#our ancient stories are about cows for a reason

[ktempestbradford]

Ancient Egypt and Ostrich Feathers

Have a question for the Egyptologists and knowledgeable fans of Ancient Egypt about ostrich feathers.

(btw is there an Egyptologist Tumblr community? I follow @thatlittleegyptologist but don't know of any other accounts. HMU!)

When I was in Egypt last month I went to the Grand Egyptian Museum to take the very limited tour of the atrium they offer now. It... wasn't worth the money. Anywho, our tour guide did his best to make it seem valuable by talking a LOT about each thing he showed us.

Next to the colossal statue of Ramses II that dominates the atrium there's a table showing the emblems of royal iconography. The sun disk, the nemes headdress, cow horns, and a feather. He asks us if we know what that last one is and I or someone says it's the feather of Ma'at. Correct! Do we know what bird it comes from? The ostrich, someone else says. Why did they choose ostrich feathers for Ma'at and also certain crowns?

On this trip I had gone to the Nubian museum and thus had just seen several pieces of art from pre-historical peoples that utilized ostrich eggs, including a famous one that had three pyramids etched into it along with some animals. So I said something like: The ostrich has been an important animal even before the pharaohs. They relied on it for food and made art with the eggs. The tour guide (Mark) said: That's an awfully materialistic view. No, that's not why.

Now... I know I'm not an expert even though I know a lot about ancient Egypt. But "a materialistic view"? Like somehow it's not enough that ostriches provided food and probably were used in other, important ways? Why do you think Hathor is represented as a cow and there are cow horns incorporated in crowns? Because they look cool? wtf?

Mark then goes on to tell this story. Back in the dawn of civilization in Egypt the Egyptian man didn't have much to do during the day. (eyebrow raise) So he started collecting feathers from all the birds that flew above him in the sky. (...um... wait...) He would collect and then count the barbules and do you know what he discovered? Only the ostrich had the same number of them on both sides. That's why this is the feather of balance and justice.

Friends. I have never wanted to scream SHENANIGANS or at least CITE YOUR SOURCES so much in my life. Like... what?

Leaving aside the implication that ostriches were somehow flying above ancient Egyptians or that there was some point where men didn't have a dang thing to do all day but count the little hairs on feathers, I feel like this explanation is complete hooey. I mean, it could be that all or some of an ostrich's feathers have the same amount of barbules on either side of the middle bit. You might even be able to convince me that this isn't true for any other bird that someone from the Nile valley 6,000+ years ago had access to. But I'm going to need a ton of supporting evidence that this is the sole reason why the feather of Ma'at is an ostrich feather and not for the "materialistic" reasons I cited.

Also, I'm sorry, but I'm real sure predynastic Nile valley dwellers were far more concerned about food and shelter than coming up with complex reasons for using a certain kind of feather to represent a metaphysical thing.

However, I could be wrong! So I'm asking: is there evidence for Mark's version of events? Is this, you know, written somewhere in a papyrus or on a temple wall or another place? I would honestly love to read any papers on this subject, whatever the background on it.

As to the Grand Egyptian Museum, I really hope that whoever they hire to give tours when the whole thing opens are better at this than Mark. I wasn't impressed with his tour overall and eventually gave up listening to him once I saw that there was a gelato place open for business inside.

#Egyptology #Egyptologists #Calling for Egyptologists! #Egypt #Ancient Egypt #I need to know if Mark is right #okay kay what I really want to know is that mark is wrong

[ayliamc]

Italia

Day 5 - The Smell of the Ocean

Steps walked: 16,283

Flights climbed: 13

Vehicles ridden: 3 (two by land, one by water)

Points of interest visited: 3

Leonardos spotted: only bastardizations in tourist swag

We took our time having breakfast and checking out of the hotel, opting for comfort and taking a taxi to the train station rather than the metro. We got to marvel at the skill and audacity of Italian drivers as he cut through solid walls of traffic to get us to the station with plenty of time to spare. We strolled directly onto the train for the nearly three hour ride to Venezia. ‘Twas a relatively uneventful train ride, mostly pleasant, aside from the little boy who sat next to me for 30% of the ride who watched stuff on his phone with the volume on.

We arrived in Venezia, a sinking city, hungry. We tried two cafes at the train station who reportedly sometimes had vegan croissants but no such luck. Dan was noticeably worried because as my hunger grows, my moods become more mercurial. I insisted I’d be ok and that we could head to our hotel and maybe we’ll find something on the way. I was determined not to be the problem, as I usually am.

It was a half hour walk through Venezia to our hotel and along the way we passed a Chinese restaurant listed on Happy Cow (our vegan restaurant finder app, a necessity for every traveling vegan). I was not about to resist another break from Italian food so we had a very satisfying lunch there and I have no regrets about our first stop in Venezia being to a Chinese restaurant.

The rest of our walk to the hotel was uneventful, providing us a nice walking tour of the city, encumbered only by our luggage.

Some observations/thoughts about Venezia:

* For all intents and purposes, there are no roads. No cars. No vehicles. We walked exclusively through alleys, for lack of a better word. Ranging from wide to impossibly narrow, weaving with no apparent rhyme or reason thru the multi-story ancient buildings housing apartments, hotels, restaurants, and shops. Modern kitsch sold from crumbling brick store fronts and tourist traps next to local markets.

* How could anyone live here? It’s just fine to visit. Kind of surreal to experience. But people live their lives in this city where Amazon deliveries are brought by rolly cart and courier and emergency services take a boat to the nearest canal. Their day-to-day is spent navigating through a sea of tourists who seemingly outnumber them.

* It feels less like a real place where people live as it does a run down amusement park where there’s only one ride: a 30 minute gondola ride that costs €80. It’s all in need of a good scrubbing to get rid of that algae/fish/sea salt smell.

* You pay for water at restaurants here. They don’t do tap water.

Our hotel was directly next to a canal and gondola “start point”, of which there are many. The gentleman who ran the hotel greeted us at the door and was outrageously friendly and nice and Italian. “Buongiorno! Ciao! Welcome! You have-a my favorite room-a!”

‘Twas indeed a very nice room with windows that overlooked a canal. We unloaded our bags and went for a walk to the Piazza San Marco and the Doge’s Palace and meandered around, taking in the sights and sounds. Without having much interest in actually paying for admission to any of the museums or historic landmarks, there wasn’t a whole lot for us to do.

And here we are sighing at the bridge of sighs.

We eventually found ourselves in a gondola not far from our hotel (but not the one right next to the hotel entrance). I’d noticed that all the gondoliers were male and I did a bit of googling to confirm that in Venezia’s history, only one “female” gondolier has ever existed, and even then not really. Alex Hai became the “first female gondolier” a few years before he came out as trans. As far as I can tell, he still works as an occasional gondolier but by appointment only. He also works as a filmmaker. So we couldn’t support any women or trans-men, and were left with a traditional gondolier. He was still great and pointed out a few things on our half hour tour. My initial thought that 30 minutes was too short a ride was replaced after about 20 minutes when I decided “yeah, 30 minutes is plenty.”

Many of the gondoliers chat with each other as they pass, their long oars on the right of the boat while they use their left leg to kick off the building walls on either end of the narrow canals. It seems like an exhausting job. I don’t know how they do it. But it’s fun to watch.

We had some time to kill before our reservations. (Too late we discovered there’s exactly one vegan restaurant in all of Venezia and it was far and required reservations which we had not made. An email revealed to us that they were fully booked for the night. Our next best option was a very expensive restaurant that had a vegan menu.) We wandered aimlessly through our little corner of the city while I marveled at some of my aforementioned observations and went to our reservations a half hour early. They seated us immediately on their patio* and we immediately became aware that we were much too poor for this restaurant. We ordered two dishes each, aware that one dish would not be enough food despite the cost. Anyway it was all good. Not as good as the best meal I’ve had, and not good enough to justify the cost. But quite tasty. We had a nice leisurely dinner, hampered only by the French woman sitting next to us who lit up a cigarette right after we had our appetizers. Europeans, amiright?

I’ve also been starting to respond to every dog sighting with an ever increasing yearning for our babies back home. The best part of a vacation is knowing you’ll be ready to finish it at the end. We’re about halfway there, and that feels right.

Our hotel had given us a complimentary bottle of wine which was a sweet, mild Chardonnay which we happily enjoyed before bed, falling asleep to the sounds of splashing water and boats passing by in the canal below our window.

*the alley behind the restaurant

[dreamperson-poll]

Skeleton god

dreamed by @tuulikannel

An evil skeleton god. (I'm honestly sharing this more for the whole story than this character. Cause I want to tell this story... it's long, but bear with me, I think it's overall one of the best dreams I've ever had. If not the best.)

The dream started with me and my school class being kidnapped and taken to an island. We were in this big auditorium where the kidnappers were explaining to us what was going on (I don't remember any details, though) and they were pretending(?) to be very kind and said we had nothing to worry. I remember thinking at that point something like "yeah, right, anyone who's seen Death Note should be worried by now." (I think the dream-me confused Death Note with Battle Royale there.)

Anyway, then some boys found guns somewhere and they killed all the kidnappers. We were left alone on this farmyard (farmyard that has an auditorium? Well, it's a dream.) There were some cows and horses out in the pasture, and we decided to take the horses in. I was thinking about riding around (with the pretty dapple grey! <3) to see if I'd find anything, but the bridle was all in pieces and I couldn’t put it back together.

Then (after an interlude at my grandparents’ house, involving panties with similar patterns as on one of my mother's nightgowns - wtf brain?) the dream changed a bit. We were still on this island. We weren't a school class anymore, though, but apparently belonged to the US navy. (For the record, I’m not American.) Our ship had sunk close to this island and now we were stuck there.

We were all searching through the area, and I came to this weird place where there were all kinds of … wooden … things … statues…? on sandy ground. I don't remember it too clearly. There were, among other things, two big doors, but there were no walls around them, just the doors standing there. There were signs above them that were some kind of riddles, and apparently those riddles told you where the doors led, but I didn't dare to go through them as I couldn't decipher the riddles. There were also things hanging from the air… and this big platform that had stairs leading up to it - that also hung in the air. I almost started climbing up there, but hesitated and poked it a little first. It started swinging, and only then I noticed that there was this wooden chair on top of it, and there was a skeleton sitting in the chair. (For some reason, even though I was looking at it from the ground, I could see it from above.) I expected that the skeleton would wall into pieces as the platform kept on swinging harder and harder, but instead it suddenly woke up and started laughing. I dove into cover hoping it hadn't noticed me.

Apparently this was some kind of an ancient evil god, and I had just woken it. Go me. (I don’t know how I knew that, I just did, at the moment.)

Anyway, then we suddenly found some other people on the island, natives. They knew something about this skeleton god, but I don't think they told us much. Just something about storms that had been more and more frequent lately. We were asking them how we'd get away from there, but they said no one came close to this island because of the skeleton god except for one Inuit woman who sometimes was fishing close by. Right then one of us noticed her, and when we shouted she came closer so that we could talk to her. (She had a weird boat. It looked like a pedal boat.) (And this, btw, was a tropical island, so why the heck was there some Inuit fishing around there?)

We asked her to take us away, but she didn't say anything. One of us said that we'd pay her, of course, ten dollars per person, or hundred… or thousand, as she still was hesitating. (At this point our leader yelled at the one making the offers to take it easy, we didn't have that kind of money.) Now, the Inuit said that she had had dreams about a young man with mohawk who'd defeat the evil god. She was looking straight at me. (For the record, I’m not male, nor do I have a mohawk… but apparently I did, in the dream. Even tho I was in the army?) Unfortunately, at this point my alarm went off, so we’ll never find out how I defeated that skeleton thingy on its swinging platform.

#dreampeople #skeleton god #tuulikannel #sooo feel just wanting to share the dream

[mercurymusing]

Dracula Daily has made me very aware how amusing non-linear narratives can be when unrolled, and I think it'd be a hilarious way to adapt The Locked Tomb. Or at least the parts we've seen so far.

The first film/season is just a straight retelling of pre-Resurrection John. Start with kiwi nerd, end on a cliffhanger after the end of everything, no foreshadowing on anything.

Second installment opens "In the myriadic year of our Lord — the ten thousandth year of the King Undying, the kindly Prince of Death! —"

[Spoilers for Nona The Ninth under break]

Given the Tamsyn endorsed casting of Taika Waititi, you could easily start at comedy and match the way John tries to frame it in his retellings. Goofy workplace comedy, through to all the body jokes, with a whole ridiculous bit about the cult.

Start at What We Do In The Shadows with the Necro shenanigans. Bodies wandering around as gags, treat the cow wall as a gross joke. Keep the bad line about beef.

Crack the facade when he pulls his "No Guns" moment, but keep it lighthearted as long as possible.

Play C- onward completely straight faced.

No bad-ass action sequence or goofy pop song accompaniment. Just John's realization. His dissociated journey through the fight gathering souls, until he decides to drop G-.

The end of the world, Alecto. Gigadeaths in quiet collapses and nuclear fire.

Fade to final scene on the beach. Abrupt return to the comedy, with desert island post apocalypse vibes and a gorgeous nuclear sunset, thanergy tinted sun and skeletons. John giving a blank faced Alecto his resurrection pitch, closing with a line about who won't be brought back.

After all this, the biggest question in Gideon becomes "how the fuck did we get here?"

John doesn't show until the very end, so seeing him in sloppy kiwi nerd mode will be a shock after all the emperor talk. Alecto remains a mystery, as we never really find out who she is or what she's like, but we do have plenty of reasons for her to turn against John.

We never meet Teacher or Cytherea in any way, so they mean nothing to us. We can probably figure out how sketchy the Lyctor process is a bit early, but we don't know who any of them are yet. The 2nd House Chambers get some extra spook from the hints about P- and G-, but the name Gideon doesn't mean anything except Nav yet.

The end of Gideon primes us to expect some massive threat. When we start to hear about BoE, we draw the immediate conclusion about the escaped FTL ships. "A-ha, the trillionaire assholes have returned!"

With the Ninth and Canaan house as our primary references, obviously The Houses are the underdogs. BoE must be greedy jerks come to take and evangelize, probably some christofash capitalist oligarchy.

That narrative will crack as we hear about flipping planets and will really crumble when we see Camilla on the other side. We have even more reasons to think John is sus as fuck, and we trust the Sixth.

And meeting Augustine, Mercymorn, and ORTUS! What a shock. They're still here, but they aren't who they were. Some things echo, but it's clear they're more different than can be explained by all that crushing time.

----

Then we'll get the slow name drops of the other Lyctors and cavaliers (Ulysses?!) and maybe some non-Third portraits, and the extent of John's deceptions will become obvious. What a relief to see him finished, the ancient evil vanquished, for a brief quiet moment of grief, until the fucker squeaks out again.

G(ideon) dies for duty again, but what a chance to subtly hint P(yrrha) with tells we'd recognize!

I need to muse a bit on Nona before I can really organize my thoughts on how all of those beats play out. It's the straightest conversion, exceptsofar as you've got to tweak the dream sequences. With the story told in the first installment, you'd have more room to focus on the aftermath shots, I guess.

I do have some quiet theories about Cassiopeia and the Angel that I think might fit here for big reveal moments, but I'm not sure they're textually supported yet.

Given how structured Harrow and Nona are, you could probably get clever with individual episodes too, if you really wanted to serialize the whole thing.

#the locked tomb #nona the ninth #tamsyn muir

[martinaprocraatinates]

The story that goes with the drawing I posted

It was an ordinary, quiet day in the school library, most students quietly studying and whispering to each other, though there were some who chose to run the risk of angering Madame Pince and as such were speaking louder than most yet still it was easy to put it off as background noise. It was still quite peaceful even with that.

At least, that was until the double doors of the library were pushed open, slamming against the wall with a loud bang, the librarian immediately went on alert as a perfectly average looking teen, already in the telltale quidditch uniform strode through, looking for someone with a one track mind, managing to avoid her so far as he finally found who he'd been searching for, sneaking up behind him, grabbing his hand. "Knew I'd find you here. I thought you said you were coming to watch. Its about to start. Just thirty minutes we have to get there. Come on, you can't miss my first match as seeker. You know how much I've wanted this. Sunce we were kids," he bounced on his heels as he waited for an answer, fiddling with the loose strands of hair. He tutted as the other got a much too familiar look on his face, causing him t frown, not pout as he could already guess what he was about to say and nearly sat on the table in an effort to make his point clearer, "you promised you'd come to every one of them. You did. ANd you've upheld that promise so far so why's this one different?"

The other didn't seem much phased by the mini outburst, though at least he'd put the book he'd been reading aside, giving him his undivided attention, "haven't you realised we have our OWLs at the end of this year? I know you didn't study much the last two years, as indicated by your report card," it was quietly said but not in a way that went with some negative reason normally.

His face screwed up like he'd smelled something rotten, annoyed as he curled his nose up. "Come on Cas, a few hours isn't going to kill you. You know how long I’ve been wanting this. Ever since we were kids,” while there was an almost petulant tone to his voice it wasn’t on the level of whining just yet.

Castor but his lip, opening his mouth to respond, likely to give another refusal and an excuse, it wasn’t even so much of a bad one, ten OWL subjects wasn’t a very good idea but it was all worth it. His brother got to take only six and still have time to explore his hobbies it was all good. “Pollux, I-“ though he had the feeling he’d be cowed into agreeing anyways, it didn’t hurt to try and go against it at least. But this time he was cut off as his study partner returned, arms laden with a couple heavy looking tones. He pulled out his wand to help her only to be cowed by a fierce glare that was seriously too much for this small incident.

“What’s Polly doing here?” She asked in a tone that was anything but endearing, lips pressed into a thin line, brows furrowed, seemingly annoyed by his mere presence.

“You two know each other? Surprising. Don’t think he’d gone out of his way to get familiar with anyone else in our year, the newly dubbed ‘Polly’ looked between the two, one brow raised in suspicion. Such a little thing shouldn’t be suspicious but the other, he was just too familiar with him to not be.

“Of course. We share ancient runes and arithmancy. He’s the only one that seems to actually understand any of it. Other than me of course,” there was a slight smirk on the tall girl’s face as she pressed her fingers into her own chest, obviously proud while simultaneously putting others down. “Still you haven’t answered my question. I didn’t expect to see you of all people here,” she’d finally freed her hands of the tones, rolling her wrist, they were heavy but she refused to accept help. All par for the course.

“I’m just trying to convince my brother here to pull my brother from studying and now you to came watch me play,” he stood up to his full height, still managing to only just barely reach her shoulder, looking up at her, head angled a bit.

“Fine. I’ll attend,” it was inevitable quite frankly but he thought he’d at least be able to hold out longer. He couldn’t say no to him, it was coming to be an issue. Luckily he was much too nice to use it to his advantage purposefully and anyways, he’d been getting tired and stiff now. Admittedly spending the weekend like this probably wasn’t the best idea. “On one condition,” he stopped the other’s small celebration, a bit of a smile playing in his lips. “We come back here immediately after. I know you’re failing potions so that’s what we’re focusing on. Deal?”

Pollux looked at the hand, lips now pushed out in a bit of a pout, as he glared at the hand. But he hadn’t been lying. This really did mean a lot to him. Just like how the other and his academic achievements meant to him. Wildly different but they’d always seen each other through. He had a toothy grin on his face, taking the hand and shaking it like it was the most serious thing ever, “deal,” a light glow surrounded their hands for a moment. They probably shouldn’t be playing around with a weaker version of the unbreakable vie but it hasn’t backfired for them. Yet.

“Wait, what? Brothers?” She finally spoke up again, looking between the two, squinting a bit. “I always thought you two were cousins. What with the same name and same birthdays. Twins? You two are twins…” really it wasn’t a question at this point. Just a statement. She had an expression of someone who just made the discovery of their lives, looking between the two constantly. Now that she was looking for it the sikilarities were there. Once you ignored the different hair and eye colour. And the texture. And the height, one barely reached her shoulder, the other was a fair bit taller. They both had the same permanently haughty faces once you ignored the gauntness of one. Brothers she could see but twins? It was a struggle to wrap her head around that one. “You two don’t look all that similar. Who’s older?”

“He looks more like mother, I father. It’s as simple as that. What a stupid question, what does it matter? We’re twins,” there was a hint of bitterness in Castor’s tone as he said that, lips pressed so much into a thin line they were almost entirely invisible.

“It definitely matters to you. And to them too I guess,” it seemed to be quite the sour topic between the two, one could almost feel a shift in the air as the topic was brought up. “He’d older. Just by two hours though. You’d think it was more like ten years with the way he acts,” Pollux laughed, more than a little dramatically as he laughed, in an effort to lighten up the suddenly tense atmosphere.

“Someone has to do it,” such a vague and seemingly everyday statement yet it seemed to hold a weight behind it. One that shouldn’t ordinarily be there.

Normally unable to read the room, even Fausta was able to see and feel just how awkward it is between these two, which did probably explain why they weren’t seen together often. “I see Barbary saved me a seat. Good luck you,” she waved and seemingly disappeared, not wanting to spend more time than necessary around them. One was just too much for her. The other… well she wasn’t swure how to feel about him. Maybe she was regretting her decision to go up and offer him the opportunity to study together. But what with the things, mostly rumours she’d heard of his family and what she knew, however little it was, it seemed like a smart decision. And it had been. If she didn’t mind dying of awkwardness.

“You’re such a mess. Honestly. How do you expect to be flying properly if this is covering your face. I swear you’re probably one of the few sportsmen that cares more about having long hair than the ability to see,” and immediately his brother started acting like a mother worried about every little thing, patting down his hair, trying to convince him to let him plait it, and failing miserably. He even went as far as to brush off his robes for him and further use an ironing charm. Honestly, no one would care whether or not his uniform was pressed. Would they even be able to see at that distance? Most likely not.

”I’ll be fine. This is probably like my twentieth match,” he grinned a bit, as annoyed as he was, especially after they started gaining attention and while he loved attention like nothing else, this kind of attention wasn’t the same. He finally got annoyed enough to do something about it and pushed him towards the hufflepuff stands, his twig of a brother nearly stumbling and fell only to recover quickly enough. “Now go! It’s about to start. Don’t forget to cheer for me. Just block out anyone else,” and without a second glance at him he strode on to the field, a grin that from the looks had to be painful on his face, eyes shining brightly as he glanced around at all his teammates, sending Bean, the opposing seeker a wink as he took a moment to make sure the ribbon in his hair was tightly secured before going to the lineup. He was practically vibrating with excitement.

Finally! What he’s wanted since he was five was right at his fingertips. It only took a decade. He had to dig his heels in to make sure he didn’t go off on an early start, so excited he was.

As soon as the whistle blew, he was off on the air and he just had to take a moment to fly around, especially now that he wasn’t entirely focused on protecting the goals. He could just take some time to speed through the air, the sounds of the match fading into the background. Such an exhilarating feeling it was.

But eventually he got serious. All it took was a hint of gold flying by the his ear for him to remember where he was, honestly he was like a magpie. More magpie than wizard.

It took some time, honestly he wasn’t trying that hard, he’d always felt disappointed when the game ended early because of a seeker too good at their job. And it was fun leading Bean on, going like he was about to dive for it, only to pull up and of course his opponent was always just behind. Eventually, though he realised the other had caught sight of it and of course he had to cut her off.

And what a feeling it was! To wrap his hand around the fluttering little charmed object, that feeling cemented in his heart that this was what he was born to do. No ifs ands of butts. Still they ended up losing. And he couldn’t help but wonder, had it been his fault? Maybe he shouldn’t have stretched it on for so long. Oh well, he found he couldn’t bring himself to care.

After s quick shower and change of clothes, he was searching out his brother, pleasantly surprised to see him smiling in that odd way of his. “You did well,” ah his compliments. Always nice to receive.

“Still lost though. Probably my fault that one,” Pollux had the decency to look bashful at least.

“Same change that it wasn’t. You’re always gushing about your teamwork so it isn’t simply your burden to bear alone,” Castor’s smile widened a bit as he wrapped his arm around him, a bit unusual for him considering he normally hated any physical touch of any kind but here they were. “Now back to the library,” he pulled him away from his friends, humming a bit.

“Oh come on! Even after suffering such defeat? You’re an evil man Castor Rigel Boavk,” he hissed, most certainly pouting now.

Even with how often they butted heads and with how rare it was they saw eye to eye, their different paths in life the one thing that would never change no matter how long they lived was that they were brothers. As much as each regretted how much they’d been pulled apart, they could admit that they still had that at least.

#quidditch #brotherly bonding #black family #ocs #my ocs #hogwarts mystery

[nightcoremoon]

Doctor Strange and America Chavez were both good parts, but god everything about Wanda and the Illuminati sucked. Strip away the fanservice and you have a pretty weak villain story that didn’t introduce any new elements and stayed pretty straightforward and stagnant. Imagine if Killmonger never showed up in Black Panther had instead Andy Serkis been the main villain who just wanted to steal unobtainium and get rich. That would suck. Killmonger reclaiming what he considered his by divine right of kings, SUCCEEDING, and having a relatively good reason for justifying his actions because he planned to eliminate the slavery and oppression of black people. Killmonger was an excellent villain. Imagine if Ava was the main villain of Ant Man and Wasp, and Walton Goggins was the main AND ONLY villain. Imagine if Quentin Beck began the movie as a villain. These would all be awful because it’s all been done a billion times before. But all of the unique twists made those movies, well, stand out. But here in Multiverse of Madness, the closest that ever came was to the other Mordo. Which was really weak and lame and kind of a slap in the face to Chiwetel since they only used him as a stepping stone to get Picard and Jim the major speaking roles (and gave everyone except Hayley Atwell more screen time, dialogue, and showcase of ability than him. This movie existed for fanservice, and was a waste of the talents of Sam Raimi and Danny Elfman (whose direction and music were both absolutely phenomenal and way better than the CGI fest that was the first one). Obviously the clear choice was to have the Ancient One of earth 838 be the one who had been corrupting and manipulating Wanda, and have Tilda Swinton be the bad guy (WHICH IS ALWAYS AT HER BEST WORK) instead, and then allow Wanda to have an actual character arc where she works through her pain… instead of literally creating a eugenics case. Oh did the poor little baby get bombed, have the Nazis experiment on you and manipulate you into being responsible for creating the monster, watch your brother die before your eyes because Not Jason Bourne can’t hear our his left ear, have the entire United States Government AND the world’s biggest egomaniac forcibly imprison her because a PMC manipulated her into blowing up a fuckton of civilians in whatever fuckin country it was I literally don’t remember because it wasn’t important to the story at all, fight for what you love but fail and get thrown in prison, get broken out and forced into hiding while under the surveillance of Big Brother Steve, be forced to kill your own husband, then watch him die again, then die for five years, then come back to life in an totally different world than you were used to and be forced to watch everybody you know get to have their loved ones back except for her, then get ostracized by the entire world? YOURE SUCH A FUCKING SELFISH LOSER LOL WHY DONT YOU JUST KILL YOURSELF??? that’s the message we’re sending. either just get over your trauma and stop whining about it, or turn evil and hurt everyone else in your life around you and sewerslide yourself. How about being like, oh hey look at Wanda who is somebody who I, the evil Tilda Swinton, can manipulate into servicing me so I can kidnap Edmund I mean America and take the powers they possess for my own and become even more powerful and become a legend and LEGENDS NEVER DIE because I am the foil to the ancient one in the first one in order to show narrative parallels because a Literal Actual God Planet Stronger Than Ego And Cthulu Combined??? versus a normal human who possesses the same levels of evil are both somehow comparable? And we’re supposed to care about the stakes of that knowing full well that Infinity War is the only genuine downer ending (No Way Home stole its valor and dropped it on the floor on the way out) and there’s no way in hell Disney is gonna pass up milking the cash cow of the current status quo? Please. At least with the Ancient One one it would be totally possible to just seal her in that universe and win and then everything is preserved.

That would have been much better.

[deviantartdramahub]

I apologize if I'm misunderstanding something and this is culture shock in a kind of way. I'm F14PA, was previously sheltered in an Amish family (still am, but my parents have been lenient about the web), and was introduced to DeviantArt. I posted someone's work and I guess this is taboo on the internet? I don't understand. Someone explained to me this thing called copyright. Treat what I'm about to say as stupid, but I was told I can't do what other people do and to post here if I have anything to talk about. What's going on?

"To every cow belongs her calf, therefore to every book belongs its copy."

~ Ancient Irish King Diarmitt Mac Cerbhaill, right before a bloody war (you might like the Amish friend of mine who posted that, they need friends)

The fact there was a war over copyright in 560 AD only goes to show it is what we might call "divisive", but anyone who understands the importance of honesty will understand where the basics come from. An honest person wouldn't say they invented something when they didn't, wouldn't say they weren't the cause of something when they were, wouldn't steal something they didn't earn, wouldn't cheat in a game whose rules they agreed upon with the other players, and wouldn't say something if they didn't 100% believe it to be true, whether that's because the source is untrustworthy or their own memory is unreliable.

A good way to think about the "concept" of copyright is to compare it to the "concept" of grace. If care over our mortal lives be deemed a gift from God, many see it fitting to acknowledge that, as we sit down for the most universal part of humanity's day, dinner. Of course, our gifts have many sources. The vocables we read were the brainfruit of people whom they came from, so it is reasoned tribute be given, hence the conflict in the first link. You may also be thinking about the second or third commandment (I've seen Amish replicated dolls for one).

There are some who are stricter than Saint Finnian was, unsatisfied with any form of tribute, for reasons also discussed and will be discussed. And there are some who are looser, lenient, unscolding... when it comes to my work, I am close to that.

You may have heard about the AI-related feuds, they are everywhere and have diverged in thought.

If you were to research copyright from past to present, mention of incidences of distortion may commonly come up. It has often been a concern that certain gestures are made to imply that the source was to convey something it didn't. One instance of this, you could say, happened during the Vietnam War. Love or hate the communist manifesto, the United States tried to make modified copies and release them upon the Vietnamese, one of the new "planks" being to line up by the road so it can be seen who is a communist. If it had literate synergy before, the tampering ruined it. History will, of course, tell you that Vietnamese Communists eventually did win over. You could ponder similar stories about the Catholic order of the middle ages when you read about a demon they taught about, a servant of the one true Lucifer you might know as Titivillus. Chinese whispers comes to mind.

You might say it comes off as just another derivative of the classic conflict between the concept of freedom and the concept of etiquette (I'm surprised if, as an Amish teen, you've never encountered a situation with one of you shyly hiding from a camera, the stereotype has even been you all think cameras steal souls), but, as media comes with loads of context, and their presence loads of implications, a question about this never hurts.

[suicideourstory]

Suicide; Our Story

authored by Joseph M.

Chapter 8: Stories Cross; The Stories Crossed

“I ship fresh human meat; that’s a difficult opportunity to come by,” said the Brooklyn Butcher. “Sure, my business has had complications and setbacks in the past, but those are minor flaws.”

“I’m sorry, but it’s becoming unethical,” the principal said. “Picking nosy students: putting their noses where they shouldn’t be, in the back dumpsters and in the closets of our school kitchen; it’s just not right. Either we stop doing business together or you get your human meat cuts from somewhere else; one of your victims was found in the school dumpster. They were skinned, mutilated and their fingers were hacked off, and now the deputy sheriff has his eyes on us.”

“Then get his eyes off us,” replied the butcher. “Tell him something to ward him off. Give him an excuse like, ‘I’m too busy to be murdering a bunch of children,’ or, ‘Don’t tell me why they’re skinned in a dumpster; I wouldn’t know,’ something like that.”

The principal muttered, “One of our students knows too much. His name is Justin Williams, and he’s a close friend. Particularly, he’s close to you. He’s your boyfriend, isn’t he?”

Gripping his meat cleaver, the butcher grumbled, “Yes, but he isn’t in the way. He’s a minor obstacle in our business. If he finds out, I’ll butcher him too.”

Slobbering childishly over icky, gooey bubble gum, Detective Ridley said to my therapist, “The accusations of first-degree murder, assault and cannibalism are cleared. The police are looking at his boyfriend as a suspect though. Jasper’s fingerprints were found on a cleaver ditched at an old warehouse near the scene of the crime.”

“Perhaps then,” said Doctor Brannings, “Jasper might be the real perpetrator, wouldn’t you concede the same?”

Clicking his pen, the detective reasoned, “The blood on the cleaver was fresh when we found it several days ago. We examined the deoxyribonucleic acid, and it matched with the DNA of his school’s principal.”

I said, slinging my duffle bag around my shoulder, “A couple nights ago, I had a dream about an abattoir. I was skinning a dead cow, before I woke up; a couple nights before that, I had a dream I was in a detective noir, and several nights before, I was contacting a master who said his name was Kajira. Does that name mean anything to any of you, or does it have anything to do with this investigation?”

“Legends tell that Kajira mastered a form of light energy; supposedly he was able to conjure powerful visions of the past and the future. His sorcery was so great, but he was enveloped by The Undefeated Nothing, which mastered the antithesis of this unknown and light energy,” said Doctor Brannings. “The Undefeated Nothing drained his powers, and eventually swallowed him whole. This dark energy is seemingly manifesting every day within a lifeless corner of the known universe.”

“Dark energy is a trouble the good doctor is familiar with,” said Doctor Francos Mos-Gerran.

Doctor Brannings embarrassingly realizes, “I forgot to introduce you to my colleagues; him over there is Detective Ridley, the lovely gentleman over there in the white lab suit is my assistant, Dr. Bryce Jessman; he over there is Justin Williams, ex-patient of mine, and I’m Doctor Brannings, and to everyone, this is Doctor Francos ‘Cosmos’ Mos-Gerran.”

Doctor Mos-Gerran said, “What you call dark energy and bad vibes, we theorized to be an ancient darkness approximately three thousand years ago, called dritchen, and this dritchen is the cause to sin and the cause to despair and heartbreak; gluttony, sloth, wrath, envy, lust, greed and pride all stem from dritchen. But that was a myth—until now, and we’re in danger. So bring in the tarragon, dragons and wyverns, and drakes and giant flying lizards of mythos, because there’s a war on the horizon, and we need firepower.”

From a noir detective scene, to a hazy and tinted rouge abattoir, to a soft, beautiful meadow of cherry blossoms and cornflowers, with children sprinting through the fields, and bumble bees sipping surplus nectar from the moist flowers, and peacocks, flamingos, doves and robins swept through the trees, and the trivial chitter-chatter and babbling of happily clueless adults, then I stumbled into a lovely garden, with a familiar figure dressed in azure garments stamped with yellowish stars, and swaying robes and softly flowing brown hair, and their lovely blue eyes laid on mine, and led their hand led me through a lovely village, where nobody needed to toil for food, and she told me I was repentant, therefore absolved, and I could return to the earthly realm to seek soon peace, and I would return here when the time came, and soon be free of my nightmares, and I nodded, and the woman led me to the earthly gate, and I woke up.

“Suicide hurts people; millions of lives are taken every day, affecting hundreds of thousands of families,” said Vice President Torres. “To stop the suicide crisis, we must reject stereotypes, and accept kindness.” Of course, I knew he didn’t mean this. He was saying this to flatter himself.

Vice President Torres is a corrupt dictator, and he wouldn’t save a suicidal person. He spoke like this to warm up to the audiences; his “from-the-heart” ideas on suicide would be on their mind when they cast their vote, and he would become president. His words were nothing more than meaningless babble, trying to sway public opinions. Of course, I already had the shotgun pointed to my chin, so any talks of suicide prevention, whether by a corrupt ruler or a kind passerby, wouldn’t talk me out.

I was shaking; a river of tears poured from my dreary red eyes, as I perched over my bed, over moist, crumpled towelettes; over viscous bleach spilled on the marine-blue rug. Trembling like an injured, dying, roadkill-to-be, left to die on the gravelly highway that I wandered onto, I said, “Lord God, I tried to live, but there’s no other way anymore, with my boyfriend being a murderer and my parents dead, and now there’s a war against bad vibes, or something like that, on the horizon; and the school kids are bullies and the principal is dead; Lord God I tried to live, but I’m sorry, because I can’t.” I pulled the trigger, bang, thump.

[pixyys]

genshin oc/ guoba!reader idea

what's this? i have this idea of a sidekick-type genshin oc/ reader au! + your/their interaction with liyue characters (mainly with zhongli and xingqiu)

warning: slight guoba lore spoilers, grammatical errors, lowercase, very weird and random 3 am brainrot. you know the drill ahhah.

you, reader, are not human, nor a god or an adeptus. your existence is similar to the non-human characters like guoba, oz, ushi, baron bunny, kokomi's jellyfish, etc.

(they're living beings, i think. except for the last two. guoba is a literal ancient god, oz is.. a bird? an electro manifestation born from fischl's vision?? and ushi is a cow. now anyways-)

let's add dark facts and backstories :)

-> or, jump down down to see your interactions with the traveler, paimon, xingqiu, chongyun, zhongli, and liyue citizens.

PAST // BACKSTORY

before being cursed, you liked reading and listening to stories. more specifically, adventure-themed and chivalrous stories, much like xingqiu does.

you were once human. but at some point in your life, you’ve been cursed by a malevolent god. your soul was entrapped in some kind of a doll? karmic doll? (lol this sounds so ominous. in a way, similar to what happened to qiqi). though i'll say doll because your appearance will be similar to guoba/ baron bunny.

PRESENT-DAY

present-day, the doll version of you are constantly tagging along with traveler and paimon ever since they met you at qingce village. (you liked adventure- er.. adventure-themed books, after all).

during the early days of your adventure together, paimon will probably be very annoyed at you. remember how she made the traveler promise to not leave her when the black shadow (the dog-ninja) became traveler's ninken? yes, that's what i meant.

as per the usual, anyone would be alarmed when they encounter a sentient stuffed doll (okay, that sounded more messed up than i intended). but this is the traveler and paimon who have encountered a child-zombie and a talking snake. so what gives?

your special skill!

you somehow have a knack for finding treasures, as if you attract them (kind of like seelies which guide you to treasure chests). so paimon eventually warms up to you.

(i headcanon -or is it canon already?- that guoba can find high-quality ingridients and materials in the wild. in contrast, you can point out treasure chests. food and treasure are what paimon likes, right? so there's that.)

present day, you still have your conscience as an intellectual existence. however, ever since being cursed as a doll, you had immediately lost the ability of human speech. but apparently, guoba can understand you through your series of nods and head shakes.

EROSION AND SENTIENCE

as time flies, the traveler and paimon seem to take your existence in their journeys as part of normalcy. somehow, they also have this silent, collective agreement to help you break your curse. at one point, paimon suggested to ask about your predicament to our local walking history book, zhongli.

but what you got from him is the unsettling fact that erosion comes for both mortals and deities alike. granted, they live long enough. (is this concept canon? if not, then i'll just headcanon this ahaha)

hence, he warned you and your travel companions that it may come the day when you can no longer point treasures for the traveler and will mindlessly wander off alone, like geovishaps :(

unsettling as it is, it was a reasonable warning. you weren’t supposed to be immortal, since you were originally human. but your soul inside the undying doll's body is a couple hundred years old already. (which, doesn't even reach a thousand. thus, the adepti and rex lapis are as much of a deity to you as to anyone else.)

as for now, your memories of your human years are gradually fading away. you hold onto the memory of thrills and excitements through reading exciting tales and go for adventures (like how you do in the past). they are subconscious attempts on your part to avoid getting eroded.

therefore, you tail the traveler and paimon throughout most of their journey and rummage some good amount of book warehouses and shops.

CHARACTER INTERACTIONS :)

xingqiu : about ghosts and evil spirits.

xingqiu was creeped out when he saw a doll? a moving doll? an adeptus in disguise? peeking at him when he was writing the draft for his novel's newest chapter.

he told chongyun about encountering a spirit, a possible evil one, for real this time. but the mysterious entity (it’s you) proved to only show themself when xingqiu is alone. that could be some kind of punishment he received for bullying chongyun too much (lol).

at some point, he and chongyun found you, chased you off, and ended up running into the traveler with you cowering behind their leg.

(you already knew traveler before you went to pester xingqiu. you have heard the traveler and paimon talking about an excellent writer, a well-known author of a chivalrous and action-packed saga, hailing from liyue. so there's that.)

zhongli: about local myths and folktales.

if no one can find you, you'll most likely be on xingqiu's book warehouse in qingce village, or sneaking under tea houses' tables during plays and/or when storytellers spin their stories. that is until zhongli xiansheng invites you to come out from your hiding spot and have tea with him on his table.

the people of liyue will most likely think that you are one of the seven mysteries of liyue/ wangsheng parlor; or an adeptus; an ancient weakened god; some kind of a local myth or folklore.

your existence is most likely used as a way to chastise people who neglect their books (lol i’m one of them), to scare children into studying, and to symbolize a sign of prosperity in business. your appearance is a good omen for working adults and a bad one for children who don't want to do their homework.

"sometimes you can find them ravaging through your stacks of unread books," some would say.

"or better yet, sneaking around your shop! i heard someone has seen them hiding under the tables of heyu tea house. that place has been flooding with customers ever since."

"i've seen them sitting with that consultant! who knows what that mysterious man hides under that calm countenance.."

TLDR: this is the not-a-god, nerd version of guoba kshsksnsk

and really, it's just me being self-indulging and nah, totally not being biased to a certain consultant nah :)

anyways, thanks for reading this far, thoughts and criticisms are of course welcomed <3

#original work #genshin impact #genshin impact oc #guoba #traveler #aether #lumine #paimon #xingqiu #chongyun #zhongli #liyue #xingqiu x reader #zhongli x reader #is this even an x reader from the first place?? hgshsh im not sure #guoba reader #genshin fic #[original work]

[bihansthot]

Qixi Festival: Chinese Valentine’s Day headcanons

Qixi Festival is the seventh day of the seventh lunar month which is August 14th this year and is often referred to as Chinese Valentine’s Day, it comes from an ancient Chinese story about a heavenly fairy named Zhinü falling in love with a cow-herder named Niulang. The romance between a celestial being and a commoner from earth is forbidden however and they are cast to opposite sides of the galaxy, separated by the Milky Way. Once a year they are permitted to meet and a bridge of magpies form so that the immortal lovers can meet once more.

So, let’s see how our favorite Chinese kharacters celebrate the holiday with their s/os :) I tried to make this one gender-neutral so everyone can enjoy it, and I wrote some kharacters I’ve never written before so I really hope they turned out ok.

Bi-Han

Bi-Han isn’t really huge on romance or holidays but he does make an effort for you. He doesn’t so much care about the legend of Niulang and Zhinü but he’ll tell it to you if you ask. He remembers his mother telling the story to him and baby Kuai ages ago.

He always goes out of his way to give you lavish gifts or little gifts depending on your preference and comfort level but it almost always includes a bouquet of frozen red roses (totally not what Papa Zero got for Mama Zero) and sweets of some sort.

Bi-Han usually follows the trend of what seems to be the most popular in the department stores around Qixi Festival unless of course, he knows you don’t like what’s popular that year. He never minds shopping for you but the large crowds and long lines that come with other lovers wanting to impress their significant others does tend to frustrate him, but you’re worth the annoyance to him.

He’s a very observant man what with being an assassin so expect him to surprise you with something you’ve wanted for a long time but didn’t dare tell him for fear of the price tag If you lean towards purses you’ll wake up to a gorgeous new Louis Vuitton or Gucci purse and maybe even some matching shoes and a whole outfit if you aren’t purse inclined he’s still got you covered with a smart new wallet and belt or maybe some cool electronics you’ve been eyeing up if the traditional Qixi gifts don’t fit for you.

Depending on if you’re an introvert or an extrovert he has a nice evening planned, for our innies, he’ll cook or order in from your favorite restaurant and spoil you with all your favorite foods. For our outies you can expect a lovely night on the town, drinks at a fancy bar, dinner at your favorite restaurant, and maybe even a night of dancing since we all know Bi-Han has some pretty sick moves.

During Qixi he goes out of his way to be a bit more touchy-feely than usual and he even goes so far as to spread rose petals all over the bed you two share together even if it does make him blush a bit and make him feel kind of stupid, he’s doing it for you so he deals with the uncomfortable feelings. Bi-Han spends the rest of the night showing you how much you mean to him (ie railing you all night) and if you’re really lucky he might even whisper “wo ai ni” in your ear.

Kuai Liang

Like his big brother, romance isn’t really his thing, and if anything he’s even more awkward about it than Bi-Han is.

While Big Bro shows his feelings with expensive gifts, Kuai Liang opts for showing his feelings. He’ll stay in bed a little longer on Qixi and not wake you up at the crack of dawn for training.

He’ll wake you up with a soft kiss and wrap his strong arms around you comfortingly for a few extra moments before finally slipping out of bed to get ready for the day.

The rest of the day is largely the same as usual since Qixi isn’t a public holiday there’s no reason for the Lin Kuei to get it off either. Kuai Liang will train his students as expected and you’ll do your daily duties as well, when night comes though Kuai Liang will usher you away from the communal dining hall to his private pavilion.

It’s done up in ice flowers and frozen hearts, the scene is breathtaking. There’s a small table in the middle set for just the two of you and the two of you eat in comfort as you enjoy each other’s presence and talk to one another about your day.

There are no extravagant presents or anything like that but an evening alone with the Grandmaster is worth more than any fancy trinket to you. Like Bi-Han, Kuai Liang will spend the rest of the evening showing his feelings to you, but in a much deeper and more intimate way with little whispers of his undying love between his movements and won’t stop until you beg him to do so.

Shang Tsung

Being several centuries-old Shang is very familiar with the idea of the Qixi Festival and though he might not appear it from his rather ruthless exterior the sorcerer is actually quite fond of the festival and is quite the romantic.

If you’re unfamiliar with the story he will happily regale you with his rendition of the star-crossed lovers who are only allowed to meet once a year, he’ll weave the story over a lavish meal prepared by his servants.

Shang is traditional with his gifts and spares no expense, expect to come home to your home absolutely dripping in red roses and beautiful and elaborately woven tapestries embroidered with magpies, a nod to Zhinü’s heavenly weaving and her annual reunion with Niulang.

Being a very fashionable man Shang will spoil his s/o with lavish jewelry, he does this regardless of your gender because let's be honest, to be Shang’s significant you have to be pretty extravagant yourself since he demands perfection from his partner. Gold is always a lucky color in Chinese culture so you’ll probably find yourself dripping in delicate gold strands and only delicate gold strands.

Like Bi-Han, Shang is also a man that will express himself through his actions so prepare to be fully spoiled and satisfied in every possible way before the night is over. He’ll have you screaming his name until you’re hoarse, though of course, you don’t mind.

After he fully satisfies you and himself he’ll spend the rest of the night with his strong arms wrapped around you, whispering little praises and declarations of love. The sorcerer might be a hard catch but once you’ve caught him he’s fully dedicated and will do anything and everything to keep his s/o happy and satisfied.

Liu Kang

Being an orphan raised by the White Lotus Society monks at the Wu Shi academy Liu Kang isn’t actually familiar with Qixi Festival in the slightest, it wasn’t exactly something the monks covered in his daily training regiment. When you mention it to him however he goes out of his way to research the holiday thoroughly.

Liu Kang invites you to meet him along a lovely, picturesque river and hands you a single red rose when you join him. The two of you walk and chat pleasantly along the scenic route for quite a while before you come across a bridge, Liu Kang proudly points out the decorations that have been put up for the holiday of Zhinü and Niulang embracing atop a bridge of magpies.

He’s a very devoted lover so he takes little things seriously and wants to make sure he makes the occasion special for you since you brought it up to him. After you walk along the riverfront he surprises you by taking you to a local park where he has a romantic picnic set up for the two of you.

Rose petals are scattered along the blanket in between all your favorite dishes, the two of you enjoy your meal with happy chatter and banter, it makes you feel so special knowing Liu Kang set all of this up just for you.

After your meal, the two of you return to walking arm in arm along the river enjoying the romantic setting and just spending time together without the fears and responsibilities Liu Kang’s life usually consists of.

The romance doesn’t end with your date though, Liu Kang has one more surprise for you, after your walk, the two of you find yourself at the Civil Affairs Bureau, Liu Kang drags you into the line behind the other excited couples as he surprises you with a ring and confesses he’s been trying to find the right time to ask you to marry him for ages. You tearfully accept and can’t wait to spend the rest of your life with the Shaolin.

Kung Lao

Kung Lao is a little more worldly than Liu Kang and is vaguely aware of Qixi Festival, despite having the same upbringing as Liu Kang, he’s always been fascinated with the world outside the Shaolin. He follows the new trend in the holiday and invites you to the movies, of course, it's a sappy, romantic comedy because that’s the most fitting for the holiday.

Kung Lao being Kung Lao can’t help but make jokes throughout the movie drawing several glares and shushing from the other patrons, but his antics just make you giggle madly. You don’t really pay attention to the movie but you don’t really care, you’re just happy to spend time with Kung Lao.

Once the movie is over the two of you go back to your place and you exchange small, meaningful presents to show your love and dedication to one another, it’s a rare side of Kung Lao seeing him being so serious and dedicated to you. It’s little moments like this that you can’t help but treasure. A few steamy kisses are exchanged before Kung Lao announces he has a special meal planned for the two of you.

Kung Lao has become quite the cook despite spending most of his years at the Wu Shi Academy and he whips up a simple but scrumptious meal for the two of you, all of your favorites are crammed onto your small dining table and in the center a towering plate of egg rolls.

You can’t help but burst out laughing when you see them, you have heard Kung Lao recount the tale between him and Kano many times and egg rolls have become somewhat of a private joke between the two of you. The two of you enjoy the meal as Kung Lao regales you with one of his many stories and you listen intently, loving the way his face lights up as he excitedly tells you about the tricks he and Liu Kang used to play on the monks when they were growing up.

After dinner the two of you cuddle on your couch as Kung Lao turns uncharacteristically serious as he professes his love for you and how glad he is that the two of you don’t have to suffer the same fate as Zhinü and Niulang. You’re slightly taken aback that the story has touched Kung Lao so deeply, but you cup his cheeks and reassure him that nothing, not even the Milky Way could keep the two of you apart. He kisses you passionately before picking you up and heading to the bedroom where he continues to profess his undying love for you the rest of the night.

Tagging my BH beloveds: @icy-spicy @poor-unfortunate-soul-85 @missroro @chadillacboseman @free-the-shadows @nyxdjarin @legends-of-apex @lillikue @tora-lotus @periwinklesprinkle @justnerdthings

Special mention beloveds: @thetigerandthedoe @fromthewifecage @ayas-lair @feistyfandomthings

If I missed anyone I apologize T_T if anyone wants to be tagged in future things (assuming I get off my boyfriend’s d*ck lazy ass and actually write again) just let me know :3

#sub zero #mortal kombat #bi han #kuai liang #shang tsung #liu kang #kung lao #qixi festival #valentines day #Chinese Valentine’s Day #head canon #mk headcanons #romantic headcanons #romance #mortal kombat headcanons #fluff #lovey dovey #❤️

[insanehobbit]

a twenty-five thousand word post about a twenty-three year old “debate”

As time goes on, I’m baffled that it remains a commonly held opinion that:

The LTD remains unresolved

SE is deliberately playing coy, and are (or have been) afraid to resolve it.

To me, the answer is as clear as day, and yet seeing so many people acting as if it’s a question that remains unanswered makes me wonder if I’m the crazy one.

So I am going to try to articulate my thought process here, not because I expect to change any hearts and minds, but more to get these thoughts out of my head and onto a page so I can finally read a book and/or watch reruns of Shark Tank in peace.

To start off, there are two categories of argument (that are among, if not the most widely used lines of argument) that I will try NOT to engage with:

1) Quotes from Ultimania or developer interviews - while they’re great for easter eggs and behind-the-scenes info, if a guidebook is required to understand key plot points, you have fundamentally failed as a storyteller. Now the question of which character wants to bone whom is often something that can be relegated to a guidebook, but in the case of FF7, you would be watching two very different stories play out depending on who Cloud ends up with.

Of course, the Ultimanias do spell this out clearly, but luckily for us, SE are competent enough storytellers that we can find the answer by looking at the text alone.

2) Arguments about character actions/motivations — specifically, I’m talking about stuff like “Cloud made this face in this scene, which means be must be [insert whatever here].”

Especially when it comes to the LTD, these tend to focus on individual actions, decontextualizing them from their role in the narrative as a whole. LTDers often try to put themselves in the character’s shoes to suss out what they may be thinking and feeling in those moments. These arguments will be colored by personal experiences, which will inevitably vary.

Let’s take for example Cloud’s behavior in Advent Children. One may argue that it makes total sense given that he’s dying and fears failing the ones he loves. Another may argue that there’s no way that he would run unless he was deeply unhappy and pining after a lost love. Well, you’ll probably just be talking over each other until the cows come home. Such is the problem with trying to play armchair therapist with a fictional character. It’s not like we can ask Cloud himself why he did what he did (and even if we could, he’s not the exactly the most reliable narrator in the world). Instead, in trying to understand his motivations, we are left with no choice but to draw comparisons with our own personal experiences, those of our friends, or other works of media we’ve consumed. Any interpretation would be inherently subjective and honestly, a futile subject for debate.

There’s nothing wrong with drawing personal connections with fictional characters of course. That is the purpose of art after all. They are vessels of empathy. But when we’re talking about what is canon, it doesn’t matter what we take away. What matters is the creators’ intent.

Cloud, Tifa and Aerith are not your friends Bob, Alice and Maude. They are characters created by Square Enix. Real people can behave in a variety of different ways if they found themselves in the situations faced by our dear trio; however, FF7 characters are not sentient creatures. Everything they do or say is dictated by the developers to serve the story they are trying to tell.

So what do we have left then? Am I asking you, dear reader, to just trust me, anonymous stranger on the Internet, when I tell you #clotiiscanon. Well, in a sense, yes, but more seriously, I’m going to try to suss out what the creator’s intent is based on what is, and more importantly, what isn’t, on screen.

Instead of putting ourselves in the shoes of the characters, let’s try putting ourselves in the shoes of the creators. So the question would then be, if the intent is X, then what purpose does character Y or scene Z serve?

The story of FF7 isn’t the immutable word of God etched in a stone tablet. For every scene that made it into the final game, there are dozens of alternatives that were tossed aside. Let us also not forget the crude economics of popular storytelling. Spending resources on one particular aspect of the game may mean something entirely unrelated will have to be cut for time. Thus, the absence of a particular character/scenario is an alternative in itself. So with all these options at their disposal, why is the scene we see before us the one that made it into the final cut? — Before we dive in, I also want to define two broad categories of narrative: messy and clean.

Messy narratives are ones I would define as stories that try to illuminate something about the human condition, but may not leave the audience feeling very good by the end of it. The protagonists, while not always anti-heroes, don’t always exhibit the kind of growth we’d like, don’t always learn their lessons, probably aren’t the best role models. The endings are often ambivalent, ambiguous, and leaves room for the audience to take away from it what they will. This is the category I would put art films and prestige cable dramas.

Clean narratives are where I would categorize most popular forms of entertainment. Not that these characters necessarily lack nuance, but whatever flaws are portrayed are something to be overcome by the end of story. The protagonists are characters you’re supposed to want to root for

Final Fantasy as a series would fall under the ‘clean’ category. Sure, many of the protagonists start out as jerks, but they grow through these flaws and become true heroes by the end of their journey. Hell, a lot of the time even the villains are redeemed. They want you to like the characters you’re spending a 40+ hr journey with. Their depictions can still be realistic, but they will become the most idealized versions of themselves by the end of their journeys.

This is important to establish, because we can then assume that it is not SE’s intent to make any of their main characters come off pathetic losers or unrepentant assholes. Now whether or not they succeed in that endeavor is another question entirely.

FF7 OG or The dumbest thought experiment in the world

With that one thousand word preamble out of the way, let’s finally take a look at the text. In lieu of going through the OG’s story beat by beat, let’s try this thought experiment:

Imagine it’s 1996, and you’re a development executive at what was then Squaresoft. The plucky, young development team has the first draft of what will become the game we know as Final Fantasy VII. Like the preceding entries in the series, it’s a world-spanning action adventure RPG, with a key subplot being the epic tragic romance between its hero and heroine, Cloud and Aerith.

They ask you for your notes.

(For the sake of your sanity and mine, let’s limit our hypothetical notes to the romantic subplot)

Disc 1 - everything seems to be on the right track. Nice meet-cute, lots of moments developing the relationship between our pair. Creating a love triangle with this Tifa character is an interesting choice, but she’s a comparatively minor character so she probably won’t be a real threat and will find her happiness elsewhere by the end of the game. You may note that they’re leaning a bit too much into Tifa and Cloud’s past. Especially the childhood promise flashback early in the game — cute scene, but a distraction from main story and main pairing — fodder for the chopping block. You may also bump on the fact that Aerith is initially attracted to Cloud because he reminds her of an ex, but this is supposed to be a more mature FF. That can be an obstacle they overcome as Aerith gets to know the real Cloud.

Aerith dies, but it is supposed to be a tragic romance after all. Death doesn’t have to be the end for this relationship, especially since Aerith is an Ancient after all.

It’s when Disc 2 starts that things go off the rails. First off, it feels like an awfully short time for Cloud to be grieving the love of his life, though it’s somewhat understandable. This story is not just a romance. There are other concerns after all, Cloud’s identity crisis for one. Though said identity crisis involves spending a lot of time developing his relationship with another woman. It’s one thing for Cloud and Tifa to be from the same hometown, but does she really need to play such an outsized role in his internal conflict? This might give the player the wrong impression.

You get to the Northern Crater, and it just feels all wrong. Cloud is more or less fine after the love of his life is murdered in front of his eyes but has a complete mental breakdown to the point that he’s temporarily removed as a playable character because Tifa loses faith in him??? Shouldn’t it be the other way around?

Oh, but it only gets worse from here. With Cloud gone, the POV switches to Tifa and her feelings for him and her desire to find him. The opening of the game is also recontextualized when you learn the only reason that Cloud was part of the first Reactor mission that starts the game is because Tifa found him and wanted to keep an eye on him.

Then you get to Mideel and the alarm bells are going off. Tifa drops everything, removing her from the party as well, to take care of Cloud while he’s a catatonic vegetable? Not good. Very not good. This level of selfless devotion is going to make Cloud look like a total asshole when he rejects her in favor of Aerith. Speaking of Aerith, she uh…hasn’t been mentioned for some time. In fact, her relationship with Cloud has remained completely static after Disc 1, practically nonexistent, while his with Tifa has been building and building. Developing a rival relationship that then needs to be dismantled rather than developing the endgame relationship doesn’t feel like a particularly valuable use of time and resources.

By the time you get to the Lifestream scene, you’re about ready to toss the script out of the window. Here’s the emotional climax of the entire game, where Cloud’s internal conflict is finally resolved, and it almost entirely revolves around Tifa? Rather than revisiting the many moments of mental anguish we experienced during the game itself — featuring other characters, including let’s say, Aerith — it’s about a hereto unknown past that only Tifa has access to? Not only that, but we learn that the reason Cloud wanted to join SOLDIER was to impress Tifa, and the reason he adopted his false persona was because he was so ashamed that he couldn’t live up to the person he thought Tifa wanted him to be? Here, we finally get a look into the inner life of one half of our epic couple and…it entirely revolves around another woman??

Cloud is finally his real self, and hey, it looks like he finally remembers Aerith, that’s at least a step in the right direction. Though still not great. With his emotional arc already resolved, any further romantic developments is going to feel extraneous and anticlimactic. It just doesn’t feel like there’s enough time to establish that:

Cloud’s romantic feelings for Tifa (which were strong enough to launch his hero’s journey) have transformed into something entirely platonic in the past few days/weeks

Cloud’s feelings for Aerith that he developed while he was pretending to be someone else (and not just any someone, but Aerith’s ex of all people) are real.

This isn’t a romantic melodrama after all. There’s still a villain to kill and a world to save.

Cloud does speak of Aerith wistfully, and even quite personally at times, yet every time he talks about her, he’s surrounded by the other party members. A scene or two where he can grapple with his feelings for her on his own would help. Her ghost appearing in the Sector 5 Church feels like a great opportunity for this to happen, but he doesn’t interact with it at all. What gives? Missed opportunity after missed opportunity.

The night before the final battle, Cloud asks the entire party to find what they’re fighting for. This feels like a great (and perhaps the last) opportunity to establish that for Cloud, it’s in Aerith’s memory and out of his love for her. He could spend those hours alone in any number of locations associated with her — the Church, the Temple of the Ancients, the Forgotten City.

Instead — none of those happens. Instead, once again, it’s Cloud and Tifa in another scene where they’re the only two characters in the scene. You’re really going to have Cloud spend what could very well be the last night of his life with another woman? With a fade to black that strongly implies they slept together? In one fell swoop, you’re portraying Cloud as a guy who not only betrays the memory of his lost love, but is also incredibly callous towards the feelings of another woman by taking advantage of her vulnerability. Why are we rooting for him to succeed again?

Cloud and the gang finally defeat Sephiroth, and Aerith guides him back into the real world. Is he finally explicitly stating that he’s searching for her (though they’ve really waited until the last minute to do so), but again, why is Tifa in this scene? Shouldn’t it just be Cloud and Aerith alone? Why have Tifa be there at all? Why have her and her alone of all the party members be the one waiting for Cloud? Do you need to have Tifa there to be rejected while Cloud professes his unending love for Aerith? It just feels needlessly cruel and distracts from what should be the sole focus of the scene, the love between Cloud and Aerith.

What a mess.

You finish reading, and since it is probably too late in the development process to just fire everyone, you offer a few suggestions that will clarify the intended romance while the retaining the other plot points/general themes of the game.

Here they are, ordered by scale of change, from minor to drastic:

Option 1 would be to keep most of the story in tact, but rearrange the sequence of events so that the Lifestream sequence happens before Aerith’s death. That way, Cloud is his true self and fully aware of his feelings for both women before Aerith’s death. That way, his past with Tifa isn’t some ticking bomb waiting to go off in the second half of the game. That development will cease at the Lifestream scene. Cloud will realize the affection he held for her as a child is no longer the case. He is grateful for the past they shared, but his future is with Aerith. He makes a clear choice before that future is taken away from him with her death. The rest of the game will go on more or less the same (with the Highwind scene being eliminated, of course) making it clear, that avenging the death of his beloved is one of, if not the, primary motivation for him wanting to defeat Sephiroth.

The problem with this “fix” is that a big part of the reason that Aerith gets killed is because of Cloud’s identity crisis. If said crisis is resolved, the impact of her death will be diminished, because it would feel arbitrary rather than something that stems from the consequences of Cloud’s actions. More of the story will need to be reconceived so that this moment holds the same emotional weight.

Another problem is why the Lifestream scene needs to exist at all. Why spend all that time developing the backstory for a relationship that will be moot by the end of the game? It makes Tifa feel like less of a character and more of a plot device, who becomes irrelevant after she services the protagonist’s character development and then has none of her own. That’s no way to treat one of the main characters of your game.

Option 2 would be to re-imagine Tifa’s character entirely. You can keep some of her history with Cloud in tact, but expand her backstory so she is able to have a satisfactory character arc outside of her relationship with Cloud. You could explore the five years in her life since the Nibelheim incident. Maybe she wasn’t in Midgar the whole time. Maybe, like Barret, she has her own Corel, and maybe reconciling with her past there is the climax of her emotional arc as opposed to her past with Cloud. For Cloud too, her importance needs to be diminished. She can be one of the people who help him find his true self in the Lifestream, but not the only person. There’s no reason the other people he’s met on his journey can’t be there. Thus their relationship remains somewhat important, but their journeys are not so entwined that it distracts from Cloud and Aerith’s romance.

Option 3 would be to really lean into the doomed romance element of Cloud and Aerith’s relationship. Have her death be the cause of his mental breakdown, and have Aerith be the one in the Lifestream who is able to put his mind back together and bring him back to the realm of consciousness. After he emerges, he has the dual goal of defeating Sephiroth and trying to reunite with Aerith. In the end, in order to do the former, he has to relinquish the latter. He makes selfless choice. He makes the choice that resonates the overall theme of the game. It’s a bittersweet but satisfying ending. Cloud chooses to honor her memory and her purpose over the chance to physically bring her back. In this version of the game, the love triangle serves no purpose. There’s no role for Tifa at all.

Okay, we can be done with this strained counterfactual. What I’ve hopefully illustrated is that while developers had countless opportunities to solidify Cloud/Aerith as the canon couple in Discs 2 and 3 of the game, they instead chose a different route each and every time. What should also be clear is that the biggest obstacle standing in their way is not Aerith’s death, but the fact that Tifa exists.

At least in the form she takes in the final game, as a playable character and at the very least, the 3rd most important character in game’s story. She is not just another recurring NPC or an antagonist. Her love for Cloud is not going to be treated like a mere trifle or obstacle. If Cloud/Aerith was supposed to be the endgame ship, there would be no need for a love triangle and no need to include Tifa in the game at all. Death is a big enough obstacle, developing Cloud’s relationship with Tifa would only distract from and diminish his romance with Aerith.

I think this is something the dead enders understand intuitively, even more so than many Cloti shippers. Which is why some of them try to dismiss Tifa’s importance in the story so that she becomes a minor supporting character at best, or denigrate her character to the point that she becomes an actual villain. The Seifer to a Squall, the Seymour to a Tidus, hell even a Quistis to a Rinoa, they know how to deal with, but a Tifa Lockhart? As she is actually depicted in Final Fantasy VII? They have no playbook for that, and thus they desperately try to squeeze her into one of these other roles.

Let’s try another thought experiment, and see what would to other FF romances if we inserted a Tifa Lockhart-esque character in the middle of them.

FFXV is a perfect example because it features the sort of tragic love beyond death romance that certain shippers want Cloud and Aerith to be. Now, did I think FFXV was a good game? No. Did I think Noctis/Luna was a particularly well-developed romance? Also no. Did I have any question in my mind whatsoever that they were the canon relationship? Absolutely not.

Is this because they kiss at the end? Well sure, that helps, but also it’s because the game doesn’t spend the chapters after Luna’s death developing Noctis’ relationship with another woman. If Noctis/Luna had the same sort of development as Cloud/Aerith, then after Luna dies, Iris would suddenly pop in and play a much more prominent role. The game would flashback to her past and her relationship with Noctis. And it would be through his relationship with Iris that Noctis understands his duty to become king or a crystal or whatever the fuck that game was about. Iris is by Noctis’ side through the final battle, and when he ascends the throne in that dreamworld or whatever. There, Luna finally shows up again. Iris is still in the frame when Noctis tells her something like ‘Oh sorry, girl, I’ve been in love with Luna all along,” before he kisses Luna and the game ends.

(a very real scene from a very good game)

Come on. It would be utterly ludicrous and an utter disservice to every character involved, yet that is essentially the argument Cloud/Aerith shippers are making. SE may have made some pretty questionable storytelling decisions in the past, but they aren’t that bad at this.

Or in FFVIII, it would be like reordering the sequence of events so that Squall remembers that he grew up in an orphanage with all the other kids after Rinoa falls into a coma. And while Rinoa is out of commission, instead of Quistis gracefully bowing out after realizing she had mistaken her feelings of sisterly affection for love, it becomes Quistis’ childhood relationship with Squall that allows him to remember his past and re-contextualizes the game we’ve played thus far, so that the player realizes that it was actually Quistis who was his motivation all along. Then after this brief emotional detour, his romance with Rinoa would continue as usual. Absolutely absurd.

The Final Fantasy games certainly have their fair share of plot holes, but they’ve never whiffed on a romance this badly.

A somewhat more serious character analysis of the OG

What then is Tifa’s actual role in the story of FFVII? Her character is intricately connected to Cloud’s. In fact, they practically have the same arc, though Tifa’s is rather understated compared to his. She doesn’t adopt a false persona after all. For both of them, the flaw that they must learn to overcome over the course of the game is their fear of confronting the truth of their past. Or to put it more crudely, if they’re not lying, they’re at the very least omitting the truth. Cloud does so to protect himself from his fear of being exposed as a failure. Tifa does so at the expense of herself, because she fears the truth will do more harm than good. They’re two sides of the same coin. Nonetheless, their lying has serious ramifications.

The past they’re both afraid to confront is of course the Nibelheim Incident from five years ago. Thus, the key points in their emotional journeys coincide with the three conflicting Nibelheim flashbacks depicted in the game: Cloud’s false memory in Kalm, Sephiroth’s false vision in the Northern Crater, and the truth in the Lifestream.

Before they enter the Lifestream, both Cloud and Tifa are at the lowest of their lows. Cloud has had a complete mental breakdown and is functionally a vegetable. Tifa has given up everything to take care of Cloud as she feels responsible for his condition. If he doesn’t recover, she may never find peace.

With nothing left to lose, they both try to face the past head on. For Cloud, it’s a bit harder. At the heart of all this confusion, is of course, the Nibelheim Incident. How does Cloud know all these things he shouldn’t if Tifa doesn’t remember seeing him there? The emotional climax for both Cloud and Tifa, and arguably the game as a whole, is the moment the Shinra grunt removes his helmet to reveal that Cloud was there all along.

Tifa is the only character who can play this role for Cloud. It’s not like she a found a videotape in the Lifestream labeled ‘Nibelheim Incident - REAL’ and voila, Cloud is fixed. No, she is the only one who can help him because she is the only person who lived through that moment. No one else could make Cloud believe it. You could have Aerith or anyone else trying to tell him what actually happened, but why would he believe it anymore than the story Sephiroth told him at the Northern Crater?

With Tifa, it’s different. Not only was she physically there, but she’s putting as much at risk in what the truth may reveal. She’s not just a plot device to facilitate Cloud’s character development. The Lifestream sequence is as much the culmination of her own character arc. If it goes the wrong way, “Cloud” may find out that he’s just a fake after all, and Tifa may learn that boy she thought she’d been on this journey with had died years ago. That there’s no one left from her past, that it was all in her head, that she’s all alone. Avoiding this truth is a comfort, but in this moment, they’re both putting themselves on the line. Being completely vulnerable in front of the person they’re most terrified of being vulnerable with.

The developers have structured Cloud and Tifa’s character arcs so that the crux is a moment where the other is literally the only person who could provide the answer they need. Without each other, as far as the story is concerned, Cloud and Tifa would remain incomplete.

Aerith’s character arc is a different beast entirely. She is the closest we have to the traditional Campbellian Hero. She is the Chosen One, the literal last of her kind, who has been resisting the call to adventure until she can no longer. The touchstones of her character arc are the moments she learns more about her Cetra past and comes to terms with her role in protecting the planet - namely Cosmo Canyon, the Temple of the Ancients and the Forgotten City.

How do hers and Cloud’s arcs intersect? When it comes to the Nibelheim incident, she is a merely a spectator (at least during the Kalm flashback, as for the other two, she is uh…deceased). Cloud attacking her at the Temple of the Ancients, which results in her running to the Forgotten City alone and getting killed by Sephiroth, certainly exacerbates his mental deterioration, but it is by no means a turning point in his arc the way the Northern Crater is.

As for Cloud’s role in Aerith’s arc, their meeting is quite important in that it sets forth the series of events that leads her to getting captured by Shinra and thus meeting “Sephiroth” and wanting to learn more about the Cetra. It’s the inciting incident if we’re going to be really pedantic about it, yet Aerith’s actual character development is not dependent on her relationship with Cloud. It is about her communion with her Cetra Ancestry and the planet.

To put it in other terms, all else being the same, Aerith could still have a satisfying character arc had Cloud not crashed down into her Church. Sure, the game would look pretty different, but there are other ways for her to transform from a flirty, at times frivolous girl to an almost Christ-like figure who accepts the burden of protecting the planet.

Such is not the case for Cloud and Tifa. Their character arcs are built around their shared past and their relationship with one another. Without Tifa, you would have to rewrite Cloud’s character entirely. What was his motivation for joining SOLDIER? How did he get on that AVALANCHE mission in the first place? Who can possibly know him well enough to put his mind back together after it falls apart? If the answer to all these questions is the same person, then congratulations, you’ve just reverse engineered Tifa Lockhart.

Tifa fares a little better. Without Cloud, she would be a sad, sweet character who never gets the opportunity to reconcile with the trauma of her past. Superficially, a lot would be the same, but she would ultimately be quite static and all the less interesting for it.

Let’s also take a brief gander at Tifa’s role after the Lifestream sequence. At this point in the game, both Tifa and Cloud’s emotional arcs are essentially complete. They are now the most idealized versions of themselves, characters the players are meant to admire and aspire to. However they are depicted going forward, it would not be the creator’s intent for their actions to be perceived in a negative light.

A few key moments standout, ones that would not be included if the game was intended to end with any other romantic pairing or with Cloud’s romantic interest left ambiguous:

The Highwind scene, which I’ve gone over above. It doesn’t matter if you get the Low Affection or High Affection version. It would not reflect well on either Cloud or Tifa if he chose to spend what could be his last night alive with a woman whose feelings he did not reciprocate.

Before the final battle with Sephiroth, the party members scream out the reasons they’re fighting. Barret specifically calls out AVALANCHE, Marlene and Dyne, Red XIII specifically calls out his Grandpa, and Tifa specifically calls out Cloud. You are not going to make one of Tifa’s last moments in the game be her pining after a guy who has no interest in her. Not when you could easily have her mention something like her past, her hometown or hell even AVALANCHE and Marlene like Barret. If Tifa’s feelings for Cloud are meant to be unrequited, then it would be a character flaw that would be dealt with long before the final battle (see: Quistis in FF8 or Eowyn in the Lord of the Rings). They would not still be on display at moment like this.

Tifa being the only one there when Cloud jumps into the Lifestream to fight Sephiroth for the last time, and Tifa being the only one there when he emerges. She is very much playing the traditional partner/spouse role here, when you could easily have the entire party present or no one there at all. There is clearly something special about her relationship with Cloud that sets her apart from the other party members.

Once again, let’s look at the “I think I can meet her there moment.” And let’s put side the translation (the Japanese is certainly more ambiguous, and it’s not like the game had any trouble having Cloud call Aerith by her name before this). If Cloud was really expressing his desire to reunite with Aerith, and thus his rejection of Tifa, then the penultimate scene of this game is one that involves the complete utter and humiliation of one of its main characters since Tifa’s reply would indicate she’s inviting herself to a romantic reunion she has no part in. Not only that, but to anyone who is not Cl*rith shipper, the protagonist of the game is going to come off as a callous asshole. That cannot possibly be the creator’s intention. They are competent enough to depict an act of love without drawing attention to the party hurt by that love.

What then could possibly be the meaning? Could it possibly be Cloud trying to comfort Tifa by trying to find a silver lining in what appears to be their impending death? That this means they may get to see their departed loved ones again, including their mutual friend, Aerith? (I will note that Tifa talks about Aerith as much, if not even more than Cloud, after her death). Seems pretty reasonable to me, this being an interpretation of the scene that aligns with the overall themes of the game, and casts every character in positive light during this bittersweet moment.

Luckily enough, we have an entire fucking Compilation to find out which is right.

But before we get there, I’m sure some of you (lol @ me thinking anyone is still reading this) are asking, if Cloti is canon, then why is there a love triangle at all? Why even hint at the possibility of a romance between Cloud and Aerith? Wouldn’t that also be a waste of time and resources if they weren’t meant to be canon?

Well, there are two very important reasons that have nothing to do with romance and everything to do with two of the game’s biggest twists:

Aerith initially being attracted to Cloud’s similarities to Zack/commenting on the uncanniness of said similarities is an organic way to introduce the man Cloud’s pretending to be. Without it, the reveal in the Lifestream would fall a bit flat. The man he’s been emulating all along would just be some sort of generic hero rather than a person whose history and deeds already encountered during the course of the game. Notably for this to work, the game only has to establish Aerith’s attraction to Cloud.

To build the player’s attachment to Aerith before her death/obscure the fact that she’s going to die. With the technological limitations of the day, the only way to get the player to interact with Aerith is through the player character (AKA Cloud), and adding an element of choice (AKA the Gold Saucer Date mechanic) makes the player even more invested. This then elevates Aerith’s relationship with Cloud over hers with any other character. At the same time, because her time in the game is limited, Cloud ends up interacting with Aerith more than any of the other characters, at least in Disc 1. The choice to make many of these interactions flirty/romantic also toys with player expectations. One does not expect the hero’s love interest to die halfway through the game. The game itself also spends a bit of time teasing the romance, albeit, largely in superficial ways like other characters commenting on their relationship or Cait Sith reading their love fortune at the Temple of the Ancients. Yet, despite the quantity of their personal interactions, Cloud and Aerith never display any moments of deep love or devotion that one associates with a Final Fantasy romance. They never have the time. What the game establishes then is the potential of a romance rather than the romance itself. Aerith’s death hurts because of all that lost potential. There so many things she wanted to do, so many places she wanted to see that will never happen because her life is cut short. Part of what is lost, of course, is the potential of her romance with Cloud.

This creative choice is a lot more controversial since it elevates subverting audience expectations over character, and understandably leads to some player confusion. What’s the point of all this set up if there’s not going to be a pay off? Well, that is kind of the point. Death is frustrating because of all the unknowns and what-ifs. But, I suppose some people just can’t accept that fact in a game like this.

One last note on the OG before we move on: Even though this from an Ultimania, since we’re talking about story development and creator intent, I thought it was relevant to include: the fact that Aerith was the sole heroine in early drafts of the game is not the LTD trump card so people think it is. Stories undergo radical changes through the development process. More often than not, there are too many characters, and characters are often combined or removed if their presence feels redundant or confusing.

In this case, the opposite happened. Tifa was added later in the development process as a second heroine. Let’s say that Aerith was the Last Ancient and the protagonist’s sole love interest in this early draft of Final Fantasy VII. In the game that was actually released, that role was split between two characters (and last I checked, Tifa is not the last of a dying race), and Aerith dies halfway through the game, so what does that suggest about how Aerith’s role may have changed in the final product? Again, if Aerith was intended to be Cloud’s love interest, Tifa simply would not exist.

A begrudging analysis of our favorite straight-to-DVD sequel

Let’s move onto the Compilation. And in doing so, completely forget about the word vomit that’s been written above. While it’s quite clear to me now that there’s no way in hell the developers would have intended the last scene in the game to be both a confirmation of Cloud’s love for Aerith and his rejection of Tifa, in my younger and more vulnerable years, I wasn’t so sure. In fact, this was the prevailing interpretation back in the pre-Compilation Dark Ages. Probably because of a dubious English translation of the game and a couple of ambiguous cameos in Final Fantasy Tactics and Kingdom Hearts were all we  had to go on.

How then did the official sequel to Final Fantasy VII change those priors?

Two years after the events of the game, Cloud is living as a family with Tifa and two kids rather than scouring the planet for a way to be reunited with Aerith. Shouldn’t the debate be well and over with that? Obviously not, and it’s not just because people were being obstinate. Part of the confusion stems from Advent Children itself, but I would argue that did not come from an intent to play coy/keep Cloud’s romantic desires ambiguous, but rather a failure of execution of his character arc.

Now I wasn’t the biggest fan of the film when I first watched a bootlegged copy I downloaded off LimeWire in 2005, and I like it even less now, but I better understand its failures, given its unique position as a sequel to a beloved game and the cornerstone of launching the Compilation.

The original game didn’t have such constraints on its storytelling. Outside of including a few elements that make it recognizable as a Final Fantasy (Moogles, Chocobos, Summons, etc.) and being a good enough game to be a financial success, the developers pretty much had free rein in terms of what story they wanted to tell, what characters they would use to tell it, and how long it took for them to tell said story.

With Advent Children, telling a good story was not the sole or even primary goal. Instead, it had to:

Do some fanservice: The core audience is going to be the OG fanbase, who would be expecting to see modern, high-def depictions of all the memorable and beloved characters from the game, no matter if the natural end point of their stories is long over.

Set up the rest of the Compilation - Advent Children is the draw with the big stars, but also a way to showcase the lesser known characters from from the Compilation who are going to be leading their own spinoffs.  It’s part feature film/part advertisement for the rest of the Compilation. Thus, the Turks, Vincent and Zack get larger roles in the film than one might expect to attract interest to the spinoffs they lead.

Show off its technical prowess: SE probably has enough self awareness to realize that what’s going to set it apart from other animated feature films is not its novel storytelling, but its graphical capabilities. Thus, to really show off those graphics, the film is going to be packed to the brim with big, complicated action scenes with lots of moving parts, as opposed to quieter character driven moments.

These considerations are not unique to Advent Children, but important to note nonetheless:

As a sequel, the stakes have to be just as high if not higher than those in the original work. Since the threat in the OG was the literal end of the world, in Advent Children, the world’s gotta end again

The OG was around 30-40 hours long. An average feature-length film is roughly two hours. Video games and films are two very different mediums. As many TV writers who have tried to make the transition to film (and vice-versa) can tell you, success in one medium does not translate to success in another. 

With so much to do in so little time, is it any wonder then that it is again Sephiroth who is the villain trying to destroy the world and Aerith in the Lifestream the deus ex machina who saves the day?

All of this is just a long-winded way to say, certain choices in the Advent Children that may seem to exist only to perpetuate the LTD were made with many other storytelling considerations in mind.

When trying to understand the intended character arcs and relationship dynamics, you cannot treat the film as a collection of scenes devoid of context. You can’t just say - “well here’s a scene where Cloud seems to miss Aerith, and here’s another scene where Cloud and Tifa fight. Obviously, Cloud loves Aerith.” You have to look at what purpose these scenes serve in the grander narrative.

And what is this grander narrative? To put it in simplistic terms, Aerith is the obstacle, and Tifa is goal. Cloud must get over his guilt over Aerith’s death so that he can return to living with Tifa and the children in peace.

The scenes following the prologue are setting up the emotional stakes of film - the problem that will be resolved by the film’s end. The problem being depicted here is not Aerith’s absence from Cloud’s life, but Cloud’s absence from his family. We see Tifa walking through Seventh Heaven saying “he’s not here anymore,” we see Denzel in his sickbed asking for Cloud, we see a framed photo of the four of them on Cloud’s desk. We see Cloud letting Tifa’s call go to voicemail.

What we do not see is Aerith, who does not appear until almost halfway through the film.

Cloud spends the first of the film avoiding confrontation with the Remnants/dealing with the return of Sephiroth. It’s only when Tifa is injured, and Denzel and Marlene get kidnapped that he goes to face his problems head on.

Before the final battle, when Cloud has exorcised his emotional demons and is about to face his physical demons, what do we see? We see Cloud telling Marlene that it’s his turn to take care of her, Denzel and Tifa the way they’ve taken care of him. We see Cloud telling Tifa that he ‘feels lighter’ and tacitly confirming that she was correct when she called him out earlier in the film. We see Cloud confirming to Denzel that he’s going home after this is all over.

What we do not see is Cloud telepathically communicating with Aerith to say, “Hey boo, can’t wait to beat Sephiroth so I can finally reunite with you in the Promised Land. Xoxoxo.” Aerith doesn’t factor in at all. Returning to his family is his goal, and his fight with Bahamut/the Remnants/Sephiroth/whatever the fuck is the final obstacle he has to face before reaching this goal.

This is reiterated again when Cloud is shot by Yazoo and seemingly perishes in an explosion. What is at stake with his “death”? We see Tifa calling his name while looking out the airship. We see Denzel and Marlene waiting for him at Seventh Heaven. We do not see Aerith watching over him in the Lifestream.

Now, Aerith does play an important role in Cloud’s arc when she shows up at about the midpoint of the film. You could fairly argue that it’s the turning point in Cloud’s emotional journey, the moment when he finally decides to confront his problems. But even if it’s only Cloud and Aerith in the scene, it’s not really about their relationship at all.

Let’s consider the context before this scene happens. Denzel and Marlene have been kidnapped by the Remnants; Tifa was nearly killed in a fight with another. This is Cloud at his lowest point. It’s his worst fears come to pass. His guilt over Aerith’s death is directly addressed at this moment in the film because it is not so much about his feelings for Aerith as it is about how Cloud fears the failures of his past (one of the biggest being her death) would continue into the present. If it was just about Aerith, we could have seen Cloud asking for her forgiveness at any other time in the film. It occurs when it does because this when his guilt over Aerith’s death intersects with his actual conflict, his fear that he’ll fail the the ones he loves. She appears when he’s at the Forgotten City where he goes to save the children. The same location where he had failed two year before.

This connection is made explicit when Cloud has flashes of Zack and Aerith’s deaths before he saves Denzel and Tifa from Bahamut. Again, Cloud’s dwelling on the past is directly related to his fears of being unable to protect his present.

Aerith is a feminine figure who is associated with flowers. That combined with the players’ memory of her and her relationship with Cloud in the OG, I can see how their scenes can be construed as romantic, but I really do not think that it is the creators’ intent to portray any romantic longing on Cloud’s part.

If they wanted to suggest that Cloud was still in love with Aerith or even leave his romantic interest ambiguous, there is no way in hell they would have had Cloud living with Tifa and two kids prior to the film’s events. To say nothing of opening the film by showing the pain his absence brings.

A romantic reading of Cloud’s guilt over Aerith’s death would suggest that he entered into a relationship with Tifa and started raising two children with her while still holding a torch for Aerith and hoping for a way to be reunited with her. The implication would be that Tifa is his second choice, and he is settling. Now, is this a dynamic that occurs in real life? Absolutely. Is this something that is often depicted in some films and television? Sure - in fact this very premise is at the core of one my favorite films of the last decade - 45 Years — and spoiler alert — the guy does not come off well in this situation. But once again, Cloud is not a real person, and Final Fantasy VII: Advent Children is not a John Cassavettes film or an Ingmar Bergman chamber drama. It is a 2-hour long straight to DVD sequel for a video game made for teens. This kind of messy, if realistic, relationship dynamic is not what this particular work is trying to explore.

(one of these is a good film!)

By the end of Advent Children, Cloud is once again the idealized version of himself. A hero that the audience is supposed to like and admire. We are supposed to think that his actions in the first half of the movie (wallowing in his guilt and abandoning his family) were bad. These are the flaws that he must overcome through the course of the film, and by the end he does. If he really had been settling and treating his Seventh Heaven family as a second choice prior to the events of the film, that too would obviously be a character flaw that needs to be addressed before the end of the film. It isn’t because this is a dynamic that only exists in certain people’s imaginations.

If the creators wanted to leave the Cloud & Aerith relationship open to a romantic interpretation, they didn’t have to write themselves into such a corner. They wouldn’t have to change the final film much at all, merely adjust the chronology a bit. Instead of Cloud already living as a family with Tifa, Marlene and Denzel prior to the beginning of the film, you would show them on the precipice of becoming a family, but with Cloud being unable to take the final step without getting over his feelings for Aerith first. This would leave space for him to love both women without coming off as an opportunistic jerk.

This is essentially the dynamic with Locke/Rachel/Celes in FFVI. Locke is unable to move on with Celes or anyone else until he finally finds closure with Rachel. It’s a lovely scene that does not diminish his relationships with either woman. He loved Rachel. He will love Celes. What the game does not have him do is enter into a relationship into Celes first and then when the party arrives at the Phoenix Cave, have him suddenly remember ‘Oh shit, I’ve gotta deal with my baggage with Rachel before I can really move on.’ That would not paint him in a particularly positive light.

Speaking of other Final Fantasies, let’s take a look another sequel in the series set two years after the events of the original work, one that is clearly the story of its protagonist searching for their lost love. And guess what? Final Fantasy X-2 does not begin with Yuna shacked up and raising two kids with another dude. And it certainly doesn’t begin with his perspective of the whole situation when Yuna decides to search for Tidus.

Square Enix knows how to write these kind of stories when they want to, and it’s clearly not their intent for Cloud and Aerith. Again, the biggest obstacle in the way of a Cloud/Aerith endgame isn’t space and time or death, it’s the existence of Tifa Lockhart.

A reasonable question to ask would be, if SE is not trying to ignite debate over the love triangle, why make Cloud’s relationship with Aerith a part of Advent Children at all? Why invite that sort of confusion? Well, the answer here, like the answer in the OG, is that Aerith’s role in the sequel is much more than her relationship with Cloud.

In the OG, it wasn’t Cloud and the gang who managed to stop Sephiroth and Meteor in the end, it was Aerith from the Lifestream. In a two-hour long film, you do not have the time to set up a completely new villain who can believably end the world, and since you pretty much have to include Sephiroth, the main antagonist can really only be him. No one else in the party has been established to have any magical Cetra powers, and again, since that’s not something that can be effectively established in a two-hour long film, and since Aerith needs to appear somehow, it again needs to be her who will save the day.

Given the time constraints, this external conflict has to be connected with Cloud’s internal conflict. In the OG, Cloud’s emotional arc is in resolved in the Lifestream, and then we spend a few more hours hunting down the Huge Materia/remembering what Holy is before resolving the external conflict of stopping Meteor. In Advent Children, we do not have that luxury of time. These turning points have to be one and same. It is only after Aerith is “introduced” in the film when Cloud asks her for forgiveness that she is able to help in the fight against the Remnants. Thus the turning point for Cloud’s character arc and the external conflict are the same. It’s understandably economical storytelling, though I wouldn’t call it particularly good storytelling.

As much as Cloud feels guilt over both Zack and Aerith’s deaths, it’s only Aerith who can play this dual role in the film. Zack can appear to help resolve Cloud’s emotional arc, but since he has no special Cetra powers or anything, there’s little he can do to help in Cloud’s fight against the Remnants. More time would need to be spent contriving a reason why Cloud is able to defeat the Remnants now when he wasn’t before or explaining why Aerith can suddenly help from the Lifestream when she had been absent before. (I still don’t think the film does a particularly good job of explaining this part, but that is a conversation for another time).

Another reason why Zack could not play this role is because at the time of AC’s original release, all we knew of Cloud and Zack’s relationship was contained in an optional flashback at the Shinra mansion after Cloud returns from the Lifestream. If it was Zack who suddenly showed up at Cloud’s lowest point, most viewers, even many who played the original game, would probably have been confused, and the moment would have fallen flat. On the other hand, even the most casual fan would have been aware of Aerith and her connection to Cloud, with her death scene being among the most well-known gaming moments of all time. Moreover, Aerith’s death is directly connected to Sephiroth, who is once again the threat in AC, whereas Zack was killed by Shinra goons. Aerith serves multiple purposes in a way that Zack just cannot.

Despite all this, though Aerith is more important to the film as a whole, many efforts are made to suggest that Zack and Aerith are equally important to Cloud. One of the first scenes in the film is Cloud moping around Zack’s grave (And unlike the scene with Aerith in the Forgotten City, it isn’t directly connected with Cloud’s present storyline in any way). We have the aforementioned scene where Cloud has flashes of both Aerith’s and Zack’s deaths when he saves Tifa and Denzel. Cloud has a scene where he’s standing back to back with Zack, mirroring his scene with in the Forgotten City with Aerith, before the climax of his fight with Sephiroth. In the Lifestream, after Cloud “dies,” it’s both Aerith and Zack who are there to send him back. Before the film ends, Cloud sees both Aerith and Zack leaving the church.

Now, were all these Zack appearances a way to promote the upcoming spin-off game that he’s going to lead? Of course. But the creators surely would have known that having Zack play such a similar role in Cloud’s arc would make Cloud’s relationship with Aerith feel less special and thus complicating a romantic interpretation of said relationship. If they wanted to encourage a romantic reading of Cloud’s lingering feelings for Aerith, they would have given Zack his own distinct role in the film. Or rather, they wouldn’t have put Zack in the film at all, and they certainly wouldn’t have him lead his own game, but we’ll get to the Zack of it all later.

The funny thing is, in a way, Zack is portrayed as being more special to Cloud. Zack only exists in the film to interact with Cloud and encourage him. Meanwhile. Aerith also has brief interactions with Kadaj, the Geostigma children and even Tifa before the film’s end. Aerith is there to save the whole world. Zack is there just for Cloud. If it’s Cloud’s relationship with Aerith that’s meant to be romantic, shouldn’t it be the other way around?

Let’s take a look at Tifa Lockhart. What role did she have to play in the FF7 sequel film? If, like some, you believed FF7 to be the Cloud/Aerith/Sephiroth show, then Tifa could have easily had a Barret-sized cameo in Advent Children. And honestly, she’s just a great martial artist. She has no special powers that would make her indispensable in a fight against Sephiroth. You certainly would not expect her to be the 2nd billed character in the film. Though of course, if you actually played through the Original Game with your eyes open, you would realize that Tifa Lockhart is instrumental to any story about Cloud Strife.

Unlike Aerith’s appearances, almost none of the suggestive scenes and dynamics between Cloud and Tifa had to be included in the film. As in, they serve no other plot related purpose and could have easily been cut from the final film if the creators weren’t trying to encourage a romantic interpretation of their relationship.

It feels inevitable now, but no one was expecting Cloud and Tifa to be living together and raising two kids. In the general consciousness, FF7 is Cloud and Sephiroth and their big swords and Aerith’s death. At the time, in the eyes of most fans and casual observers, Cloud and Tifa being together wasn’t a necessary part of the FF7 equation the way say, an epic fight between Cloud and Sephiroth would be. In fact, I don’t think even the biggest Cloti fans at the time would have imagined Cloud and Tifa living together would be their canon outcome in the sequel film.

Now can two platonic friends live together and raise two children together? Absolutely, but again Cloud and Tifa are not real people. They are fictional characters. A reasonable person (let’s use the legal definition of the term) who does not have brainworms from arguing over one of the dumbest debates on the Internet for 23 years would probably assume that two characters who were shown to be attracted to each other in the OG and who are now living together and raising two kids are in a romantic relationship. This is a reasonable assumption to make, and if SE wanted to leave Cloud’s romantic inclinations ambiguous, they simply would not be depicting Cloud and Tifa’s relationship in this manner. Cloud’s disrupted peace could have been a number of different things. He could have been a wandering mercenary, he could have been searching for a way to be reunited with Aerith. It didn’t have to be the family he formed with Tifa, but, then again, if you were actually paying attention to the story the OG was trying to tell, of course he would be living with Tifa.

Let’s also look at the scene where Cloud finds Tifa in the church after her fight with Loz. All the plot related information (who attacked her, Marlene being taken) is conveyed in the brief conversation they have before Cloud falls unconscious from Geostigma. What purpose do all the lingering shots of Cloud and Tifa in the flower bed in a Yin-Yang/non-sexual 69ing position serve if not to be suggestive of the type of relationship they have? It’s beautifully rendered but ultimately irrelevant to both the external and internal conflicts of the film.

Likewise, there is no reason why Cloud and Tifa needed to wake up in their children’s bedroom. No reason to show Cloud waking up with Tifa next to him in a way that almost makes you think they were in the same bed. And there is absolutely no reason whatsoever for a close-up of Tifa’s hand with the Wolf Ring on her ring finger while she is admonishing Cloud during what sounds like a domestic argument (This ring again comes into focus when Tifa leads Denzel to Cloud at the church at the end - there are dozens of ways this scene could have been rendered, but this is the one that was chosen.) If it wasn’t SE’s intent to emphasize the family dynamic and the intimate nature of Cloud and Tifa’s relationship, these scenes would not exist.

Let’s also take a look at Denzel, the only new character in the AC (give or take the Remnants). Again, given the film’s brief runtime, the fact that they’re not only adding a new character but giving him more screen time than almost every other AVALANCHE member must mean that he’s pretty important. While Denzel does have an arc of his own, especially in ACC, he is intricately connected to Cloud and Tifa and solidifies the family unit that they’ve been forming in Edge. Marlene still has Barret, but with the addition of Denzel, the family becomes something more real albeit even more tenuous given his Geostigma diagnosis. Without Denzel in the picture, it’s a bit easier to interpret Cloud’s distance from Tifa as romantic pining for another woman, but now it just seems absurd. The stakes are so much higher. Cloud and Tifa are at a completely different stage in their lives from the versions of these characters we met early on in the OG who were entangled in a frivolous love triangle. And yet some people are still stuck trying to fit these characters into a childish dynamic that died at the end of disc one along with a certain someone.

All this is there in the film, at least the director’s cut, if you really squint. But since SE preferred to spend its time on countless action sequences that have aged as well as whole milk in lieu of spending a few minutes showing Cloud’s family life before he got Geostigma to establish the emotional stakes, or a beat or two more on his reconciliation with Tifa and the kids, people may be understandably confused about Cloud’s arc. Has Cloud just been a moping around in misery for the two years post-OG? The answer is no, though that can only really be found in the accompanying novellas, specifically Case of Tifa.

Concerning the novellas, which we apparently must read to understand said DVD sequel

I really don’t know how you can read through CoT and still think there is anything ambiguous about the nature of Cloud and Tifa’s relationship. The “Because I have you this time,” Cloud telling Tifa he’ll remind her how to be strong when they’re alone, Cloud confidently agreeing when Marlene adds him to their family. Not to mention Barret and Cid’s brief conversation about Cloud and Tifa’s relationship in Case of Barret, after which Cid comments that “women wear the pants,” which Barret then follows by asking Cid about Shera. Again, a reasonable person would assume the couple in question are in a romantic relationship, and if this wasn’t the intent, these lines would not be present. Especially not in a novella about someone else.

Some try to argue that CoT just shows how incompatible Cloud and Tifa are because it features a few low points in their relationship. I don’t think that’s Nojima’s intent. Even if it was, it certainly wouldn’t be to prove that Cloud loves Aerith. This isn’t how you tell that story. Why waste all that time disproving a negative rather than proving a positive? We didn’t spend hours in FF8 watching Rinoa’s relationship with Seifer fall apart to understand how much better off she is with Squall. If Cloud and Aerith is meant to be a love story, then tell their love story. Why tell the story of how Cloud is incompatible with someone else?

Part of the confusion may be because CoT doesn’t tell a complete story in and of itself. The first half of the story (before Cloud has to deliver flowers to the Forgotten City) acts as a sort of epilogue to the OG, while the second half of the story is something of a prologue to Advent Children (or honestly its missing Act One). And to state the obvious, conflict is inherent to any story worth telling. It can’t just be all fluff, that’s what the fanfiction is for.

Tifa’s conflict is her fear that the fragile little family they’ve built in Edge is going to fall apart. Thus we see her fret about Cloud’s distance, the way this affects Marlene, and Denzel’s sickness. There are certainly some low moments here --- Tifa telling Cloud to drink in his room, asking if he loves her -- all ways for the threat to seem more real, the outcome more uncertain, yet there’s only one way this conflict can be resolved. One direction to which their relationship can move.

Again, by the end of this story, both characters are supposed to be the best versions of themselves, to find their “happy” endings so to speak. Tifa could certainly find happiness outside of a relationship with Cloud. She could decide that they’ve given it a shot, but they’re better off as friends. She’s grateful for this experience and she’s learned from this, but now she’s ready to make a life for herself on her own. It would be a fine character arc, though not something the Final Fantasy series has been wont to do. However, that’s obviously not the case here as there’s no indication whatsoever that Tifa considers this as an option for herself. Nojima hasn’t written this off ramp into her journey. For Tifa, they’ll either become a real family or they won’t. Since this is a story that is going to have a happy ending, so of course they will, even if there are a lot of bumps along the way.

Unfortunately, with the Compilation being the unwieldy beast that this is, this whole arc has to be pieced together across a number of different works:

Tifa asking herself if they’re a real family in CoT

Her greatest fear seemingly come to life when Cloud leaves at the end of CoT/beginning of AC

Tifa explicitly asking Cloud if the reason they can’t help each other is because they’re not a real family during their argument in AC. Notably, even though Cloud is at his lowest point, he doesn’t confirm her fear. Instead he says he that he can’t help anyone, not even his family. Instead, he indirectly confirms that yes he does think they’re a family, even if is a frustrating moment still in that he’s too scared to try to save it.

The ending of AC where we see a new photo of Cloud smiling surrounded by Tifa and the kids and the rest of the AVALANCHE, next to the earlier photo we had seen of the four of them where he was wearing a more dour expression.

The ending of The Kids Are All Right, where Cloud, Tifa, Denzel and Marlene meet with Evan, Kyrie and Vits - and Cloud offers, unsolicited, that even if they’re not related by blood, they’re a family.

The ending of DVD extra ‘Reminiscence of FFVII’ where Cloud takes the day off and asks Tifa to close the bar so they can spend time together as a family as Tifa had wanted to do early in CoT

Cloud fears he’ll fail his family. Tifa fears it’ll fall apart. Cloud retreats into himself, pushing others away. Tifa neglects herself, not being able to say what she needs to say. In Advent Children, Tifa finally voices her frustrations. It’s then that Cloud finally confronts his fears. Like in the OG, Cloud and Tifa’s conflicts and character arcs are two sides of the same coin, and it’s only by communicating with each other are they able to resolve it. Though with the Compilation being an inferior work, it’s much less satisfying this time around. Such is the problem when you’re writing towards a preordained outcome (Cloud and Sephiroth duking it once again) rather than letting the story develop organically.

Some may ask, why mention Aerith so much (Cloud growing distant after delivering flowers to the Forgotten City, Cloud finding Denzel at Aerith’s church) if they weren’t trying to perpetuate the LTD? Well, as explained above, Aerith had to be in Advent Children, and since CoT is the only place where we get any insight into Cloud’s psyche, it’s here where Nojima expands on that guilt.

Again, this is a story that requires conflict, and what better conflict than the specter of a love rival? Notably, despite us having access to Tifa’s thoughts and fears, she never explicitly associates Cloud’s behavior with him pining after Aerith. Though it’s fair to say this fear is implied, if unwarranted.

If Cloud had actually been pining after Aerith this whole time, we would not be seeing it all unfold through Tifa’s perspective. You can depict a romance without drawing attention to the injured third party. We’re seeing all of this from Tifa’s POV, because it’s about Tifa’s insecurities, not the great tragic romance between Cloud and Aerith. Honestly, another reason we see this from Tifa’s perspective is because it’s dramatically more interesting. Because she’s insecure, she (and we the reader) wonder if there’s something else going on. Meanwhile, from Cloud’s perspective it would be straightforward and redundant, given what we see in AC. He’s guilty over Aerith’s death and thinks he doesn’t deserve to be happy.

Not to mention, the first time we encounter Aerith in CoT, Tifa is the one breaking down at her grave while Cloud is the one comforting her. Are we supposed to believe that he just forgot he was in love with Aerith until he had to deliver flowers to the Forgotten City?

And Aerith doesn’t just serve as a romantic obstacle. She’s also a symbol of guilt and redemption for both Cloud and Tifa. Neither think they have the right to be happy after all that’s happened (Aerith’s death being a big part of this), and through Denzel, who Cloud finds at Aerith’s church, they both see a chance to atone.

I do want to address Case of Lifestream: White because it’s only time in the entire Compilation where I’ve asked myself — what are they trying to achieve here? Now, I’d rather drink bleach than start debating the translation of ‘koibito’ again, but I did think it was a strange choice to specify the romantic nature of Aerith’s love for Cloud. I suppose it could be a reference her obvious attraction to Cloud in the OG, though calling it love feels like a stretch.

But nothing else in CoLW really gives me pause. It might be a bit jarring to see how much of it is Aerith’s thoughts of Cloud, but it makes sense when you consider the context in which it’s meant to be consumed. Unlike Case of Tifa or Case of Denzel, CoLW isn’t meant to be read on its own. It’s a few scant paragraphs in direct conversation with Case of Lifestream: Black. In CoLB, Sephiroth talks about his plan to return and end the world or whatever, and how Cloud is instrumental to his plan. Each segment of CoLW mirrors the corresponding segment of CoLB. Thus, CoLW has to be about Aerith’s plan to stop Sephiroth and the role Cloud must play in that. In both of these stories, Cloud is the only named character. It doesn’t mean that thoughts of Cloud consume all of Aerith’s afterlife. Case of Lifestream is only a tiny sliver of the story, a halfassed way to explain why in Advent Children the world is ending again and why Cloud has to be at the center of it all.

Notably, there is absolutely nothing in CoLW about Cloud’s feelings for Aerith. Even if it’s just speculation on her part as we see Sephiroth speculate about Cloud’s reactions in CoLB. Aerith can see what’s going on in the real world, but she says nothing about Cloud’s actions. If Cloud is really pining after her, trying to find a way to be reunited with her, wouldn’t this be the ideal story to show such devotion?

But it’s not there, because not only does it not happen, but because this story is not about Aerith’s relationship with Cloud. It is about how Aerith needs to see and warn Cloud in order to stop Sephiroth. By the end of Advent Children, that goal is fulfilled. Cloud gets his forgiveness. Aerith gets to see him again and helps him stop Sephiroth. There’s no suggestion that either party wants more. We finally have the closure that the OG lacked, and at no point does it confirm that Cloud reciprocated Aerith’s romantic feelings, even though there were plenty of opportunities to do so.

I don’t really know what else people were expecting. Advent Children isn’t a romantic drama. There’s not going to be a moment where Cloud explicitly tells Tifa, ‘I’ve never loved Aerith. It’s only been you all along.” This is just simply not the kind of story it is.

Though one late scene practically serves this function. When Cloud “dies” and Aerith finds him in the Lifestream, if there were any lingering romantic feelings between the two of them, this would be a beautiful bittersweet reunion. Maybe something about how as much as they want to be together, it’s not his time yet. Instead, it’s almost played off as a joke. Cloud calls her ‘Mother’, and Zack is at Aerith’s side, joking about how Cloud has no place there. This would be the perfect opportunity to address the romantic connection between Cloud and Aerith, but instead, the film elides this completely. Instead, it’s a cute afterlife moment between Aerith and Zack, and functionally allows Cloud to go back to where he belongs, to Tifa and the kids. Whatever Cloud’s feelings for Aerith were before, it’s transformed into something else.

Crisis Core -- or how Aerith finally gets her love story

The other relevant part of the Compilation is Crisis Core, which I will now touch on briefly (or at least brief for me). In the OG, Zack Fair was more plot device than character. We knew he was important to Cloud — enough that Cloud would mistake Zack’s memories for his own -- we knew he was important to Aerith — enough that she is initially drawn to Cloud due to his similarities to Zack — yet the nature of these relationships is more ambiguous. Especially his relationship with Aerith. From the little we learn of their relationship, it could have been completely one-sided on her part, and Zack a total cad. At least that’s the implication she leaves us with in Gongaga. We get the sense that she might not be the most reliable narrator on this point (why bring up an ex so often, unsolicited, if it wasn’t anything serious?) but the OG never confirms this either way.

Crisis Core clears this up completely. Not only is Zack portrayed as the Capital H Hero of his own game, but his relationships with Cloud and Aerith are two of the most important in the game. In fact, they are the basis for his heroic sacrifice at the game’s end: he dies trying to save Cloud’s life; he dies trying to return to Aerith.

Zack’s relationship with Aerith is a major subplot of the game. Not only that, but the details of said relationship completely recontextualizes what we know about the Aerith we see in the OG. Many of Aerith’s most iconic traits (wearing pink, selling flowers) are a direct product of this relationship, and more importantly, so many of the hallmarks of her early relationship with Cloud (him falling through her church, one date as a reward, a conversation in the playground) are a direct echo of her relationship with Zack.

A casual fling this was not. Aerith’s relationship with Zack made a deep impact on the character we see in the OG and clearly colored her interactions with Cloud throughout.

Crisis Core is telling Zack’s story, and Tifa is a fairly minor supporting character, yet it still finds the time to expand upon Cloud and Tifa’s relationship. Through their interactions with Zack, we learn just how much they were on each others’ minds during this time, and how they were both too shy to own up to these feelings. We also get a brief expansion on the moment Cloud finds Tifa injured in the reactor.

Meanwhile, given the point we are in the story’s chronology, Cloud and Aerith are completely oblivious of each other’s existence.

One may try to argue that none of this matters since all of this is in the past. While this argument might hold water if we arguing about real lives in the real world, FF7 is a work of fiction. Its creators decided that these would be events we would see, and that Zack would be the lens through which we’d see them. Crisis Core is not the totality of these characters’ lives prior to the event of the OG. Rather, it consists of moments that enhance and expand upon our understanding of the original work. We learn the full extent of Hojo’s experimentation and the Jenova project; we learn that Sephiroth was actually a fairly normal guy before he was driven insane when he uncovers the circumstances of his birth. We learn that Aerith was a completely different person before she met Zack, and their relationship had a profound impact on her character.

A prequel is not made to contradict the original work, but what it can do is recontexualize the story we already know and add a layer of nuance that may have not been obvious before. Thus, Sephiroth is transformed from a scary villain into a tragic figure who could have been a hero were it not for Hojo’s experiments. Aerith’s behavior too invites reinterpretation. What once seemed flirty and perhaps overtly forward now looks like the tragic attempts of a woman trying to recapture a lost love.

If Cloud and Aerith were meant to be the official couple of the Compilation of FF7, you absolutely would not be spending so much time depicting two relationships that will be moot by the time we get to the original work. You especially would not depict Zack and Aerith’s relationship in a way that makes Aerith’s relationship with Cloud look like a copy of the moments she had with her ex.

Additionally, with Zack’s relationship with Angeal, we can see, that within the universe of FF7, a protagonist being devastated over the death of a beloved comrade isn’t something that’s inherently romantic. Neither is it romantic for said dead comrade to lend a helping hand from the beyond.

SE would also expect some people to play Crisis Core before the OG. If Cloud and Aerith are the intended endgame couple, then SE would be asking the player to root for a guy to pursue the girlfriend of the man who gave his life for him. The same man who died trying to reunite with her. This is to say nothing of Cloud’s treatment of Tifa in this scenario. How could this possibly be the intent  for their most popular protagonist in the most popular entry of their most popular franchise?

What Crisis Core instead offers is something for fans of Aerith who may be disappointed that she was robbed of a great romance by her death. Well, she now gets that epic, tragic romance. Only it’s with Zack, not Cloud.

If SE intended for Cloud and Aerith to be the official couple of FF7, neither Zack nor Tifa would exist. They would not spend so much time developing Zack and Tifa into the multi-dimensional characters they are, only to be treated as nothing more than collateral damage in the wake of Cloud and Aerith’s great love. No, this is a Final Fantasy. SE want their main characters to have something of a happy ending after all of the tribulations they face. Cloud and Tifa find theirs in life. Zack and Aerith, as the ending of AC suggests, find theirs in death.

Cloud and Aerith’s relationship isn’t a threat to the Zack/Aerith and Cloud/Tifa endgame, nor is it a mere obstacle. Rather, it’s a relationship that actually deepens and strengthens the other two. Aerith is explicitly searching for her first love in Cloud, revealing just how deep her feelings for Zack ran. Cloud gets to live out his heroic SOLDIER fantasy with Aerith, a fantasy he created just to impress Tifa.

There are moments between Cloud and Aerith that may seem romantic when taken on its own, but viewed within the context of the whole narrative, ultimately reveal that they aren’t quite right for each other, and in each other, they’re actually searching for someone else.

This quadrangular dynamic reminds me a bit of one of my favorite classic films, The Philadelphia Story. (Spoilers for a film that came out in 1940 ahead) — The single most romantic scene in the film is between Jimmy Stewart’s and Katherine Hepburn’s characters, yet they’re not the ones who end up together. Even as their passions run, as the music swells, and we want them to end up together, we realize that they’re not quite right for each other. We know that it won’t work out.

More relevantly, we know this is true due to the existence of Cary Grant’s and Ruth Hussey’s characters, who are shown to carry a torch for Hepburn and Stewart, respectively. Grant and Hussey are well-developed and sympathetic characters. With the film being the top grossing film of the year, and made during the Code era, it’s about as “clean” of a narrative as you can get. There’s no way Grant and Hussey would be given such prominent roles just to be left heartbroken and in the cold by the film’s end.

Hepburn’s character (Tracy) pretty much sums it herself after some hijinks lead to a last minute proposal from Stewart’s character (Mike):

Mike: Will you marry me, Tracy?                      

Tracy: No, Mike. Thanks, but hmm-mm. Nope.

Mike: l've never asked a girl to marry me. l've avoided it. But you've got me all confused now. Why not?

Tracy: Because l don't think Liz [Hussey’s character] would like it...and l'm not sure you would...and l'm even a little doubtful about myself. But l am beholden to you, Mike. l'm most beholden.

Despite the fact that the film spends more time developing Hepburn and Stewart’s relationship than theirs with their endgame partners, it’s still such a satisfying ending. That’s because, even at the peak of their romance, we can see how Stewart needs someone like Hussey to ground his passionate impulses, and how Hepburn needs Grant, someone who won’t put her on a pedestal like everyone else. Hepburn and Stewart’s is a relationship that might feel right in the moment, but doesn’t quite work in the light of day.

I don’t think Cloud and Aerith share a moment that is nearly as romantic in FF7, but the same principle applies. What may seem romantic in the moment actually reveals how they’re right for someone else.

Even if Aerith lives and Cloud decides to pursue a relationship with her, it’s not going to be all puppies and roses ahead for them. Aerith would need to disentangle her feelings for Zack from her attraction to Cloud, and Cloud would still need to confront his feelings for Tifa, which were his main motivator for nearly half his life, before they can even start to build something real. This is messy work, good fodder for a prestige cable drama or an Oscar-baity indie film, but it has no place in a Final Fantasy. There simply isn’t the time. Not when the question on most players’ minds isn’t ‘Cloud does love?’ but ‘How the hell are they going to stop that madman and his Meteor that’s about to destroy the world?’

With Zerith’s depiction in Crisis Core, there’s a sort of bittersweet poetry in how the two relationships rhyme but can’t actually coexist. It is only because Zack is trying to return to Midgar to see Aerith that Cloud is able to reunite with Tifa, and the OG begins in earnest. In another world, Zack and Aerith would be the hero and heroine who saved the world and lived to tell the tale. They are much more the traditional archetypes - Zack the super-powered warrior who wants to be a Capital-H Hero, and Aerith, the last of her kind who reluctantly accepts her fate. Compared to these two, Cloud and Tifa aren’t nearly so special, nor their goals so lofty and noble. Cloud, after all, was too weak to even get into SOLDIER, and only wanted to be one, not for some greater good, but to impress the girl he liked. Tifa has no special abilities, merely learning martial arts when she grew wise enough to not wait around for a hero. On the surface, Cloud and Tifa are made of frailer stuff, and yet by luck or by fate, they’re the ones who cheat death time and time again, and manage to save the world, whereas the ones who should have the role, are prematurely struck down before they can finish the job. Cloud and Tifa fulfill the roles that they never asked for, that they may not be particularly suited for, in Zack and Aerith’s stead. There’s a burden and a beauty to it. Cloud and Tifa can live because Zack and Aerith did not.

All of this nuance is lost if you think Cloud and Aerith are meant to be the endgame couple. Instead, you have a pair succumbing to their basest desires, regardless of the selfless sacrifices their other potential paramours made for their sake. Zack and Tifa, and their respective relationships with Aerith and Cloud, are flattened into mere romantic obstacles. The heart wants what it wants, some may argue. While that may be true in real life, that is not necessarily the case in a work of fiction, especially not a Final Fantasy. The other canon Final Fantasy couples could certainly have had previous romantic relationships, but unless they have direct relevance to the their character arcs (e.g., Rachel to Locke), the games do not draw attention to them because they would be a distraction from the romance they are trying to tell. They’ve certainly never spent the amount of real estate FF7 spends in depicting Cloud/Tifa and Zack/Aerith’s relationships.

At last…the Remake, and somehow this essay isn’t even close to being over

Finally, we come to the Remake. With the technological advancements made in the last 23 years and the sheer amount of hours they’re devoting to just the Midgar section this time around, you can almost look at the OG as an outline and the Remake as the final draft. With the OG being overly reliant on text to  do its storytelling, and the Remake having subtle facial expressions and a slew of cinematic techniques at its disposal, you might almost consider it an adaptation from a literary medium to a visual one. Our discussions are no longer limited to just what the characters are saying, but what they are doing, and even more importantly, how the game presents those actions. When does the game want us to pay attention? And what does it want us to pay attention to?

Unlike most outlines, which are read by a small handful of execs, SE has 23 years worth of reactions from the general public to gauge what works and what doesn’t work, what caused confusion, and what could be clarified. While FF7 is not a romance, the LTD remains a hot topic among a small but vocal part of the fanbase. It certainly is an area that could do with some clarifying in the Remake.

Since the Remake is not telling a new story, but rather retelling an existing story that has been in the public consciousness for over two decades, certain aspects that were treated as “twists” in the OG no longer have that same element of surprise, and would need to approached differently. For example, in the Midgar section of the OG, Shinra is treated as the main antagonist throughout. It’s only when we get to the top of the Shinra tower that Sephiroth is revealed as the real villain. Anyone with even a passing of knowledge of FF7 would be aware of Sephiroth so trying to play it off like a surprise in the Remake would be terribly anticlimactic. Thus, Sephiroth appears as early as Ch. 2 to haunt Cloud and the player throughout.

Likewise, many players who’ve never even touched the OG are probably aware that Aerith dies, thus her death can no longer be played for shock. While SE would still want the player to grow attached to Aerith so that her death has an emotional impact, there are diminishing returns to misdirecting the player about her fate, at least not in the same way it was done in the OG.

How do these considerations affect the how the LTD is depicted in the Remake? For the two of the biggest twists in the OG to land in the Remake — Aerith’s death and Cloud’s true identity in the Lifestream — the game needs to establish:

Aerith’s attraction to Cloud, specifically due to his similarities to Zack. This never needs to go past an initial attraction for the player to understand that the man whose memory Cloud was “borrowing” is Zack. Aerith’s feelings for Cloud can evolve into something platonic or even maternal by her end without the reveal in the Lifestream losing any impact.

Cloud’s love for Tifa. For the Lifestream sequence to land with an “Ooooh!” rather than a “Huh!?!?”, the Remake will need to establish that Cloud’s feelings for Tifa were strong enough to 1) motivate him to try to join SOLDIER in the first place 2) incentivize him to adopt a false persona because he fears that he isn’t the man she wants him to be 3) call him back to consciousness from Make poisoning twice 4) help him put his mind back together and find his true self. That’s a lot of story riding on one guy’s feelings!

The player’s love for Aerith so that her death will hurt. This can be done by making them invested in Aerith as a character by her own right, but also extends to the relationships she has with the other characters (not only Cloud).

What is not necessary is establishing Cloud’s romantic feelings for Aerith. Now, would their doomed romance make her death hurt even more? Sure, but it could work just as well if Cloud if is losing a dear friend and ally, not a lover. Not to mention, her death also cuts short her relationships with Tifa, Barret, Red XII, etc. Bulking those relationships up prior to her death, would also make her loss more palpable. If anything, establishing Cloud’s romantic feelings for Aerith would actually undermine the game’s other big twist. The game needs you to believe that Cloud’s feelings for Tifa were strong enough to drive his entire hero’s journey. If Cloud is shown falling in love with another woman in the span of weeks if not mere days, then the Lifestream scene would be much harder to swallow.

Cloud wavering between the two women made sense in the OG because the main way for the player to get to know Aerith was through her interactions with Cloud. That is no longer the case in the Remake. Cloud is still the protagonist, and the player character for the vast majority of the game, but there are natural ways for the player to get to know Aerith outside of her dialogue exchanges with Cloud. Unless SE considers the LTD an integral part of FF7’s DNA, then for the sake of story clarity, the LTD doesn’t need to exist.

How then does the Remake clarify things?

I’m not going go through every single change in the Remake — there are far too many of them, and they’ve been documented elsewhere. Most of the changes are expansions or adaptations (what might make sense for super-deformed chibis would look silly for realistic characters, e.g., Cloud rolling barrels in the Church has now become him climbing across the roof support). What is expanded and how it’s adapted can be telling, but what is more interesting are the additions and removals. Not just for what takes place in the scenes themselves, but how their addition or removal changes our understanding of the narrative as a whole vis-a-vis the story we know from the OG.

Notably, one of the features that is not expanded upon, but rather diminished, is player choice. In the OG, the player had a slew of dialogue options to choose from, especially during the Midgar portion of the game. Not only did it determine which character would go on a date with Cloud at the Gold Saucer, but it also made the player identify with Cloud since they’re largely determining his personality during this stage. Despite the technological advances that have made this level of optionality the norm in AAA games, the Remake gives the player far fewer non-gameplay related choices, and only really the illusion of choice as a nod to the OG, but they don’t affect the story of the game in any meaningful way. You get a slightly different conversation depending on the choice, but you have to buy the Flower, Tifa has to make you a drink.

So much of what fueled the LTD in the OG came from this mechanic, which is now largely absent in the Remake. Almost every instance where there was a dialogue branch in the OG has become a single, canon scenario in the Remake that favors Tifa (e.g., having the choice of giving the flower to Tifa or Marlene in the OG, to Cloud giving the flower to Tifa in the Remake). Similarly, for the only meaningful choice you make in the Remake — picking Tifa or Aerith in the sewers — Cloud is now equidistant to both girls, whereas in the OG, his starting point was much closer to Aerith. In the OG, player choice allowed you to largely determine Cloud’s personality, and the girl he favored — and seemingly encouraged you to choose Aerith in many instances. In the Remake, Cloud is now his own character, not who the player wants him to be. And this Cloud, well, he sure seems to have a thing for Tifa.

In fact, one of the first changes in the Remake is the addition of Jessie asking Cloud about his relationship with Tifa, and Cloud’s brief flashback to their childhood together. In the OG, Tifa isn’t mentioned at all during the first reactor mission, and we don’t see her until we get to Sector 7.

Not only does this scene reveal Tifa’s importance to Cloud much earlier on than in the OG, but it sets up a sort of frame of reference that colors Cloud’s subsequent interactions. Even as Jessie kind of flirts with him throughout the reactor mission, even with his chance meeting Aerith in Sector 8, in the back of your mind, you might be thinking — wait what about his relationship with this Tifa character? What if he’s already spoken for?

Think about how this plays out in the OG. Jessie is pretty much a non-entity, and Cloud has his meet-cute with the flower girl before we’re even aware that Tifa exists. It’s hard to get too invested in his interactions with Tifa, when you know he has to meet the flower girl again, and you’re waiting for that moment, because that’s when the game will start in earnest.

After chapter 1 of the Remake, a new player may be asking — who is this Tifa person, and, echoing Jessie’s question, what kind of relationship does she have with Cloud? It’s a question that’s repeated when Barret mentions her before they set the bomb, and again when Barret specifies Seventh Heaven is where Tifa works — and the game zooms in on Cloud’s face — when they arrive in Sector 7.

It’s when we finally meet her at Seventh Heaven in Ch. 3 that we feel, ah now, this game has finally begun.

It’s also interesting how inorganically this question is introduced in the Remake. Up until that moment, the dialogue and Cloud are all business. Then, as they’re waiting for the gate to open, Jessie asks about Tifa completely out of the blue, and Cloud, all of a sudden, is at a lost for words, and has the first of many flashbacks. That this moment is a bit incongruous shows the effort SE made to establish Tifa’s importance to the game and to Cloud early on.

One of the biggest changes in the Remake is the addition of the events in Ch. 3 and 4. Unlike what happens in Ch. 18, Ch. 3 and 4 feel like such a natural extension of the OG’s story that many players may not even realize that SE has added an whole day’s and night’s worth of events to the OG’s story. While not a drastic change, it does reshape our understanding of subsequent events in the story, namely Cloud’s time spent alone with Aerith.

In the OG, we rush from one reactor mission to the next, with no real time to explore Cloud’s character or his relationships with any of the other characters in between. When he crashes through the church, he gets a bit of a breather. We see a different side of him with Aerith. Since we have nothing else to compare it to, many might assume that his relationship with Aerith is special. That she brings something out of him that no one else can.

That is no longer the case in the Remake. While Cloud’s time in Sector 5 with Aerith remains largely unchanged though greatly expanded, it no longer feels  “special.” So many of the beats that seemed exclusive to his relationship with Aerith in the OG, we’ve now already seen play out with both Tifa and the other members of AVALANCHE long before he meets Aerith.

Cloud tells the flowers to listen to Aerith; he’s told Tifa he’s listening if she wants to talk; told Bigg’s he wants to hear the story of Jessie’s dad. Cloud offers to walk Aerith back home; he offered the same to Wedge. Cloud smiles at Aerith; he’s already smiled at Tifa and AVALANCHE a number of times.

Now, I’m under no illusion that SE added these chapters solely to diminish Aerith’s importance to Cloud (other than the obvious goal of making the game longer, I imagine they wanted the player to spend more time in Sector 7 and more time with the other AVALANCHE members so that the collapse of the Pillar and their deaths have more weight), but they certainly must have realized that this would be one effect. If pushing Cloud/Aerith’s romance had been a goal with the Remake, this would be a scenario they would try to avoid. Notably, the other place where time has been added - the night in the Underground Shinra Lab, and the day helping other people out around the slums — are also periods of time when Aerith is absent.

Home Sweet Slums vs. Budding Bodyguard

Since most of the events in Ch. 3 were invented for the Remake, and thus we have nothing in the OG to compare it to (except to say that something is probably better than nothing), I thought it would be more interesting to compare it to Ch. 8. Structurally, they are nearly identical — Cloud doing sidequests around the Sectors with one of the girls as his guide. Extra bits of dialogue the more sidequests you complete, with an optional story event if you do them all. Do Cloud’s relationships with each girl progress the same way in both chapters? Is the Remake just Final Waifu Simulator 2020 or are they distinct, reflecting their respective roles in the story as a whole?

A lot of what the player takes away from these chapters is going to be pretty subjective (Is he annoyed with her or is he playing hard to get), yet the vibes of the two chapters are quite different. This is because in Ch. 3, the player is getting to know Tifa through her relationship with Cloud; in Ch. 8; the player is getting to know Aerith as a character on her own.

What do I mean by this? Let’s take Cloud’s initial introduction into each Sector. In Ch. 3, it’s a straight shot from Seventh Heaven to Stargazer Heights punctuated by a brief conversation where Tifa asks Cloud about the mission he was just on. We don’t learn anything new about Tifa’s character here. Instead we hear Cloud recount the mission we already saw play out in detail in Ch. 1 But it’s through this conversation that we get a glimpse of Cloud and Tifa’s relationship — unlike the reticent jerk he was with Avalanche, this Cloud is much more responsive and even tries to reassure her in his own stilted way. We also know that they have enough of a past together that Tifa can categorize him as “not a people person” — an assessment to which Cloud agrees. Slowly, we’re getting an answer to the question Jessie posed in Ch. 1 — just what kind of relationship does Cloud have with Tifa?

In Ch. 8, Aerith leads Cloud on a roundabout way through Sector 5, and stops, unprompted, to talk about her experiences helping at the restaurant, helping out the doctor, and helping with the orphans at the Leaf House. It’s not so much a conversation as a monologue. Cloud isn’t the one who inquires about these relationships, and more jarringly, he doesn’t respond until Aerith directly asks him a question (interestingly enough, it’s about the flower she gave him…which he then gave to Tifa). Here, the game is allowing the player to learn more about the kind of person Aerith is. Cloud is also learning about Aerith at the same time, but with his non-reaction, either the game itself is indifferent to Cloud’s feelings towards Aerith or it is deliberately trying to portray Cloud’s indifference to Aerith.

The optional story event you can see in each chapter after completing all the side quests is also telling. In Ch. 3, “Alone at Last” is almost explicitly about Cloud and Tifa’s relationship. It’s bookended by two brief scenes between Marle and Cloud — the first in which she lectures him about how he should treat Tifa almost like an overprotective in-law, the second after they return downstairs and Marle awards Cloud with an accessory “imbued with the fervent desire to be by one’s side for eternity” after he makes Tifa smile. In between, Cloud and Tifa chat alone in her room. Tifa finally gets a chance to ask Cloud about his past and they plan a little date to celebrate their reunion. There is also at least the suggestion that Cloud was expecting something else when Tifa asked him to her room.

In Ch. 8’s “The Language of Flowers,” Cloud and Aerith’s relationship is certainly part of the story — unlike earlier in the chapter, Cloud actually asks Aerith about what she’s doing and even supports her by talking to the flowers too, but the other main objective of this much briefer scene is to show Aerith’s relationship with the flowers and of her mysterious Cetra powers (though we don’t know about her ancestry just yet). Like a lot of Aerith’s dialogue, there’s a lot of foreshadowing and foreboding in her words. If anything, it’s almost as if Cloud is playing the Marle role to the flowers, as an audience surrogate to ask Aerith about her relationship with the flowers so that she can explain. Also, there’s no in-game reward that suggests what the scene was really about.

If there’s any confusion about what’s going on here, just compare their titles “Alone At Last” vs. “The Language of Flowers.”

I’ll try not to bring my personal feelings into this, but there’s just something so much more satisfying about the construction of Ch. 3. This is some real storytelling 101 shit, but I think a lot of it due to just how much set up and payoff there is, and how almost all of said payoff deepens our understanding of Cloud and Tifa’s relationship:

Marle: Cloud meets Tifa’s overprotective landlady towards the beginning of the chapter. She is dubious of his character and his relationship with TIfa. This impression does not change the second time they meet even though Tifa herself is there to mediate. It’s only towards the end of the chapter, after all the sidequests are complete, that this tension is resolved. Marle gives Cloud a lecture about how he should be treating Tifa, which he seems to take to heart. And Cloud finally earns Marle’s begrudging approval after he emerges from their rooms with a chipper-looking Tifa in tow.

Their past: For their first in-game interaction, Cloud casually brings up that fact that it’s been “Five years” since they’ve last, which seem to throw Tifa off a bit. As they’re replacing filters, Cloud asks Tifa what she’s been up to in the time since they’ve been apart, and Tifa quickly changes the subject. Tifa tries to ask Cloud about his life “after he left the village,” at the Neighborhood Watch HQ, and this time he’s the one who seems to be avoiding the subject. It’s only after all the Ch. 3 sidequests are complete, and they're alone in her room that Tifa finally gets the chance to ask her question. A question which Cloud still doesn’t entirely answer. This question remains unresolved, and anyone’s played the OG will know that it will remain unresolved for some time yet, as it is THE question of Cloud’s story as a whole.

The lessons: Tifa starts spouting off some lessons for life in the slums as she brings Cloud around the town, though it’s unclear if Cloud is paying attention or taking them to heart. After completing the first sidequest, Cloud repeats one of these sayings back to her, confirming that he’s been listening all along. By the end of the chapter, Cloud is repeating these lessons to himself, even when Tifa isn’t around. These lessons extend beyond this chapter, with Cloud being a real teacher’s pet, asking Tifa “Is this a lesson” in Ch. 10 once they reunite.

The drink: When Cloud first arrives at Seventh Heaven, Tifa plays hostess and asks him if he wants anything, but it seems he’s only interested in his money. After exploring the sector a bit, Tifa again tries to play the role of cheery bartender, offering to make him a cocktail at the bar, but Cloud sees through this facade, and they carry on. Finally, after the day’s work is done, to tide Cloud over while she’s meeting with AVALANCHE, Tifa finally gets the chance to make him a drink. No matter, which dialogue option the player chooses, Tifa and Cloud fall into the roles of flirty bartender and patron quite easily. Who would have thought this was possible from the guy we met in Ch. 1?

This dynamic is largely absent in Ch. 8, except perhaps exploring Aerith’s relationship with the flowers, which “pays off” in the “Language of Flowers” event, but again, that scene is primarily about Aerith’s character rather than her relationship with Cloud. The orphans and the Leaf House are a throughline of the chapter, but they are merely present. There’s no clear progression here as was the case with in Ch. 3. Sure, the kids admire Cloud quite a bit after he saves them, but it’s not like they were dubious of his presence before. They barely paid attention to him. In terms of the impact the kids have on Cloud’s relationship with Aerith, there isn’t much at all. Certainly nothing like the role Marle plays in developing his relationship with Tifa.

The thing is, there are plenty of moments that could have been set ups, only there’s no real follow through. Aerith introduces Cloud around town as her bodyguard, and some people like the Doctor express dubiousness of his ability to do the job, but even after we spend a whole day fighting off monsters, and defeating Rude, there’s no payoff. Not even a throwaway “Wow, great job bodyguarding” comment. Same with the whole “one date” reward. Other than a quick reference on the way to Sector 5, and Aerith threatening to reveal the deal to cajole Cloud into helping her gather flowers, it’s never brought up again, in this chapter, or the rest of the game.

Aerith also makes a big stink about Cloud taking the time to enjoy Elmyra’s cooking. This is after Cloud is excluded from AVALANCHE’s celebration in Seventh Heaven and after he misses out on Jessie’s mom’s “Midgar Special” with Biggs and Wedge. So this could have been have been the set up to Cloud finally getting to experience a nice, domestic moment where he feels like he’s part of a family. And this dinner does happen! Only…the Remake skips over it entirely. Which is quite a strange choice considering that almost every other waking moment of Cloud’s time in Midgar has been depicted in excruciating detail. SE has decided that either whatever happened in this dinner between these three characters is irrelevant to the story they’re trying to tell, or they’ve deliberately excluded this scene from the game so that the player wouldn’t get any wrong ideas from it (e.g., that Cloud is starting to feel at home with Aerith).

Speaking of home, the Odd Jobs in Ch. 3 feel a bit more meaningful outside of just the gameplay-related rewards because they’re a way for Cloud to improve his reputation as he considers building a life for himself in Sector 7. This intent is implicit as Tifa imparts upon him the life lessons for surviving the slums, and then explicit, when Tifa asks him if he’s going to “stick around a little longer” outside of Seventh Heaven and he answers maybe. (It is later confirmed when Cloud and Tifa converse in his room in Ch. 4 after he remembers their promise).

Despite Aerith’s endeavors to extend their time together, there’s no indication that Cloud is planning to put down roots in Sector 5, or even return. Not even after doing all the Odd Jobs. If anything, it’s just the opposite — after 3 Odd Jobs, Aerith, kind of jokingly tells Cloud “don’t think you can rely on me forever.” This is a line that has a deeper meaning for anyone who knows Aerith’s fate in the OG, but Cloud seems totally fine with the outcome. Similarly, at the end of the Chapter 8, Elmyra asks Cloud to leave and never speak to Aerith again — a request to which he readily agrees.

Adding to the different vibes of the Chapters are the musical themes that play in the background. In Ch. 3, it’s the “Main Theme of VII”, followed by “On Our Way” — two tracks that instantly recall the OG. While the Main Theme is a bit melancholy, it's also familiar. It feels like home. In Ch. 8, we have an instrumental version of ‘Hollow’ - the new theme written for the Remake. While, it’s a lovely piece, it’s unfamiliar and honestly as a bit anxiety inducing (as is the intent).

(A quick aside to address the argument that this proves ‘Hollow’ is about Cloud’s feelings for Aerith:

Which of course doesn’t make any damn sense because he hasn’t even lost Aerith at this point the story. Even if you want to argue that there is so timey-wimey stuff going on and the whole purpose of the Remake is to rewrite the timeline so that Cloud doesn’t lose Aerith around — shouldn’t there be evidence of this desire outside of just the background music? Perhaps, in Cloud’s actions during the Chapter which the song plays — shouldn’t he dread being parted from her, shouldn’t he be the one trying to extend their time together? Instead, he’s willing to let her go quite easily.

The more likely explanation as to why “Hollow” plays in Ch. 8 is that since the “Main Theme of FFVII”  already plays in Ch. 3, the other “main theme” written for the Remake is going to play in the other chapter with a pseudo-open world vibe. If you’re going to say “Hollow” is about Cloud’s feelings for Aerith then you’d have to accept that the Main Theme of the entire series is about Cloud’s feelings for Tifa, which would actually make a bit more sense given that is practically Cloud’s entire character arc.)

Both chapters contain a scripted battle that must be completed before the chapter can end. They both contain a shot where Cloud fights side by side with each of the girls.

Here, Cloud and Tifa are both in focus during the entirety of this shot.

Here, the focus pulls away from Cloud the moment Aerith enters the frame.

I doubt the developers expected most players to notice this particular technique, but it reflects the subtle differences in the way these two relationships are portrayed. By the end of Ch. 3, Cloud and Tifa are acting as one unit. By the end of Ch. 8, even when they’re together, Cloud and Aerith are still apart.

A brief (lol) overview of some meaningful changes from the OG

One of the most significant changes in the Sector 7 chapters is how The Promise flashback is depicted. In the OG, Tifa is the one who has to remind Cloud of the Promise, in a rather pushy way, and whether Cloud chooses to join the next mission to fulfill his promise to her or because Barret is giving him a raise feels a bit more ambiguous.

In the Remake, the Promise has it’s own little mini-arc. It’s first brought up at the end of Ch. 3 when Cloud talks to Tifa about her anxieties about the upcoming mission. Tifa subtly references the Promise by mentioning that she’s “in a pitch” — a reference that goes over Cloud’s head. It’s only in Ch. 4, in the middle of a mission with Biggs and Wedge, where Tifa is no where in sight, that a random building fan reminds him of the Nibelheim water tower and the Promise he made to Tifa there. There’s also another brief flashback to that earlier moment in the bar when Tifa mentions she’s in a ���pinch.” Again, the placement of this particular flashback at this particular moment feels almost jarring. And the flashback to the scene in the bar — a flashback to a scene we’ve already seen play out in-game — is the only one of its kind in the Remake. SE went out of the way to show that this particular moment is very important to Cloud and the game as whole. It’s when Cloud returns to his room, and Tifa asks him if he’s planning to stay in Midgar, that this mini-arc is finally complete. He brings up the Promise on his own, and makes it explicit that the reason he’s staying is for her. It’s to fulfill his Promise to her, not for money or for AVALANCHE — at this point, he’s not even supposed to be going on the next mission.

The Reactor 5 chapters are greatly expanded, but there aren’t really any substantive changes other than the addition of the rather intimate train roll scene between and Cloud and Tifa, which adds nothing to the story except to establish how horny they are for each other. We know this is the case, of course, because if you go out of your way to make Cloud look like an incompetent idiot and let the timer run out, you can avoid this scene altogether. But even in that alternate scene, Cloud’s concern for Tifa is crystal clear.

Ch. 8 also plays out quite similarly to the OG for the most part, though Cloud’s banter with Aerith on the rooftops doesn’t feel all that special since we’ve already seen him do the same with Tifa, Barret and the rest of AVALANCHE. The rooftops is the first place Cloud laughs in the OG. In the Remake, while Cloud might not have straight out laughed before, he’s certainly smiled quite a bit in the preceding chapters. Also, with the addition of voice acting and realistic facial expressions, that “laughter” in the Remake comes off much more sarcastic than genuine.

It’s also notable that in the Remake, Cloud vocally protests almost every time Aerith tries to extend their time together. In the OG, Cloud says nothing in these moments, which the player could reasonably interpret as assent.

One major change in the Remake is how Aerith learns of Tifa’s existence. In the OG, Cloud mentions that he wants to go back to Tifa’s bar, prompting Aerith to ask him about his relationship with her. In the Remake, Cloud calls Tifa’s name after having a random flashback of Child Tifa as he’s walking along with some kids. Again the insertion of said flashback is a bit jarring, prompting Aerith to understandably ask Cloud about just who this Tifa is. In the OG, this exchange served to show Aerith’s jealousy and her interest in Cloud. In the Remake, it’s all about Cloud’s feelings for Tifa and his inability to articulate them. As for Aerith, I suppose you can still read her reaction as jealous, though simple curiosity is a perfectly reasonable way to read it too. It plays out quite similarly to Aerith asking Cloud about who he gave the flower to. Her follow ups seem indicate that she’s merely curious about who this recipient might be rather than showing that she’s upset/jealous of the fact that said person exists.

For the collapsed tunnel segment, the Remake adds the recurring bit of Aerith and Cloud trying to successfully complete a high-five. While this is certainly a way to show them getting closer, it’s about least intimate way that SE could have done so. Just think about the alternatives — you could have Cloud and Aerith sharing brief tidbits of their lives after each mechanical arm, you could have them trying to reach for each other’s hand. Instead, SE chose an action that is we’ve seen performed between a number of different platonic buddies, and an action that Aerith immediately performs with Tifa upon meeting her. Not to mention, even while they are technically getting closer, Cloud still rejects (or at least tries to) Aerith’s invitations to extend their time together twice — at the fire and at the playground.

One aspect from these two Chapters that does has plenty of set up and a satisfying payoff is Aerith’s interest in Cloud’s SOLDIER background. You have the weirdness of Aerith already knowing that Cloud was in SOLDIER without him mentioning it first, followed by Elmyra’s antipathy towards SOLDIERs in general, not to mention Aerith actively fishing for information about Cloud’s time in SOLDIER. (For players who’ve played Crisis Core, the reason for her behavior is even more obvious, with her “one date” gesture mirroring Zack’s, and her line to Cloud in front of the tunnel a near duplicate of what she says to Zack — at least in the original Japanese).

Finally, at the playground, it’s revealed that the reason for all this weirdness is because Aerith’s first love was also a SOLDIER who was the same rank as Cloud. Unlike in the OG, Cloud does not exhibit any potential jealousy by asking about the nature of her relationship, and Aerith doesn’t try to play it off by dismissing the seriousness. In fact, with the emotional nuance we can now see on her face, we can understand the depth of her feelings even if she cannot articulate them.

This is the first scene in the Remake where Cloud and Aerith have a genuine conversation. Thus, finally, Cloud expresses some hesitation before he leaves her — and as far as he knows, this could be the last time they see each other. You can interpret this hesitation as romantic longing or it could just as easily be Cloud being a bit sad to part from a new friend. Regardless, it’s notable that scene is preceded by one where Aerith is talking about her first love who she clearly isn’t over, and followed by a scene where Cloud sprints across the screen, without a backwards glance at Aerith, after seeing a glimpse of Tifa through a tiny window in a Chocobo cart that’s about a hundred yards away.

The Wall Market segment in the Remake is quite explicitly about Cloud’s desire to save Tifa. In the OG, Aerith has no trouble getting into Corneo’s mansion on her own, so I can see how someone could misinterpret Cloud going through all the effort to dress as a woman to protect Aerith from the Don’s wiles (though of course, you would need to ask, why they trying to infiltrate the mansion in the first place?). In the Remake, Cloud has to go through herculean efforts to even get Aerith in front of the Don. Everyone who is aware of Cloud’s cause, from Sam to Leslie to Johnny to Andrea to Aerith herself, comments on how hard he’s working to save Tifa and how important she must be to him for him to do so. In case there’s any confusion, the Remake also includes a scene where Cloud is prepared to bust into the mansion on his own, leaving Aerith to fend for herself, after Johnny comes with news that Tifa is in trouble.

Both Cloud and Aerith get big dress reveals in the Remake. If you get Aerith’s best dress, Cloud’s reaction can certainly be read as one of attraction, but since the game continues on the same regardless of which dress you get, it’s not meant to mark a shift in Cloud and Aerith’s relationship. Rather, it’s a reward for the player for completing however many side quests in Ch. 8, especially since the Remake incentives the player to get every dress and thus see all of Cloud’s reactions by making it a Trophy and including it in the play log.

A significant and very welcome change from the OG to the Remake is Tifa and Aerith’s relationship dynamic. In the OG, the girls’ first meeting in Corneo’s mansion starts with them fighting over Cloud (by pretending not to fight over Cloud). In the Remake, the sequence of events is reversed so that it starts off with Cloud’s reunion with Tifa (again emphasizing that the whole purpose of the infiltration is because Cloud wants to save Tifa). Then when Aerith wakes, she’s absolutely thrilled to make Tifa’s acquaintance, hardly acknowledging Cloud at all. Tifa is understandably more wary at first, but once they start working together, they become fast friends.

Also interesting is that from the moment Aerith and Tifa meet, almost every instance where Cloud could be shown worrying about Aerith or trying to comfort Aerith is given to Tifa instead. In the OG, it’s Cloud who frets about Aerith getting involved in the plot to question the Don, and regrets getting her mixed up in everything once they land in the sewers. In the Remake, those very same reservations are expressed by Tifa instead. Tifa is the one who saves Aerith when the platform collapses in the sewer. Tifa is the one who emotionally comforts Aerith after they’re separated in the train graveyard. (Cloud might be the one who physically saves her, but he doesn’t even so much give her a second glance to check on her well-being before he runs off to face Eligor. He leaves that job for Tifa). It almost feels like the Remake is going out of its way to avoid any moments between Cloud and Aerith that could be interpreted as romantic. In fact, after Corneo’s mansion, unless you get Aerith’s resolution, there are almost no one-on-one interactions at all between Cloud and Aerith. Such is not the case with Cloud and Tifa. In fact, right after defeating Abzu in the sewers, Cloud runs after Tifa, and asks her if what she’s saying is one of those slum lessons — continuing right where they left off.

Ch. 11 feels like a wink-wink nudge-nudge way to acknowledge the LTD. You have the infamous shot of the two girls on each of Cloud’s arms, and two scenes where Cloud appears as if he’s unable to choose between them when he asks them if they’re okay. Of course, in this same Chapter, you have a scene during the boss fight with the Phantom where Cloud actually pulls Tifa away from Aerith, leaving Aerith to defend herself, for an extended sequence where he tries to keep Tifa safe. This is not something SE would include if their intention is to keep Cloud’s romantic interest ambiguous or if Aerith is meant to be the one he loves. Of course, Ch. 11 is not the first we see of this trio’s dynamic. We start with Ch. 10, which is all about Aerith and Tifa’s friendship. Ch. 11 is a nod to the LTD dynamic in the OG, but it’s just that, a nod, not an indication the Remake is following the same path. Halfway through Ch. 11, the dynamic completely disappears.

Ch. 12 changes things up a bit from the OG. Instead of Cloud and Tifa ascending the pillar together, Cloud goes up first. Seemingly just so that we can have the dramatic slow-mo handgrab scene between the two of them when Tifa decides to run after Cloud — right after Aerith tells her to follow her heart.

The Remake also shows us what happens when Aerith goes to find Marlene at Seventh Heaven — including the moment when Aerith sees the flower she gave Cloud by the bar register, and Aerith is finally able to connect the dots. After seeing Cloud be so cagey about who he gave the flower to, and weird about his relationship with Tifa, and after seeing how Cloud and Tifa act around each other. It finally makes sense. She’s figured it out before they have. It’s a beautiful payoff to all that set up. Any other interpretation of Aerith’s reaction doesn’t make a lick of sense, because if it’s to indict she’s jealous of Tifa, where is all the set up for that? Why did the Remake eliminate all the moments from the OG where she had been noticeably jealous before? Without this, that interpretation makes about as much sense as someone arguing Aerith is smiling because she’s thinking about a great sandwich she had the night before. In case anyone is confused, the scene is preceded by a moment where Aerith tells Tifa to follow her heart before she goes after Cloud, and followed by the moment where Cloud catches Tifa via slow-motion handgrab.

On the pillar itself, there are so many added moments of Cloud showing his concern for Tifa’s physical and emotional well-being. Even when they find Jessie, as sad as Cloud is over Jessie’s death, the game actually spends more time showing us Cloud’s reaction to Tifa crying over Jessie’s death, and Cloud’s inability to comfort her. Since so much of this is physical rather than verbal, this couldn’t have effectively been shown in the OG with its technological limitations.

After the pillar collapses, we start off with a couple of other moments showing Cloud’s concern over Tifa — watching over her as she wakes, his dramatic fist clench while he watches Barret comfort Tifa in a way he cannot. There is also a subtle but important change in the dialogue. In the OG, Tifa is the one who tells Barret that Marlene is safe because she was with Aerith. Cloud is also on his way to Sector 5, but it’s for the explicit purpose of trying to save Aerith, which we know because Tifa asks. In the Remake, Tifa is too emotionally devastated to comfort Barret about Marlene. Cloud, trying to help in the only way he can, is now the one to tell Barret about Marlene. Leading them to Sector 5 is no longer about him trying to help Aerith, but about him reuniting Barret with his daughter. Again, another moment where Cloud shows concern about Aerith in the OG is eliminated from the Remake.

Rather than going straight from Aerith’s house to trying to figure out a way into the Shinra building to find Aerith, the group takes a detour to check out the ruins of Sector 7 and rescue Wedge from Shinra’s underground lab. It’s only upon seeing the evidence of Shinra’s inhumane experimentation firsthand that Cloud articulates to Elmyra the need to rescue Aerith. In the OG, they never sought out Elmyra’s permission, and Tifa explicitly asks to join Cloud on his quest. Rescuing Aerith is framed as primarily Cloud’s goal, Tifa and Barret are just along for the ride.

In the Remake, all three wait until Elymra gives them her blessing, and it’s framed (quite literally) as the group’s collective goal as opposed to just Cloud’s.

In the aptly named Ch. 14 resolutions, each marks the culmination of the character’s arc for the Part 1 of Remake. While their arcs are by no means complete, they do offer a nice preview of what their ultimate resolutions will be.

With the exception of Tifa’s, these resolutions are primarily about the character themselves. Their relationships with Cloud are secondary. Each resolution marks a change in the character themselves, but not necessarily a change in Cloud’s relationship with said character. Barret recommits to AVALANCHE’s mission and his role as a leader despite the deep personal costs. Aerith’s is full of foreshadowing as she accept her fate and impending death and decides to make the most of the time she has left. After trying to put aside her own feelings for the sake of others the whole time, Tifa finally allows herself to feel the full devastation of losing her home for the second time. Like her ultimate resolution in the Lifestream that we’ll see in about 25 years, Cloud is the only person she can share this sentiment with because he was the only person who was there.

Barret does not grow closer to Cloud through his resolution. Cloud has already proved himself to him by helping out on the pillar and reuniting him with Marlene. Barret resolution merely reveals that Barret is now comfortable enough with Cloud to share his past.

Similarly, Cloud starts off Aerith’s resolution with an intent to go rescue her, and ends with that intent still intact. Aerith is more open about her feelings here than before, it being a dream and all, but these feelings aren’t something that developed during this scene.

The only difference is during Tifa’s resolution. Cloud has been unable to emotionally comfort Tifa up until this point. It’s only when Tifa starts crying and rests her head upon his shoulder that he is able to make a change, to make a choice and hug her. Halfway through Tifa’s resolution, the scene shifts its focus to Cloud, his inaction and eventual action. Notably, the only time we have a close-up of any character during all three resolutions (I’ll define close-up here as a shot where a character’s face takes up half or more of the shot), are three shots of Cloud when he’s hugging/trying to hug Tifa. Tifa’s resolution is the only one where Cloud arcs.

What of the whole “You can’t fall in love with me” line in Aerith’s resolution? Why would SE include that if not to foreshadow Cloud falling in love with Aerith? Or indicate that he has already? Well, you can’t just take the dialogue on its own, you how to look at how these lines are framed. Notably, when she says “you can’t fall in love with me,” Aerith is framed at the center of the shot, and almost looks like she’s directly addressing the player. It’s as much a warning for the player as it is for Cloud, which makes sense if you know her fate in the OG.

This is followed directly by her saying “Even if you think you have…it’s not real.” In this shot, it’s back to a standard shot/reverse shot where she is the left third of the frame. She is addressing Cloud here, which, again if you’ve played the OG, is another bit of heavy foreshadowing. The reason Clould would think he might be in love with Aerith is because he’s falsely assuming of the memories of a man who did love Aerith — Zack.

For Cloud’s response (”Do I get a say in all this?”/ “That’s very one-sided” depending on the translation), rather than showing a shot of his face, the Remake shows him with his back turned.

Whatever Cloud’s feelings may be for Aerith, the game seems rather indifferent to them.

What is more telling is the choice to include a bit with Cloud getting jealous over a guy trying to give Tifa flowers in Barret’s resolution. Barret also mentions both Jessie and Aerith in their conversation, but nothing else gets such a reaction from Cloud.

It also should go without saying that if Aerith’s resolution is meant to establish Cloud and Aerith’s romance, there should have been plenty of set-up beforehand and plenty of follow-through afterward. That obviously is not the case, because again, the Remake has gone out of its way to avoid moments where Cloud’s actions towards Aerith could be interpreted romantically.

Case in point, at around this time in the OG, Marlene tells Cloud that she thinks Aerith likes him and the player has the option to have Cloud express his hope that she does. This scene is completely eliminated from the Remake and replaced with a much more appropriate scene of father-daughter affection between Marlene and Barret while Tifa and Cloud are standing together outside.

The method by which they get up the plate is completely different in the Remake. Leslie is the one who helps them this time around, and though his quest to reunite with his fiance directly parallels with the trio’s desire to save Aerith, Leslie himself draws a comparison to earlier when Cloud was trying to rescue Tifa. Finally, when Abzu is defeated again, it is Barret who draws the parallel of their search for Aerith to Leslie’s search for his fiance, making it crystal clear that saving Aerith is a group effort rather than only Cloud’s.

Speaking of Barret, in the OG, he seems to reassess his opinion of Cloud in the Shinra HQ stairs when he sees Cloud working so hard to save Aerith and realizes he might actually care about other people. In the Remake, that reevaluation occurs after you complete all the Ch. 14 sidequests and help a bunch of NPCs. Arguably, this moment occurs even earlier in the Remake for Barret, after the Airbuster, when he realizes that Cloud is more concerned for his and Tifa’s safety than his own.

Overall, the entire Aerith rescue feels so anticlimactic in the Remake. In the OG, Cloud gets his big hero moment in the Shinra Building. He’s the one who runs up to Aerith when the glass shatters and they finally reunite. In the Remake, it’s unclear what the emotional stakes are for Cloud here. At their big reunion, all we get from him is a “Yep.” In fact, when you look at how this scene plays out, Aerith is positioned equally between Cloud and Tifa at the moment of her rescue. Cloud’s answer is again with his back turned to the camera. It’s Tifa who gets her own shot with her response.

Another instance of the Remake being completely indifferent to Cloud’s feelings for Aerith, and actually priotizing Tifa’s relationship with Aerith instead.

It is also Tifa who runs to reunite with Aerith after the group of enemies is defeated. Another moment that could have easily been Cloud’s that the Remake gives to Tifa.

Also completely eliminated in the Remake, is the “I’m your bodyguard. / The deal was for one date” exchange in the jail cells. In the Remake, after Ch. 8, the date isn’t brought up again at all; “the bodyguard” reference only comes up briefly in Ch. 11 and then never again.

In the Remake, the jail scene is replaced by the scene in Aerith’s childhood room. Despite the fact that this is Aerith’s room, it is Tifa’s face that Cloud first sees when he wakes. What purpose does this moment serve other than to showcase Cloud and Tifa’s intimacy and the other characters’ tacit acknowledgment of said intimacy?

(This is the second time where Cloud wakes up and Tifa is the first thing he sees. The other was at Corneo’s mansion. He comes to three times in the Remake, but in Ch. 8, even though Aerith is right in front of him, we start off with a few seconds of Cloud gazing around the church before settling on the person in front of him. Again, while not something that most players would notice, this feels like a deliberate choice.)

Especially since this scene itself is all about Aerith. She begins a sad story about her past, and Cloud, rather than trying to comfort her in any way, asks her to give us some exposition about the Ancients. When the Whispers surround her, even though Cloud is literally right there, it's Tifa who pulls her out of it and comforts her. Another moment that could have been Cloud that was given to Tifa, and honestly, this one feels almost bizarre.

Throughout the entire Shinra HQ episode, Cloud and Aerith haven’t had a single moment alone to themselves. The Drums scenario is completely invented for the Remake. The devs could have contrived a way for Cloud and Aerith to have some one-on-one time here and work through the feelings they expressed during Aerith’s resolution if they wanted. Instead, with the mandatory party configurations during this stage - Cloud & Barret on one side; Tifa & Aerith on the others, with Cloud & Tifa being the respective team leaders communicating over PHS, the Remake minimizes the amount of interaction Cloud and Aerith have with each other in this chapter.

On the rooftop, before Cloud’s solo fight with Rufus, even though Cloud is ostensibly doing all this so that they can bring Aerith to safety, the Remake doesn’t include a single shot that focuses on Aerith’s face and her reaction to his actions. The game has decided, whatever Aerith’s feelings are in this moment, they’re irrelevant to the story they’re trying to tell. Instead we get shots focusing solely on Barret and Tifa. While the Remake couldn’t find any time to develop Cloud and Aerith’s relationship at the Shinra Tower (even though the OG certainly did), it did find time to add a new scene where Tifa saves Cloud from certain death, while referencing their Promise.

A lot of weird shit happens after this, but it’s pretty much all plot and no character. We do get one more moment where Cloud saves Tifa (and Tifa alone) from the Red Whisper even though Aerith is literally right next to her. The Remake isn’t playing coy at all about where Cloud’s preferences lie.

The party order for the Sephiroth battle varies depending on how you fought the Whispers. All the other character entrances (whoever the 3rd party member is, then the 4th and Red) are essentially the exact same shots, with the characters replaced. It’s the first character entrance (which can only be Aerith or  Tifa) that you have two distinct options.

If Aerith is first, the camera pans from Cloud over to Aerith. It then cuts back to Cloud’s reaction, in a separate shot, as Aerith walks to join him (offscreen). It’s only when the player regains control of the characters that Cloud and Aerith ever share the frame.

On the other hand, if Tifa is first, we see Tifa land from Cloud’s POV. Cloud then walks over to join Tifa and they immediately share a frame, facing Sephiroth together.

Again, this is not something SE would expect the player to notice the first or even second time around. Honestly, I doubt anyone would notice at all unless they watched all these variations back to back. That is telling in itself, that SE would go through all this effort (making these scenes unique rather than copy and pasting certainly takes more time and effort) to ensure that the depictions of Cloud’s relationships with these two women are distinct despite the fact that hardly anyone would notice. Even in the very last chapter of the game, they want us to see Cloud and Tifa as a pair and Cloud and Aerith as individuals.

Which isn’t to say that Aerith is being neglected in the Remake. Quite the opposite, in fact, when she has essentially become the main protagonist and the group’s spirtual leader in Ch. 18. Rather, her relationship with Cloud is no longer an essential part of her character. Not to mention, one of the very last shots of the Remake is about Aerith sensing Zack’s presence. Again, not the kind of thing you want to bring up if the game is supposed to show her being in love with Cloud.

What does it all mean????

Phew — now let’s step back and look and how the totality of these changes have reshaped our understanding of the story as a whole. Looking solely at the Midgar section of the OG, and ignoring everything that comes after it, it seems to tell a pretty straightforward story: Cloud is a cold-hearted jerk who doesn’t care about anyone else until he meets Aerith. It is through his relationship with Aerith that he begins to soften up and starts giving a damn about something other than himself. This culminates when he risks it all to rescue Aerith from the clutches of the game’s Big Bad itself, The Shinra Electric Company.

This was honestly the reason why I was dreading the Remake when I learned that it would only cover the Midgar segment. A game that’s merely an expansion of the Midgar section of the OG is probably going to leave a lot of people believing that Cloud & Aerith were the intended couple, and I didn’t want to wait years and perhaps decades for vindication after the Remake’s Lifestream Scene.

I imagine this very scenario is what motivated SE to make so many of these changes. In the OG, they could get away with misdirecting the audience for the first few hours of the game since the rest of the story and the reveals were already completed. The player merely had to pop in the next disc to get the real story. Such is not the case with the Remake. Had the the Remake followed the OG’s beats more closely, many players, including some who’ve never played the OG, would finish the Remake thinking that Cloud and Aerith were the intended couple. It would be years until they got the rest of the story, and at that point, the truth would feel much more like a betrayal. Like they’ve been cruelly strung along.

While they’ve gone out of their way to adapt most elements from the OG into the Remake, they’ve straight up eliminated many scenes that could be interpreted as Cloud’s romantic interest in Aerith. Instead, he seems much more interested in her knowledge as an Ancient than in her romantic affections. This is the path the Remake could be taking. Instead of Cloud being under the illusion of falling in love with Aerith, he’s under the illusion that the answer to his identity dilemma lies in Aerith’s Cetra heritage, when, of course, the answer was with Tifa all along.

Hiding Sephiroth’s existence during the Midgar arc isn’t necessary to telling the story of FF7, thus it’s been eliminated in the Remake. Similarly, pretending that Cloud and Aerith are going to end up together also isn’t necessary and would only confuse the player. Thus the LTD is no longer a part of the Remake.

If Aerith’s impact on Cloud has been diminished, what then is his arc in the Remake? Is it essentially just the same without the catalyst of Aerith? A cold guy at the start who eventually learns to care about others through the course of the game? Kind of, though arguably, this is who Remake!Cloud is all along, not just Cloud at the end of the Remake. Cloud is a guy who pretends to be a selfish jerk, but he deep down he really does care. He just doesn’t show this side of himself around people he’s unfamiliar with. So part of his arc in the Remake is opening up to the others, Barret, AVALANCHE and Aerith included, but these all span a chapter or two at most. They don’t straddle the entire game.

What is the throughline then? What is an area in which he exhibits continuous growth?

It’s Tifa. It’s his desire to fulfill his Promise to Tifa. Not just to protect her physically, but to be there for her emotionally, something that’s much harder to do. There’s the big moments like when he remembers the Promise in Ch. 4., his dramatic fist clench when he can’t stop Tifa from crying in Ch. 12, and in Ch. 13 when he watches Barret comfort Tifa. It’s all the flashbacks he has of her and the times he’s felt like he failed her. It’s the smaller moments where he can sense her nervousness and unease but the only thing he knows how to do is call her name. It’s all those times during battle, where Tifa can probably take care of herself, but Cloud has to save her because he can’t fail her again. All of this culminates in Tifa’s Resolution, where Tifa is in desperate need of comfort, and is specifically seeking Cloud’s comfort, and Cloud has no idea what to do. He hesitates because he’s clueless, because he doesn’t want to fuck it up, but finally, he makes the choice, he takes the risk, and he hugs her….and he kind of fucks it up. He hugs her too hard. Which is a great thing, because this arc isn’t anywhere close to being over. There’s still so much more to come. So many places this relationship will go.

We get a little preview of this when Tifa saves Cloud on the roof. Everything we thought we knew about their relationship has been flipped on its head. Tifa is the one saving Cloud here, near the end of this part of the Remake. Just as she will save Cloud in the Lifestream just before the end of the FF7 story as a whole. What does Tifa mean to Cloud? It’s one of the first questions posed in the Remake, and by the end, it remains unanswered.

Cloud’s character arc throughout the entire FF7 story is about his reconciling with his identity issues. This continues to develop through the Shinra Tower Chapters, but it certainly isn’t going to be resolved in Part 1 of the Remake. His character arc in the Remake — caring more about others/finding a way to finally comfort Tifa — is resolved in Ch. 14, well before rescuing Aerith, which is what makes her rescue feel so anticlimactic. The resolution of this external conflict isn’t tied to the protagonist’s emotional arc. This was not the case in the OG. I’m certainly not complaining about the change, but the Remake probably would have felt more satisfying as a whole if they hewed to the structure of the OG. Instead, it seems that SE has prioritized the clarity of the Remake series as a whole (leaving no doubt about where Cloud’s affections lie) over the effectiveness of the “climax” in the first entry of the Remake.

This is all clear if you only focus on the “story” of the Remake -- i.e., what the characters are saying and doing. If you extend your lens to the presentation of said story, and here I’m talking about who the game chooses to focus on during the scenes, how long they hold on these shots, which characters share the frame, which do not, etc --- it really could not be more obvious.

Does the camera need to linger for over 5 seconds on Cloud staring at the door after wishing Tifa goodnight? Does it need to find Cloud almost every time Tifa says or does anything so that we’re always aware of his watchfulness and the nature of his care? The answer is no until you realize this dynamic is integral to telling the story of Final Fantasy VII.

I don’t see how anyone who compares the Remake to the OG could come away from it thinking that the Remake series is going to reverse all of the work done in the OG and Compilation by having Cloud end up with Aerith.

Just because the ending seems to indicate that the events of the OG might not be set in stone, it doesn’t mean that the Remake will end with Aerith surviving and living happily ever after with Cloud. Even if Aerith does live (which again seems unlikely given the heavy foreshadowing of her death in the Remake), how do you come away from the Remake thinking that Cloud is going to choose Aerith over Tifa when SE has gone out of its way to remove scenes between Cloud and Aerith that could be interpreted as romantic? And gone out of its way to shove Cloud’s feelings for Tifa in the player’s face? The sequels would have to spend an obscene amount of time not only building Cloud and Aerith’s relationship from scratch, but also dismantling Cloud’s relationship with Tifa. It would be an absolute waste of time and resources, and there’s really no way to do so without making the characters look like assholes in the process.

Now could this happen? Sure, in the sense that literally anything could happen in the future. But in terms of outcomes that would make sense based on what’s come before, this particular scenario is about as plausible as Cloud deciding to relinquish his quest to find Sephiroth so that he can pursue his real dream of becoming at sandwich artist at Panera Bread.

It’s over! I promise!

Like you, I too cannot believe the number of words I’ve wasted on this subject. What is there left to say? The LTD doesn’t exist outside of the first disc of the OG. You'll only find evidence of SE perpetuating the LTD if you go into these stories with the assumption that 1) The LTD exists 2) it remains unanswered. But it’s not. We know that Cloud ends up with Tifa.

What the LTD has become is dissecting individual scenes and lines of dialogue, without considering the context of said things, and pretending as if the outcome is unknown and unknowable. If you took this tact to other aspects of FF7’s story, then it would be someone arguing that because there a number of scenes in the OG that seem to suggest that Meteor will successfully destroy the planet, this means that the question of whether or not our heroes save the world in the end is left ambiguous. No one does that because that would be utterly absurd. Individual moments in a story may suggest alternate outcomes to build tension, to keep us on our toes, but that doesn’t change the ending from being the ending. Our heroes stop Meteor. Cloud loves Tifa. Arguments against either should be treated with the same level of credulity (i.e., none).

It’s frustrating that the LTD, and insecurities about whether or not Cloud really loves Tifa, takes up so much oxygen in any discussion about these characters. And it’s a damn shame, because Cloud and Tifa’s relationship is so rich and expansive, and the so-called “LTD” is such a tiny sliver of that relationship, and one of the least interesting aspects. They’re wonderful because they’re just so damn normal. Unlike other Final Fantasy couples, what keeps them apart is not space and time and death, but the most human and painfully relatable emotion of all, fear. Fear that they can’t live up to the other’s expectations; fear that they might say the wrong thing. The fear that keeps them from admitting their feelings at the Water Tower, they’re finally able to overcome 7 years later in the Lifestream. They’re childhood friends but in a way they’re also strangers. Like other FF couples, we’re able to watch their entire relationship grow and unfold before our eyes. But they have such a history too, a history that we unravel with them at the same time. Every moment of their lives that SE has found worth depicting, they’ve been there for each other, even if they didn’t know it at the time. Theirs is a story that begins and ends with each other. Their is the story that makes Final Fantasy VII what it is.

If you’ve made it this far, many thanks for reading. I truly have no idea how to use this platform, so please direct any and all hatemail to my DMs at TLS, which I will then direct to the trash. (In all seriousness, I’d be happy to answer any specific questions you may have, but I feel like I’ve more than said my piece here.)

If there’s one thing you take away from this, I hope it’s to learn to ignore all the ridiculous arguments out there, and just enjoy the story that’s actually being told. It’s a good one.

#cloti

[dwollsadventures]

The second part of a request from TheLOAD from... a while back. The initial one was the Nix/Nokk/Knucker piece. This one took me a little longer for a few reasons. Mostly school reasons. And writer's block reasons,  which is why this is taking the place of the monthly preview. And because, for research, I had to re-read the entirety of Drakon by Daniel Ogden for information. For those not used to my pedantry, this is not an "in-canon" family tree of the Greek dragons, such as you might see in those huge Greek mythology family tree pictures that are on the internet (I've got a few in my favorites from waaaaayyyy back as well). Rather, this is a way of showing how the concept of the dragon came about throughout time and how other beings are related through those branching lines. Of course this is presented as a lot more neat than it probably should be. If it were truly accurate it would have interconnected lines all over the place and obscure the little lizards. Before we talk about what's on the tree let's talk about what's not on it. Though Odgen talks about every (and I mean every) slightly Draconic being in Greek and Roman mythology, I've opted to include a trimmed down version. Because some, like Medusa and Lamia, I personally do not consider dragons proper, and others like the goddess Keto are relatively obscure and probably only exist to explain the existence of a related being (like the ketea). Creatures like Chimera and Typhoeus are included because, while not usually serpentine or draconic, they are in effect dragons; horrible, vaguely reptilian monsters slain by a hero. Not every individual dragon is depicted, only the ones I thought pertinent to include. (warning: LONG)

To start with, a drakon is a snake. The Greeks used the word to refer to both huge monsters and mundane snakes. Drakon itself is derived from the word dérkomai and is believed to literally mean, "the one who sees". The hypnotizing power attributed to snakes is present in drakons, traditionally given the job of the sleepless guardian of treasure. Going back even further, we see that the drakon comes from two disparate cultural perceptions of snake, each of which is still present in its classical form.

Snake Goddess - One of the native precursors of the Greeks were the Minoans. They had more in common with their Egyptian and Near Eastern neighbors than the Italians and Balkans. From what little we can gather of their culture, it appears the snake was a symbol of the goddess. Whether or not it was any goddess in particular is unknown. This theme survives into ancient Greece, however. Athena often uses snakes as agents when acting with mortals, Hera uses them as well (the twin serpents who attempted to strangle Heracles and the Hydra), and Medea had a chariot pulled by snakes. Earth goddesses in particular are heavily associated with them. Python was a direct product of Gaia, and the snake was a divine symbol of Demeter, who also had a rad snake chariot. Even in mortal women, their dynamic with snakes and dragons is nurturing. Several heroines sing to snakes as their masculine counterparts steal the treasure they guard, fulfilling a nurturing role in comparison to the destructive masculine one. Here the snake is a guardian, a creature of the earth and everything beneath it, including gold and the dead. These dragons are usually not slain, but pacified by the presence of a woman. In addition, the beard is an originally Greek symbol associated with snakes, particularly those connected to the gods. This was quite possibly a signifier of their supernatural status above mundane serpents. The goddess depicted above isn't any one in particular, though her dress does pull from a statue of Athena holding a curled python.

Drakaina - One way in which the snake goddess has survived is in the drakaina. This word is simply the feminine form of drakon, but also encompasses the numerous beings characterized by having the upper body of a woman and the lower body of a drakon. Numerous beings in Greek mythology fit this theme, but the one I've focused on is the Scythian drakaina, a woman who intercepts Heracles during one of his labors and kidnaps some cows. She offers to return the cattle in exchange for a night of intercourse. And then Herc is off and we're told the three sons of that union go on to become kings of great renown in Scythia. Some authors interpret this as a Greek adaptation of a Scythian myth, with one of the key pieces of evidence being that the drakaina's name is Hora, meaning "Seasons". Regardless of whether or not this is a goddess, it is a story where the snake-woman is neither killed nor stolen from, instead given the prestige of being the founder of a line of kings.

PIE Chaos Serpent - From the Proto-Indo-Europeans up North, we get the dragon we're all more familiar with. Serpents of this breed, such as Apep, Tiamat, and Jormungand, are all enormous, destructive creatures allied with darkness and the unforgiving seas. They represent the primordial chaos from what order sprang out of, and often have a hand in trying to return the world to that way. One of the primary themes associated with them is the dragon slayer: a god or hero who fights a dragon to save something, be it a land or treasure or an Ethiopian princess.

Typhoeus - This guy, though significantly more humanoid and giant-like than any others, is the clearest example of a PIE chaos serpent in Greece. It does not get more typical than a giant snake (like) monster fighting a storm god. Typhoeus probably sprung from traditions where he was more serpentine, but gradually added other aspects. Such as his own storm god qualities. In Greece, gods associated with the winds are always given wings, save for Zeus. The two's battle is reflective of a battle between the terrible whirlwinds and lightning strikes and the calmer, helpful rain showers that enable humanity to survive. 

And then we get to the drakon proper. Taking elements from both sides of the tree, the archetypal Greek drakon is an enormous, often monstrous serpent associated with both the underground and the waters in some way. They are agents of gods, most often goddesses, sent to battle heroes or guard priceless treasures. Sometimes they're killed, sometimes they're merely lulled to sleep by a helpful maiden. Rather than breathing fire (which everything from mechanical bulls to horses to giants do), they possess venoms and rows of sharp teeth. Mention of their terrible gazes is often made. This drakon has both a beard and a casque-like crown, common elements in drakon descriptions from Greece. Its face is much less serpentine, being modeled after a clay illustration of the Colchian dragon. This gives is a suitably monstrous look, as if it were being pealed from layers of mud.

Chimera - Despite its odd appearance, the chimera fits the pattern of a dragon terrorizing a countryside and being slain by a plucky hero. The chimera may in fact be the originator of the classical Saint George imagery, where the saint is depicted as towering over a crawling, pitiful dragon. A 3rd century mosaic from Imperial Rome may have started this trend. What makes her (because despite her mane the Chimera is a female) stand apart from all the rest is the sheer strangeness of her form compared to others. Especially the little goat that comes out of her back, like a rider. Which I had to cut for spacing reasons :(

Hydra - Another classical Greek dragon is the multi-headed hydra, who has given its name to a whole genre of creatures with more heads than they ought to have. In addition to having the attributes of a typical Greek drakon, the Hydra has two traits seen in Mesopotamian monsters as well. The first is the amount of heads. Having many heads is not as common in Greece as it is in the Near East, where the idea of an eleven-headed sea serpent pops up numerous times across several different cultures. The second is that the hydra, in its earliest mentioning by Hesiod, is said to have been raised by Hera specifically to combat Heracles. This same tactic is done by a few Mesopotamian gods. In their realm of influence, monsters are pawns of the gods, who send them out to do their bidding on Earth while they lounge in Heaven. Our Hydra may have been a later influence from Greece's neighbors to the East. Also, had to add in the crab that Hera also sends in to help the hydra. If this were a spec bio piece, I would make it a species of crab that evolved to clean the hydra of parasites.

Cetus - Sea monsters such as these are perhaps the furthest from the traditional Greek drakon, while still remaining core parts of the mythology. In form cetoi range from exaggerations of real whales and sharks to dog-headed serpents with frilly fins and ears. Or even animal-headed fish. Because they live underwater, they almost always function as tools of divine vengeance. Kinda hard to steal treasure underwater. Heavy metal tends to sink. While cetus was originally a word for any sea monster, it would eventually become the root of the scientific term cetacean: whales and dolphins.

But the tree doesn't end there. See, even after the culture we recognize as the Ancient Greeks and Romans faded, their dragons still lived on. Medieval Europe, with its glorification of Greco-Roman texts, derived many of their folk beliefs from their predecessors. Or, the people who they liked to imagine were there predecessors.

Draco - The Romans adopted the Greek drakon whole-clothe, like a lot of stuff. The only noteworthy original dragon to come out of the pre-Fall Roman era was the Dacian Draco. The Dacians used the image of a dragon as a standard during war-time, represented as a serpent with the head of a dog. When conquered, the Romans adopted this, possibly beginning the Western tradition of associating dragons with military power and identity. The dog-headed serpent would also survive to the modern period, showing up in descriptions of Balkan lamya. 

Indian Drakon - Here begins a tradition in Greek and Roman literature that claimed that foreign parts were full of large, dangerous, and more interesting fauna than the mundane peninsula they were all stuck on. This is a common theme of humanity in general, where everyone you're not familiar with is teeming with exciting and ancient life. Just look at cryptozoology. India in particular was a favorite of Greek tall tales, being far away for journeys to be rare, but also rich and full of exotic animals. Philostratus populated India with three types of drakons: the lowly marsh, the silver hill, and the dazzling golden mountain drakons. They were typical in every respect, having enormous sizes, red crowns, beards, and guarding treasure beneath the earth. An interesting addition was that they were the mortal enemies of elephants. Being the largest land-animal (in real life), they made perfect prey for these humongous serpents. Feeding on them was fraught with peril, however, as the struggle between reptile and mammal could result in the death of either party, or both. To symbolize the foreignness of the drakon, I drew it as a sort of hybrid between the drakon and the Hindu naga. 

Pliny's Drakon - This drakon is otherwise the same as the Indian, but is the start of another theme. As time went on, philosophers began taking more grounded looks at fantastical animals. While also perpetuating even more outrageous falsehoods. None was more popular than Pliny the Elder, hence the name. He believed that, while foreign drakons might be real, they were much more similar to the snakes of Greece than the monsters of legend. He scoffed at the crowns and hair they were adorned with. His Natural History was the first of many instances where the fantastical elements of the dragon were toned down to seem more palatable to a scientifically minded audience. It also introduced an interest into the life history of the dragons, treating them as real animals with lives beyond the myths. Our dragon up top evolved to resemble pythons, rather than the other way around to what probably happened in real life, where pythons were exaggerated to become dragons.

Then, we get two foreign influences, which would come to shape the modern definition of the European dragon. Christianity's influence cannot be understated here. As Jonathan Evans states in Medieval Folklore, the dragon came to be confused with several other desert animals. In Jewish and early Christian belief, desert animals were themselves demonic, living in inhospitable regions devoid of human life. Later, texts like Revelations would specifically denote dragons as heralds of evil, and even harbingers of Armageddon itself. This is in contrast to the morally neutral Leviathan. In the medieval era, dragons were beings of evil, without a doubt. Bestiaries were full of on the nose fables about how the natural lives of dragons. Like how they could not stand the breath of a panther (a symbol of Jesus Christ). Or how they could not catch birds that nested in the Peridexion tree (the tree being the church and the birds being Christians, who are safe from the devil so long as they do not stray from the arms of God). This is represented by a typical medieval devil, being brightly colorful and made in mockery of God's creations, aka a weird hybrid with a snake coming out of his butt. Then, the Germanic dragon. This is seen especially in Northern and Western Europe. The Germanic dragon is otherwise similar to the Greek, except that it began as a character of evil. Lindworms and other serpents are almost always antagonists, and there is no heroine who saves them from their fate of death. They also had a stronger connection to treasure. Greek dragons guarded treasure as a job, but the very existence of Germanic dragons is tied with their golden hoards. In addition, in Greek myths, getting transformed into an animal is usually the end of one's story. With the Germanic dragon, it's merely the beginning. Transformed dragons act as antagonists and moral lessons wrapped in one; a lesson to all to not be greedy. Germanic dragons, represented by the lindworm, reinforced their role as antagonists and agents of selfish evil.

Which finally brings us to the medieval dragon. In a way, this creature is a mix of everything above. The dragon is an animal and demon in one, simultaneously a figure of evil who spoils the land around them and a living being with its own life and needs. The medieval era also introduces the origin of dragons, showing them as having nests and young, not simply coming into existence out of the earth or sea like before. They also developed some less reptilian traits, like wings and hair. This was probably because of artistic traditions among the monks who wrote bestiaries rather than popular legend, which continued to conflate them with snakes and lizards and even crocodiles. This particular line of the tree would develop a life of its own, spreading far and wide across Europe and eventually reaching beyond the seas. Our modern conceptions of dragons are a whole 'nother story.

#mythology #mythical creatures #dragon #dragons #serpent #snake #snakes #Greek Mythology #myth stuff #drakaina #drakon #typhon #typhoeus #chimera #hydra #cetus #draco #drake #devil #demon #lindworm #medieval dragon

[neoptolemid]

Neoptolemus super doc ? ??

ARE WE ABSOLUTELY SURE,, , ,, ,

uh okay, I pull together my super document of Pyrrhus, have pardon cause it's a bit old and i'm gonna spread it through like 3 or 4 posts probably , , so uh enjoy and I'm sorry for all grammatical errors

Skyros

Pyrrhus was born by the name Pyrrhus and this was based either on his red hair or due to Achilles name of Skyros being Pyrrha.

When it comes to appearances I generally describe him as a good mix of both Deidamia and Achilles’ traits, having inherited Deidamia’s red hair and Achilles Blue/teal eyes. He is around the middle of both of his parent’s height as I make Achilles 6’0 and Deidamia 5’3 when full grown, Pyrhhus rounds out to be 5’6. He also has a number of beauty marks which are similar to Achilles’.

It is unknown how long Achilles stayed on Skyros or when Pyrrhus was born. Either way Achilles did know about his son, we know this from the fact Achilles makes references to his son within the Iliad and Odyssey.

I like to believe that part of Pyrrhus growing up with his mother and aunts is that he has a lot of appreciation for women’s crafts and what they do. That he as a younger child would simply sit and be by his mother and/or aunts as they worked enjoying their company.

He would try his best growing up to join into their songs and dances, and at least once dressed himself in girls clothes to show his mother and aunts which got a good laugh out of them.

From Quintus ‘Fall of Troy’ we are informed that learning to fight and it was Odysseus and Diomedes who came with their black sails to ask him to join the war cause. He was promised to marry Menelaus’s daughter Hermione, he was also promised to have Achilles’ armor and gold, riches, and glory for coming with them.

While work will generally age him to being a young man or simply portray him to be very well spoken, if you follow along with the time line it is very possible that Pyrrhus is only 11 or 12 when he leaves Skyros, I tend to write him as being 13 for my own comfort.

Another thing to note form Quintus’s piece on Pyrrhus is they depict this being especially sad for Deidamia, she is written as having weeped and weeped. She doesn’t want him to leave because she doesn’t want him going to war and leaving her. She doesn’t want him hurt and she doesn’t want another person she loves leaving her again.

Deidamia Pyrrhus’s mother is written as loving him and I interpret bits of this story as Pyrrhus is the only tie to Achilles she has. Generally I prefer the idea that Deidamia did care for Achilles and so it did break her heart that he left and she had hoped that he would return eventually to her and their son.

Over the years she understood more and more that he would not return, so all she had was her son, and then eventually they come and take him from her as well.

Mattering on the version of the story, it is fully possible that Deidamia may have never seen her son again once he left the island.

Dawn climbed the wide-arched heaven, straightway they rose from their beds. Then Deidameia knew; and on her son's broad breast she cast herself, and bitterly wailed: her cry thrilled through the air, as when a cow loud-lowing mid the hills seeks through the glens her calf, and all around Echo long ridges of the mountain-steep; so on all sides from dim recesses rang the hall; and in her misery she cried: "Child, wherefore is thy soul now on the wing to follow strangers unto Ilium the fount of tears, where perish many in fight, yea, cunning men in war and battle grim? And thou art but a youth, and hast not learnt the ways of war, which save men in the day of peril. Hearken thou to me, abide here in thine home, lest evil tidings come from Troy unto my ears, that thou in fight hast perished; for mine heart saith, never thou hitherward shalt from battle-toil return. Not even thy sire escaped the doom of death -- he, mightier than thou, mightier than all heroes on earth, yea, and a Goddess' son -- but was in battle slain, all through the wiles and crafty counsels of these very men who now to woeful war be kindling thee. Therefore mine heart is full of shuddering fear lest, son, my lot should be to live bereaved of thee, and to endure dishonour and pain, for never heavier blow on woman falls than when her lord hath perished, and her sons die also, and her house is left to her desolate. Straightway evil men remove her landmarks, yea, and rob her of her all, setting the right at naught. There is no lot more woeful and more helpless than is hers who is left a widow in a desolate home."

Lemnos

Pyrrhus agrees to go with them and on the way they stop by the island of Lemnos to get Philoctetes. Odysseus makes Neoptolemus lie to Philoctetes because he knows that he hates Odysseus because he is the man who abandoned him on Lemnos and he knows that Philoctetes doesn’t want to go to Troy but back to Greece and to his home.

This causes a Pyrrhus strife because he has been taught to be noble up until now, in the play Philoctetes by Sophocles we are shown multiple times how this causes him strife because he is having to lie. Philoctetes also considers Pyrrhus to be a friend because Pyrrhus lies and says that he wants to go back home to Skyros because of the way he is treated by the other Greeks even though he hasn’t met any of them yet to our knowledge.

Good lines from this play that I personally characterize him are

‘It would have been better if i had never left scyros. Everything around me oppresses me ..’

‘He’ll (odysseus) claim i’m too soft-hearted’

‘I can’t. It is right and in our interest to listen to those in authority’

Some of the best development to see from this is how he was raised to be noble and how he doesn’t want to trick people or lie, he wants to be honest.

Another thing I find interesting to read from specifically this play is how Pyrrhus is very rarely called by his own name, he is almost always referred to ‘son of achilles’ and also in this play he is often referred to as ‘child’ or ‘boy’.

While none of these things are brought up as an issue in the play I do think it is a detail you can play with, like how it might weigh on an individual to be always referred to by your famous father or how people don’t recognize you by your name but by your father’s.

I think these are things that would weigh on Pyrrhus he wants to live up to his father but it also oppresses him to be referred in such a way. He wants to be like his father but he is still his own individual which he doesn’t feel recognized by as people continually anything but his own name.

To the idea of playing into the fact he is also often called ‘boy’ or ‘child’ These could be names that eventually upset and anger him. He is being dragged into this war like he is old enough to fight, which he is not and yet he is not recognized as such by those around him.

It is a case of a child feeling indignatinge by being called terms which denote being naive, though I like to think there is some justification for his anger because this isn’t just a small thing but he is being taken into a man's world.

In Philoctetes he is referred to by the name Neoptolemus, he was given this name by Phoenix, a man also considered to be a father by Achilles. Phoenix is one of the oldest men in the Trojan war and he is either involved with Pyrrhus coming from the island to Skyros to the war or some time later down the road. He gave him this name because it means ‘new war/warrior’ it is meant to reflect how Achilles himself was a young man when he entered the war.

It is honestly more common to see Pyrrhus referred to as Neoptolemus by the Greeks and Pyrrhus by Roman sources to my knowledge. (i’ll be using Pyrrhus just for simplicity)

Troy

There are a lot of various stories that have to do with the fall of Troy, we have records again from Quintus “Fall of Troy” and the “Aeneid” by Vergil. There are also a number of plays by the three tragedians of Ancient Greece(Sophocles, Euripides, Aeschylus) that have to do with the end of the war and various stories of the aftermath.

While Pyrrhus doesn’t appear in these very often they still help to give more insight to his possible character.

Pyrrhus makes a minor appearance within the play of ‘hecuba’ and is in the background of ‘andromache’, he makes no appearance within this story but he is directly related to things happening in the play.

Back onto the subject of the fall of Troy, he is regarded as the killer of both Astyanax and Priam. These are generally agreed upon details and sometimes Odysseus fills the role of Pyrrhus when the story decides they don’t want to introduce more characters.

He is generally described as being ‘battle-eager’ ‘Fierce-hearted’ and a few other epithets relating to fighting. In general he is not described as being worse than anyone else. The fall of Troy is a greek work and all the Greeks within this work are killing and fighting people. He is by all means a competent fighter within the text.

In the Odyssey when Odysseus goes into the underworld and speaks with the dead, and when Achilles comes to speak he asks about his son.

Odysseus describes him as

‘but I can tell you all about your son Neoptolemus, for I took him in my own ship from Scyros with the Achaeans. In our councils of war before Troy he was always first to speak, and his judgement was unerring. Nestor and I were the only two who could surpass him; and when it came to fighting on the plain of Troy, he would never remain with the body of his men, but would dash on far in front, foremost of them all in valour. Many a man did he kill in battle- I cannot name every single one of those whom he slew while fighting on the side of the Argives, but will only say how he killed that valiant hero Eurypylus son of Telephus, who was the handsomest man I ever saw except Memnon; many others also of the Ceteians fell around him by reason of a woman's bribes. Moreover, when all the bravest of the Argives went inside the horse that Epeus had made, and it was left to me to settle when we should either open the door of our ambuscade, or close it, though all the other leaders and chief men among the Danaans were drying their eyes and quaking in every limb, I never once saw him turn pale nor wipe a tear from his cheek; he was all the time urging me to break out from the horse- grasping the handle of his sword and his bronze-shod spear, and breathing fury against the foe. Yet when we had sacked the city of Priam he got his handsome share of the prize money and went on board (such is the fortune of war) without a wound upon him, neither from a thrown spear nor in close combat, for the rage of Mars is a matter of great chance.'

In general from the greek sources he is described as nobly.

He is noted for killing quite a few people during the fall of Troy but his most notable kills are Priam, who he kills within the throne room (to my knowledge) and Astyanax who is killed after Troy has fallen.

In the Aeneid by Vergil he is described in ways that frame him a more villainous or evil way

‘The fatal work inhuman Pyrrhus plies,’

During when Pyrrhus is about to kill Priam there is a line that I believe characterizes him as more of a tragic character than anything else. Before killing Priam, Priam berates him about how Pyrrhus is about to treat Priam because of how Achilles showed him humanity and how Achilles gives Priam his son’s body back. This is partly brung up because Pyrrhus getting into the throne room kills one of Priam’s sons in front of his face.

The line basically translates out to be Pyrrhus telling Priam that when he dies and sees his father to tell him of the terrible deed of his son, of how terrible his son is.

In the translation that I read they use the line ‘Tell him of degenerate Neoptolemus’

When in the context of the Philoctetes I think this paints Pyrrhus as being a rather tragic and sad character, because prior to going to the island of Lemnos Pyrrhus tried to act most noble, he wants to be noble like his father. When on Lemnos he has his morals questioned and is forced to go against his morales at the hand of Odysseus.

I interpret this as him vocalizing how he might be upset with himself as he is forced to look at the reality of war which isn’t noble or glorious at all. He wants to live up to the noble idea of his father and everything he is forced to do makes him feel terrible.

I personally think that Pyrrhus probably doesn’t know a lot about the terrible things that Achilles has done or he tries to ignore them. When fighting in the war he might realize his idea of his father might not truly be acturte, he was raised on stories from his mother telling him of his outstanding father.

In terms of justifying his actions during the war because going off my own headcanon he probably wouldn’t be so interested in killing so many people, I imagine he kinda just turns off his head and acts purely on his emotions and just acts like that of a soldier. (Is this PTSD?)

He follows the orders given to him and acts without questioning and lets all his emotions out. I personally don’t assign Pyrrhus that much pride but I like to think he inherited some of his fathers famous anger. All of his anger at what he is being forced to do comes out when he is forced to fight.

That is where the brutality of his portrayal within the Aeneid comes from.

#super doc sorry #my thoughts #my terrible terrible thoughts of my boy #I am sorry some of these thoughts are kinda old and need to get updated lol #neoptolemus #pyrrhus #the iliad #(I guess) #my super doc of all things

[patchun]

WBaWC Deep Dive: Part 1/2

Lots of philosophical ideas are presented and explored in this game. In this post I aim to point them out. ZUN stated this in his SCooW interview:

"There isn't any sort of obvious theme to the story this time. It's mainly just an introduction of "there's a world like this out there". There's a variety of things going into that world, particularly satire, but if you ask what the work wants to show you, there isn't much in particular. "Here's this world called the Animal Realm, and here's these various elements spread throughout it."

And after doing a ton of digging... yeah, I think he's right. I was kind of hoping there would be something unintentional, but because the perspectives of the human and beast spirits aren't really shown, and only the spirits of their rulers, taking an actual message away from this game is very difficult. That said, I feel with this game more than any other, it's very easy to identify why certain decisions were made. Why is the first boss a stillborn child? Isn't that pretty random? No, let's look into it.

The story this time is quite complicated, so you may not be able to see the whole picture if you just play as one character. To be fair, you may not be able to do so even if you clear them all. (lol)

This will obviously be based on my own interpretation. Long post ahead.

Eika Ebisu. The soul of a stillborn child, and a master of stacking stones. Importantly:

She and the rest of the stillborn child spirits at Sai no Kawara stack stones as work every day. They stack stones as work, in Shinto mythology this is as repentance - because they brought sorrow to their parents by dying too early. Kind of morbidly amusing, I guess, but ZUN makes it a point to say this:

She's also a god of fortune who's able to change simple, pointless work into something that's enjoyable and worth doing, and who can make the best out of any bad situation.

Her ever-cheery demeanor, bright intellect, and penchant for constantly holding exciting new events like stone-stacking contests makes her the Sai no Kawara's resident idol, beloved by all the children's spirits there.

With the spirits of stillborns, yes. I feel like it's more hopeful to portray them as having fun in the afterlife, you know?

Being a god of fortune, Eika is able to make stone stacking FUN. The simple labor of stacking stones for these kids is no longer labor for repentance, but a game, thanks to her (NOTE: labor.) For that reason she is the resident "idol". She is probably the most healthy idol in the game, according to the ideology ZUN seems to be presenting, but we'll get into that later. There's more to this character.

In philosophical discussions of animal rights, when we ask "what is it that makes humans worthy of moral rights", we try to find a criteria. Something that humans have that nothing else does. That criteria then needs to be defended as being a good reason for humans to have moral rights. Used to, sentience was the argument made for human uniqueness. Humans are sentient and conscious, while animals are, in Descartes' scummy terms (sorry, I hate Descartes) "mere automata". We worked on this assumption from that idiot for years, but recently it has been scientifically proven that animals, at LEAST mammals, birds, crustaceans, cephalopods, and reptiles, are sentient, and it is summarized in a document called the Cambridge Declaration of Consciousness.

So this proves a problem for those who believe animals aren't worthy of moral rights. So then, what else do humans have that animals don't? Why are we special in deserving moral rights? Well, that would be our intelligence, right! Even the smartest animals are only about as smart as a five year old (this is not actually true but let's just pretend it is, they're smarter). But then, if intelligence is the criteria for moral rights, then what exactly is the system here? Does that mean that children are less worthy of moral rights than adults because they aren't as intelligent? Does this mean that people who mentally disabled and not viewed as "intelligent" by parts of the populace should be less deserving of moral treatment?

This has been a veryyy simplified summary of the discussion, but here's where it gets even more interesting. You see, here, two controversial ethical topics meet - abortion and animal rights. Because if you want to argue that sentience OR intelligence are the criteria for moral rights, then in either case, early fetuses absolutely do not have moral rights! This is a problem for anti-abortion arguers, which is a funny intersection in my opinion. I bring this up because, of course, while Eika is not an aborted fetus as far as I know, she is still a fetus. She is quite out of place in a game where the rest of the opponents up to Keiki are animal spirits, right? But no, the fetus and children in general actually have a very philosophically interesting place in animal rights discussions, because oftentimes to argue that animals are not deserving of moral rights you also have to take away the moral rights of children. In case this whole thing has left you confused, the side I took was that sentience IS the criteria for moral rights, meaning both animals and children have moral rights, while fetuses don't.

Now, what does Eika tell us about this? Well, nothing. Just that ZUN seems to have thought about it, really. But there are two keywords that apply broadly to WBaWC as a whole when talking about Eika:

Labor

Moral value

So let's continue.

Urumi Ushizaki. Seeing a farm animal after a stillborn child really set off some alarms. Her name translates to "moist beauty". Not sure I needed to know that, but I came across it in my research so now you do too.

She carries a stone carving of a baby. Once she gives the baby to someone to hold, she makes it heavier and submerges them in the river. She was an awe-inspiring youkai who took advantage of humans' kindness. However, since she's forbidden to attack humans in Gensokyo, she currently runs a fishery at the Sanzu River.

If one tries to cross the river without a shinigami's permission, they'll be attacked by creatures like extinct giant fish and plesiosaurs. Nowadays, she spends her time domesticating those giant fish, and makes a living wage by sometimes selling them in Gensokyo.

A baby then a cow with a baby. Urumi is the "Parental Guardian of Ancient Fish". She apparently domesticates them and makes a living wage (interesting terminology?) sometimes selling them to Gensokyo. But, it's implied that as a fisher, she actually cares about these fish. In Reimu (Wolf)'s story:

Reimu: I'm fine, thanks. If it's just fish I'll have to deal with, I'll filet 'em no problem.

Urumi: That so? Fine by me, then. I won't hold back when I turn you into food for my beloved ancient fish!

When Reimu threatens her fish, Urumi gets defensive. She refers to her fish as "beloved" and suggests valuing them over the protagonist, even though she isn't supposed to attack humans. In the SCooW interview, ZUN is asked, more or less, what's up with the fish in the Sanzu river? He responds:

It's full of fish that died, or went extinct. They can't go to Hell or the Netherworld after they die, you see... since fish and insects are in a bit of a separate category, the way I think about it.

So, remember that distinction we made earlier when talking about Ebisu? How the animals that have been proven to be sentient are mammals, birds, reptiles (cephalopods, crustaceans)? That excludes fish and insects, and here, ZUN makes that distinction as well. Fish sentience is still pretty up in the air at the moment. But that said, if there's any unintentional message in WBaWC, I suppose it would be here.

The fact that Urumi is able to domesticate these ancient fish in the first place implies a certain degree of sentience, and moreso, even without that, Urumi pretty clearly ascribes moral value to her fish in Reimu (Wolf)! In almost all routes, she defends her fish and suggests she'll feed the protagonist to them, but Reimu(Wolf) makes it the most clear that she actually cares about them. Which, when you think about it, of course you'll care about the things you domesticate.

Also Urumi's design is so cool and yet no one draws her anymore. Justice for Moist Beauty. There is more to be said about the livestock theme of this character, but we'll get back to that when we talk about Yachie's profile.

Kuwaka Niwatari.

Her true identity is that of Niwatarijin, the god of wild chickens from before they were domesticated. People tend to think of chickens as being sort of weak and cowardly, but she's a polite and just god who values equality and altruism above all. She's quietly considering what she can do to help raise the status of chickens, who've been reduced to a food source for humans.

If you've been following along so far, you probably understand already where this is going. A few words may stand out here. Domestication, equality and altruism above all, status, and "food source for humans."

Kutaka is probably the blatantly nicest character in WBaWC, who tests you because she's worried that if you go further, you'll be hurt (after winning, of course, the protagonists insult her). There's not just a ton to say about Kutaka's character itself, but there is this tidbit in ZUN's interview:

Chickens don't usually have a very positive image attached to them. Calling someone a "chicken" certainly doesn't make them sound strong either, right? And the only other common impression of them is as food, so I tried to give her a dignified feeling.

So, ZUN has deliberately designed Kutaka to be dignified, noted that she is a character who values equality and altruism, and included that one of her motivations is to raise the status of chickens who have been "reduced to a food source for humans." What's fascinating is that by creating Kutaka this way, he has given us a message - ZUN believes, to a degree, that Kutaka's motivation is a just one. Kutaka is intended TO raise the status of chickens. So let me say this. To those of you who made fucking chicken wing jokes after this character was revealed:

STOP. FUCK YOU. STOP.

If you'd like to repent, you can start by stacking stones. Trust me, it's fun!

Now, all of this is cool, but part 2 is where it's going to get interesting - when we finally get to Yachie's profile, the description of the "Animal Realm" of Hell. I'm excited, but I need to make dinner. Part 2 coming soon.

#touhou #th17 #wily beast and weakest creature #eika ebisu #urumi ushizaki #kuwaka niwatari #philosophy #animal ethics #reblogs appreciated greatly #patchunslibrary

[remakethestars]

CABIN 4 — DEMETER

Headcanons.

❝Hell yeah, I’m a botanist! Fear my botany powers!❞

— Mark Watney, The Martian

Headcanon masterlist.

A lot of their dads/parents are farmers & gardeners.

Bonsai trees.

People expect them to be all save the bees!, but actually, honey bees in America are an invasive species brought over by the colonists & are slowly taking over the other polinators, so f*ck bees.

C4 works together with C10 (Aphrodite) kids, who can intuitively understand the language of flowers, to provide flowers for funterals & the like.

They maintain all the plants around camp & keep the grass growing short so they don’t need to mow it.

They're constantly stealing sediment, sand, & pebbles from the canoe lake for their jarrariums.

C4's also host to a number of ecosystem jars.

Legend has it the one by the stained glass window is from before the American Civil War & has never been opened or watered.

Some of them carry those leaf bags — you know, like the mini rucksacks with the leaf flap over the opening — that C20 kids spell with undetectable extension charms that make them bigger on the inside or able to hold whatever's placed inside & maintain a light weight.

If they go on a quest, they look like something out of a tabletop R.P.G.

Plants are more fun to be around than people. At least they don't judge you.

Some of the C4 kids are into pottery; they like making their own pots for their plants.

C4 has a moss roof & pristine flowerbeds.

Ivy climbs up the sides.

The cabin's on the ground, but it's like one big tree house.

There's a tree growing unperturbed directly in the center. The hardwood floor is cut around it to accommodate, & so is the roof. Limbs sprout through the walls.

I imagine it as a maple tree. I also think it's huge because it thrives off the C4 kids.

Two stories.

The second story has a giant, stained glass window that shows a wheat field & farm with a line of trees in the distance.

Both stories have a door on the back wall that leads to the green house (also two stories). On the bottom floor, the hardwood turns to brick, & on the top floor, the hardwood turns to rougher wood like what is used in the loft of a barn.

On either side of the door, there are shelves upon shelves of books on farming, plants, & critters.

While most of the cabins used footlockers & trunks, C4 is partial to chests. Usually from redwood.

Absolutely hate tree topping — you know, when the people that maintain the power lines come along & cut off the tops of the tree. Without bark on the top, water runs down inside the tree, causing it to rot &, well, die.

They came to my grandma's door once, like, Hey, is it cool if we top your tree? And she was like, No, but you can cut around your lines if you have to. And they were like, Why not? And they didn't believe her when she told them the tree would die, but it did anyway.

Now every time we drive past a topped tree, I can feel the silent judgement. Like, whelp, that’s not gonna be there much longer.

C4 used to grow all of C.H.B.'s vegetables & the like by way of aquaponics system.

You may be thinking — Demeter? Fish? But hear me out. Now, the reason I don’t believe in hydroponic systems is because they don't use fish, which just makes the vegetables taste like water. Aquaponic systems, to contrast, use fish waste to fertilize the soil, which makes the vegetables taste like vegetables (& presumably provide more nutrients).

You know my great grandma abhorred the idea of using cow manure to fertilize her garden because she didn’t want to eat poop-food? Well, I think poop-food tastes better.

Anyway, when you grow one crop over & over again in the same spot, it depletes the soil of the nutrients those crops need to grow — it’s called monocropping — & it forces the farmer to rely on putting things into the soil themselves — no one cares about that. To summarize, farmers rotate the crops to keep the soil rich (though I can never remember what goes in which field for how long).

After Percy came to camp (& had a conniption), C4 switched from aquaponics to crop rotation.

They also irrigate the soil with ollas.

Ollas are unglazed clay pots buried with the plants that can be filled with water. They're porous, so the water seeps into the soil over time & keeps your plants hydrated.

Farmers today use drip systems & such because they (& their "experts" — my grandma hates that word) think they know better than ancient peoples, but those systems clog & the water's more prone to evaporation.

Sorry for the agriculture brain-barf. I'm from a family of farmers; I like to think I know my sh¡t when it comes to plants. My grandma says I used to know the name of every plant & flower on our property when I was little. Maybe I should be from C4 instead of C7…

I fancast Alex Kingston as Demeter. She has that certain je ne sais quoi.

Visit my Demeter cabin Pinterest board or my headcanon masterlist.

DISCLAIMER ━━━ These headcanons are what I consider to be canon in my fanfictions. They may be others’s headcanons I’ve subconsciously filed away in my noggin. If one’s yours and you want it removed or credited, please send me your post and let me know.

#Demeter #Demeter kids #Demeter cabin #children of Demeter #headcanons #headcannons #Percy Jackson #PJO #HOO #remakethestars #agriculture #gardening #plants

[nicklloydnow]

“Fear is archaic, it is embedded in the body, in its purest form untouchable to thought, and it is there to keep us alive. There are other vulnerable parts of the body, the heart being perhaps the most obvious, but when I think of the heart, I don’t think of it being pierced by a javelin or a spear or a bullet; that would be absurd. No, the heart fills me with thoughts of life and force, and if vulnerability and fear are involved, it is no more than a mild concern that one day it will simply stop beating. This must be because the heart belongs to the front of the body, the front we turn to the world, and always keep in check, since we can see what lies ahead of us, we can see what is coming, and take our precautions. The heart feels safe. That the neck is in fact just as safe, since we live in a world where people no longer carry swords, makes no difference to the feeling of vulnerability, it is archaic and closely linked to the fact that the neck belongs to the reverse side of the body, it is always turned toward what we cannot see and cannot control. The fear of everything we cannot see converges on the neck, and if in earlier times it used to be associated with physical violence, the most pressing association now is its figurative sense, which lives on in the social realm, in expressions like being attacked from the rear, getting it in the neck, watch your back, having eyes in the back of your head, being spoken about behind your back.

But the symbolic language that radiates from or the associations that converge on the neck, are not only about being struck, that is, being a passive victim of a surprise attack, or having something taken away from you, but also the opposite, where vulnerability is something that is offered. When we wish to show someone respect or to be polite, we bow to them, in other words, we expose our neck. It is a way of showing trust, and of giving something of yourself to the other, in an ancient system of differentiation where, in face of the supreme, you not only make a deep and sweeping bow, as to a king or other dignitaries, but kneel and lower your head to the ground, as you would before an altar or on a prayer mat. The gesture is humble, self-surrendering, it means laying your life in the hands of others.

While this country has not had the death penalty since the trials of Nazi collaborators after World War II, it is still applied in countries we have close ties to, namely the U.S.A., our main ally. If we consider the execution methods used there, it becomes obvious that death is not just death, since there is a big difference between separating the criminal’s head from his neck with a well-aimed stroke of the axe, and injecting his body with a lethal toxin or sending a surge of electricity through it. An injection has something neutral, controlled and professional about it, it is administered by a medical doctor, while electricity belongs to modernity and therefore seems civilized—though perhaps not so any longer, there is something crudely early modern about it, we associate it with quantity, with mass, and therefore also with the same kind of brutality and lack of sophistication shown by the errors of medical science during this era, lobotomy, measuring human skulls, eugenics. But still not as brutal as hanging, traditionally the least honorable form of execution, that most degrading to the victim—it is said that the prospect of being humiliated through hanging is what caused Göring to commit suicide in his Nürnberg cell—and even more so in the case of beheading. We perceive beheading as something barbaric and inhumane. To see a head being separated from a body must be one of the most terrifying sights a human being can be exposed to. But why? The end result is the same as when a lethal injection is administered, the person dies. It must be that something else is revealed in the act of decapitation, something more than the bare fact, the cessation of life functions. So what is it? In ritual sacrifice, which is still carried out in certain cultures, the head is separated from the body, and it is this, as much as death in itself, that the community gathers around. Death is displayed, and thus controlled, but the same would have been achieved if the victim had died quietly of poison.

(…)

When the French philosopher Georges Bataille founded the secret society Acéphale (The Headless) in 1936, which among other things celebrated the decapitation of Louis XVI and supposedly also discussed the possibility of carrying out a human sacrifice, the reason was not simply because the chop in the neck opened the abyss between life and death, but also between head and body, reason and chaos, human and animal, in a symbolic language where the neck forms the transition between what is low, corporeal-animal, and what is high, spiritual—but also in an ambiguous mythical language, where beheading reveals or liberates certain forces, murky and archaic, linked to death, soil, darkness, but also to repetition and continuity, for what the sacrificial victim exhibits, with its steaming blood and deep bellow, is a place where existence is dizzyingly densified. This is why Francis Ford Coppola ends his film Apocalypse Now with sacrifice and beheading, where meaning meets meaninglessness, life meets death, collective transgression meets individual limitation.

(…)

A face? We see what the face communicates, what it “tells” us. We enhance communication, we apply lipstick, mascara, we wear glasses, grow a beard, whiskers, or we don’t, but even a naked face tells us something, every look is a form of address, and a downturned gaze is not nothing, it is a non-address, a turning away. In the world of images we inhabit today, there is hardly a single part of the body that has not been exploited, sexually, commercially, or intellectually. Breasts, bottoms, thighs, calves, feet. Backs, biceps, six-pack abs. Cunts and cocks. Toes and fingers with nails lacquered red. Pierced tongues. Inner organs are bought and sold in the Third World; in the First World, the transactions take place between the living and the dead, in so-called organ transplants. In this sense, the neck is perhaps the only body part left that is not for sale, that is not on view in magazines and periodicals, that doesn’t serve as the owner’s marketing site or display window, that doesn’t change owners after death, and which, in contrast to its front side, the face, hardly communicates anything, neither contemporaneity, nor culture, nor community, and thus appears “mute.” And this is why, I think, that in looking at the neck, as these photos lead us to do, we get the feeling that we are being offered a glimpse of the body as it is in itself, non-individual, non-relational, biological, whole, and authentic. Something growing in a certain place in the world.

But the fact that the neck is unexploited visually and commercially of course does not mean that it stands outside of the culture, to the contrary, the neck, too, is loaded with meaning. It means only that it is marginal, somewhat forgotten, most often associated with not seeing, and with not being seen, that is, with negation, in contrast to the heart, for instance, which is also blind and mute, but in touch with a whole other wealth of signification. The heart signifies love, it means warmth, kindness, consideration. She has a big heart, home is where the heart is, our heartfelt sympathy, his heart is broken. The heart is life, light, love, compassion. The only figurative sense assigned to the neck that I can think of is found in the expression stiff-necked, that is, stubborn, obdurate, willful, intractable, impossible. To be stiff-necked is not to give way, not to yield a single inch, to always know best, always keep one’s cards close to one’s chest. The meaning can be extended to uprightness, which is the positive variant of being stiff-necked, that is, not relinquishing one’s pride and self-respect, holding one’s ground. Thus, the neck, in a certain sense, is linked to an existence outside of the community. The opposite, in the symbolic language of the neck, is to be stooped, that is, cowed, at the mercy of others, but in a more passive and less voluntary sense than when one bows deeply or kneels, out of respect for the other or in awe of the sacred.

It may seem as if the neck, in the symbolic language of body parts, has assumed the place between humility and pride, self-surrender and self-righteousness, but in a most discrete, gray eminence–like way, present only indirectly, as opposed to the more imposing organs and joints, like the brain, the symbol of intelligence, associated with a certain coldness and distance, but also with clarity and objectivity, not drowning in a heaving sea of vague emotions and sentimentality as one who thinks with the heart is.

In the metaphysics of the body, the neck forms the link between the reason of the mind and the light of the spirit, and the irrationality of the body and the darkness of desire. In other words, the neck is the place between and the place outside. To be stiff-necked, as opposed to cowed, does not refer only to exposing your neck or not, appearing defenseless or not, for when you bow your head you also conceal your gaze from the other. To look into someone’s eyes is to signal that you are equals, while to look down is to subordinate yourself to the gaze of the other, to no longer be on the same footing. It can also mean keeping something hidden, one’s true self, or something in it that one does not wish to be seen. The downturned gaze may contain hatred, or shame, or, as is often the case, both at once.

The primordial image of the bowed head and the downturned gaze is found in the Bible, in the story of Cain and Abel, where it is written about Cain that “his face fell.” Jahveh asks why Cain’s face has fallen, and continues: “If you do well, will not your countenance be lifted up? And if you do not do well, sin is crouching at the door, and its desire is for you, but you must master it.” This touches the very core of what it is to be human, as I see it, namely, that to be in yourself is inhuman, since that which is human is always something that becomes in relation to something else, yes, the human is this otherness, that we become ourselves in and that we exist in. To bow down is to bow down before something, to be stiff-necked is to be stiff-necked in the face of something, to worship is to worship something, and to look down is also to look away from something. This relativity, which is as complex as it is abstract and intangible, since it occurs in the spaces between, and has no object, no place of its own, never fixed, always in motion, turns the concept of biological man into a fiction, an image among images, nothing in itself, except in death, when for the first time the body no longer grasps at something, no longer seeks anything, and only then is it something in itself, that is to say, no longer human.

And perhaps this is the real and simple insight afforded by the sacrifice, that we are creatures of flesh, filled with blood, and that we are going to die. What sacrifice does is to penetrate every layer, every veil of culture, and in a gesture devoid of meaning in any other sense than this, it reveals to us the otherwise always inaccessible truth about our existence, of what we are in the world.”

#karl ove knausgaard #georges bataille #bataille #apocalypse now #acephale #headless #beheading #hanging #sacrifice #guillotine #neck #face