#the hero gets the lines the growth the heroine is there for the reader to project upon

[mermaidsirennikita]

Since we're on the topic what is your favourite kind of romance heroine? It doesn't have to be one specific type just what kind do you gravitate towards.

Hmmm I mean, I love a lot of romance heroines, but I've noticed that I tend to enjoy heroines who've experienced life most of all or are very determined to experience it. This doesn't have to mean a widow in historicals, or even necessarily one who isn't a virgin (though I do prefer a non-virgin heroine over a virgin--and it truly doesn't matter lol, I'll read either very happily, it's just that like... if I HAD to choose I'd pick a heroine who wasn't a virgin, and the hopeful? series I'm trying to write does not feature any virgin heroines, which wasn't planned and sort of just happened). I just like a heroine who's at least somewhat jaded, who knows how the world works. Someone who is closed off.

I do love an ice queen. The lady of the manor, as it were. I also really love an unrepentantly sexual and hedonistic heroine--like, I ADORE this type, virgin or not. Someone who's all "well what happens if I do tHIS?" and very happily teases her partner. I think both the ice queen who's seen too much of the world and is tired of this shit and the very sexual heroine (whether she's done it before or adjusts to it like a duck to water lol) are preferable to me than like... The true babe in the woods innocent who's like "whaaaaat" at every single sexual thing that happens. Like, as an example of how you can handle this with virgin heroines--Evie in Devil in Winter is a virgin, but she's very naturally sexual and doesn't have an issue with adjusting to St. Vincent's appetites and is soooo into sex that she's the one who "makes" him lose the bet. And she's so practical about it. She finds out they need to fuck to make it legit and goes "yeah that sounds about right". She's not all shocked or whatever.

I love very feminine heroines, and will usually gravitate towards heroine that give "divine feminine" vibes over tomboy vibes. BUT THAT BEING SAID. I can get behind most heroines. Very rarely will I turn down a book just because the heroine doesn't seem like my type. I tend to love heroines that people hate. The only things I really can't do with heroines is:

--constant insecurity

--constantly mentioning how plain or ugly she is like shut the fuck up Mr. 6'5" stunnah with a 9 inch cock is railing you at every minute, I don't buy it, this feels like such pandering and I frankly don't want or need it

--subset: heroines who are fat and are always like "I know that because of my ample body he probably doesn't like me" oh my god this romance hero is clearly one of those guys who likes to see it jiggle get ooooover it (I say this as someone with insecurities about my weight--I just can't get behind heroines who agonize over it every other page, she can have body image issues without it being 20% of the novel)

--heroines who fuck the hero over but it's fine because she's the heroine and he's the hero and we never confront these actions ever (ex: I just a read a book I was really loving with an NFL player hero who was a virgin, and the heroine deflowered him, they fell in love, and this Ashley Madison type site put out a $1 million reward for a woman who could prove she took his virginity; someone steals hero's phone and leaks nudes of the heroine she sent him, and it's hORRIBLE and she's understandably traumatized and depressed, but she claims her power by TELLING THE PRESS SHE TOOK HIS V CARD without TELLING HIM IN ADVANCE so she can donate the money to charity???? And when he's understandably mad it's treated as this overreaction on his part??? And dude I am sorry but how the fuck is very intimate info about his sex life being shared without his permission okay???? Anyway sorry that shit blew my mind.). I find that condescending.

Heroines I love that I think sum up a lot of this:

--Greer Galloway/Colchester/Galloway Colchester Moore or whatever the fuck from New Camelot by Sierra Simone. Greer is so self-possessed and cool and smart, but she's also like, this hedonistic wild woman who is fully willing to "why not both?" her marriage. Lol some of the best parts of the sex scenes in those books are Greer in the background like "GIVE HIM THE DICK!!!!!"

--Neomi Laress, Dark Needs at Night's Edge by Kresley Cole. A total temptress(ssss) who flirts first and asks questions later, but is also out for her own (understandable) game and accidentally falls in love with a deeply damaged Conrad Wroth and is like "he is baby". Both tough and jaded and deeply nurturing once her heart opens up.

--Ellie Peirce, Lothaire by Kresley Cole. I love Ellie so fucking much. (And she's a virgin heroine, so again, I love all!) She's tough as nails (her epigraph is literally "steel magnolia? TRY TITANIUM") but has the vulnerability to like, cry and break down when shit gets really hard. She refuses to be disrespected. She's very in touch with her own sexuality and uses it to get what she wants. I love a heroine who approaches a hero that is basically the equivalent to a massive toothy snarling monster and like, solemnly buckles a diamond collar that says "BRAT" or something around his neck, and then he's just her bitch from there on out.

--Eleanor Ramsay, The Duke's Perfect Wife by Jennifer Ashley. A new favorite! I love her your honor! Very fun and nice and perky and confident, but has been around the block and isn't super quick to trust Hart this time around. (Even if they did have sex THRICE like a decade ago, as he constantly reminds her.) She had the dignity to expect better from him and dumped his ass without crying (in front of him). She also, unfortunately, can't resist that dick. And wants to take Victorian photographs of it. The dichotomy of woman. But again, this heroine who just blinks at the hero unimpressed and goes "down boy" is really My Shit.

--Sara Fielding, Dreaming of You by Lisa Kleypas. Sara really encapsulates a specific subset of heroine that I love, and I think this is probably my favorite type of virgin heroine, which is "local woman cartwheels headlong into mortal peril at any given moment while very growly man shrieks in terror and runs after her like she's a priceless vase that just fell off his mantle". Sara is nosy, she's not afraid to learn, she is naive at points but in a very "my b" kind of way, she super doesn't care about cheating on her wet blanket fiance when Derek Craven is on the menu, and she does dumb shit like go "Should I get bangs?" (Derek: I WILL KILL MYSELF IF YOU GET BANGS.)

#romance novel blogging #i think almost any type of heroine can be pulled off #if the author puts in the work #the uncomfortable thing i've noticed from many recent m/f books especially #is that the heroines are cardboard #the hero gets the lines the growth the heroine is there for the reader to project upon #and she is often there in particular to suffer so the reader can get the satisfaction of the hero going 'I WAS WRONG' #and i love a grovel i love an i was wrong #but if the heroine lacks dignity or any sense of self throughout the novel that is so fucking hollow #i think that's a big reason why i tend to love brats and ice queens and batty bitches more #they're never milquetoasts

[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

[mediaevalmusereads]

Between the Devil and the Duke. By Kelly Bowen. New York: Forever Books, 2017.

Rating: 3/5 stars

Genre: historical romance

Part of a Series? Yes, Season for Scandal #3

Summary: He should have thrown her out. But when club owner Alexander Lavoie catches a mysterious blonde counting cards at his vingt-et-un table, he's more intrigued than angry. He has to see more of this beauty—in his club, in his office, in his bed. But first he'll have to devise a proposition she can't turn down.

Common sense told her to stay away. But Angelique Archer was desperate, and Lavoie's club offered a surefire way to make quick money—until she got caught. Instead of throwing her out though, the devil offers her a deal: come work for him. Refusing him means facing starvation, but with a man so sinfully handsome and fiercely protective, keeping things professional might prove impossible.

***Full review under the cut.***

Content Warnings: sexual assault/groping, violence, alcoholism

Overview: I enjoyed the first two books of this series, so I might as well continue, right? Unfortunately for me, I didn’t find the third installment nearly as gripping as the first or second books. There were some nice things, don’t get me wrong - I loved that the heroine was good at math, and I liked that she was so tenacious when it came to helping her family. But as much as I liked her, I didn’t feel the same sense of character growth and urgency that made me like books 1 and 2. Thus, this novel only gets 3 stars from me.

Writing: Bowen’s writing is fairly easy to get through, and though I think her prose was good in books 1 and 2, book 3 felt a little more unbalanced. There were a lot more scenes that felt like characters were just sitting around and talking, and I think there were some places where Bowen could have condensed her descriptions and replaced entire conversations with a line or two - mostly things that the reader could have been told instead of shown. All the extended conversations made the pace feel slow for the first 45% of the book, and I wanted to jump right into the main plot like we did with books 1 and 2.

Thankfully, however, things picked up at about the 45-50% mark. From there, I felt like there was real urgency, and things felt more balanced in terms of telling and showing, conversation and action. I do think the ending felt a little rushed, but it wasn’t too bad.

Plot: The plot of this book mainly follows Angelique, our heroine, as she does everything she can to keep her younger brothers in school and her family’s reputation together while her brother, the impoverished marquess, drinks away the little money they have after their father’s death. Angelique’s aptitude for math leads her to visit a gaming hall run by our hero, Alex, who offers her a job as a dealer once he learns that her skills are far above average.

The summary of this book is a little misleading in that it seems like Angelique and Alex will work together to devise some kind of grand plan to use the vingt-et-un table to lure some terrible lord to his economic ruin. While Angelique landing a job is certainly important, her role as a dealer fades to the background as is replaced by a mystery at about the 45% mark when Angelique’s brother is arrested on suspicion of murder.

While I liked the basic premise of this plot, I ultimately didn’t feel like there was as much urgency as in books 1 and 2. For the first 45% of the book, it felt like despite having financial difficulties, the pressure was taken off Angelique almost immediately; she basically only has to walk into Alex’s club and right away, she’s offered a job and an advance. Just a few pages later, Alex offers to take care of her brother’s tuition as well as any other money problems she may have. For me, it stretched the bounds of believability; I didn’t like that Alex essentially threw money at her because she was attractive, and I wanted him to be a little more stingy with his funds, perhaps offering Angelique a job but negotiating so that she is payed with a cut of the profits from whatever the House wins at the gaming table where she deals. Doing do would have put some more pressure on Angelique, and I think it could have helped set up more tension.

If we had seen this kind of pressure, I think it would have set up a reason to see Angelique work as a dealer more often. When she’s first hired, we are told in passing that she has dealt a few games at the club with great success, but we never really saw it. Instead, we get a sentence or two stating that she’s been working for 5 nights, and then we move on to the next conflict (her brother’s arrest). I would have loved to see her deal her first game, not only because her math skills seem to be the most unique character trait she has, but because it would have inserted some tension into the plot. It would have been interesting, I think, to watch her try to balance card counting/math/probability and doing sums in her head while she is also focusing on being “mysterious,” as Alex asks her to be. Her first game could have also been an opportunity to prove herself, and if Alex hadn’t been as generous with his money, the success of the game could have felt more important. For example, if we had seen Angelique dealing cards while we read her thoughts about sums and probability, we also could have gotten descriptions of sweat slipping down her back, knowing that maybe her brothers were on the verge of being expelled if she didn’t earn enough at this game... and then, when she is successful BOOM! We kick off the plot with her brother’s arrest. That would have been lovely to see.

That being said, I do think things picked up around the 45% mark. At this point, Angelique’s brother is arrested, so she turns to Chegarre and Associates for help. I liked a lot of what I saw after this point; I liked seeing Angelique and Alex sneak into the Tower of London, and I liked seeing them work with secondary characters to figure out the truth behind her brother’s arrest. The ending felt a little rushed, but I think this was because the first 45% of the novel felt too slow.

Characters: Angelique, our heroine, is a math genius who uses her skills to try to solve her family’s financial and legal problems. She’s loyal and quick-thinking, which I enjoyed, and she’s sexually inexperienced without being naïve, which was refreshing. I think I enjoyed Angelique more once the plot surrounding her brother’s arrest got going; for the first 45% of the book, she comes off as shy and passive because she’s trying so hard to be unnoticeable, but once she goes to Chegarre and Associates, she takes charge and her confidence is admirable.

Alex, our hero, has appeared in previous books, but we get to know him a little better in this novel. I liked that he was an unsavory character without being a total monster; he pursued his pleasures without shame, but was never an outright asshole and he respected Angelique’s boundaries when it came to intimacy. The main thing I didn’t like about Alex was that he seemed fairly obsessive. He not only used his resources to have Angelique followed, but he basically threw money at her and had jealous thoughts whenever there was so much as another hint of another man in her life. But to Bowen’s credit, Alex was not as obnoxious as similar characters in other romances. I could like Alex - he just had his moments where I wasn’t enthused about his actions.

My main problem with these two characters (independent of their romance) was that it didn’t feel like they grew or changed as dramatically as the characters from Bowen’s first two books. Angelique and Alex don’t really reflect on themselves or their shortcomings, and while I liked that much of Angelique’s arc was about learning to ask and accept help from other people, it felt like Alex’s arc was about... finding a romantic partner? It didn’t feel quite as personal and meaningful as Max’s and Noah’s stories, and I would have liked to see more pointed conversations about Angelique’s inability to trust others or Alex’s feelings of guilt (surrounding his past).

Secondary characters were fun, but readers will appreciate them more if they have read the first two books in this series. Ivory Moore makes a few appearances, as does Gil, Roddy, Max Harcourt, and King the underworld art dealer. While Ivory and Max’s presence felt natural and their skills contributed to the untangling of the mystery, King just showed up to deliver some convenient information before fading away again. I would have preferred it if King was absent and the other characters did the legwork to figure out the information they needed to know.

Other characters were hit or miss. Angelique’s brother the marquess was believable as an entitled alcoholic who sabotaged Angelique’s efforts to keep their family’s name afloat. He was actually a good character in that he was simultaneously annoying and pitiful, and his actions made me care just enough where I didn’t actually want to see Angelique cut her losses and let him hang. The marquess’s friends were fine in that they were portrayed as enablers, and I think Bowen did a good job setting up an air of mystery around them. She hints at a family past between Angelique’s father and the fathers of the two men who follow the marquess everywhere, and I think it made me as a reader curious enough to keep reading. The only thing I didn’t really like were the eventual antagonists of the book. They seemed to admit their crimes too readily and were taken down too easily, but maybe this was because the end of the book as a whole was rushed. I think I would have liked the final showdown to be a little more complicated so that it would have felt a little more emotionally satisfying. Not so abrupt.

Romance: There were some things I liked about Alex and Angelique’s romance and some things I didn’t. I liked that their connection didn’t feel as immediate and like insta-love as the first two books in the series; in my opinion, their attraction to one another felt more or less natural and I appreciated that they weren’t kissing a mere hour after meeting. Their romance still does move fairly fast, and I found that aspect a little annoying, but it didn’t feel like they were ready to declare love within a day, so that’s something.

That being said, I wasn’t super enthused about the idea of two of them getting together while I was reading the first 45% of the book, in part because it felt like Alex had a lot of power over Angelique. Because Alex is so rich and Angelique is nearly penniless, their dynamic felt unbalanced. In other novels where there is a mismatch in class or economic status, it always feels like the heroine brings something else to the table: superior knowledge, for example, or wit and the ability to put the hero in his place. Angelique, by contrast, felt more like a wallflower, and Alex basically threw money at her. While I do think that Bowen made clear that Angelique never felt obligated to pay Alex back with sex or affection, nor did Alex expect it, I did feel like there could have been better ways for Angelique to have the upper hand in some situations. More focus on her math skills could have helped - if she was more confident about her talents and basically used them to (figuratively) take control of Alex’s club, I think she might have been on equal footing with her love interest.

But things did get better once Angelique’s confidence came through and she showed her quick wit being put to good use at the Tower of London. From there, it felt like she and Alex were on more equal footing because she could contribute rather than just follow where he led.

TL;DR: Between the Devil and the Duke is a little unbalanced when it comes to plot structure, and the character development isn’t nearly as dramatic as it is in the first two books in Bowen’s series; nevertheless, it’s an enjoyable romance with an engaging mystery and a likeable heroine, and I enjoyed the complicated family dynamics and relationships that made me want to untangle the murder plot.

[langernameohnebedeutung]

I’m probably parrotting to the wrong choir here, but at least part of the truth about liking villains vs. condemning villains is...I don’t consume villain content in order to find healthy coping strategies and genuine life advice. I don’t look for healthy coping strategies in sci-fi films and fantasy books or on ao3 in the first place, because 99% of all that input is not produced by people that a) intent or b) are qualified to give meaningful life advice.

 Sometimes things we read or watch can be detrimental to our mental health or can make us happier or mean a lot to us. And that is also why it is important to tag, warn, and summarise content: So that people can avoid things that are bad for them and find things that comfort them. But what popular fiction never is, is a clear, intentional, professional, and universal guide.

 We already talked about how even the most horrible people will read novels where they resemble the bad guys and identify with the good guys instead rather than reflecting their own behaviour. That is, because narratives need stakes. The hero needs to be David, not Goliath. And we too see ourselves as Goliath, in our lives. Because there are always things that are bigger than us. And because we know that David will win.

 But sometimes...sometimes it is quite nice to feel like the giant. Especially when we’re used to feeling small.

 Sure “I like this villain because villains get to do things we want to but can’t” might seem like a tiny brained answer, but if you expand a little, there is truth to it: Sometimes I want to see someone go bloody ape-shit in response to trauma, injustice, being underestimated or forgotten. Sometimes I want to see someone just care about themselves and burn the whole place down and look fabulous doing it, because I know, that in real-life, very often it is sympathy and empathy holding me back for even insisting on minor and very rational things, simply because I don’t want to be a burden on others and because I prioritise other people very highly. There is catharsis in that; in seeing someone getting it out of their system in the most violent way possible just like there is catharsis in going for a run or punching the hell out of a punching bag when you’re frustrated even though you would never chase down and beat up a person.

Because even when see characters standing up for themselves - think of the infamous internet rage over Captain Marvel stealing that bike from the dude that harassed her – their actions are usually centred around punishing the culprit, not the emotions of the party that was wronged. But people got angry. Not because she stole a car, or because she stole it from a men even – but because her acting in response to sexual harassment connected the scene with deep roots of social context and political opinions and expectations.

And, despite hundreds, maybe thousands of films in existence where a white male protagonist steals a car or bike or anything else to save the day, she is read as a villain here simply for doing the rational thing. Much less could she have killed him and burnt down his house, because she is a hero and it doesn’t serve the plot and that would not be the thing a hero does.

A villain burning the whole joint down because someone looked at them funny is acting selfishly, self-centred. But what are you going to do, call them a villain? Duh. Complain about how what they’re doing is wrong? Well, yes.

 The lane of their actions is not narrowed by the actions of the culprit on the one side (heroes have to react appropriately and proportionally) and the expectations of the good-guy on the other (they have to act in accordance with forwarding the plot). Which means putting up with an asshole sidekick or apologising if they undergo character development that makes them a ‘better’ person and requires them to forgive someone). You might have your odd Logan who will throw a punch when he’s pissed – but here we already venture into the territory of an anti-hero.

And personally, our anger, our disappointment, all that will always be much more contained than any fictional space - by our financial situation, the people we depend on, our job, our studies, or family, our social circle. We live in a web of social expectations that we depend on every moment of our life.

Fiction itself also exists in a web of social context: What influence does it have on the audience? Will it sell? What implications does it have? How does it present its characters? Who is the author and what do they stand for? - but the fictional space, aka the world constructed in a novel, is wholly separate:

If I write a novel where I state that every Canadian person likes the colour blue and wears funny hats, then this is true in the universe of that novel, no matter what any Canadian reader might feel about it. This means two things:

1.       As writers, producers, and even as producers of fan-content, we have to be critical about what we put into the world, because by creating a fictional space, we create characters who cannot stand up against the things we say about them or make them do. Just like the superheroine in the skimpy outfit who gets her powers through the sun shining down on her nipples cannot have an authentic discussion about her body. And when young girls read our comic and see that all the male heroes are clothed and the heroine isn’t, then we are the one that came up with the sunshine-nipples.

2.       Our very own, personal interpretation of the novel – even our own - and the way we relate to it is our own. The feelings we project on the characters are individual, personal, and shaped by us.

And yes, villains usually see their comeuppance. And the thing is, many people argue here: “Well, it’s okay if the villain does x, as long as they’re punished for it.” But...that’s a difficult subject. A piece of fiction can condemn the actions of the villain without seeing them lose – the challenge to the writer is to still form a satisfying narrative, because the villain winning is the ‘likely’-seeming thing that every narrative subverts when the hero levels up and returns with her new friends to kick the villain’s ass. But even if you sympathise with the villain, seeing them win would still be an unsatisfying narrative, most of the time.

Because the whole point of an actual evil villain - and sympathising with an actual villain - is that what they’re doing is unjust. Malicious. Selfish. And projecting your desire to strike back or stand up on a villain and seeking catharsis through seeing them go wild and tear down the city needs the pushback. For them burning down the house to be satisfying, you need to see the house burn. For them to blow up the house of parliament to be satisfying – you must see the explosion.

And watching them lose provides the ultimate, necessary gravitas. Watching Team Rocket fly off with Pikachu and live happily ever after on Team Rocket money would not be satisfying. Watching our super-villain burn the world to a crisp with their death-laser would not be satisfying if they just end up getting their rocket and flying off while drinking space-mojitos.

Whether they end up being redeemed or not: The initial moment that someone fights back and defeats them at the height of their immorality and prevents the suffering of innocents is the moment that their willingness and readiness to commit violence is put to the test.

 We know the hero goes through a journey of their own - one that requires sacrifice and steels their commitment until they are ready to take on the villain. And knowing that someone is willing to make sacrifices to be able to take the villain down is the ultimate acknowledgement of the transgressive act the villain committed. Without it, it would be empty. Like watching someone punch the air.

But the truth is also that when you recreate the fictional space in another, secondary space – fanfiction, fan content, fanart – you decide what to focus on. Like, we all enjoy hurt/comfort stories, but they have a different intention than something focussed on action or the growth of the hero – because that requires for us to see the villain go down. The focus is no longer the transgressive acts of the villain – but to lay bare the pain that caused them. It is no longer about beating them down for the sake of justice.

Like, when I make a post about Frankenstein’s monster living happily ever after and people tell me that hey, the monster killed a lot of people - then we have a different premise. Because me not adding a line about the evil things the monster did to my post was based on the premise that you knew that random tumblr user langernameohnebedeutung does not condone the crime of murder because she posts about a 200-year-old book. And the #fact that my point doesn’t construct an ending where the monster stands in front of a judge and is sentenced to a certain time in jail or punished by a more heroic person is because I have daddy issues and seeing a giant creature go on a rampage through Europe to get back at its asshole Dad in a way I never could makes me quite happy the novel focussing on its acts of violence already did this and my post clearly had a different intention.

#long post #fandom

[aion-rsa]

Shadow and Bone’s Alina is What a Modern Feminist Fantasy Heroine Looks Like

https://ift.tt/eA8V8J

This Shadow and Bone article contains some spoilers.

Young adult fantasy fiction is one of the most popular literary genres on shelves today, full of a seemingly endless variety of stories about faeries, demons, and the sort of complex magical systems that occasionally need a flow chart to explain. It’s also full of young women, both as central characters and primary readers, all struggling and striving to figure out who they are and how they might find their own magic in the world around them.  

Yet there’s a certain kind of genre fan that loves to disparage these kinds of female-focused stories, dismissing them as somehow unserious or otherwise lesser simply because they tend to include heaping doses of romance alongside various other high fantasy elements. For these snootiest of fantasy enthusiasts, the inclusion of things like love triangles and emotional complexity are simply facets of less compelling women’s stories, with no business in this space.

But Netflix’s new series Shadow and Bone understands from its first frames that one doesn’t have to sacrifice one for the other, that it’s okay – perhaps even necessary – to ground its high fantasy storytelling in the very real emotional stakes of young adulthood, from falling in love to figuring out the person you want to become. And, in doing so, it gives us one of the most three-dimensional, satisfying young female leads in years, a heroine who ultimately embraces her power without sacrificing any of her heart.

Based on the bestselling series of Grishaverse novels by Leigh Bardugo, the world of Shadow and Bone is rich and interconnected, spanning multiple continents and encompassing a wide swath of characters, from soldiers and criminals to elite magic users known as Grisha, who can manipulate matter and control specific elements. And at its center is a girl named Alina Starkov, an orphan who’s never quite felt she belonged anywhere, thanks to her lack of family and mixed-race heritage. That feeling of isolation is compounded when she discovers she herself is not just Grisha but a legendary Sun Summoner, possessing a gift so rare that many people believed it didn’t actually exist.

In its simplest terms, the story of Shadow and Bone is the story of Alina, who must not only learn to wield her strange new abilities but to accept her new and often uncomfortable status as a leader in a world that has often seen fit to overlook or otherwise abuse her. Having spent the majority of her life closed off from almost everyone besides the best friend who shares many of her formative and cultural experiences (Mal is also half-Ravkan and half-Shu-Han), this is an Alina that has learned how to survive rather than speak out. For the most part, that has meant learning to co-exist with those that mock her background, to stay silent in the face of racist insults, and to generally make herself smaller rather than step forward.

In a welcome twist, the heart of Alina’s Season 1 journey isn’t her quest to control her light-based Grisha abilities, though that does happen and is obviously important. Instead, it is about her ultimate acceptance that she is worthy of being the person who wields them – and not because she’s a Sun Summoner of legend, but because she is Alina, herself. And she has always been more than enough.

Shadow and Bone also makes sure to underline that it is Alina who drives her own story, a Chosen One who nevertheless is determined to still make her own choices. At every turn, the series makes deliberate narrative decisions that put Alina’s agency squarely into her own hands. It is Alina who burns the maps that means her cartographer team will have to accompany Mal’s regiment across the Shadow Fold, an act that costs several of her unit their lives and ultimately unleashes her latent Grisha abilities.

She decides to embrace her power on her own terms, rather than accept the Darkling’s Fabrikator-made gloves lined with mirrors that are meant to enhance its capability as a weapon. Yes, this is a tiny thing, but it’s another perfect small example of the way that Shadow and Bone subtly shifts the book narrative to center Alina’s perspective in ways the original story does not. It is her choice to flee the Little Palace when Baghra warns her about the Darkling’s hidden agenda. (In the books, it is Baghra who basically forces her to go.)  And is Alina’s decision to both spare the life of the magical stag she spent multiple episodes hunting and to trade her own freedom for Mal’s survival.

Alina’s choices are not always the correct ones, and she pays the price for her bad decisions over and over again. (Heck, she even sort of accidentally arranges her own kidnapping.) But right or wrong, her choices are always hers. In the books this series is based on, Alina is often much more reactive – a frequent victim of circumstance or accident, rather than someone who is driving her own story. That couldn’t be further from what happens in the Netflix adaptation and it is a big reason it is an utter delight to watch throughout. In moments large and small, we get to watch Alina develop into a person who believes in herself, enough so that during the big climactic face-off with the Darkling in the Shadow Fold she is able to both figure out a way to free herself from his control and claim her own power at the same time.

Throughout the series’ first half, we see Alina repeatedly shirk from this magical ability she never asked for and all the responsibility that comes with it. (Having people cross themselves when you walk by and call you a saint to your face has got to be weird af, is all I’m saying.) But when truly faced with the threat of danger and death, Alina not only rejects the Darkling’s claim over her both physically and emotionally, embracing not just her own strength, but her right to wield it as she sees fit.

“You may have needed me,” she tells the Darkling, just before she stabs him through the hand. “But I never needed you.” The moment is further underlined by another minor but wildly powerful change from the books – the fact that she bodily absorbs stag antler amplifier that signifies her increased power. In Bardugo’s novels, Alina still wears the collar physically and for much of Siege and Storm, it serves as a symbol of shame for her and one that she struggles to hide. Here, it is the ultimate sign of self-acceptance, of Alina claiming her abilities and, by extension, her true self. And that, as the kids say, is growth.

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 It’s also what a hero looks like. A hero who is never asked to sacrifice any part of herself – her vulnerability, her emotions, or her heart – or become less than she is, but whose story accepts all of those things as necessary parts of what makes her whole. A woman who may not be a saint, but who is a leader, one that’s more than worthy of not just leading her people to a better future – but who may well bring an entire genre along with her.

The post Shadow and Bone’s Alina is What a Modern Feminist Fantasy Heroine Looks Like appeared first on Den of Geek.

from Den of Geek https://ift.tt/3t0Yq2v

#aion-rsa #Den of Geek

[hrbumga]

Review: Deathless, Cathrynne M. Valente

Overall Rating: 2.5/5 stars.

This review contains heckin’ spoilers. I had about as mixed feelings as you could have about this book. On one hand, I can see where it gets it’s hype—a lot of the descriptions are beautiful, Valente manages to weave a rich tapestry of images and situations so that each page dazzles you anew. The thing is, I think I liked this book. Think. To be honest, I’m not totally sure. While rewritten fairytales for adults is a genre I’m drawn to, I think there were a lot of issues I had with this book, and furthermore some of the strangest things about Deathless actually didn’t take place within its pages at all. Let’s put a pin in that.

Structural Integrity

I can’t tell if the structure was the thing I took the most issue with, or if it was just the first thing I noticed. I’m mostly going to focus on the prologue and parts 1 and 2, since that’s where I have the issue.

The prologue opens with a boy (when I say boy I mean little kid, I think he was like 9 or 10) standing trial for not being available to fight in The War(TM). One of the people trying him is Marya Morevna, our protagonist. In a moment of kindness, she tells the boy to turn, run, and never look back, letting him escape punishment. Are we going to remember this? Of course, it’s the prologue, an introduction to the core of the story. Does it come up again? Kinda. In part 6, we loop back around to it, which makes me think part 6 should’ve been more of an epilogue to pair with the prologue.

So anyway, all we really derive from that is Marya is either a traitor to whatever war she’s a part of or is sympathetic to children. Or both. Which, okay, having a prologue mainly focused on the character we’ll be following makes sense. We either see who she is or who she was, and we get a sense that this Marya is/was a strong yet kind hearted character. Put a pin in that.

Part 1 is Marya’s upbringing, taking place either right before or during the Bolshevik Revolution. There’s a lovely, fairytale-esque portion in the beginning where as a little girl, she watches from her window as birds hop down from the tree outside, transform into handsome, wealthy men ask to marry the girl in the window and in turn, each of Marya’s three older sisters are married off. She waits for her turn and is teased by schoolmates for believing in magic. As time goes on, more families move into her cramped home for communal living and she visits the house elves that live between the walls, who tell her that Papa Koschei, the Tsar of Life (a kind of god/demigod figure in folklore from what I can gather), will come for her soon. She visits a creepy widow next door who turns out to be the Tsaritsa of the Hour who tells her pretty much the same.

Finally, on cue, a handsome young man named Koschei, who is in fact an ancient, old, old man comes to the door to take her away from this life of poverty and be his fiancée. Marya is roughly sixteen at this point. The part ends with him grooming her while spiriting her away to the magic land of Buyan. When I say grooming, I mean he’s literally taking her willpower away as though it’s an object, slowly, over time. Part 1 ends with Marya disobeying his order not to speak (literally all she says is she’s feeling a little better after being violently ill all journey) and he punishes her by biting her tongue til she bleeds.

Then part 2 kicks off! The beginning of part 2 begins with Zemlehyed the leshy and Naganya the vintovnik bickering. Classic them! Then Madame Lebedeva hops off her horse from a firebird hunt.

If you just said, “wait, back up, who are these people? What’s a leshy?” you are not alone! Oh, eventually Marya turns up too. Yeah, turns out there’s been a major time skip from the point where Marya was a starving, impoverished child to a magical being’s bride-to-be, who’s dressed in jewels and gold, has three whimsical pals that are framed as though we’ve already been endeared to them, and is super into her kinky BDSM lifestyle with her ancient groom. This transition has taken a year. Mind you, Marya isn’t just our protagonist, she’s the one the narration follows, so any internal monologue with her grappling with whateverthehell happened in that year is just something the reader doesn’t get.

Sure, her and her whimsical folktale fae friends have snappy dialogue and seem close, but we see literally nothing of how they get there. It’s a neck-snapping tonal whiplash from part 1 and frankly, had this not been a book club pick I would have DNF’d at the beginning of part 2 so quickly.

That’s a big issue I have with this. The parts don’t have much of a narrative through line, not really. The time jumps are janky and messy, we’re tossed in the deep end constantly. I think if the book had begun with part 2, I wouldn’t have minded the deep-endedness, that’s how books are at first. Have part 1 be a prologue or split up in flashbacks. But no, you read part 1, get accustomed to what the book is, and then quick as a whip you’re in a completely different novel altogether. It doesn’t read as cute or clever, but rather awkward and annoying.

While the beginning of part 2 has flimsy explanations of what leshy and vintovik are, as well as other Russian creatures and characters, it’s all missile launched at you so quickly you don’t have time to actually absorb any of it.

The Book Doesn’t Breathe

Boy howdy, for a story with Buyan, where the buildings literally have flesh and blood, it sure doesn’t leave space for air. Like I mentioned before, it often tosses unfamiliar terminology, stories, archetypes, and situations at you all at once without a moment’s notice. If the book is trying to cater to a new adult demographic in America, it doesn’t do an adequate job of hosting the reader in this new strange world. It’s a shame, really, because Valente describes things incredibly vividly and beautifully. Description in this book? Great. However, it feels as though character and plot development were sacrificed in the process. You’re yanked from one cast to the next, and Marya has very little impact on anything at all.

Okay, so, Naganya is this spunky steampunk-like troll creature. One of the main (thus, new) characters in part 2. She’s introduced as a close friend of Marya’s, which, okay. Moving on. They go on a wacky adventure! You see their relationship organically. While you’re still frustrated there was no build, you’re kinda on board. Okay, great. End of part 2? Naganya’s murdered. Slaughtered, in fact, pretty brutally. Gone, dead. Didn’t matter. Moving on to part 3’s cast!

While Naganya’s ghost is referenced and Marya’s like, “F in the chat, that was a bummer dude,” that’s about all we get. Again, there’s no insight into whether she gives a damn. She uses sentences like “I loved my friends, them being dead is a downer” but it’s extremely tell-don’t-show. The thing is, in part 3, it’s ten years later and Marya is a hardened war general in her late 20s who simply doesn’t have the time or emotional energy to deal with that stuff.

Marya, Paperdoll Protagonist

I was watching a video essay where the essayist mentioned that Disney princesses in the Disney Renaissance were passive protagonists. Even if they were the main character, the story wasn’t about their growth and development, but rather it was about them being a free spirited teen who eventually settles down with a man. The heroes get the emotional arcs, not the heroines. Nearly all princesses from this era were more just placed in a setting and waded through it as things happened around them. Flat, unchanging, stagnant, like dolls.

Marya is like that.

Our protagonist never has any agency in the book. She’s groomed as a child, pushed around by Baba Yaga in part 2, pushed around by her husbands in part 3, and so on. She literally is just rolling with the punches. At a couple points she mentions wanting to free a bunch of sweatshop workers, but the narrative doesn’t budge, but rather tells her “no,” and railroads her forward in the predestined plot line like a bad D&D Dungeon Master.

Now, real quick, I don’t necessarily think this is inherently a bad thing as a narrative. Highlighting Marya’s lack of agency could be interesting and lead to a story that’s satisfying to read. It might not be how I would want a heroine to be treated but hey, different strokes. Here’s the problem: some Russian readers and reviewers have pointed out that this is absolutely antithetical to who Marya was in original Russian folklore. She was a warrior queen. She didn’t have to beg and cajole her way to power, she had it all along. Subverting traditional fairytales is also not inherently bad, though it’s been pointed out that this subversion in particular does a disservice to the character. Not to mention that Valente isn’t Russian herself, didn’t grow up listening to these tales, but rather seems to have appropriated them for her own gain. I’m not Russian, I can’t speak to whether or not Valente mistreated original texts, but I encourage readers to look into reviews written by Russian people who’ve read and reacted to the book. (Note: in the interest of attempting to be balanced, there is a review from a Russian who really liked Valente’s treatment, so there’s also that.)

Here are some of the more critical reviews:

Nastassja’s Review

Kogiopsis’s Review (which links to a couple others as well)

Liz’s Review

Did I cherry-pick these reviews because they aligned with my feelings? Yeah, admittedly, I did, and I encourage anyone to read through all of the reviews at their leisure if they’re really interested in potentially reading, because most of the reviews are good ones.

The Diptych Conspiracy: A Space Opera

The strangest thing I found while reading Deathless actually has nothing to do with the text itself, but rather the metatextual… idk, nature? of the book. As of now, and seemingly since very early after Deathless was published in 2011, it’s been marketed as part of a series called the Leningrad Diptych.

Valente announced on her personal blog that there would be a companion book of sorts that didn’t follow the same storyline as Deathless, but was made to act as a spiritual parallel.

She announced that Deathless would have a twin, Matryoshka, which was picked up by Tor, the same publisher who published Deathless, to be released in 2015. That’s where things get sticky.

If you google “matryoshka valente,” you get a couple of hits. When you click those hits, they take you to webpages that allegedly are selling Matryoshka according to titles and headers on the page. However, the book listed was published in 2019, not 2015. And the book’s description has nothing about Russian folklore or historical fiction, but something about a metagalactic space empire. And also, the book cover says it’s called Space Opera.

???????????????????

I wasn’t alone in my confusion though, thanks to this gem of a comment on Goodreads:

Apparently, at some point, the twin in the Leningrad Diptych was listed as an entry on Goodreads at one point. It was unnamed at the time, perhaps the title wasn’t announced for publishing yet. Then, inexplicably, Valente (who is a Goodreads author and therefore is able to edit her profile and her book entries) overwrote the entry entirely. Apparently, Matryoshka has been “postponed indefinitely.” I can’t find official word on this, but nothing has been mentioned about this book since 2013, so I have to assume that’s correct.

Okay, then why overwrite the entry? Why transform Matryoshka into Space Opera, this confusing some auto-updated websites and more importantly confusing me, 7 years later, at 2am when I have COVID and can’t sleep?

I have absolutely no basis for this, but I have a theory. Valente announces Matryoshka and creates a listing on Goodreads for the upcoming book (was the book actually okayed for publishing? Could she have announced it before it was played so her following pushed the publisher into okaying it? Probably not likely and I don’t know, but that’s besides the point). Anyway, she gets all this hype up about this new book, and Goodreads users add it to their to-read lists.

Then, something happens. The book is trunked, writer’s block happens, 30-50 feral hogs destroy all the existing copies, the publisher cancels it, whatever. It’s a bummer (no, really, I know I dumped on Deathless earlier but I’d be interested in the companion novel). Life goes on, Valente writes a new novel, sci-fi this time. That’s a completely different genre though, and fans might be antsy if you announce Space Opera while Matryoshka is theoretically still on the table.

So you simply overwrite the entry. Wipe Matryoshka from Goodreads, swap it with Space Opera when no one is looking.

Now, a bunch of people have your new sci-fi book on their to-read list and are none the wiser. When the book is finally released in 2019, they all get notifications that the book they want is ready, hooray! Most don’t bat an eye, maybe reserve a copy. Some might go, “oh, I don’t remember saving this book, but here it is. And it’s an author I like, so I must’ve done it.” Plus, everyone on their friends list gets a lil nudge in their algorithms that’s like “hey, Sue marked Space Opera as want-to-read. I’ll bet you’d like it too.” Your unknown sci-fi novel is suddenly in front of a lot of eyeballs and on a lot of wishlists, while the previous book is quietly swept under the rug. Success. You never mention the other book again. Matryoshka, who?

But again, I’m looking waaaaay too far into this. As of first writing this It’s 2am, I’m on day three of COVID-aligned symptoms, still waiting for my test results which is scary, therefore I can’t sleep. Also I’m a little bored.

Anyway, Deathless was alright I guess.

#deathless #catherynne m valente #review

[mediaeval-muse]

Book Review

The Leopard Prince. By Elizabeth Hoyt. New York: Warner Forever, 2007.

Rating: 2.5/5 stars

Genre: historical romance

Part of a Series? Yes, Princes #2

Summary: The one thing a lady must never do... Wealthy Lady Georgina Maitland doesn't want a husband, though she could use a good steward to run her estates. One look at Harry Pye, and Georgina knows she's not just dealing with a servant, but a man. is fall in love... Harry has known many aristocrats---including one particular nobleman who is his sworn enemy. But Harry has never met a beautiful lady so independent, uninhibited, and eager to be in his arms. with her servant. Still, it's impossible to conduct a discreet liaison when poisoned sheep, murdered villagers, and an enraged magistrate have the county in an uproar. The locals blame Harry for everything. Soon it's all Georgina can do to keep her head above water and Harry's out of the noose...without missing another night of love.

***Full review under the cut.***

***Mild spoiler under “Other” section.***

Content/Trigger Warnings: sexual content, drunkenness, parental abuse, references to torture, sexual coercion, and animal mutilation

Overview: After really enjoying The Raven Prince and not really enjoying Wicked Intentions, I figured I’d read something else in Hoyt’s Princes series to see if Wicked Intentions was a fluke for me. Turns out, it might be The Raven Prince that’s the fluke. I had hoped I’d get a romance that was focused on overcoming class obstacles, and there was a little of that. However, I couldn’t really get invested in the main mystery or in the protagonists’ relationship, as it seemed both were surface-level and without many stakes until about 200 pages into the book. Thus, this romance only gets 2 and a half stars from me, not because the romance was problematic, but because I just couldn’t connect with anything that was happening.

Writing: Hoyt’s prose is fine for the genre she’s writing in; it’s not full of poetic expressions - it’s simple and gets the point across fairly efficiently. I don’t think that’s a bad thing for romances, as the point isn’t to wow your reader with elaborate metaphors. Hoyt knows how to reach her audience, and I commend her for that.

However, I do think she relied a bit too much on expositional dialogue. Characters will have extended conversations that deliver a lot of information - about their pasts, about the setting, etc. - and while I think most of it was important, I soon grew tired of being told instead of shown. I do think some expositional dialogue can work well - for example, if a character exhibits odd behavior for a good part of the book then reveals the origins of that behavior, I think that works because it keeps the reader wondering. But so much is dumped on us in the first half of The Leopard Prince that I felt like exposition was being substituted for purposeful craft.

Moreover, I think Hoyt’s shoe-horning of the fairy tale themes worked just as poorly in The Leopard Prince as in The Raven Prince. Georgina, our heroine, would babble about fairy tales at seemingly random moments, and the themes of her tale did not parallel the events of the book as a whole, which made the whole tale feel out-of-place. It felt like a gimmick rather than an integral part of the story, and I wish Hoyt had done more to make the two narratives parallel one another.

Plot: Most of the plot revolves around a mystery. Someone has been poisoning the sheep on the estate next to Georgina’s, and most people think it’s Harry, our hero, because of his past with the owner, Lord Granville. On the surface, it seems like a good setting for a plot about class; Granville (and Georgina) have all the power, and servants and villagers (like Harry) have to fight against that power in ways that don’t bring aristocratic wrath down on the entire population.

Unfortunately, it seemed like the mystery was treated as an excuse to throw the two protagonists together for the first 200 pages. Harry and Georgina would go around questioning people about the sheep, and the scenes felt incredibly insubstantial. Though Hoyt tried to show the stakes of the mystery by saying that Harry would be arrested and villagers would starve if the culprit wasn’t caught, there wasn’t much to make me feel like these stakes were real. We don’t really get to know any characters who would be threatened with starvation, nor did I care enough about Harry to be concerned with whether or not he was arrested (more on that below). Personally, I think this book would have worked a lot better if Hoyt had just admitted that the mystery was a secondary interest and Georgina was merely using it as a way to exercise her power over a servant. At least then there could have been some growth and an exploration of class dynamics.

Around 200 pages, my interest piqued a little more due to the intensity of the mystery being heightened. It’s also around this time that discussions of class were beginning to happen more frequently, which I liked. I do wish more was done in the first 200 pages to emphasize class difference so that when these conversations happened, they felt more significant - maybe Harry’s way of going about solving the mystery is based in his knowledge of the lower class, while Georgina gains them access to people and knowledge that is reserved for the gentry. Maybe there’s pressure for Georgina to marry higher because of some family history or something. I think reforming the first 200 pages to show off class dynamics would have gone a long way in making the barriers to the relationship and the stakes of the mystery feel real.

Characters: Georgina, our heroine, has some admirable qualities (like prioritizing the well-being of her tenants over her personal income), but other than that, she’s fairly useless. She doesn’t bring much to the table in terms of solving the mystery (she doesn’t use her status to gain access to people) and she seems completely ignorant in everything from how to run an estate to how to seduce a man. I don’t mind a little naivete in some heroines, but Georgina had no ambitions other than to get Harry into her bed. It made her feel shallow.

Harry, our hero, is devoid of any personality that would have made him interesting. He’s gruff and not really afraid to defy conventionality, but that’s mostly it. Granted, he does have his quirks - he likes to carve little animals out of wood, but as nice as that is, it didn’t really show much about who he is as a character - it was just used so that there would be something tangible to use to frame Harry for the sheep killings (a little carved animal is found at every scene). I would have liked to see more of a connection between him and the poorer villagers so at least it would have felt like he had more of a reason to be invested in the mystery. Granted, I think he gets more interesting around page 200, when his relationships with Bennet (his half-brother) and Will (a kid he pseudo-adopts) brings out more of his admirable qualities, like loyalty to family.

Side characters are largely bland in that they don’t do much. Georgina’s sister, Violet, has her own woes to deal with, but her plot seems to be a distraction, and Violet doesn’t seem to undergo much independent growth. Lord Granville is a bit too overtly sexist to be believable, but at least he’s consistent. Georgina’s brothers seemed to be included just to throw some male authority around, when needed. I did like her brother, Tony, why seemed to care for his sisters’ emotional lives. I wish he was more involved throughout the book. Probably the most interesting character, for me, was Bennet, Granville’s second son who was conceived during an affair between the aristocrat and Harry’s mother. Bennet, at least, seemed to make use of his privilege by standing up to his father and being vocal about wishing he was raised by his mother. Will also had potential, but he seemed to be included to make plot points more convenient. I wish he had his own arc, however small.

Other: Try as I might, I couldn’t get invested in the romance between Georgina and Harry because I felt like I was expected to care about them and their relationship solely based on scenes where I was told they noticed each other’s bodies. None of their interactions felt like they were truly getting to know one another; even when they talked about their pasts or Georgina forced Harry to listen to her fairy tale, it’s very clear that Georgina still has power over Harry based on social rank and class, so it felt like she was entertaining herself more than anything. When they did get together, it felt like it was purely out of lust; there wasn’t much that made me think they enriched each other’s emotional lives, so I didn’t quite believe they were connecting beyond a surface level. Later, when class became a more pressing issue, I don’t think Hoyt showed that it was a significant barrier to their relationship, nor do I think the issue was resolved in a meaningful way - it just simply wasn’t as much as an issue because Georgina gets pregnant. I do think the class dynamics could have been done well if the book acknowledged Georgina’s power over Harry and more was done to portray them as intellectual (if not social) equals (I’m thinking along the lines of Jane Eyre, which also has an employer-employee relationship that ends up working). The mystery could have been a good way to do this, but alas, it seemed like Hoyt didn’t take advantage of that.

TL;DR: The Leopard Prince suffers from bland characters with no real chemistry between the hero and heroine. Moreover, the mystery had little urgency and though the discussion of class had potential, it wasn’t treated as a significant barrier to the relationship or a real lived experience.

#book reviews

[echodrops]

Why You Should Be Shipping Shigaraki/Ochako

No, no, hang on a second--I see that side-eye you are throwing hard enough to ruin your peripheral vision. I feel the shade you’re casting like a thundercloud rolling in. But you didn’t read wrong. I meant what I said.

I’ve never made a secret of my love for rare pairs, but for once in my damn lonely shipper’s hellscape of a life I would love it if my favorite crack ship in a fandom had more than two fics (I’m NOT JOKING) to its name.

What can I do to correct this egregious oversight before the entire summer passes with nary a whisper of the most romantic ship since Juliet wherefore art thou’d Romeo?

Well, what else? I was forged in the fires of early 2000s’ fandom, and I know that desperate times call for desperate measures meticulously researched and extremely rose-tinted

Shipping Manifestos.

Fam, I am about to blow your minds, align your chakras, open your third eyes--because Shigaraki and Ochako is the most slept on ship in the entire BNHA fandom, and if you give me ten minutes like an hour (holy shit, this is long), I can prove it.

Disclaimer: @mistystarshine is the enabler who convinced me to write this but we were both enabled by @ohmytheon’s Reconfigure (on AO3) so you know who’s really responsible.

Spoilers to Chapter 231, watch out.

First off, I know what you’re thinking. Maybe you’re still reading from pure shock. Maybe you’re doubt-reading to get your daily fix of internet skepticism. Maybe you’re waiting for me to say these two characters are meant to be because she wears pink and his hair is blue. Maybe you’re already freaking out about age gaps but like that is what future fics and AUs are actually for!!!

I’m not telling you to give up your IzuOcha or Kacchako. I’m not gonna pry ShigaDabi out of your eager little villain stan hands. But if you’ve never considered multi-shipping, now is the time my friends, because I’m totally serious heartfelt here! I’ve got VALID reasons for shipping Shigako--ten of them, in fact:

1) Midoriya is taken for granted as Uraraka’s love interest--but Shigaraki is incredibly similar to him.

There are reams of meta on the parallels between Midoriya and Shigaraki, with plenty people noting how Horikoshi specifically set the two up as foils to examine similar character development despite their drastically different circumstances. Yet for all the meta pointing out that Shigaraki and Midoriya are basically the same character through a mirror darkly, I’ve never seen anyone bear that thought out to its logical conclusion: there are traits Uraraka admires in Midoriya that are extremely apparent in Shigaraki too.

Multiple times in the manga, Uraraka expresses admiration for Deku’s resolve and refusal to give up. His determination in the face of impossible odds and his sense of dedication to his cause are powerful motivating factors in Ochako’s storyline, and Deku’s behavior--his willingness to charge straight into danger and his unflinching pursuit of his goal to be #1--have basically become the standard to which Uraraka holds herself.

Her crush is literally founded on an appreciation for Midoriya’s drive, earnestness, and constant growth as a person.

But these are all traits that Shigaraki also explicitly possesses. Shigaraki’s unwavering resolve is so strong that even though everyone around him says dream is unattainable... they follow him anyway.

Ujiko flat out tells Shigaraki he’s chasing a pipe dream, but he’s willing to come along for the ride strictly because of how committed Shigaraki is to making that dream a reality. The strength of Tomura’s conviction alone persuaded a collection of the most volatile and difficult personalities in the manga to band together and become found family the most well-known anti-establishment organization in all of Japan.

Shigaraki never, even in the face of overwhelming threat, backs down from a challenge, and he approaches each impossible task with absolutely as much effort, ferocity, and refusal to quit as Deku. He is just as dedicated, just as much of a shounen protagonist main character, and just as willing to push himself above and beyond as Deku.

The traits that motivated Uraraka to become the character she is today, many of the exact same traits that formed her crush on Midoriya, are all there in Shigaraki. In another world, the person who inspired Uraraka to go “Plus Ultra” could be Tomura himself, and if 1) no sense of self-preservation, 2) ZERO CHILL, and 3) dogged obsession are what Uraraka finds attractive, Shigaraki clearly has 'em covered. Oh no, he’s meeting all my standards.

2) Being serious though, Ochako’s role in the plot would be vastly improved by more meaningful interactions with the antagonists, even if just in battle.

I’ve written before about how badly the writing of BNHA treats Ochako, and why her constantly being out-of-focus is a hallmark of the genre’s crippling inability to handle dynamic female characters, but it bears repeating: in her current position in the story, Uraraka’s character has minimal agency. She exists to fill the role of Deku’s love interest (at worst) and an emotional crutch (at best). Again, absolutely no hate on the IzuOcha ship--it’s clearly canon endgame and “wholesome” I guess is what they’re calling it nowadays. But the way IzuOcha’s being written in canon is actually the worst possible thing that could happen to Uraraka’s individual character, because Ochako’s crush on Deku has been given virtually no bearing on the story’s main plot and allows Horikoshi to consistently reduce Uraraka’s personal accomplishments to “inspirations from Deku” (in order to, likely, fulfill young male readers’ fantasy of having a girl fixated on them).

Is Uraraka about to do something cool in the manga? Wait for her comment about being motivated by Deku.

Does Uraraka actually get to see some action and get involved in a fight? Wait for someone to bring up her feelings for Deku.

Is Deku about to have a dramatic clash with the story’s villains to advance the main plotline? Wait for Ochako to entirely vanish (at worst) or get sidelined into a three panel clip where she’ll use the same martial art move she’s been using since like chapter 10 (at best).

If I have to read “Gunhead Martial Arts” one more fucking time... Give Ochako her OWN supermoves goddammit!!

The story of the comic itself continually pushes Ochako out of any position of relevance. She’s not one of UA’s strongest fighters (despite having a quirk that, if applied like ANY of the male characters, has incredible potential), she’s not given half the emotional depth or attention even side characters like Kirishima get, and her backstory lacks the development many of the male characters’ get (I’m looking at you, Todoroki).

As a “good girl,” she isn’t allowed to get her hands dirty like Toga, she isn’t allowed to get as bloodied or ugly as any of the boys, and she can never be allowed to surpass the main male characters in coolness or plot relevance because girls can be “heroes” but they can’t be The Hero™. (I’m literally gagging, guys.)

Which is EXACTLY why a plot involving Shigaraki and Ochako--in ANY capacity, even just a flat out fight against each other!--would actually be a fan-fucking-tastic addition to BNHA.

Skip the token Toga vs. Ochako chick fight where they squabble over who loves Izuku more. Let Toga talk to Izuku as herself for once. Let Uraraka throw down with the League’s leader. At least once, Horikoshi? Just once?

Literally any form of plot that puts Shigaraki and Ochako into contact would mean moving Uraraka into a more central position within the manga’s plot, would boost her screen-time, increase the likelihood of her contributing to the story’s primary conflict, and would give her more to do and emotionally engage with than just repeating the same lines about Deku being amazing on an endless loop. There is untapped character development potential in spades here if Uraraka was given chance to genuinely interact with the other half of the story’s cast!

Give👏 Uraraka👏 something👏 meaningful👏 to do!👏

Putting the story’s foremost female character on out there on the frontlines with the manga’s actual main character antagonist would finally break her out of the mold she’s been forced into by genre stereotypes and set her on an even playing field with the male heroes at last.

A meaningful encounter with Shigaraki could be Ochako’s ticket to being treated respectfully by the story itself (and hell if giving underappreciated characters a real place in the world isn’t Tomura’s freakin’ calling card already).

3) Okay, I know the words “subverting expectations” leave a bad taste in everyone’s mouth nowadays, but there is a huge difference between “throwing inexplicable plot twists at the audience just for shock factor” and “averting stale cliches in an emotionally rewarding manner.” Sure, cliches do exist for a reason, but there are still many instances where actively avoiding a cliche plotline is a great choice. A shounen manga’s token love interest ending up with someone other than the hero--namely with a (reformed) villain--would be an interesting flip on the trite “hero gets the girl” script.

Look, we all know how it goes: Hero clashes with Bad Guy. They duke it out all over Kingdom Come. RIP like fifty square city blocks. The Hero wins, heads home triumphant, sweeps his Princess off her feet, and sails off into the hero rankings sunset. End of the same story we’ve seen a million times. Sometimes it’s done well and the audience is left satisfied. Other times, the heroine involved is reduced to the hero’s reward, less person than wish fulfillment. In either case, tying up a romantic subplot with a hero is the go-to way of resolving female characters’ storylines and, at this point, pretty much a given in manga, even when the romantic subplot is never given the development it deserves, leaving audiences bewildered at how and why the hook-up actually happened.

I’m not saying every comic should “subvert expectations” and cancel its romantic subplot between the hero and heroine, of course not. But I am saying that it would be pretty refreshing to see something else for once.

By virtue of their role, villains don’t usually “get the girl.” Even redeemed villains rarely end up in happy, healthy, well-written relationships. It’s not impossible but it is unlikely that a series’ designated female lead ever wavers in her attentions from the main hero to a new romantic target.

So it would be pretty cool if one did, if the moral of the story’s romantic subplot wasn’t just "token love interest completes painfully shoehorned romantic gestures.” A good romance with a redeemed ex-villain instead of a hero would take a lot more explanation. It would demand, by its very nature, more work on the author’s part to suspend disbelief. The characters would have to develop an entirely different rapport from the normal interactions between designated love interests, and, to a certain extent, strong character growth would be required in order for such a romance to even get started. There’s more moral complexity and conflict to a subplot like this, and a greater sensation of choice--if the heroine doesn’t have to end with the hero by the end of the story, well hey... That means she could end up with just about anyone. Whoa.

Even more so, in the specific case of Shigaraki, who has lived a life of misery and manipulation, the idea that he could come out on the other side, grow as a person, redeem himself, and eventually enter a healthy relationship with someone who isn’t going to hurt him is an idea I find deeply appealing. I think there are a lot of villain stans, myself included, who see parts of themselves in Shigaraki. If a character who has been so severely impacted by abuse can still heal and ultimately end up happy, to me, that’s a far more hopeful and heart-warming conclusion than the alternatives. I did warn you this manifesto would be rose-tinted, didn’t I?

I want storylines that prove that none of us are beyond saving. That people who make bad choices can still change. That romance isn’t a reward for playing the “right” role. That heroines have options. That there are still pleasant surprises to be found in romance plots.

4) But why Shigaraki and Ochako, in particular? It’s not like they have any remotely shared life experiences--

Oops. Friendly reminder: Ochako is the only major character in the manga besides the villains who is overtly described as, I quote, “poorer than poor.” Todoroki, Yaomomo, and Iida can all make it rain; Kaminari, Mina, and Jirou can afford stylish clothes; Kirishima can drop a stupid amount on night vision googles... Even Midoriya, whose father “works overseas,“ can afford plenty of All Might merchandise. One of the popular fandom theories for a while was that Ochako could be U.A.’s traitor specifically because of her desire to help her parents financially, and I think that most readers at this point can discern a clear divide in BNHA’s society: heroes are the “haves” and villains are the “have nots.” To be a hero in this story is to attend a prestigious school, have access to expensive support items, gear, insurance, fame and glory, etc.

Meanwhile, with the exception of All For One, to be a villain in BNHA’s story is to be marginalized, live in unfit conditions, lack access to basic safety and nutritional resources, and struggle to make ends meet. When ability to thrive in a hero-centric society is synonymous with being a good and worthwhile person, anyone who doesn’t just naturally excel in the hero-driven economy is treated as flawed at best and suspect at worst. Poor characters in the story are ignored, and, as demonstrated with people like Twice, left essentially to fend for themselves.

Uraraka’s status as lower income is mostly played for laughs. She’s still a privileged character in that she can attend U.A., receive hero items for free, has a safe place to live, etc. But it is important that the story acknowledges her family’s situation, because her financial status does set her apart from her classmates.

She is less privileged than the others. Being “the poor character” situates Uraraka in the interesting divide between those who couldn’t cope and chose to rebel against hero society instead, versus those who conformed to the hero system in an attempt to improve their situations. In different circumstances, if Uraraka’s family was just even the tiniest bit worse off, we might be seeing a very different character here, one who had to make some much harder choices to keep her family afloat.

Having been in the position of "going without,” Uraraka also has a unique understanding of the “real world” that many of her heroics classmates might lack. She understands what it is like to go hungry, to not be able to afford to keep up with the newest trends, to be constantly anxious about the future--to feel unsuccessful, overlooked, and under constant pressure to perform. As someone who wasn’t raised in the lap of luxury or even really a middle-class home, Uraraka has more insight into--and would likely have more empathy for--the plight of the downtrodden daily criminals of the BNHA world. Just based on her own life experiences, Ochako is more likely than her classmates to recognize how harsh reality can be, and understand the temptations that lead people to make terrible decisions.

This makes Ochako an especially interesting character in terms of her pro hero future. Would she be able to sympathize and reach out to struggling "villains” more effectively than others from her class, who lack her humble background? Would she be able to better see the big picture of BNHA’s society, and the way it actively creates villains from its marginalized populations? Would she be able to look at the League not just as criminals, but also as people who never stood a chance within the confines of a rigged social structure?

Uraraka’s background shifts her closer to the story’s villains than many of the other hero characters, and puts her in a unique place to both empathize and become motivated to change the flawed system that produced people like Shigaraki and the League in the first place.

5) Likewise, Uraraka’s background actually makes her more palatable to Shigaraki than other heroes. At least at the beginning of the comic, Uraraka isn’t shy about admitting that one of her reasons for becoming a hero is to help her parents financially. Ochako’s original motivation for heroism isn’t portrayed as nobly as others’ like Deku--Deku has no ulterior motives for being a hero; he just wants to save people and wouldn’t care about personally benefiting.

Instead, Ochako is presented as someone who (initially) sees heroism as a means to an end. It’s not that she doesn’t want to save people, but that she’s not doing so only for the intrinsic worth... the hefty paycheck that comes from heroism is a big draw.

Over time the manga has shown her shifting away from this (which actually makes her character less unique, unfortunately), but I’m sure it’s still a thought for her, and she’s definitely going to send paychecks to her parents in the future. At the end of the day, heroism is still going to be Uraraka’s ticket to a better lifestyle, even if she’s committed herself to it honestly by the time she leaves U.A.

But it’s this exact form of personal motivation that Shigaraki is much more likely to understand than the “goody-two-shoes” motivations of people like Deku. Multiple times in the comic Shigaraki has expressed confusion with society’s habit of clinging mindlessly to symbols, of their blind faith in the virtues of heroism, and their ability to simply overlook suffering because “surely a hero will do something about it.” Stain’s ideals about “true heroes” go straight past Shigaraki, who seems to hate heroes who are earnest (All Might, I’m talking about All Might) far more than those who are simply faking their way through for fame. 

Shigaraki understands humans who are driven by personal gain. He respects the individual desires of people he cares about. Someone in the hero industry explicitly seeking tangible benefits would likely, to Shigaraki at least, come across as more genuine than someone who claims they have no ulterior motives, and a person who is blunt about their needs and grounded in the reality of BNHA’s world would likely be much more acceptable to Tomura than someone who spews trite lines about peace and justice.

Shigaraki’s feelings for heroes have been irreparably damaged by his conditioning from All For One, but there are certainly some heroes that he would find less loathsome than others. He will probably never understand Deku’s selflessness. All Might’s saccharine symbolism actively infuriates him. But a person who became a hero to put food on the table? To provide for her parents (maybe especially because it is her parents she’s trying to provide for)? That’s at least understandable. If the manga’s future does see Shigaraki redeemed, my thought is that the only type of heroes we’ll ever see him willingly interact with would still be heroes just like Ochako, with more “down to earth” personal motivations. Uraraka, your codename is “If I had to date a hero”...

6) While we’re talking about shared life experiences, there’s another very obvious similarity between Shigaraki and Ochako: neither one of them can touch things with all five fingers.

Cute/fridge horror observation: Shigaraki is even daintier about touching things than Uraraka is; Uraraka usually lifts just her pinkies, but Shigaraki frequently uses as few fingers as possible.

Yeah, yeah, they both have to be dainty and careful with everything they hold. It’d be cute to watch them eat together. They could mutually gripe about the annoyance of video game consoles not designed for four-finger use. More than that though, neither one of them can touch other human beings without the risk of causing death.

Uraraka, as a hero, has the more privileged quirk design (she can turn her quirk off, while Shigaraki can’t) and until recently, the comic was always very careful to portray Uraraka’s quirk in a way that no one was endangered by it. But dropping Zero Gravity into the hands of a villain for a single chapter reveals the truth: Uraraka’s quirk has just as much lethal potential as Shigaraki’s.

Like Shigaraki, Uraraka has to face the reality that her touch alone could jeopardize the safety of anyone she comes into contact with, in her daily life and in her hero work. Drop some debris without looking twice? Just crushed a civilian. Release your quirk without thinking? Now the villain you floated is paste on the sidewalk. Thought that it was safe to float away the building? Oops, you crushed someone still trapped inside. Yikes. In a one-on-one battle, Uraraka is actually at a disadvantage not because her quirk is weak, but the dead opposite--in an outdoor fight, she would have to actively work not to accidentally send people off into outer space.

Having an auto-activate touch quirk means that both Shigaraki and Ochako have to be conscious of every single thing they touch all the time. Both of their quirks require constant bodily awareness, and both come with the lurking knowledge that “My touch causes problems.” Even for Ochako, who would merely be a nuisance if she accidentally floated objects indoors, it’s easy to internalize frustration and negative associations with one’s own body. Every day, Ochako has to be careful with herself in a way that few of her peers do, another factor that sets her apart.

One of the story’s overarching themes is the idea of “self-acceptance” and what it even means to “accept yourself” in a world where (almost) every human being possesses a distinguishing feature, often built into their bodies at the expense of standard human functioning. For people with limited control over their quirks, who can’t choose when the effect activates, a quirk is a constant burden and facet of their identity that entirely re-shapes how they interact with the world. Both Shigaraki and Uraraka face the practicality of having burdensome, even lethal, auto-activate quirks that require constant self-awareness. This is a similarity that, of the major characters, only Shigaraki and Ochako possess so far. (Even other major characters with touch-based quirks like Overhaul appear to be able to choose when to activate their quirks).

The “funny” way Shigaraki and Ochako hold things seems like just a small similarity until you remember the amount of practice and frustration it must have taken to internalize a four-fingered touch. Until you remember that this similarity marks them both as very careful and self-conscious characters. Until you remember that Shigaraki’s got a one-touch instakill... but so does Uraraka Ochako.

7) Okay, similarities are cool and all, but you know what they say: opposites attract. And if we’re talking character motivation, there are no cleaner opposites in the entire series. Shigaraki and Ochako are actually even better emotional foils than Shigaraki and Deku, because Ochako’s central motivation is “Make as many people smile as possible” and Shigaraki’s is, literally, “Make it so no one can ever smile again.”

I know I ragged on it earlier, but now I’m going to use it to my full advantage: as the story evolved and characters grew, Ochako’s “true” motivation to become a hero revealed itself: she feels a deep, intrinsic happiness when witnessing the happiness of others. Her desire as a hero is to spread relief, the sense of security that allows people to go about their days smiling. She literally feels happiest when everyone around her is happy.

Even more so than Deku, this casts Uraraka as Shigaraki’s diametric opposite in the story, because Shigaraki’s entire pipe dream goal also hinges on the smiles of others--and how absolutely much he hates them. Shigaraki’s goal is total world destruction because he just resents the happiness of others that fucking much.

On the surface alone it’s more fascinating than the story will probably ever live up to: Ochako, the heroine who wants to spread smiles; Shigaraki, the villain who wants to destroy them. Even if we’re just talking canon, zero romance involved, that would still be an interesting conflict to explore. The story could cover a lot of deeper ground by drawing the comparison between these two characters more directly. It would definitely validate Uraraka being involved in more major plot events, at the very least.

BUT this was supposed to be about shipping, so of course I can’t leave it there, and leaving it there would only be half the story anyway, because nobody is born hating smiles. Everything we’ve seen of Shigaraki’s past so far indicates that he was a kid with a cute dog, a warm relationship with his sister, and an interest in heroes--i.e., a decent life that probably included his own fair share of smiles. Shigaraki’s hatred and resentment are direct products of the traumatic manipulation he suffered at AFO’s hands. He despises the idea that people around him can smile and act upbeat, even when they objectively know villains are lurking all around them. He is actually sick to his stomach at the idea of people blindly putting their faith in heroes, knowing what he does: that heroes often fail, that there are many people who desperately need to be rescued and are instead overlooked. The world failed Shimura Tenko and then had the nerve to keep on smiling without him.

Other people’s smiles represent nothing but the joy, security, love, and peace that Shigaraki Tomura hasn’t experienced since the day his quirk manifested. The sight of any living thing fills Shigaraki with rage because everything bright and beautiful, everything good and calm and kind and soft and warm, is everything that Shigaraki has lost and believes he will never, ever get to experience again.

Shigaraki doesn’t really hate the pure happy smiles of others; he hates the fact that the world has taken away every single thing he ever had to smile about.

It is my belief that Horikoshi is hinting at a redemption arc for Shigaraki, especially as we see the League become closer allies. But Shigaraki can’t be completely redeemed, can’t be persuaded to give up his world-destruction plan, until he can look at the smiles of others without scorn. Until the bright, upbeat attitudes of heroes other people no longer feel like a personal attack. Until he’s happy enough that the happiness of others no longer hurts. Until the weight is lifted.

And I can’t think of any character more obviously suited to helping lift an immense weight than Uraraka, the zero gravity hero who wants nothing more than to spread smiles.

8) Speaking of lifting weights... Kacchako is a popular ship stemming in large part from Bakugou’s refusal to treat Uraraka with kid gloves. He faces her head-on as a real opponent and views her like any other hero hopeful.

As I’ve said before, this is pretty much the most respectfully the series itself has ever treated Uraraka Ochako, and it caught a lot of attention because it was one of the rare occasions that a female pro hero-in-training was really treated as an equal to the male characters. Kacchako shippers had something awesome to work with.

But... You know who else treats women as equals? (Hell, you know who treats literally everyone as equals, from those with mutant quirks to trans people to those with severe mental health issues?) You can say what you want about Shigaraki’s habit of, you know, mass murder, but in terms of viewing others equally and respecting (okay, let’s be real, it’s probably closer to just ignoring) differences, Tomura is about as open-minded as BNHA characters come. The League is an equal opportunity employer.

Unlike actual hero characters, Shigaraki has never once suggested that Toga is incapable of keeping up with any of the male members of the League, and in fact has entrusted her with many of the League’s most dangerous and crucial missions. He explicitly has faith in her ability and skill.

Toga’s right there in the fight against Gigantomachia and the QLA, as much an equal member of the League as anyone else. In terms of gender equality, the villains seem to be light-years ahead of their hero counterparts, and Shigaraki in particular doesn’t discriminate, among his allies or his opponents either. He’s not a “spare the women and children” kind of guy; every hero and villain challenger is treated with equal violence (and equal snark), whether they’re male, female, a long-time pro or a student in training.

In whatever context--canon opponent, AU ally, or a future romantic interest--Shigaraki would take Ochako just as seriously as Bakugou did. If you like Kacchako because Bakugou doesn’t dismiss Uraraka, that same dynamic would be present in Shigako too.

9) And on the topic of Shigaraki and women... It doesn’t feel accidental that every single female character who ever had love for Shigaraki has been taken away from him. A distinct part of Shigaraki’s storyline is that all positive female role models have been systematically removed from his life. He lost his grandmother, a hero he could have looked up to; he lost his mother, who he now has no memory of; he lost the older sister he clearly held dear... All For One’s control over Tomura has always been total, but this particular detail feels especially insidious: was All For One’s spite for Nana so strong that he delighted in deliberately destroying every single relationship Tenko had with women connected to Nana’s legacy? (Or is AFO perhaps just a raging misogynist? Every single one of his known associates is male and he seemed to despise and mock Nana particularly hard...)

In any case, the point I’m trying to make here is that, even ruling love interests out, Shigaraki’s storyline would be enriched by forging a meaningful connection with a female character like Ochako. Acceptance--maybe even some grudging admiration--for a female hero? A fantastic opportunity to show just how different the “villains” are from the discriminatory society that produced them. Supporting friendship while he’s on the road to recovery? A+ way to diversify interactions between the male and female cast. Send a tough girl to Tartarus to question his motives? Nice chance for tense dialogue and some good old noire-esque foe yay. Hostage situation that takes a turn for the surprisingly cordial? Fun way to explore different dynamics and humanize the villains because hey, they treated the “damsel” to dinner shortbread cookies. My god, Shigaraki could even develop some positive sense of rivalry with a woman, for example! The possibilities are endless if you’re actually willing to give female characters a shot!

Being more serious, Tomura’s life has been dramatically marked by the loss of his female family members, and--at least from what we know so far--his entire youth was spent without the presence of reliable friendships, let alone any form of “love” that wasn’t disturbingly fake. Beyond his fragmented memories, he has no models for healthy relationships, romantic or otherwise.

Letting Shigaraki develop to the point that he could form a mutually positive relationship with a female hero character would be extremely cathartic for me as a reader. I don’t mean “rewarding redemption with a last-minute happy ending romance”--I mean actually getting the opportunity to watch Tomura rediscover what it means to be genuinely loved and realize he has the capacity to give love and be happy in return...

Reaching that level of mutual support and closeness--especially with a female pro hero--would be the biggest “FUCK YOU” that Shigaraki could give to All For One, short of, you know, actually killing him.

Shigaraki Tomura has a critical (and deliberate) lack of healthy connections to women. BNHA, coincidentally, has a criminally under-utilized female lead just twiddling her thumbs over here, waiting for a meaningful plotline to be thrown her way.

Sure, putting AFO in prison is cool and all, but have you considered... crushing his pride and legacy of evil by helping the boy he tortured for years learn to love again? I’m just sayin’!

Uraraka Ochako, snatching Shigaraki right the fuck out of AFO’s hands:

10) Basically what the whole thing boils down to is this: Shigaraki Tomura needs a hero.

Don’t mistake my meaning. A lot of “girl meets bad boy” plots end up amounting to “girl becomes emotionally responsible for fixing bad boy’s issues,” and that’s not what I’m gunning for--Shigaraki has to redeem himself because redemption is only meaningful when it stems from the character’s own inner desire to change; I’m not quite rose-tinted enough to buy into the Love Redeems trope myself. I’m definitely not advocating anyone dump Shigaraki Tomura as he is now into Uraraka Ochako’s lap and expect her to turn him from a beast to a beauty. It’s not an unrelated woman’s responsibility to fix a broken man.

But! From a reader’s perspective, I think we can agree: Shigaraki’s redemption cannot be complete until he learns to believe in real heroes. He doesn’t have to like them. He doesn’t have to support hero society. But he has to be able to look at real heroes like Izuku and Ochako and admit that they are doing what’s right--that society is a better place because they are here. Shigaraki’s path to recovery can’t even begin until he’s capable of at least acknowledging that the world has things worth saving in it.

If Horikoshi moves forward with a redemption arc for Shigaraki, it will probably be Deku who Detroit Smashes the message of truly noble heroes into Shigaraki’s head. That’s his job as the resident Warrior Therapist, I suppose. But you know... to me, it might be even more meaningful if Shigaraki’s hero--if the hand that reaches out to rescue him--isn’t The Hero’s™ but just a hero’s. We all know Deku is selfless and good to the core. As All Might’s perfect successor, he really has nothing to prove. It’s everyone else who is in question. It’s the whole rest of hero society that owes Shigaraki Tomura an explanation for the suffering of people like the League’s members. It’s everyone else who needs to prove they can do better--that in the future, there will be no bloody children left abandoned in back alleyways.

Uraraka Ochako’s conviction is to save people. As a female hero who hasn’t lived a privileged life, she’s uniquely situated to think about those who are most often overlooked. In a world where violence begets violence, where only those with strength and flash excel, what a powerful message it would send for the terrifying antagonist to effectively be rescued by someone the story itself has called “a frail girl.” At the end of the day, heroics isn’t supposed to be about mountain-destroying explosions and mach punches--heroics is supposed to be about heart, about reaching out a gentle helping hand, about spreading smiles to those who need them most.

Tomura’s faith in heroes has been brutally stripped from him, and every part of his conflict is tied up intimately with his misdirected hatred: it wasn’t actually heroes who isolated and hurt him--it was villains. In order to move forward, he will have to come to that horrible realization, deal with that means for himself and his place in the world, and recognize the truth: there are goodness and good people in the world. Selfless heroes, those who wouldn’t turn their backs on a crying child, do exist. There are people, even now, who would extend a kind hand to Shigaraki Tomura and do their best to bring a real smile to his face. Because that’s what’s really going on, after all.

Shimura Tenko is still waiting to be saved.

And I know just the person to do it.

#Shigaraki Tomura #Uraraka Ochako #Shigaraki #Ochako #Shigaraki/Ochako #Shigako #OTP: Stardust #boku no hero academia #my hero academia #bnha meta #discussions of abuse #discussions of poverty #in which I spill an entire pot of tea #regarding BNHA's #female characters #this started out as a joking request from a Discord servermate #and turned into this beast #I love this ship so much #when will the rest of the world awaken #ohmytheon #mistystarshine #I blame y'all for this

[themyskira]

Based on that WW #750 (which sounds like I need to buy mostly for the good parts), I take it you don't like 5G's idea of having Diana be the DCU's first superhero. At least, I think you do? How do you feel about that and the whole 5G thing as a whole? Just curious.

I have less than zero interest in 5G because I haven’t read a single thing about it that suggests it’s any different than the New 52, or Rebirth, or any other Capital-C-Crisis over the past fifteen years.

Dan Didio and his cohort of graduated comics fanbros have this utterly boring preoccupation with creating a Grand Unified History of the DC Universe that takes all the messy, sprawling, sometimes contradictory stories and characters across the last eighty-odd years of comics and organises them all in neat little lines and boxes.

It’s an obsession they’ve argued is about accessibility for new readers -- and both n52 and Rebirth did offer a superficial degree of accessibility by creating clear jumping-on points with fresh story arcs in new #1 issues -- but in practice it looks a lot like Dan and his bros reconfiguring the universe around what they think matters (while erasing or simply ignoring anything they think doesn’t).

It’s the reason the New 52 retained all four male Robins and their key character arcs while erasing two Batgirls and infantilising the remaining one.  At the end of the day, Dan Didio, Jim Lee and their pals made the decision that every male member of the core Batfamily (along with their somewhat complex histories of adoptions and assassin babies, deaths and resurrections, and growth into their own iconic vigilante identities) was Important -- and that the three Batgirls and their comparable growth arcs were not.

The past couple of reboots have been riddled with these kind of value judgements, privileging what Dan and the boys see as worthwhile (or what they see as appealing to their narrow target audience of white, heterosexual, cisgender 18-35 year-old men) while sneering at everyone else. They’ve also been plagued by poor planning, poor communication and poor follow-through: in both the New 52 and Rebirth, writers would regularly contradict or confuse the new canon simply because it wasn’t clear to anyone on the books what was and wasn’t in continuity.

So when I yet again hear the words “new timeline” and “Dan Didio” in the same sentence, I don’t care how awesome 5G is as a concept on paper, I don’t trust that it’s going to be implemented with any particular care or aptitude.

And, well. This is just a personal view, but I don’t find it a particularly interesting concept. I don’t read comics for overarching metaplots and crossover events. Nothing turns me off a book faster. I follow characters and I’m drawn to stories that build on a hero’s personal arc, their relationships, their world. It doesn’t particularly worry me exactly how an individual book or arc slots in with the broader timeline of the universe. Shared comic book universes have always been tangled, convoluted places and I’m cool with a bit of handwaving; like a lot of comics fans, I’m long accustomed to flat-out ignoring the bits of canon I don’t like (it’s so sad that Barbara Gordon hasn't appeared in a single DC comic since 2011, don’t you think?).

I much prefer a big wide sandbox, with all its oddities and contradictions and forgotten treasures for writers to draw upon to build interesting stories, over a prescriptive crossover event that derails stories and character arcs in favour of a meta story I’m never going to read anyway.

As for making Wondy the first superhero, I’m... ambivalent. The idea of Diana being an early source of hope who saw the potential in all humanity and inspired others to stand up is lovely, but the more I reflect on it the less comfortable I am with re-anchoring her origins in WWII-era America and the patriotic narratives that are likely to come with it.

It’s of course possible that a writer might use this opportunity to thoughtfully interrogate how the Wonder Woman we know would navigate and push back against the violent bigotry of 1940s America -- but we’re more likely to see a retread of the original propagandistic Golden Age narrative of a heroine who helps the virtuous Americans topple the evil Axis powers, both because of a likely reluctance on DC’s part to get too ~political~ (you know, by acknowledging America’s racist history exists) and because the DCU’s history is intended to follow a similar path to our own world’s (which means Wonder Woman can’t be allowed to change society in any noticeable way aside from ~inspiring~ other heroes... and that immediately creates a rather depressing vision of the eighty years she’s spent in Man’s World).

And that’s the real problem: they’re moving her origin story back to the forties not because they have anything new to say or any particular story they want to explore with the character in that era (like, for instance, Superman Smashes the Klan is doing brilliantly at the moment), but because the five-generation scheme they’re going for requires that Diana (as a designated first-generation hero) appear in the forties. Because Dan and the bros have a Vision and their Grand Unified History of the DCU takes precedence over piffling things like good storytelling and rich characters.

oh and the other problem I have with 5G is the dumbass name because it just puts me in mind of those fucking Telstra ads.

#comics talk #WHOOPS turns out i had more to say than i realised #just let us build our sandcastles in peace dan ffs

[littlemisssquiggles]

Very interesting theory. Seems quite dark but I could see something like that happening in the future. Particularly the Salem wanting to steal Oscar thing. We do have flying monkeys now 👀

Yep that seems to be the universal reactionfrom most of the folks who have commented on this theory. In regards to Oscarand the flying monkeys, I’m still banking on Oscarbeing kidnapped together with Ruby.

The more I consider it, the more I would love to moresee a Dark Domain standaloneseason with just Ruby and Oscar surviving Salem’s Domain on their own completely stranded and separated from their teammatesand friends who they last left behind during the Fall of Atlas and were unsureof their fates.

Oh! Doyou know what could be really, really cool? If during the Fall of Atlas, Vacuo comes to the kingdom’s aid and ends up helping them out. During V6,Tyrian mentioned something along the lines of Atlascalling Vacuo for help which increased Salem’surgency to deploy her representatives to try and prevent that.

In the event of Ruby and Oscar gettingseparated from their friends, imagine if…the others end up being taken to Vacuo to seek refuge, prompting Rubyand Oscar to make the same voyage. Journey to Vacuo.

I already shared a theory about Oscar becoming RWBY’s version of the Golden Cap, gaining control of the Winged Beringels from Salem via awakening hismagical potential. In the Wizard of Oz, Dorothy Gale used the power of the Golden Cap to command the wingedmonkeys to transport her and her friends across Oz; among other things. I’mhoping for a version of that in RWBY where after they escape the Dark Domain,Ruby and Oscar take flight on the back of a winged Beringel under Oscar’scommand with the intention of making the long journey for Vacuo. But not beforestopping in Vale first where the two young rosebuds reunite with old family and friendsincluding Glynda Goodwitch.

Oh! Doyou know what could be really, really cool? If during the Fall of Atlas, Vacuo comes to the kingdom’s aid and ends up helping them out. During V6,Tyrian mentioned something along the lines of Atlascalling Vacuo for help which increased Salem’surgency to deploy her representatives to try and prevent that.

In the event of Ruby and Oscar gettingseparated from their friends, imagine if…the others end up being taken to Vacuo to seek refuge, prompting Rubyand Oscar to make the same voyage. Journey to Vacuo.

I already shared a theory about Oscar becoming RWBY’s version of the Golden Cap, gaining control of the Winged Beringels from Salem via awakening hismagical potential. In the Wizard of Oz, Dorothy Gale used the power of the Golden Cap to command the wingedmonkeys to transport her and her friends across Oz; among other things. I’mhoping for a version of that in RWBY where after they escape the Dark Domain,Ruby and Oscar take flight on the back of a winged Beringel under Oscar’scommand with the intention of making the long journey for Vacuo. But not beforestopping in Vale first where the two young rosebuds reunite with old family and friendsincluding Glynda Goodwitch.

Picture…Ruby and Oscar returning toVale together and meeting up with Tai Yang and Glynda who agree to accompanyand escort the children toward Vacuo.

Or perhaps…Ruby and Oscar reunite with everyone in Vale? Either way, I think itwould be really cool if the CRWBY Writers shake things up again for the RWBYseries and give us a season or seasons where they separate our heroes again; but rather than it splitting thestory 4 ways from the perspective of all four RWBY girls. In a twist, the storyjust focuses on Ruby and Oscar’s journey alone for a while, concentrating ontheir dual growth and relationship while keeping the fate of all their friendsa mystery.

One critique I heard from RWBY Youtuber EruptionFang is that the Writersappear to be reluctant in deviating the story from the standpoint of the fourmain RWBY girls. This isn’t a bad critique to make and in a sense I see what hewas trying to say with this point and kind of agree with him. What made V3 so interesting is that ittruly shook things up for the narrative for RWBY. I was notexpecting our heroes to face such a dark travesty and be separated as early asthe show’s third season. V3 altered the direction of RWBY. Some fans thoughtthat was cool. Others, not so much. I, for one, was on the side that thought itwas pretty dope.

Contrary to the popular FNDM opinion, I hadno issue with V4. Of the entire completed Mistral Trilogy, V4 is easily mysecond favourite of the entire arc despite the fact that it gets flak from somemembers of the FNDM for being a boring season; partially due to the divided storylines or so I’ve heard.

Personally, my main gripe with V4 wasn’t thedivision of stories to focus on different characters. Though it could’ve beenhandled better, the plot jumping from character was not my issue with V4.

The kicker with V4 for me was when the Writersoften times omitted or failed to show certain developments in parts of another’s story whichmade their side of the plot feel rushed while another felt like it was draggedout for too long. For example, Weiss and Oscar’ sides of the story in V4 had moments that neglectedcertain details such as Weiss blaming her brother Whitley for backstabbing herwhen there was no evidence from other parts of her story to even suggest thosewere his intentions and for Oscar; him just coming to decide to leave homeafter showing contempt and resistance in the story’s last involvement with himwith no true middle ground to connect the two.

Since V4, I’ve heard fans make remarks aboutthe CRWBY Writers being reluctant to split up the RWBY girls again based onwhat happened in V4-V5. I also heard fans say that the CRWBY Writers said theywould never take RWBY to the level they went with on V3. I’m still waiting tohear where said fans heard those comments from Miles and Kerry. However, ifthis is true, I find that hard to believe.

As a writer, you shouldn’t be afraid to shakethings up or try something different in your story once in a while. That’s partof the fun of writing where you get to surprise your readers with somethingthey’d never expect. I mean there are some writers who are notorious forrepeating the same formulas over and over again only making it a wee bitdifferent each time to keep the readers invested. I guess the point I’m makinghere is I find it disbelieving that Miles and Kerry would openly admit to the public that they wouldnever pull a stunt to top the events of V3. That’s disheartening to hear. Thatbasically just tells me as a fan that the Writers’ intentions moving forwardwould be to never top V3 which is credited as one of their best seasons in anarc which is their best executed one to date. Howcould your aim not be to beat your best? Seriously, Ineed proof of where Miles and Kerry said that because I can’t believe that.Even if the statement is true and the Writers meant it in a sense where theywere saying they would never do something with RWBY as drastic as V3, that’sstill discouraging to hear.

What happenedin V3? Our heroes were divided. Important charactersgot killed in front of the eyes of their friends. Our heroine failed to saveher friends from being murdered, not once but twice within the same volume. Thevillains won or turned the tides in their favour. A main character lost a limb.A known huntsmen academy valued as a beacon of hope fell with its headmaster whoalso got killed. The Grimm has overrun the school. The entire world becamedisconnected and possibly on the brink of war as a result of what transpired inVale.

V3 was the first season that made me as a fango “Holy shit, these characters aren’tas protected by plot armor as I figured they were.”

V3 shook things up. Shit got realin V3 which, as a story, made things better. As thestory for RWBY progresses, things are going to get real. More serious. Grimmer even. They are expected to get grimmer. RWBY isn’t just a story about four girls learning tofight monsters in a school anymore. It’s not even a story about good vs evilanymore. It’s a story about war and peace. Rising tensions. Controversy.Treason. Lies. F**king magic!  The heroescan’t always win with the power of love and friendship all the time. The heroescan’t do misleading things that would obviously get them in trouble only tohave them face zeroconsequences for their actions all the time.

It will get old pretty fast which seems to be the debate with some of the fans,particular the ones who left or are thinking of leaving the FNDM.

You even can’t have our hero be the one to save theday all the time. I actually would love to see Rubybe the one to be saved for once. Kind of-ish.

This is why I love the concept of a volumethat strips Ruby away from everything sheknows. The knowledge of friends being safe andsound after another traumatic travesty. Gone. The security and company ofconstantly being surrounded by her teammates who can protect her and allies shecan trust. Gone. 

This isn’t like V3 where Ruby had the option to ask Yang orJNR to accompany her to Mistral. If she’s in the Dark Domain, she’s basically aprisoner of Salem; trapped in her world following the disastrous fall of a second kingdom where’s Ruby herselfis not sure if any of her friends made it out okay.

Her friends and family could all be dead and gone andRuby wouldn’t know the difference. In this idea of mine, she has no way ofknowing it. She’s far from home. Far from her friends yet again. Completely out of her element yet again only this time, she’snot sure if anyone would be coming to her rescue. Her aid. Her only source of hope rest in thehands of Oscar—a less adept huntsmen than her but still the only familiar face who made it out alive only because he was taken hostage with her.

So it’s just Ruby and Oscar alone together ina completely Dark Land, forced to make the dangerous trek on their own clingingdesperately to a salvation neither is certain exists anymore. All they knowthat they have is each other but the question is, will that be enough to get themthrough the darkness.

Imagine one standalone season or even two where it’s justRuby and Oscar leading the story. No othercharacters. Just our two youngest huntsmen—our smaller more honest soulsagainst the world. I can understand a lot of fans might not like an idea likethis since it will mean saying sayonara to Weiss, Blake, Yang, Jaune, Nora,Ren, Qrow, etc for some time only giving focus to the Rosebuds for a while.

All the more reason why I would really lovesomething like that to be done. Once more, it’ll shake up the story. Focusingthe story on just your two youngest characters; one being the main heroine,learning to survive on their own would be interesting. It has a risk attached to itbut I find this idea way more compelling than the latter of Oscar is the onlyone to get kidnapped and we spend an entire season focusing on Ruby once again beingthe heroine—the leader of a search party across the dark lands to save thecaptive Oscar.

I mean this also shares reference with theWizard of Oz where Dorothy leads a search party to rescue Princess Ozma andwhile I like this idea too however…I’m leaning back to my original idea of aDark Domain Arc with just the Rosebudsalone. Ruby alone fighting to keep possibly theonly friend she has left alive in a world infested with Grimm while beingpursued by the embodiment of evil sounds far more interesting to me especiallyin the realm of how much further it can push Ruby emotionally. It can also bean awesome way to finally flesh Oscar out some more—possibly the biggestchapter in his character arc.

Buuuuut that’s just me. These are all just myinterpretations at the end of the day. I guess we’ll only know what theWriter’s intentions are when that time comes.

~LittleMissSquiggles(2019)

#squiggles answers: rwby #oscar pine #ruby rose #oscar and ruby #rwby rosegarden #rwby theories #rwby volume 7 theories #Anonymous #pinehead headcanons #squiggles pinehead headcanons

[fantastic-nonsense]

@colpfiction replied to your post “me: *sees a post on r/AskHistorians about comics history*me: ”

Always. I've learned more about comics and comics history and stuff from your blog than I think I did in college.

Lol, thanks! I feel honored!

Anyway, the original question asked was “Comic books featuring superheroes in the 60s-70s are typically more lighthearted and laden with sci-fi themes than earlier examples. In the 80s there was a sharp u-turn towards more grounded and dark subject matter. What trends caused this shift towards (relatively) grittier realism? What social trends led to this shift? Was it just a matter of sales or was something bigger happening in entertainment/media/society?

Me being me, I busted out pretty much the entirety of the bare bones of the history of the Comics Code and the switch from the Silver Age to the Bronze Age to the Modern/Dark Age of Comics. Also, I’m not sure if it’s good or just sad that I basically wrote the majority of it off the top of my head and really only needed to Google things to source dates, specific title and author names, and a couple of quotes. Now granted, r/AskHistorians specifically asks for and curates in-depth, sourced responses, but still:

“In terms of actual comics that contributed to the sharp turn towards "more grounded and dark subject matter," there are four or five comic events people usually credit as marking the general "turning point" between the Silver Age and Bronze Age of comics where comics began to get progressively darker and less silly: Gwen Stacy's death in "The Night Gwen Stacy Died" (which had a huge impact on the readership of Spider-man comics and comics readers in general), the 1971 "Snowbirds Don't Fly" drug abuse storyline in Green Arrow comics, Green Lantern being turned over to Denny O'Neil and Neil Adams, Jack Kirby's New Gods, and the revival of the Teen Titans with The New Teen Titans. However, unlike the progression from the Bronze Age to the Modern Age, there is no true clearly defined group of comics you can point to as being the definitive marker.

However, you can point specifically to the four comics usually credited with ending the Bronze Age and kicking off the "Dark Age/Modern Age" of comics: The Dark Knight Returns (1986), Watchmen (1987), The Killing Joke (1988), and DC's Crisis on Infinite Earths storyline (1986) that saw a universe-wide reboot and restructuring. While Crisis completely revitalized the DC Universe's sales, The Killing Joke, DKR, and Watchmen were so enormously popular that they literally redefined the superhero genre and inspired years of "grim and gritty" comic books. In fact, DKR was so popular and so influential that in a lot of ways, the entire modern conception of Batman is loosely, in one form or another, based on Miller's work (despite DKR being a dark alternate future and completely out-of-continuity even to this day).

In terms of societal trends and influences, you had quite a few things going on: in comics specifically, you had writers and artists beginning to stretch the bounds of what was considered "acceptable" by the Comics Code Authority guidelines, which was implemented in 1954 after the moral panic surrounding comics, juvenile delinquency, and "bad influences" that culminated in Senate Subcommitee Hearings into comic books and their influence on children and teenagers (the moral panic itself was kicked off due to the infamous book Seduction of the Innocent by psychologist Fredric Wertham). Incidentally, this is why the Silver Age is so well-known for its light-hearted subject matter: comics companies were trying desperately to stick to their self-imposed censorship code, which you can find here.

Stan Lee has talked multiple times about the story of how Marvel Comics famously defied the CCA in 1970 by publishing a Spider-man story dealing with drug abuse (at the request of the US government). His deliberate refusal to adhere to the Comics Code with "Green Goblin Reborn!" in 1970 led to DC publishing the influential and seminal Speedy/Red Arrow storyline "Snowbirds Don't Fly" in 1971, depicting Roy Harper becoming addicted to heroin. Together, these two storylines would form a big part of the basis for depicting darker storylines. "Snowbirds Don't Fly" is considered one of the big watershed moments for the depiction of mature themes in comics, and particularly at DC, as the arc was the start of an era of socially relevant Green Lantern/Green Arrow comics.

Michael McAvennie and Hannah Dolan actually mention this in their book DC Year by Year: A Visual Chronicle:

"It was taboo to depict drugs in comics, even in ways that openly condemned their use. However, writer Denny O'Neil and artist Neal Adams collaborated on an unforgettable two-part arc that brought the issue directly into Green Arrow's home, and demonstrated the power comics had to affect change and perception."

These two stories triggered a re-examination and revision of the Code in 1971 with standards that were slightly looser (though not by much) and helped contribute to a culture where writers/artists were interested in stretching the boundaries of what they were allowed to depict. As the Comic Book Legal Defense Fund's History page states:

The 1971 code relaxed the restrictions on crime comics and lifted the ban on horror comics (while still prohibiting the use of “horror” and “terror” in titles). In addition, the liberalized standards on sex reflected changes in society. After the Spider-Man controversy, the CMAA added a section on how to handle depiction of drug use. The code, although it was less restrictive, represented a lost opportunity in its reaffirmation of comic books as a medium for children.

So you can generally point to "Green Goblin Reborn!" and "Snowbirds Don't Fly" in 1970/1971 for the re-introduction of socially relevant topics such as drug abuse, the revision of the Comics Code in 1971 for allowing the growth of supernatural and horror-related titles (as well as an explosion of non-superhero genre titles throughout the 70s), Gwen Stacy's death in 1973 as marking a trend towards dealing with death and darker subject matter, Jack Kirby's move from Marvel to DC and his "New Gods" storyline as marking a fundamental change in the storytelling priorities of both companies, the revival of Teen Titans under Marv Wolfman and George Perez as marking a change towards character-based storytelling, and the introduction of several minority heroes (particularly John Stewart as Green Lantern, Luke Cage, Storm, Black Lightning, Vixen, and Cyborg) as marking a trend towards the attempt at inclusion and greater diversity (and thus socially relevant storylines regarding prejudice and racism). All of these things combined led to a "perfect storm" where comics began to deal with darker and more gritty/realistic subject matter throughout the 70s and into the 80s, culminating in the publication of stories like Watchmen, The Dark Knight Returns, The Killing Joke, A Death in the Family, and Crisis on Infinite Earths in the mid-80s (and later on in 1992, The Death of Superman) which led to the start of the Modern Age/Dark Age of comics.

There are probably three other big societal trends that helped contribute to the depiction of 'darker' subject matter in comics throughout the 70s and early 80s: the change of marketing trends where young children and girls stopped being specifically targeted as comic readers; the end of the careers of many of the veteran writers and artists of the time (or their promotion to management positions and retirement from regular writing or drawing) and their replacement with a younger generation of editors and creators; and the rise of direct market distribution, where specialized comic book distributors could directly solicit orders and distribute directly to retail outlets rather than the old system where wholesalers delivered the comic books to retailers along with other magazines. I suspect that the beginning of the "War on Drugs" and the rise of the Women's Liberation movement in the 70s also played a huge role (you can read a little bit about the revitalization of Wonder Woman and her impact on the Women's Movement/second-wave feminism here), but I only know about how social trends affected specific comics like the Batman, Green Arrow, and Wonder Woman comics rather than the industry as a whole.

As a sidenote, there are a couple of really good books on Wonder Woman, her history, and her impact on the feminist movement: The Secret History of Wonder Woman by Jill Lepore and Wonder Woman Unbound: The Curious History of the World's Most Famous Heroine by Tim Hanley.

For further research on this matter, I would suggest you look up books relating to the Comics Code and the Seduction of the Innocent scandal (David Hadju's The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America is particularly good) as well as any articles and academic papers on a) the rise of minority superheroes throughout the 70s, b) the impact of "Snowbirds Don't Fly", and c) anything relating to the impact Gwen Stacy's death had on comics.

If you're more interested in the switch from the Bronze Age to the Modern Age, I would focus on the rise of independent publishers such as Milestone Comics and Marvel/DC's non-superhero publishing lines Vertigo and Image, the near complete dissolution of the Comics Code in 1989 (with the final hit being Marvel completely withdrawing from the Comics Code in 2001), authors like Frank Miller (who wrote extensively on Daredevil and then went off and wrote DKR and Batman: Year One) and Alan Moore (especially Alan Moore, considering he wrote Swamp Thing, Watchmen, and The Killing Joke), Crisis on Infinite Earths and the lasting impact it had on both DC Comics and the comics industry as a whole, the death of Barry Allen in Crisis on Infinite Earths and the installation of Wally West as the Second Flash, and the development of the X-Men franchise.”

#colpfiction #replies #comics #dc comics #marvel comics #comics history #long post

[surejaya]

Sleeping with Monsters (Playing With Monsters, #2)

Download : Sleeping with Monsters (Playing With Monsters, #2) More Book at: Zaqist Book

Sleeping with Monsters (Playing With Monsters, #2) by Amelia Hutchins

When everything is on the line, how far will you go to protect those you love? What if the cost of saving them is your soul? Would you pay it? I thought I was prepared for what was coming; that if I made sacrifices, I could win this game. I’m no longer afraid of the darkness or the monsters that hide in the shadows. I’ve become what I feared most, allowing it in to protect those I loved. Sometimes it takes a monster to win. Sometimes to fight monsters, you have to become one. My only fear is…can I come back from it? Warning: 18 and older About the hero: chances are you may not fall instantly in love with him, that’s because I don’t write men you instantly love; you grow to love them. I don’t believe in instant-love. I write flawed, raw, caveman-like assholes that eventually let you see their redeeming qualities. They are aggressive, assholes, one step above a caveman when we meet them. You may not even like him by the time you finish this book, but I promise you will love him by the end of this series. About the heroine: There is a chance, that you might think she’s a bit naïve, or weak, but then again who starts out as a badass? Badasses are a product of growth and I am going to put her through hell, and you get to watch her come up swinging every time I knock her on her ass. That’s just how I do things. How she reacts to the set of circumstances she is put through, may not be how you as the reader, or I as the author would react to that same situation. Everyone reacts differently to circumstances and how Magdalena responds to her challenges, is how I see her as a character and as a person. I don’t write love stories: I write fast paced, knock you on your ass, make you sit on the edge of your seat wondering what happens next books. If you’re looking for cookie cutter romance, this isn’t for you. If you can’t handle the ride, un-buckle your seatbelt and get out of the roller-coaster car now. If not, you’ve been warned. If nothing outlined above bothers you, carry on and enjoy the ride!

Download : Sleeping with Monsters (Playing With Monsters, #2) More Book at: Zaqist Book

#book #zaqistbook #epub #kindle #GreatReads #MustRead #WhatToRead

[mediaevalmusereads]

Bringing Down the Duke. By Evie Dunmore. New York: Berkley, 2019.

Rating: 3/5 stars

Genre: historical romance

Part of a Series? Yes, A League of Extraordinary Women #1

Summary:  England, 1879. Annabelle Archer, the brilliant but destitute daughter of a country vicar, has earned herself a place among the first cohort of female students at the renowned University of Oxford. In return for her scholarship, she must support the rising women's suffrage movement. Her charge: recruit men of influence to champion their cause. Her target: Sebastian Devereux, the cold and calculating Duke of Montgomery who steers Britain's politics at the Queen's command. Her challenge: not to give in to the powerful attraction she can't deny for the man who opposes everything she stands for. Sebastian is appalled to find a suffragist squad has infiltrated his ducal home, but the real threat is his impossible feelings for green-eyed beauty Annabelle. He is looking for a wife of equal standing to secure the legacy he has worked so hard to rebuild, not an outspoken commoner who could never be his duchess. But he wouldn't be the greatest strategist of the Kingdom if he couldn't claim this alluring bluestocking without the promise of a ring...or could he? Locked in a battle with rising passion and a will matching her own, Annabelle will learn just what it takes to topple a duke...

***Full review under the cut.***

Content Warnings: graphic sexual content, sexism/misogyny, attempted sexual assault

Overview: I learned about this book while searching around for romances in the vein of The Suffragette Scandal. Overall, I found Bringing Down the Duke fairly fun; it features a badass heroine, a hero who doesn’t give off violent alpha male vibes, and a plot that addresses real issues like class and gender equality. I only give this book 3 stars, however, because I think the plot could have been organized better, and I think the romance gets a little frustrating after about the halfway point. Still, if you’re just starting to read romance and aren’t sure about what level of physical intimacy you’re willing to tolerate, this book might be a good starter.

Writing: Dunmore’s prose is fairly laid-back and easy to understand, so if you’re looking for a light read, this book might fit the bill for you.

I do think, however, that Dunmore could have crafted her narrative and used her prose to reinforce the theme of independence vs safety. While this theme comes up a number of times, I always felt it was an afterthought because so many things were happening in the book, and I would have liked to see Dunmore pull back and really make the whole narrative (and use language, metaphor, etc) about this conflict.

Plot: The non-romance plot of this book follows Annabelle - a bluestocking who is given a full scholarship to Oxford on the condition that she support the suffragette movement. She is allowed to go on the condition that she send her cousin 2 pounds per month to pay for a housekeeper (which he will be lacking if Annabelle goes away), and as she tries to balance school, work, and activism, she is tasked with “infiltrating” the Duke of Montgomery’s home in hopes of winning him to the suffragette cause. Of course, shenanigans ensue from there.

What I really enjoyed about this plot was the ambition. I liked reading about the class and gender barriers that Annabelle had to navigate, and I liked that her political ambitions were at odds with the Duke’s personal ones. However, such a wide range of conflicts meant that not all plot threads were explored to the degree I would have liked. It seemed like characters were pulled in a lot of different directions, and that these non-romance plots took a backseat when it was least appropriate. The Duke’s New Year’s Eve party, for example, is supposed to be this big political move for the Duke to show his commitment to the Queen and the Tories, but we never see him put things in place or pull some social strings to line everything up, and we never see the party used as a crisis point in the political plot. Instead, it passes in the space of only a few pages and is mainly used as an opportunity for Annabelle and the Duke to become intimate. I would have instead liked to see it be this moment where the plot as a whole takes a turn: maybe everything is going well until the Duke realizes his feelings for Annabelle as well as the actions of his younger brother throw the whole party (and his political ambitions) into jeopardy. In short, I felt like events could have been moved around to make them more narratively impactful, rather than everything happening at a somewhat leisurely and meandering pace.

On a related note, I didn’t feel like the plot as a whole had many elements of suspense, nor did they really build on each other. As a result, the plot seemed to lack shape; there wasn’t really a rising action, and I was never sure what characters were going to do next (which was frustrating, rather than exciting). I think this could have been improved if we had seen Annabelle take a more active role in trying to manipulate the Duke. As the book stands, Annabelle seems to simply inhabit the Duke’s house and “wins” him over by being defiant. I think I would have liked to see her try more purposeful techniques, like going through his things to try to get information on him, having more political or philosophical conversations, etc. Something to drive the suffragette narrative forward and perhaps set up a moment when Annabelle has to reveal that she’s been trying to spy on him or something.

Characters: Annabelle, our heroine, is a fun character to follow. She’s smart, hardworking, and generous with regards to her friends. I liked that she wasn’t presented as this superwoman who could do everything, but was doing her best to balance all the demands made on her. While I think all of Annabelle’s actions were believable and she was a fairly complex character, I also think Dunmore was trying to do too much with her. Not only is Annabelle trying to balance her studies and her activism while struggling with poverty, but she also has a secret from her past which must be dealt with. Personally, I found it all a little much. I think Annabelle’s past and her financial obligations to her cousin could have been cut, placing more emphasis on the pressures of staying in school or becoming destitute. The conflict for her, then, would be something like the risks that come with being an independent woman, and how her entanglement with the Duke raises new risks.

Sebastian, our hero, in interesting in that he is stoic and single-minded without being a huge jerk. He’s completely obsessed with winning back his family’s estate, and he lets that obsession compromise his political and moral beliefs (though not to the point where he’s openly hostile towards women or anything like that - more like he’s willing to support the Tory party because he has been promised the return of his estate if they win the election). I liked that much of his personal growth had to do with deciding what it was he valued more: his family’s reputation or his personal happiness and being on the right side of history.

Supporting characters were fun and enriched the narrative. Annabelle’s suffragette friends were a lovely support system, and I adored the moments when they rallied to help Annabelle in moments of trouble. Sebastian’s brother, Peregrine, was a nice foil to the Duke and I liked that he was irresponsible and impulsive without being a total rake. Jenkins, Annabelle’s professor, was also an interesting character to have in the mix, especially when he became more involved in creating points of tension towards the end, and I liked that he was bookish and eccentric without being cold and self-important.

Romance: Annabelle and Sebastian’s romance is... ok. There were things about it I liked, and things I found frustrating. I really liked their banter and that they were intellectual matches for each other. I also liked that the barrier to them being together was rooted in class and the conflict between personal desire and family obligation. I also appreciated that the romance seemed to build naturally; while physical attraction was present, it wasn’t like Sebastian saw her and popped a boner and that’s what set everything off. Their relationship developed slower and I found it much more believable than some other romances.

What I didn’t like, however, was that after about the book’s halfway point, the relationship seemed to plateau and it became a matter of Annabelle and Sebastian splitting up, chancing upon each other in public, feelings erupt, then they do something intimate and split up again. I would have much rather have had something like a clean break at the 3/4 mark in the book: the two realize they can’t be together in the way they want, so Annabelle leaves and focuses on her activism/studies. During that time, things happen that challenge Sebastian’s commitment to his family legacy, but he doesn’t go seek Annabelle out. Maybe Annabelle instead gets an offer that would make her more financially stable (or more secure in her place at Oxford), so then she can go back to Sebastian, etc etc (I’m thinking about how the class barrier is handled in Jane Eyre here, if you can’t tell). It would have gotten rid of the annoying miscommunication incident towards the end, and instead would have forced some more meaningful development and not a “will they or won’t they” string of events.

TL;DR: Bringing Down the Duke is a bit of a narrative mess, but nevertheless fun and entertaining. With likeable characters, a believable romance, and meaningful themes, I would recommend this book for those just starting out in romance or to those who want romances written with contemporary readers (and sensibilities) in mind.

[neriad13]

Tiger Stripes

A little over four months ago now, these angry red lines took up residence on my lower belly. I’d assumed that they were irritation from shaving and would clear up soon enough on their own. I’m very careful in keeping sensitive skin moisturized when it comes to shaving, but still, things happen. I didn’t pay them much mind. It was busy season at work and there were much more pressing issues to consider. Besides, they weren’t even on a part of my body that was visible in a swimsuit.

Except…as Summer came on in full force at work and busy season kicked into gear, they remained imprinted on my flesh, red and furious as ever. An entire month passed with no visible improvement and I had to admit that they were something else.

Stretch marks.

I thought I’d left them behind with puberty. It had been well over a decade since anything of the sort had been part of my life. I’d forgotten what they looked like, the possibility that they might make a return appearance. I also knew that there was nothing I could do about them.

I had a lot of feelings about this.

Distress that my body was no longer symmetrical, that my skin was not one unbroken, smooth color. Fear that I was almost thirty after all and what had I accomplished in all this time? Annoyance that I’d been taught all my life to hate something so ubiquitous, so unavoidable and the power that toxic mindset still held over me even after I’d spent so many years learning how to love myself.

But most of all, on top of everything, I was just so damn pissed that my body was ruined before I’d even had a chance to show it to a lover.

I continued like this for the rest of the Summer. I focused on other things. I was happiest when I got so involved in a task that I entirely forgot that I had a physical body at all. But every time I showered or undressed or used the toilet, I looked at them, poking and prodding, wondering if they had lightened up a little or if that was just a bit of wishful thinking. They didn’t look quite so angry as they had initially, that much was true. Still, it didn’t make me feel much better.

And then the other day, as Summer drew to a close at last and I sat, exhausted on a toilet, at work in a brief respite between rushes, I absentmindedly, more out of habit than anything else, checked my marks again.

All of a sudden, it hit me like it hadn’t in all these past months of living with them. I’d once written a character in a novel who has stretch marks in the exact same place on their body. The hero, no less. A trickster crafty enough to steal the treasures of the world from a master craftsman and get away with neck intact. The shapeshifter who pulled Immortality from the clutches of Death and so righted their own wrong. The silly romantic who knows that their lovers see them as beautiful. The funny, the clever, the deliciously devious, a nut that no literary scholar has ever been satisfactorily able to crack. My favorite character in all of fiction, so beloved by me that I had to write my own spin on the character.

And I’d written them with stretch marks just like mine.

I remember my thought process when I was writing the one scene in which they were mentioned. It was a single offhand comment by another character, neither criticizing nor praising, only noticing and then moving on. I hadn’t thought much of it at the time. I was slamming through a first draft at the time - no time for contemplation, grammar, style, for caring about whomever would be reading this in the future. It was just me and my thoughts and the drive to get them into words as fast as humanly possible.

This is a character who’s given birth in the past, those thoughts had said, Of course they’d have stretch marks. It’d be a lot odder if they didn’t.

And so I’d written, months before.

As I left that bathroom, a new lightness in my step, I tried to think back on the stretch marks that I’d seen portrayed in fiction. I came up with nothing. None of the heroes of my childhood had marks left on them by puberty. None of the heroines I’d read about more recently ever struggled with seeing the beauty in themselves in spite of their changing bodies. I’d never read about a single warrior woman who saw them as just another type of scar. Even outside of fiction, it was a very rare conversation that talked about them in positive or even neutral tones.

So please, write characters with stretch marks! Tell your readers that it’s okay, that their heroes deal with this too. Tell kids that this is normal part of going through a growth spurt and that they’re not being ripped in two from the inside. And if it’s something that you struggle with personally and the only character who can save you is your own, all the more power to you.

#stretch marks #tiger stripes #writing advice #my writing #personal essay

[warlordgab]

Analysis: Romance in One Piece

Note: I’ll be posting condensed versions of this analysis in other sites

A) Relevance of plot and characterization AKA Unbiased Readers Vs. Delusional Shippers “Who lives on illusions dies from disappointment” – An old Puerto Rican saying Most of us know One Piece is a very popular manga. Its high quality and popularity depend on several factors, among them we could name memorable and likable characters along a deep, compelling, fun and action-packed story. The One Piece many know and love wouldn’t exist without the balance between these factors When talking to at least 3 different One Piece fans, each of them non-shippers who analyzed the manga they all enjoy, I found interesting and pretty sound perspectives of the One Piece story and its nature. All of them value characters, story, development, consistency, and logic; something I can totally relate to But I also found a pattern; these 3 guys shared one single outlook on the very same subject: shipping. Regardless of their expectations, all of them expressed distaste for shippers’ general mindset and “odd” viewpoint: One of them called shippers out for ignoring characterization and very clear and direct statements made in the manga. His attention was centered on a Luffy pairing and how it contradicts his own character. Oda once explained that he writes Luffy as someone pretty straightforward when it comes to expressing his thoughts and feelings, and this non-shipper said with brutal honesty that for the discussed ship to happen we would need to disregard and/or discard the very core of Luffy’s character. Meaning Oda would need to stop being consistent and faithful to his own story and characters The next one explained how shippers tend to turn a characters’ relationship into a sappy teen love fantasy that doesn’t match One Piece at all. His analysis also exposed how integrating this kind of underdeveloped “love” into the story would severely damage One Piece originality, ruin the series and needless to say destroy the likable dynamics between several characters as well as their own development. This fantasy, this so-called “love”, is what the vast majority of shippers support and defend. The same kind of “love” most non-shippers, fans, and critics dread The third non-shipper gave me a more detailed explanation: this is even more rough than the other two as he describes that the common shipper mentality of “he/she likes her/him so they should be together” can “only be likened to that of elementary schoolers”. And how shippers take every little meaningless detail and blow it out of proportion with no regard for context, legitimate bonding or the canon story! But we can’t put all the blame on shippers. Many manga authors seem to have no idea how to write a character-driven series or complex character relationships. In fact, mainstream shonen writers have their fair share of guilt into promoting this common shipping mindset by being notoriously bad at writing romance. Which results in underveloped premises that leave your average fan skeptical, and your average critic disappointed at a poor portrayal of emotional bonding and a severe lack of cohesive narrative in the "romantic love" department This is the reason why many fans, critics and non-shippers hold the shippers’ perspective in a very low regard. Just like the third non-shipper states: “The blushing, longing stares, corny ass lines etc. That kind of poorly portrayed romance is the kind of thing dreaded by the average fan because it reduces the quality of One Piece to the level of such poorly written series” So an author needs to build a relationship the same way one person would construct a building: stablishing a strong foundation on companionship, respect, trust, signifcant moments, and emotional bonding. All of this must come before reaching the status of “romantic interest". In relation to this subject, there’s a trope called “First Girl Wins”, a portion of its description truly fits this criteria: “From a [extradiegetic] point of view, the Law of Conservation of Detail suggests introducing the Love Interest early. An early introduction allows you to get the audience interested in her and rooting for her, gives you space for Character Development, and gives her relationship with her (eventual) partner the most time to develop organically. And with all that said, it's such a common device that in all likelihood, it sometimes gets played for its own sake.” – tvtropes.org, 2017 Notice this isn’t a cliché, this is a literary device to enhance the story. Pairing up two characters without meaningful moments, emotional build-up and development, is the equivalent to lazy writing. Having such elements firmly stablished for two characters and then deciding to go for a different “route”, pretty much wasting a well-developed relationship for the sake of a “weaker” premise, would be the equivalent to bad writing Is Oda, the man who’s willing to die for One Piece, a lazy writer? Of course not! Is he, a man who planned the ending years ago and is still sticking to said ending, a bad writer? Being number 1 in Japan and having such a loyal fanbase all around the world prove he’s not! Do shippers want Oda to be a lazy/bad writer? Facts already answered this question as many (although not all) fans value their own fantasies and delusions over the manga canon and/or the author’s take on the characters and their relationships Many (but not all) shippers now have a war. Not only against rival ships but mainly against One Piece story and consistent development. Yet as the old saying goes, those who live on delusions will have to eventually face reality and disappointment, because Oda is not a lazy/bad writer like some people here would want him to be

B) Romance Dawn AKA The not so secret origins of One Piece “If we don't know where we are going, it can be helpful to know where we come from” – Jostein Gaarder When debating posible outcomes, fans rarely look back at the time when One Piecewas a still a work in progress. Taking a look at Romance Dawn V.1 and Romance Dawn V.2 helps us to see there are constants present in all versions of these Works that made it into what would later become the most popular manga in Japan But before discussing those constants I would like to clarify the meaning of the word: “Romance”. There are people who doesn’t really grasp the concept of “Romance” both One Piece and Oda work with. Luckily the first two non-shippers I meantioned shed some light on this subject: Romance: "A mysterious or fascinating quality or appeal, as of something adventurous, heroic, or strangely beautiful" "A long fictitious tale of heroes and extraordinary or mysterious events, usually set in a distant time or place" "A narrative in verse or prose, written in a vernacular language in the Middle Ages, dealing with strange and exciting adventures of chivalrous heroes" – thefreedictionary.com, 2016 "A prose narrative treating imaginary characters involved in events remote in time or place and usually heroic, adventurous, or mysterious" –  Merriam Webster, 2016 Romantic: "Marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious, or idealized" "Having an inclination for romance: responsive to the appeal of what is idealized, heroic, or adventurous" –  Merriam Webster, 2016 These definitions match pretty well One Piece and Oda outlook on this concept. Even Oda lampshaped this by giving his own translation to the title: 冒険の夜明け (“Bōken no Yoake”, “Dawn of the Adventure”) So Oda’s “romance” covers a wide variety of themes: Adventure, heroism, mystery, virtue, idealism… we can find comedy and tragedy, happiness and sadness. And among the virtues and the idealism we find companionship and love. As the second non-shipper I mentioned explained One Piece is pretty much like an “Adventure novel”, which is why we’ll find in One Piece many of the tropes commonly used in those books Among those tropes, we find a couple of constants in all versions of “Romance Dawn”

The golden-hearted protagonist and the “First Girl” who doubles as a female lead. Think about this "what if" scenario: If things would’ve played different back then and One Piece never went beyond “Romance Dawn V.1”. If that story were to be elaborated futher, which two characters would had shared the most moments to become endgame? The answer is pretty simple: The golden-hearted protagonist and the female lead! But when debating, the weight of the argument depends on edvidence so we need to rely on what we can confirm. And we confirm this, what’s the constant in Luffy’s story in all versions of Romance Dawn? a Nami-like character

This becomes even more interesting when we discover that at an interview at “Manga no Chikara” and others, Nami was supposed to be the first one to join Luffy but her debut was postponed by Oda’s editor at that time. Edvidence of this being a last minute decision remains on the first color cover:

Yet as the second non-shipper noted: “her role as secondary protagonist was not altered” for “Nami shares with Luffy the largest character development in the entire series”. And as explained here we already know how the trope goes when someone seeks to write a natural growth for an emotional connection between two characters 

In fact, the relevance of Nami to Luffy’s story is implied in what Oda himself said about Strong World: “I really wanted to make a ‘hero saves the heroine’ story (ヒロインを助けるヒーローを描きたい the japanese sentence). [....]. You might think otherwise, but I had no intention of bringing in someone new to fill that [heroine] role. So when I had to think about whom to use for it amongst the straw hats of course that meant Nami”

In Oda’s mind, Luffy is the hero and Nami is the heorine! We can tell that the hero and the heroine are meant to be the driving forces of the series, and therefore putting them together makes the most sense from a storytelling perspective

C) LuffyxNami AKA LuNa/LuNami “Logical consequences are the scarecrows of fools and the beacons of wise men” – Thomas Huxley

Many shippers tend to ignore and disregard the importance of staying faithful to the canon story, and the author’s take on the characters and their relationships

To makes matters worst some of them even deem as illogical any argument solidly based on these factors. While considering stuff like lines, frogs, sweat, fire, nonexistent sexual tension, assumption of sexuality, and even assumptions of pregnancy, as legitimate proofs of a plausible outcome! In fact they even value comparisons to other series with a different tone, themes, and characters over anything that the One Piece author conveys through his work There’s even people who goes as far as editing the wiki as if that would change the story to match their preferred pairing! But in order to reach a conclusion that remains true to One Piece and its nature we have to rely on the very same foundation that was already described several times: mutual trust/respect, faith on one another, significant moments, stress in their relationship and emotional development. If the story doesn’t let you build your premises on these elements, the conclusion you’ll reach will obviously be flawed and stray away from what One Piece really is So here I’m not only defending the premise I strongly support; I’m defending the very same story and build-up that contributes to this bond’s natural growth: As explained before there’s nothing explicitly romantic about major interactions. But given we’re dealing with a good and dilligent writer, what we’ll get to see is how big to small moments stablish an emotional connection between two characters, and how that becomes the base for a even greater growth First we have the themes of trust and faith: At first Nami doesn’t trust Luffy very much, out of her clear distate for pirates, until witnessing how far was Luffy willing to go to selflessly help others. Even then Nami treated their relationship as a mere business and later betrayed the crew Still Luffy always trusted Nami to the point of putting blind faith in her. Even when given reasons not to do so. One remarkable example is when Luffy was informed by someone trustworthy (Johnny) that Nami apparently “killed” to Usopp, and Luffy not only kept holding onto his blind faith in Nami but he also threatened Johnny for saying such things about her

This becomes something remarkable when we take into consideration that Zoro quickly gave up on Nami and later tried to attack her without even a second thought! While Usopp just wanted  the Merry back…

And it would later become even more impressive in the Whiskey Peak Arc when Luffy came to doubt Zoro because of the words of wounded man he didn't even know, and even doubted Robin during Water 7 until Nami told him and the crew the truth behind Robin's desertion:

But what else makes this situation with Nami any different from others we see in the manga? Some might point to the saga where rescuing Robin was the primary objective; but in Robin's case Luffy knew her life was in danger for Robin was planning to die for the crew, and he got the resolve to save her only after learning the truth. Others might point to the current arc, but he saw right through Sanji's act and got desperate to rescue him only after hearing his life is in danger. Here, Nami’s life wasn't in danger as far as Luffy knew. And he constantly try to reach out to her despite her harsh attitude and the fact he knew next to nothing about her past and her current circumstances. It was only when he saw her cry he got enough motivation to beat Arlong, and it was only when he got a small glimpse of what she went through that he lost it! How does Nami respond to this? Initially she wanted to get Luffy out of her villaje and her life. While Nami indeed grew fond of Luffy and the others she wasn't willing to bond with any of them; she held on her distrust of others. But that changed when she finally hitted her lowest point, when she finally lost all hope. Then it comes Nami's first major development as character: she realized she needed to rely on someone else, she realized Luffy was her only hope Nami decided to rely on him. The following scene marks the first time of many when Nami relied on Luffy to a emotional level. And the first of two times when Luffy entrusted his treasure to her in a touching gesture to provide comfort and hope:

From the very beginning the emotional build-up between Luffy and Nami was a key factor for one of the most meaningful and memorable moments in One Piece. The moment when Luffy becomes Nami’s “emotional anchor” The effect Luffy had on her character was also quite powerful as we could see during the 2nd pass of the hat: back then at Skypiea arc Nami could still panic at dreadful situations: 

But as soon as Luffy gave her his treasure, the panic stopped and when he was later removed from the battle field, Nami was capable of drawing enough courage from Luffy to face the big bad from that arc:

Not to mention Luffy’s final move against Enel was combined effort of the two as well as an impressive display of mutual trust/faith We can continue to appreciate their development even futher as the story goes on. As someone already pointed out, Nami during Water 7 displayed an impressive resolve and determination, but as soon as she got the chance to explain Luffy their situation she opened her heart to express how she felt, her anguish and her distress. When Luffy reassures her that he will save Robin, she doesn’t cry anymore until she reunites with Robin Their bonding is even futher explored in the only One Piece movie fully written by Oda: Strong World. As this is the author’s take on their relationship is still a valid argument to support Luffy/Nami development: We already considered how impressive Luffy’s blind faith in Nami can be. So after listening to most of Nami's recorded message, Luffy gets enraged! Why?

Well, after all that time Luffy relied on his navigator without ever doubting her. He was likely expecting all his trust and faith in Nami to be reciprocated Turns out Nami does return that feeling! And why can we say that? Remember the movie's ending: Nami finds out everyone in the crew got her hidden "save me" at the end of her message... everyone but Luffy. Then when Luffy is about to play the recorded proof of Nami's unwavering faith in him, what does she do? She tries to get rid of the "edvidence" out of embarrassment 

It’s easy to see then why Nami seeked out Luffy for hope and comfort during Zou. And how she did something similar to what happened in Water 7: she opened up to Luffy

I said it before, since Luffy is Nami’s “emotional anchor”, it makes sense for her to keep strengthening her bond with Luffy. And given Luffy needs a guide to new adventures and someone “mature” enough to sometimes keep him in line, it makes sense for Luffy to grow closer to Nami She once summed it up pretty well: "He always talks big, but when it comes down to it, he knows nothing about the sea! He's severely lacking in the 'sense of danger' area! And he always overdoes it...if I left him alone, he'd die. And he's stupid, so I have to take care of him. That's why I'm gonna help him!" - Nami, chapter 596 Still, none of this is explicitly romantic in the traditional sense of the word. But just like someone who’s constructing a building, we start dealing with the foundations to then proceed to make a solid structure: a well-written relationship that enhances the story As someone once reviewed, Luffy and Nami dynamic doesn’t need to change for them to become endgame for they already have anything they need to finish that “building”. And that’s what’s being a potent pairing means: having everything to your favor for further development and growth. Luffy and Nami definitively have the major moments and the emotional bonding while remaining consistent to the One Piece canon to be considered a Potent Pairing

Bonus:

It's interesting we find other interaction that proves how comfortable is Nami around Luffy: 

She doesn't mind having Luffy around her, what she really minds is Luffy wanting to go to dangerous places But why is this relevant? In Thriller Bark we had a clear showing of how she reacts to pervs trying to accomplish what Luffy did here. She electrocutes them. We can confirm she haven't changed in this regard because at the end of Fishman Island arc Nami electrocutes a perv for trying to peek at her while she was taking a bath Another interesting detail about Nami's attitude toward Luffy is a change we see in WCI. Of course, we have the remarkable faith and trust Nami puts on Luffy by even boasting how him being the future Pirate King ensures their victory over Cracker's ability.

But the real change is when Sanji brutalizes Luffy. Nami already stated she felt guilty for what happened when Sanji got taken. But when Sanji did his "little" number on Luffy her attitude changed, she not only begged him to stop but was also promising they'll leave if he did (Luffy clearly disagreed on that)

After seeing the way Sanji treated her captain, Nami did something the could seem pretty justified because of what happened: she slapped Sanji and then sarcastically played along Sanji's "royal" act. When she goes to Luffy and finds out her captain is not relenting on his effort to get Sanji back, she gives us this little gem:

The Japanese text for Nami's dialogue reads: "Luffy!! Why?! No matter what his reasons are, after he did all that to you…" The term she used here for the line in bold conveys the idea of severe mistreatment. She was obviously mad at the way Sanji attacked and badmouthed Luffy and his dream. Ironically Luffy is the one who shows far more emotion to the prospect of getting Sanji back than Nami, she kept displaying far more concern for Luffy as the chapters went on Nami is now showing, little by little, more of an emotional attachment to Luffy. Which makes a lot of sense given what we saw in their story

#Luffy x nami #luna #one piece #luffy #nami #potent pairing #manga #anime #romance #OTP #lunami #monkey d. luffy #reason #logic #debate #eiichiro oda #arlong park #skypiea #water 7 #one piece strong world #one piece romance #strong world #cat burglar nami #straw hat luffy #ルフィ #ナミ #ルナミ

[willreadforbooze]

Hello fellow boozie readers!

Sam’s Update:

I can officially say that I’m in my 30s… happy birthday to me!! We also went to ALA, which is like BookCon but so much more chill. As of this posting, I’m probably still there, since it ends today at 2pm. Anywho, I’ve been in more of a Netflix mood, not a reading mood, but here you go.

What Sam finished this week:

The Wicked King by Holly Black: Welp, coulda called that one. Jude is still so dumb. But I enjoyed listening to this.

What Sam’s reading now:

  Kingdom of the Blazing Phoenix by Julie C. Dao: Literally just started it, btu this is the follow up to Forest of a Thousand Lanterns reviewed here.

The Simoquin Prophecies by Samit Basu: Book club book. Reserving all comment until bookclub is over.

Ginny’s Update:

This is a judgement free zone (if you like to ignore the fact that reviews are pretty much pure judgment, in this case I mean no one is gonna judge me). Lots of romance novels again. Plus I had a fun thing happen this weekend where I was too dizzy to function because vertigo is a bitch. Unfortunately I’m a dummy and used that time to sleep instead of read. So, you’re welcome Sam, there aren’t too many covers to find.

Currently Reading:

The Brazen and the Beast by Sarah MacLean: This is one of the ARC’s I got from bookcon. Sarah MacLean is a delight to follow on twitter and writes some really fun heroines. I know Linz didn’t have much luck with the last book, but I am enjoying this one. Hattie has a plan for her year and isn’t gong to let anything get in her way. ‘Beast,’ a moniker that’s labeled as ridiculous in the book, is going to get in her way. All she wants is to take over her father’s shipping business. He has unfinished drama that I’m going to be honest, I don’t super care about at the moment…. 🙂

After the Crown by K.B. Wagers:  I read the first book in this series earlier this year and as the triology is already complete wanted to keep up with it. Hail, who is now empress, is still dealing with the fallout of the attempted coup etc and the case of characters from the previous book is there to help her deal. This is kind of like Firefly meets Star Wars.

Finished Reading:

Luck of the Draw by Kate Clayborn: This was exactly what I thought it would be. The drama was exactly what I thought it would be. Ultimately I still super enjoyed this book as the character growth from hate to friendly to love seemed to make sense. The story happened over weeks and didn’t start at immediate love (I’m kind of sick of “I’ve known this person for five minutes and already I would die for them” story lines). So yes, it was a solid choice. 3.5/5

The Suffragette Scandal by Courtney Milan: Yup, another romance novel. The library blessed me. “Free” runs a newspaper for women that is about as feminist as a newspaper in ye olden dayes can be. Edward Clark was left for dead by his aristocratic family and has adopted a fake name and been a conman for the last oh seven years. He’s trying to protect and old friend and decides to use Free to help. Unfortunately his dick of a brother is going to cause lots o problems. Free was a ton of fun and has a wonderful point of view on things, and I really enjoyed the arguments between her and Edward. He’s so cynical but really well meaning beneath everything else. 4/5.

Unmasked by the Marquess by Cat Sebastian:  I’m not going to bother with a full summary here but this book is fucking wild. Robin, our non-binary hero lives life to the fullest and knows she (I promise this is talked about in the book, I’m not misgendering her) will never get what she truly wants. Because Alistair has a stick up his ass and bumbles his way through anything real because he’s spent too many years trying to ‘fix’ his fathers mistakes. They fall in love and do so much stupid stuff. But honestly this book is a trip. I highly suggest it. 4/5

DNF:

I Love You so Mochi by Sarah Kuhn: I do plan on picking this one back up, but now wasn’t the time. It’s part of the reason I read so much romance is I just really didn’t feel like picking this one up again.

The Tiger at Midnight by Swati Teerdhala: Man, I adored the world of this book. I could read straight up history textbooks about this world. Unfortunately, I really didn’t care for either of the two main characters. I got about 40% of the way in, and didn’t understand why they felt drawn to each other, didn’t care about the contest. I honestly just wanted to learn more about how the original treaties came to be, about how the matriarchal society functioned, what the change was like. I would have read a book set 10 years before this book was placed. I just didn’t care for it. It wasn’t bad, just not the story I wanted it to be.

Minda’s Update:

ALA was amazing! Picked up so many new releases and ARCs.

What Minda finished:

Kingsbane by Claire Legrand – The most feels I’ve had from a book in awhile! I still can’t process everything.

What Minda put down:

Dry by Neal Shusterman and Jarrod Shusterman – Taken back by the library, but honestly I was only like one page in.

What Minda is reading now:

The Simoquin Prophecies by Samit Basu – Book club book, enough said.

Wilder Girls by Rory Power – Just picked this one up from ALA! A school for girls is under quarantine and one of the students is finding answers—mystery and intrigue. Comes out July 9, so hoping to finish before then.

Linz’s Update:

WHY DID WE GO TO ALA WE ARE FASHIONING OURSELVES INTO MONSTERS. I’m officially a book Gollum.

What Linz read:

Stepsister by Jennifer Donnelly: The tiniest of dents has been made in my ARC pile. Minda and I have to have words on this book, because I have some feelings

The Care and Feeding of Ravenously Hungry Girls by Anissa Gray: GIRL WHERE DO I START. This was so damn good, you should all read this immediately. I bought a copy. You can borrow it. Just like start it now.

With the Fire on High by Elizabeth Acevedo: If I had known better, I would not have read this and The Care and Feeding in the same week, Jesus Mary and Joseph I cried a lot. Acevedo’s second offering is about a high school senior who is VERY talented at cooking, and struggles to juggle college applications, work, and her toddler daughter. I’m so exhausted that I’m not giving it its due, but this may be one of my favorite books this year. It’s beautiful, balanced, and I’m so glad it exists.

What Linz is reading now:

I’ll be honest, I’ve been trudging away at Jade City, and I think I just picked the wrong time to read it, or maybe it’s just not for me. I’m shelving it tonight and starting…

Swipe Right for Murder: Derek Milman – We picked this up at BookCon and saw it again at ALA. People have been going crazy for it on social media. From Goodreads: “On the run from the FBI. Targeted by a murderous cult. Labeled a cyber-terrorist by the media. Irritated texts from his best friend. Eye contact with a nice-looking guy on the train. Aidan has a lot to deal with, and he’s not quite sure which takes top priority.”

Until next time, we remain forever drunkenly yours,

Sam, Melinda, Linz, and Ginny

Weekly Wrap-Up: June 17-23, 2019 Hello fellow boozie readers! Sam's Update: I can officially say that I'm in my 30s... happy birthday to me!!

#Wrap Up