil asks as he washes his paint-covered hands in the kitchen sink, “Christmas.”
Andrew glares and says nothing. This year, Neil and Andrew are spending Christmas with Andrew’s brother, Aaron Minyard. Aaron Minyard, Andrew’s twin whose existence was unknown to him until two months previous. Aaron Minyard, an orthopedic surgeon with a wife (an oncologist, naturally) and two daughters. Aaron Minyard, who grew up with a mother that chose him.
**
Andrew Doe has survived until age twenty-nine without any biological family, and his life turned out pretty good, considering all of the reasons it shouldn’t have. At age twenty-nine, Andrew’s book becomes a bestseller and leads his long-lost twin brother to him. Familial drama ensues.
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sad late august quarantine thoughts
When quarantine first started, I really thought this would be easy for me. And in some way, I was right. This has been easier for me than the average person and, arguably, much better than the first half of my year. I graduated in December and didn’t land a single job after pretty aggressively applying during my last semester. So during the months of January and February, I was completely broke and moved in with my family. I didn’t have any money or means to do anything but sit at home all day and wallow.
Being a student was such a core part of who I was and to suddenly lose that and have nothing to fall back on really did a number on me. Not only that, but the self-hatred was killing me. Not being able to snag a job was entirely my own fault- I just wasn’t good enough. The weight of failure followed me everywhere and I felt so completely defeated all the time. I was trying my best to stay busy one way or another but it felt impossible to find the energy to do anything. I filled my time by watching 12 seasons of Criminal Minds or cramming 30 DCOMs within one week. And when I wasn’t doing something stupid, I was crying. I found a job right before quarantine started and every single day I’m thankful. It was truly no less than divine intervention and it truly made the difference with quarantine.
More than anything, though, what helped with quarantine is the fact that I’m used to being alone. My junior and senior year of college, especially, I didn’t really make friendships with the people I dormed with and none of those previous residential relationships followed me. At this point, I was eating every single meal alone. When I was upset, the only relationships I had to fall back on were ones I cultivated online. I already had a less than traditional college experience. The only parties I went to were my club’s socials and beyond the people I met there, I had nothing. Even then, if I was in large groups of people I would just completely shut down or not go. At first, being alone 90% of the time was very depressing. I cried a lot. But then, I got used to it.
Which, when you think about it at first, isn’t that bad. The moments you have with yourself are just comfortable, neither really good or bad. And people say to live in the moment, yaknow? But moments only last so long. We don’t spend most of our time doing exciting things or going to exciting places. Like, hell, I work a 40 hour work week, do you think I’m trying to live in the moment? No, we spend most of our time reflecting and looking forward. Live in the moment is only a sentiment that’s worth so much. I remember going to Disneyland 4 years ago and when I was riding Big Thunder Mountain, I remember thinking to myself, “You’re in Disneyland this is your favorite place and you’ve been looking forward to this trip forever. Enjoy this moment.” And honestly, I would’ve probably enjoyed that moment just as much even if I didn’t have that moment of reflection. That temporary gratitude is only worth so much. But the memory of that trip is still able to give me happiness. Life is a collection of moments and you get to pick what stays with you. Living for and in the current moment is exhausting and not everyone can find enough joy in the little things to fufil them.
Getting used to your own company isn’t inherently a bad thing, but I think I was doing it for the wrong reasons. I would decline large outings, minimize my attempts at making friends, spend at least a year not talking to people in a group before I felt comfortable because I was so wrapped up in my insecurities. That’s what it all boils down to, I suppose, at least for me. Because when I’m out with other people, I’m happy for a few hours, and then I come home and it’s just straight crippling self-hatred. “Was I funny enough? Was I annoying? Did they like talking to me? I should ask if they enjoyed themselves? They won’t answer honestly even if they did. How would I know, then? Would they not invite me out again? And if they don’t, that just sucks. If they told me what was bothering them, I could fix it but now they aren’t giving me the chance.” And it goes on and on and on until I’ve convinced myself I’m the worst. And then eventually, the person does drop me because I basically projected all that insecurity onto the relationship and made those worries true. And then because I’m worried about doing that to someone else, I end up internalizing all my worries and it just gets worse and worse to the point where I have to go to the bathroom and cry during outings because I already feel like I’ve let everyone down. At this point, when a friendship begins to drift, I’ve already cut that person off in my mind because I’ve convinced myself that this was just an inevitability of the friendship, that I was never good enough for them and they were just talking to me until they found something better. Being alone may have denied me happy moments with others, but it also prevented me from creating painful memories.
This is where social media has kind of crippled my ability to form relationships with people too. Because I don’t want to reach out to a close friend and share this, no that’d scare them off. So let me post about my deepest fears and pain to like 100+ people on my finsta. That’s healthy and normal. Let me complain on my 300+ follower twitter account. And then I develop an unhealthy relationship with those sites when I don’t get the response I’m expecting. Posting online is like having friends without gambling individual heartbreak. When I put effort into a tweet or a project and it doesn’t get acknowledged, I feel it reflecting badly on me. It’s only a matter of time before I get caught up on how I come off online too and suddenly, it’s hard for me to post. I don’t know what to say. I’m not getting engagement, everyone must hate me. I don’t feel close to anyone. Everyone else has such close friend groups and it’s so hard for me to find that for myself, so what’s the point? So I get overwhelmed and leave for a while, but it’s a cycle like anything else in life.
Being so wrapped up in people’s hypothetical perceptions of you sucks so much. In April, I started writing for DiscussingFilm. Film criticism wasn’t really something I imagined myself doing and quite honestly I’m not sure how I ended up there. I’m grateful for the opportunity and everything it’s given me, but it also gives me something more to be insecure about. I’m a chronic overwriter. My stuff is way too long for no reason. That may just be my style, but when I read other people’s reviews, I burn with jealousy. They’re able to condense their thoughts so succinctly and clearly. We have the same words at our disposal, the same complexities of the human language, and yet how I express a thought is so much more awkward and jumbled. I hate it. And I sit at home, stressing to high heaven over some 1.2k word review just sick with worry about how others will perceive it. What they’ll think of it. If they’ll be disappointed. I can’t imagine a bigger heartbreak than the thought of someone opening my work, reading it, and thinking that it was a waste of their time. And that has most definitely happened somewhere in the world and I feel just so powerless to stop it.
That goes beyond insecurity though and speaks more to the feelings of powerlessness. This standard that you’ve set for yourself and if you can’t reach it, you feel awful. Not everything is in our control, but we have to assign a certain level of personal responsibility to it or else the chaos is overwhelming. It’s a fine line to walk, and honestly, I don’t know how to do it. How much of someone else enjoying my work within my control? Or getting hired? Or other people’s perception of me? If they think I’m funny or annoying? Probably less than I’d like to admit, but definitely a lot less than I’m comfortable with. Because even when I’m insecure, I’m still living in a logical reality where my actions have nearly complete control of other people’s perceptions of me and I could easily change them. But it’s not that simple and I don’t think it ever will be, really. So what am I supposed to do about it? Just stop stressing?
One of my favorite musicals is Newsies. The protagonist, Jack Kelly, is obsessed with leaving New York and going to Santa Fe and just becoming a cowboy. He feels trapped by the city and Santa Fe is his idealization of freedom. There’s a moment where he’s talking to his friend and she asks him if he’s going there or if he’s running away. Because, you see, if you’re going there and it’s not the right place you can go somewhere else. But if you’re running away nowhere will ever be the right place.
So when I was in high school, I idolized the concept of going away to college. I thought that if that happened, I would finally have the space to be myself and finally be happy. So when I had a really bad college experience, I realized college was my Santa Fe and I was running away. I had brought all of my baggage with me and my insecurities and my emotional turmoil and nowhere will ever be the right place for me until I work through those things. At first, I thought my problem was the people, so I cut them out. But now, I know that’s wrong.
Quarantine has given me a lot of time to self reflect. Who am I? What do I like? But more than that, it’s revealed to me how incredibly lonely I’ve kept myself. And I’ve always felt this way and somehow each year I manage to push myself more and more away from others. Newsies ends with Jack deciding to stay in New York because he realized he didn’t really want to leave, he wanted a reason to stay. He wanted to feel loved and valued, which is what we all do. To try and trick myself that the best way to protect myself is to shut myself off was stupid. Dumb. There are at least 35 DCOMs that come to this conclusion and I shouldn’t be having this conversation at 22.
I think what did it for me was the realization that I would be in the same place with or without COVID. It’s one thing to say that you’re sad because of all the things you can’t do, but the realization that you wouldn’t be doing those things regardless hurts a little more. It’s being accutely aware of how much you’ve taken for granted. The fact that I’m feeling just as fine now, amidst a global pandemic, as I have my entire life just speaks to how awful the mental prison is where I’ve trapped myself. Just because it’s always been this way doesn’t mean that it’s the best way for me. I deserve to do better for myself, but why won’t I let myself have it?
Normally, I’d internalize this. But that doesn’t really push me to change. Sometimes, all you need is for other people to recognize how you feel so you don’t really feel as alone. I don’t really expect people to read all of this. There’s so much happening in the world that we feel powerless to fix. I try so hard to do my part but it’s just exhausting. So many injustices are than the problems of one person feels so trivial. But I’d like to imagine that the struggles of trying to find yourself, especially right now when we’re so disconnected from another, is universal. This is one thing that we can fix. I am so sick and tired of being lonely and just hating myself so much. I want to be better, I want to feel better, and I want to figure this all out. But I’m not quite sure how. Vocalizing this all feels good and it feels productive, but at this point I just don’t know how to talk to people. But I’ll try and I guess that’s all I can really do.
Quarantine and a global pandemic may be a box we’re forced in, but it doesn’t mean we have to put ourselves in a mental one. When quarantine is over, we are going to walk out of it as new people and now is the time to decide what commitnments we want to make and what actual changes we’re going to work towards during this time to make sure those wishes for ourselves become a reality.
I love all of you so much. You have value and are appreciated in your life. People are so complicated and sometimes it’s hard to grasp that everyone else has lives that are just as complex and nuanced as your own. Everyone is struggling and everyone is succeeding simultaneously in this big, increasingly chaotic world. So give yourself some credit and know your worth. It’s hard to define who you are, especially when you don’t really have others to compare yourself to and better define the differences. But also, remember people aren’t just one thing. Just follow what you like, try new things, and look inward just as much as you look outward.
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