It’s a bit long.
Ok. So, I came here because I HAVE TO TALK ABOUT THIS TO PEOPLE WHO KNOWS WHAT IM SAYING AND WOULD UNDERSTAND WHAT I MEAN.
Yesterday or so (it was midday for me where I live idk when it was announced at the event) the date of Agatha All Along, its final title and a teaser trailer were apparently released and it’s said that (I say ‘it’s said that’s because only the people at the event saw exactly how the teaser video was and because no one filmed so currently it’s just talk) scene starts out with Agatha as Agnes wearing one of the hex decade outfits from wanda vision trying to solve a murder about a Jane doe. Apparently Agatha is in like a morgue and on a metal table lies the body of a woman who’s covered up and the tag on the foot reads W. Maximoff, death 13 of October.
Now I have a bunch of things to say about this part and why everyone is too quick to jump to the conclusion that wanda is really dead. One, the whole time MoM happened Agatha was under the hex, there’s not much way that she could know that Wanda is ‘dead’ (if she is dead that is).
Two, back in the day marvel used to do this thing where the year of the movie that it gets released in matched up with the year the characters were living in the movie. Like 2012 avengers. If they kept this up the date of Wanda’s ‘death’ wouldn’t make sense as she would’ve ’died’ in May. Also other than strange, Wong, the people at the sanctum and America (and maybe the other reality Christine) no one really knows of her ‘death’. So it would leave a huge plot whole to who brought Wanda there.
To continue they said that rio vidal shows up and tells Agatha some things that ultimately lead her to break out of the hex.
A post that was made 6 months prior to these announcements that were made yesterday kinda points to that not being wanda. On tik tok a creator by the name @lizzie_clan had shared a slideshow post last year on November about some Twitter posts made by a well known leaker (spoiler-content leak) explaining that the body on the table is only there to symbolize Agatha breaking through the hex and said that at some point Rio says that there are two Jane does in this case and with that the name tag changes from w. Maximoff to a. Harkness. Considering it had been said long ago and now we see this scene in the teaser I do give it possibility that it really isn’t Wanda.
To follow this up I will give the similar arguments I’ve given on this subreddit before.

1. To start things off, we never saw the body of Wanda Maximoff. In marvel except for a few, many people who died, and we saw their bodies, they stayed dead.
   
2. The huge CGI explosion of red at the ends of MoM. I think if Wanda had really died it would’ve either been a much bigger explosion or no explosion at all. I’m pretty sure that the explosion that was made was there for a reason. Like aiding in her escape in a way.
   
3. Wanda has big parts in multiple different characters storylines. Let it be in Agatha’s, or in visions or in her sons or x men or house of m or in the upcoming avengers movies. Killing her off in such an obscure way makes no sense.
   
4. Wanda is a ridiculously strong character. I really don’t think a nexus being was killed because of some rubble. It doesn’t fit the story they made for her.
   
5. In the 2016 scarlet witch comics we see Agatha helps Wanda get to the witches road and we do clearly see that Agatha and her coven goes there as well. It wouldn’t be a shocker if we got a glimpse of her there.
   
6. The official marvel book that was released that didn’t had Wanda on the cover. Now marvels all about being clever and sneaky. The book says that when Wanda collapsed Wundagore it got rid of two big problems and threats on the multiverse but never explicitly says that Wanda is dead which is more important than you think. They have no reason to hide the fact that a character is dead. And that’s maybe because she isn’t.
   
7. Elizabeth Olsen is currently booked for 5 or so projects and last year she never confirmed her returned and said that she wanted to play other characters. However she never explicitly said she was done with marvel or she was fired or left or she was done playing Wanda and that she didn’t know if she’d return but didn’t say much to not give any potential spoilers.
   
8. Wanda and Elizabeth playing Wanda is a huge selling point for marvel. They’d really have to be a bit dense to let go of such a character with such a big fan base.
   
9. Also like Wanda can resurrect herself, she has done so in comics.
   
10. Marvels clever marketing. In the span of 3 years Agatha’s show had a total of 4 name changes that kept people talking. It was later revealed that those names were the names of upcoming episodes in Agatha’s show and the series name was Agatha all along, probably being a nod to her song in WandaVision. This was so cleverly executed. Which brings me to my point; marvel actors don’t spoil movies.
    

To clarify the NDA’s (none disclosure agreements) these people have to sign are darn right crazy. Very tight and very secretive as each leak can cost them a lot of money. And marvel does run on making big bucks. So an actor like mark ruffalo or Tom holland going and spoiling something is not likely to be an accident but a cleaver marketing technique. I mean they’re a list actors. We’d believe them if they acted surprised over revealing some spoilers on ‘accident’.
What I’m trying to get to with this is a comment that was made and later deleted by the actor Asif Ali who played Abilash Tandon or better known as norm in WandaVision and who will return for Agatha all along. In 2023 on Instagram a user asked the question: Will Wanda be in Agatha’s show, bro ? Please..’ which Asif responded with a ‘yes!’ Which was later deleted. Again considering the NDA s and the secrecy I do believe it’s a marketing stunt.
Of course at the end of it all these are pieces and theories put together I can’t be sure of anything (just like everyone else) until I see the show.
Now of course I want Wanda’s return. And I really do believe that she will be back. What I do hope is that she will appear in the last episode or at an end credit scene or instead of seeing her we’ll see a magic cgi effect indicating her return. Cause as much as I love Wanda this is Agatha’s show and I don’t want her to be overshadowed by Wanda. Like in Hawkeye series how when Yelena came to the scene she overshadowed Clint who is the protagonist of the show.
Anyways yeah, these are my thoughts on these and I’d like to hear everyone else’s who took time to read this whole blabbing of theories and reasons.

(continuation of part 5)
Post-OG Cloud ruminates on what he could have done to save Aerith. Had he not been so lost in his own mind —distracted by Sephiroth and Jenova, consumed by his need to fulfill the emptiness at the core of his identity—, would he have paid more attention to Aerith’s sadness and anticipated her plan to go to the Forgotten Capital alone? Could she have survived if not for his obsession with what tormented him at the time? Could he have figured it out and kept her by his side? He’s angry with himself in retrospect, drowning in guilt, just like in Advent Children.
Here are the choruses, which usually contain the thesis main message of a song:

“Shine bright once more
Guide me to you
Smile bright once more
This time I will never let you go”

&

“Hear me once more
Show me your smile
This time for sure
I'll see the truth hidden inside your tears
But I, I know
That you're long gone
But I, I will
Go on, howling and hollow”

In these choruses, Cloud asserts that he will get it right this time (“this time” referring to the second chance that is the Remake trilogy). He will make sure he saves Aerith and never lets her go. He knows she’s gone, but he will fight against time to get her back. He longs for her smile and her light again, and he cannot bear the guilt: so he doesn’t. Post-OG Cloud embarks on a new adventure: ”I want to go to a place where everything is new,” said Cloud to Wol and Echo in Eclipse Contact before facing his past and being launched into Remake. “Hollow” makes far more sense now, doesn’t it? It’s a song not only about Cloud’s loss, but also about his determination to save Aerith this time. Given that it’s the theme song of Remake, the fact that “Hollow” fits with our theory perfectly is a very good sign: a theme song is meant to reflect the main plot of a story, indicating as our theory states that Remake is principally, albeit secretly, about Cloud saving Aerith. Because of this hope being set up, I’m confident that they will be together in the end, reunited for good. My dear Clerith friends, this is the hidden purpose of the Remake trilogy. Cloud and Aerith will be reunited.
VI. e) ii. “No Promises to Keep” Lyrics
This is quite obvious. Aerith is resigned to her fate, but still harbors hope that she will meet Cloud again in a permanent reunion:

“Till the day that we meet again
Where or when?
I wish I could say
But believe, know that you'll find me
[…]
Till the day that we meet again
On our street, I want to believe
[…]
Till the day that we meet again
At our place, just let me believe
In the chance that you'll come
Take my hand and never let me go
Take my hand
And believe
We can be
Together evermore
[…]
Still I hope someday you'll come and find me
Still I know someday you'll come and find me”.

VI. f) The Theme of Reunion Explained?
The last point I want to hit on is the concept of reunion. In OG, this theme was pretty much dominated by the Jenova Reunion. To an OG fan back in 1997, “reunion” meant “Sephiroth and Jenova’s evil plan”. However, in the Remake trilogy, the theme is expanded into something more. The first time Cloud meets Aerith in Remake, she gives him a flower and tells him something she didn’t in OG:

“Lovers used to give these when they were reunited...”

In addition, we’ve already talked about how part 5 of “Aerith’s Theme - The Cetra” from the Remake OST tells the story of Cloud and Aerith’s reunion (see section “V. b) ii. 2)”).
Many moments exclusive to the Remake trilogy serve the same purpose: linking the theme of reunion to Aerith. This expansion of the theme is highly significant. Our theory is that the Remake trilogy exists to reunite Cloud and Aerith, so the fact that the trilogy would implement so many Clerith-centric references to reunion is great support for our theory.
VI. g) i. The Leslie-Cloud Parallel
Let’s consider another instance involving the reunion flower in Remake, more precisely, the chapter 14 subplot surrounding Leslie’s lost lover. In case you need a refresher, Leslie is one of Corneo’s lackeys, although he secretly plans to betray him. He once had a fiancée and things were looking up until she was selected as one of Corneo’s brides. The day before she disappeared (presumably taken by Corneo), his fiancée broke up with him with no explanation. It was confusing and left Leslie perplex. As she broke up with him, she returned a necklace to him, one with a flower pendant. Of course, that flower is the very same reunion flower Aerith gives Cloud in chapter 2.
Evidently, Leslie and Cloud are going through parallel situations. At this point in time, Aerith was just kidnapped by Shinra, and Cloud is on his way to get her back. Both their loved ones have been taken by tyrant rulers, one being slumlord Corneo and the other being the Shinra government. In fact, even Leslie and Cloud’s attitudes share similar disillusioned, cold and stoic qualities. Leslie’s fiancée would evidently be paralleled by Aerith.
The most obvious proof of the Leslie-Cloud parallel is written plainly on the list of Remake’s chapter 14 main scenario objectives. Objective 7, called “For the Reunion”, consists of receiving the grappling guns needed to reach topside and save Aerith. The description of the objective reads as follows:

“Leslie gives them grappling guns, and they wish each other luck in reuniting with their respective loved ones. Leslie walks off, and the three prepare to climb the wall.”

The grappling guns are “For the Reunion”, because evidently, the loved one Cloud wants to reunite with is Aerith.
All this is simple and apparent enough. Just the fact that the theme of reunion is linked to Clerith in this way is proof enough, but there’s another layer to the Leslie-Cloud parallel. Not only does Leslie’s situation reinforce the concept of a Clerith reunion, it also mirrors the specifics of our theory: namely that Cloud will save Aerith from specifically Sephiroth (represented in Leslie’s scenario by Corneo) and that Cloud will take the initiative to accomplish this reunion. These two specific aspects of our theory are reflected by Leslie’s circumstances, meaning the Leslie-Cloud parallel not only pushes the theme of reunion, but also supports our specific theory.
VI. g) i. 1) The Separators: Corneo and Sephiroth
I’ll first prove that Leslie’s scenario is not meant to echo Cloud’s separation from Aerith at the hands of Shinra —or at least not exclusively—, but rather Cloud’s separation from Aerith at the hands of Sephiroth. Corneo would therefore be paralleled by Sephiroth rather than the tyrannical Shinra government.
The first piece of proof for the Corneo-Seohiroth parallel lies within the way in which Leslie’s fiancée broke things off: by lying. Aerith also lies to Cloud to create distance between them, but not pertaining to her kidnapping— rather, pertaining to her fated death. Since Sephiroth is Aerith’s killer and not Shinra, Corneo’s role in the Leslie-Cloud parallel is analogous to Sephiroth’s rather than Shinra’s.
There are two pieces of evidence that the Corneo-Sephiroth comparison makes more sense than the Corneo-Shinra one. The first lies in the fact that Leslie’s breakup resembles Cloud’s resolution scene: the topic of Cloud’s resolution scene is Aerith’s fate at the hands of Sephiroth rather than her kidnapping by Shinra, meaning Corneo and Sephiroth are the antagonists of both heartbreaks.
Let’s examine Leslie’s breakup. Here is how his fiancée broke things off, taken from the English script of Remake’s chapter 14, with tone indicators added by me in bold:

“Fiancée: It was all just a dream, wasn't it[?]
Fiancée: (Hopefully) But one day…
(She trails off, then shakes her head and stops herself.)
Fiancée: (Sadly, hopelessly) — no. Time to wake up. And forget.
(She walks away.)”

Now, here is a more literal translation of this quote from the original Japanese (verified by me via DeepL), with tone indicators added by me in bold:

“Fiancée: It was only just a dream we had / We were only dreaming...
Fiancée: (Hopefully, as though as a hail Mary) In the language of the flowers...
(She trails off, then shakes her head and stops herself.)
Fiancée: (Sadly, hopelessly) — no. You should forget about me.
(She walks away.)”

Leslie’s fiancée is clearly breaking up with him to spare him the pain of blaming himself for not being able to protect her from Corneo, as she knows it’s too late for her to escape from the slumlord’s clutches. We know this because we understand that the pendant she gave back to him symbolizes a reunion (especially between lovers, as Aerith told Cloud in chapter 2). In fact, the Japanese version of the script reveals that the fiancée was about to reveal the meaning of the flower, perhaps in the hopes that they would find each other once more, but she lost her nerve at the last second. Notice that she tells Leslie two specific things. One: their love or their future together was only a dream, meaning that it wasn’t real. Two: he should forget about her, because the dream is over now and it’s time to wake up from it.
If you’re finding this familiar, then you might be ahead of me. Let’s take a look at what Aerith says to Cloud in his resolution scene, also in the English script of Remake’s chapter 14, with tone indicators added by me in bold:

“Aerith: […] you can’t fall in love with me. [It]’s not real […]. (With a sigh, as though from sadness or difficulty, but resolutely) It’s almost morning. Time to go.”

Now, here is a more literal translation of this quote from the original Japanese (verified by me via DeepL), with tone indicators added by me in bold:

“Aerith: You can’t let yourself fall in love with me. [It]’s only your imagination […]. (With a sigh, as though from sadness or difficulty, but resolutely) Looks like it’s already morning. Time for me to go.”

Just like Leslie’s fiancée, Aerith is rejecting or denying Cloud’s love for her in order to spare him from the pain of not having been able to be with her before her death, as she believes it is inevitable. Just like the fiancée, Aerith also tells Cloud two things. One: their love is imaginary or isn’t real. Two: it’s morning, and she has to go (she says this right before Cloud wakes from the pseudo-dream).
In both cases, the women know something about their fate that the men don’t and are hiding this impending tragedy from them. Just like Leslie’s fiancée, Aerith uses well-intentioned deception to protect her loved one from the pain that will come from her fate— the lie, of course, is that their love isn’t real. Both women are hopeless, and both men are initially clueless. Aerith’s resolution can’t be about her kidnapping, because Aerith thinks her rescue is anything but hopeless— she’s sure Cloud will come save her from Shinra. She says so herself in OG’s disk 1, chapter 8:

“Cloud: Aeris!? You safe?
Aeris: Yeah, I'm all right. I knew that [you] would come for me.”

What Aerith is so resigned about in Cloud’s resolution scene isn’t her kidnapping, but instead her fated death at the hands of Sephiroth. Nojima hints at this in FFVII Remake Ultimania:

“If you know Aerith’s fate, then this line would really pull at your heart strings […]” (section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Yoshinori Kitase, Kazushige Nojima”, page 744).

Here is what codirector Toriyama had to say on Aerith’s words:

“[While] these words are intended for Cloud, I think Aerith is partly speaking them to herself. The contents of her request may be at odds with how she truly feels inside” (FFVII Remake Material Ultimania Plus, VA Script Notes, “A Dream Shown by Aerith”, “Scenario Staff Q&A - Answered by Motomu Toriyama”).

These two quotes by the devs show that Aerith is trying to protect Cloud from her death. Therefore, the Corneo-Sephiroth parallel is far more apt than the Corneo-Shinra parallel.
The second piece of evidence supporting my belief that Corneo mirrors Sephiroth and not Shinra in the Leslie-Cloud parallel is the inclusion of the theme of revenge that crops up in the following piece of dialogue:

“Tifa: Why did you wanna come down here?
Leslie: Revenge. I know I need to let go, but I can't. I need closure, 'cause without it... I'll never be able to move on” (Remake, chapter 14).

Leslie’s sentiment toward Corneo resembles Cloud’s feelings toward Sephiroth after Aerith’s death. Revenge links Cloud to Sephiroth, not to Shinra. Corneo and Sephiroth reflect each other in that, as a consequence of their actions toward a woman, the man who loves her desires revenge.
Additionally, it looks like Leslie’s obsession with revenge as a means to closure is the reason he didn’t bother trying to understand the message his fiancée left him with: he’s focused on his hate rather than his love, and it’s hindering him. He doesn’t succeed in killing Corneo either: his focus and energy are misplaced. Cloud’s desire for vengeance against Sephiroth is also depicted as an obstacle to accomplishing his goals (see how in section “III. c)” of my previous literary analysis). Once more, the Corneo-Sephiroth parallel fits far better than a Corneo-Shinra perspective.
VI. g) i. 2) The Reunion Seekers: Leslie and Cloud
The other aspect of the Leslie-Cloud parallel that supports our theory is that in both scenarios, they both take charge of the situation and decide to actively seek reunion with their respective lovers. The following dialogue excerpt, supplemented by the VA script notes, shows Leslie’s initiative:

“Tifa: [Your fiancée] could still be out there.
Barret: Can never be sure how much someone means to ya till they're gone. Don't give up on her yet.
Leslie: (Looks at the flower pendant, [recalling his lover’s words) A message in the language of flowers… I wonder what she meant by it.
[…]
Tifa: Reunion.
Leslie: Huh?
Tifa: In the language of flowers, it means ‘reunion.’
(Leslie shifts his gaze from Tifa to the pendant and stares at it for some time. At last he understands the words his lover left him. With that, as if his mind has been made up, he clutches the pendant and hangs it around his neck.)
Leslie: Then I guess I’ll just have to find her first” (FFVII Remake Material Ultimania Plus, VA Script Notes, “Other Notable Stage Directions - Chapters 14-16”).

Take note of Leslie’s final response and the determination with which he speaks: “Then I guess I’ll just have to find her first”. Remember that we’re searching for evidence that Cloud is going to be the one reaching out to Aerith in the Remake trilogy, and that it’s his turn to take his future into his hands. He must be more attentive, more active this time. And Leslie’s words of determination reflect this perfectly. Leslie must find his fiancée first, just like Cloud has to be the one to offer his hand to Aerith in the Remake trilogy and fight for her. This is exactly what our theory is all about.
VI. g) i. 3) Delayed Realizations
Interestingly, not only does Leslie’s determination mirror Cloud’s, but both men are depicted as realizing the truth too late. Just like Leslie only began searching for his fiancée six months after her disappearance, Cloud only realizes he loves Aerith in OG once she’s died. It took him this long to actually get somewhere in his mission to reunite with her— “somewhere” being the Remake trilogy.
Even Barret’s words highlight the lovers’ delay: “Can never be sure how much someone means to ya till they're gone”. Barret would know: he lost his wife Myrna, whom he loved dearly. The devs have Barret comment on the situation as a man whose lover died, mirroring Cloud’s situation in OG. Just as Barret says, Cloud only truly realized the strength of how he felt for Aerith in OG once she was gone. The gunman’s words apply to both Leslie and Cloud’s tardy initiatives. Regardless of this delay, both men are now determined to see their respective reunions through.
The degree to which the Leslie-Cloud parallel fits our theory is a great sign of its validity: even the details are lining up!
VI. g) ii. Reunion in the Theme Songs
Too easy: in our analysis of the lyrics of the theme songs, we covered how both texts include the theme of reunion. “No Promises to Keep” is especially relevant (see section “VI. e) ii.”), as the entire song is Aerith hoping against fate for a reunion with Cloud (even if you believe the song is about all her companions, that still includes Cloud).
On top of these reunion-themed lyrics, during Aerith’s in-game performance of “No Promises to Keep” at the Gold Saucer production of Loveless, her yellow blossoms signifying reunion bloom all around her as Cloud watches her, captivated.
Another great sign for our theory: the highly significant theme songs are on our side!
VI. g) iii. Waking Up Reunited
The thing I want to juxtapose to our theory is a small yet special moment in chapter 2 of Rebirth that stuck out to me like a sore thumb and got me really excited about sharing it with you. This moment occurs after the battle against the Midgardsormr. We’ll be comparing it to two other clips, describing all three in chronological order, and making deductions based on their similarities.
The first clip I want to address occurs in chapter 8 of Remake (1:32-2:12). There are a couple of things I want to point out in this scene. First, Aerith wakes Cloud from unconsciousness with a cute call of “Hello~?”. Second, despite pretending that he doesn’t, he immediately recognizes her. The VA script notes prove it:

“Aerith: Nice to meet you again.
Cloud actually remembers Aerith, but he pretends not to, perhaps wishing to make himself look cool.
Cloud: Again, huh?
Aerith: What? You don’t remember? How about…the flowers?
Cloud looks at the flowers at his feet and pretends as if he’s only just remembered.
Cloud: Oh, the flower seller” (FFVII Remake Material Ultimania Plus, VA script notes, “Reuniting with Aerith”).

So: she wakes him with a cute call, and he recognizes her. Also note that these two elements also apply to the OG church reunion scene.
Now onto the Rebirth chapter 2 scene that stuck out to me. After Cloud is saved from the Midgardsormr by Sephiroth, Cloud wakes from an unconsciousness spell with Aerith calling for him (7:20-7:34).
Once more, Aerith wakes him with a cute call (this time, it’s “Wakey, wakey!”), and Cloud recognizes her. In this Midgardsormr clip, unlike their reunion in the church, Cloud verbalizes that he remembers her. This time, there’s more: next, Aerith tells Cloud “おかえり, クラウド”, or “okaeri, Cloud”, which translates to “welcome back, Cloud”. “Okaeri” is what you say in Japanese when someone has returned home. In the third clip we will analyze, Aerith says “okaeri” to Cloud once more. But first, let’s break down this second clip.
I don’t know about you, but this cutscene felt extremely weird to me when I first encountered it. That is, it would have been, if not for the theory I’d begun formulating at that time.
You see, the devs could have chosen for Aerith to ask Cloud if he remembers his own name or where they are, if he’s okay, or check if he responds to his own name. In fact, asking someone who’s been hit on the head to say their own name is a much more common reaction to them finally waking up than asking them if they remember you. Even stranger is Cloud’s reaction: he could have answered “Yeah, you’re Aerith,” or “I remember everything, I’m fine”. Instead, he says her name with this airy and wonderstruck tone. He sounds like he’s opening his eyes to something mystic rather than his comrade leaning over him, like he’s seeing someone unexpectedly for the first time in a while… or rather like he’s waking from a trance of some kind— a trance in which he did not remember Aerith, and now he does. You may see where I’m going with this.
Let’s examine the third clip, wherein Aerith tells Cloud “okaeri” again. More specifically, in chapter 14, Aerith welcomes Cloud back when he snaps out of his zombified, Sephiroth-controlled state and runs toward her. Of course, it’s the sight of her and his memories of meeting her in chapter 2 of Remake that shake him awake (2:17:43-2:18:02).
For a third time, Aerith wakes Cloud. This time, she’s pulling him out of a trance and back to himself. And for a third time, Cloud remembers her. In fact, it’s remembering her that wakes him up. Cloud calls her name and Aerith says “okaeri” in both the post-Midgardsormr cutscene and this third clip. And in both scenes, not only does Cloud return to himself the way someone returns home (recall that “okaeri” is used to welcome someone back home), but he’s also returning to her, recognizing her as his home.
Now we’ve got three scenes lined up: the church reunion scene (both in OG and Remake), the Midgardsormr scene and the hand-reach scene. All three of these recognition scenes feature Cloud being woken up by Aerith and remembering who she is. The main difference is that, in the scenes among these three that are exclusive to Rebirth, Cloud’s return to Aerith is far more meaningful, as he already knows her name, and knows more about who she is to him. Evidently, in the OG church reunion scene, Cloud only remembers being sold a flower by this girl. In the Remake version, he remembers the same thing, plus the attack of the whispers. So there’s something much more weighty about the Rebirth recognition scenes: he remembers more, and he remembers deeper. These aren’t just recognition scenes, they’re also mini-reunions. Of course, as we’ve already analyzed pertaining to the hand-reaching scene, Cloud remembering Aerith is followed by him being the one to take action and run toward her, eager to save her, because she means the world to him. When you place the Midgardsormr scene between the church reunion scene and the hand-reach scene, an evolution of Cloud waking up and remembering Aerith is formed. Each mini-reunion scene adds a piece to the story: the church scene informs us that Cloud and Aerith are meeting again, the Midgardsormr scene tips us off that something mystic is going on from Cloud’s tone when he says Aerith’s name, and the hand reach scene tells us that as a consequence of remembering who Aerith is, Cloud saves her from falling to her death and saving her. “Meeting again”, “mystic”, and “saving Aerith”: these are the keywords of the mini-reunion scenes. They are also the keywords of our theory on Cloud’s mission to save Aerith. This time around Cloud knows more and is more conscious about how he feels for Aerith, just like he feels more when in the hand-reach scene in Rebirth compared to the church reunion scene in Remake. From the latter scene to the former, Cloud gradually wakes up and remembers his love for and loss of Aerith in the OG more and more. Each mini-reunion brings him closer to saving her when he blocks the masamune. This is why I am certain that in part 3, whether Cloud comes to his full senses or not, whether he remembers the events of OG or not, he will save Aerith this time. The Remake trilogy is centered around Aerith, after all. In fact, don’t take it from me, take it from Nojima:

“Aerith's the most important character in the remake so we paid special attention to her lines” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).

I have full confidence in this fact: one way or another, these two will have a happy ending. This is Cloud’s second chance, and as he swore in “Hollow”, he is not losing her again. That is why I don’t think you should fret, and that our Clerith hearts will be very happy to see these two together again for good in part 3.
VI. h) Zooming In
In fact, this zooming-in method of directing players’ attention to important narrative beats is far from new.
VI. h) i. Changing Fate
Let’s divert our attention to Nanaki’s Skywheel date (2:28-3:30). The dialogue goes like this: Nanaki brings us the Whispers and suggests the party might eventually forget about their existence, and Cloud says that frankly, if it’s impossible for them to change fate either way, then it would be better for them to forget to Whispers altogether.
This is a very clear message from the devs: “There would be no point in including the Whispers in the Remaketrilogy if we did not make use of their defeat”. They’re telling us through Cloud’s dialogue that they know it would be foul play and bad writing to introduce the theme of defying fate if it didn’t eventually pay off.
As if it weren’t clear enough what the devs are referring to, Nanaki brings up Aerith’s death directly after Cloud delivers the devs’ message to us. He actually makes Cloud promise to save her. This is pretty on the nose. By promising Nanaki he will protect Aerith, the devs are promising us the same. I’m certain that part 3 will deliver on this promise.
If you still aren’t sold, I’d like to direct your attention to the framing of the shot where Cloud says “If we can’t change [fate]” (2:49-2:51). There’s a zoom-in on his mouth, which is a visual cue that translates to “what this character is saying right now is important to the plot”. It’s very indiscreet in theory: the camera literally hones in on the invisible words as though the script has them highlighted, italicized triple-underlined and in bold.
VI. h) ii. Aerith’s Knowledge
We’ve seen the Remake trilogy use this camera framing at least twice so far. The first time occurs in Remake’s chapter 8, before it becomes clear that Aerith knows things from the OG game that she wouldn’t normally know if this were just a remastered version of the same 1997 plot. I’ll let Remake Ultimania‘s description of this moment speak for itself:

“When Cloud and Aerith return the rescued children to Oates, the man in the tattered black cloak shows up again at the hideout. The moment the man grasps Cloud’s arm, he’s overcome by another violent headache and sees a vision of Sephiroth. Cloud wonders if this man who supposedly died five years ago could possibly still be alive. When he says as much to Aerith, she gives him a vague reply” (FFVII Remake Ultimania, section 04: “Scenario”, “Chapter 8 Main Story Digest”, page 256).

Aerith’s “vague reply” is accentuated by a very deliberate zoom-in on her mouth (1:18:05-1:18:09), and therefore her words.
The framing of this shot indicates to us that what Aerith says provides an important hint as to the plot’s direction. Sure enough, with hindsight, it’s easy to see that’s true.
VI. h) iii. Tifa’s Question
Another time this framing is used is in chapter 1 of Rebirth, after Cloud recounts the Nibelheim incident. Tifa asks the group why Sephiroth is choosing to come back now, after five years (37:55-37:58).
Once more, we are being signaled that the reason Sephiroth chose to return at the moment he did is significant to the plot, but cannot be revealed explicitly yet. The reason why Sephiroth took five years to return is because that’s how long it took for Cloud to get back on his feet after the Nibelheim incident: Sephiroth wants and/or needs to manipulate Cloud in particular rather than all the other people with Jenova cells in them. It took five years for Cloud to not only go through Hojo’s experiments but also escape Shinra and make his way to Seventh Heaven, where Tifa nursed him back to health— therefore, it took five years until Sephiroth’s favorite pawn was available to be used. There are a few reasons why Cloud is the one Sephiroth wants to use, and all of them would be spoilers at this point in Rebirth to players who don’t know the OG plot. The devs can’t reveal any of them yet, but they do indicate via a close-up shot of Tifa’s mouth that her question is important.
VI. h) iv. The Takeaway
As you can see, this framing of characters’ mouths when they speak signals a plot-significant piece of dialogue. This means Cloud’s words on his gondola date with Nanaki can’t be brushed off as a red herring or an unimportant or throwaway line: it has narrative weight.

VII. The Devs

I think it’s important to remember the devs and their commitment to the world of FFVII. They know best for this story, and they’ve proven it to be true many times over. There are many things about the devs’ intentions that the fandom don’t seem to know that I think would give you confidence to find out.
VII. a) Shifting Themes
Good storytellers don’t introduce themes as a way to pull the rug from under audiences’ feet by later rendering them completely irrelevant to the plot.
In other words, the devs would not have introduced the notion of fate as an antagonistic force in Remake, nor allowed the players to defeat it in chapter 18, had they planned for these themes not to pay off at all. Think of how good FFVII OG and FF stories in general are, how strong the writing is from a narrative point of view. Nothing is included for no reason or for a cheap reaction— especially not a central theme of a story. Fate and defeating it is a huge point of Remake, and not for no reason.
I mean, think about a storyline all about defying fate ending with a shrug and a “Oh well, we tried.” It would be ridiculous! The devs are better than that.
VII. b) What the Devs Want
The devs are well aware that fans of FFVII have been begging for Aerith’s resurrection since 1997. All those petitions, all those myths of a revival hack… SE knows about them all too well. They were even referenced by FF’s 30th anniversary expo, which partly promoted Remake:

“No one expected [Aerith’s death] in the middle of the story. Rumors of a secret way to revive Aerith spread, and it was clear players were having a hard time saying goodbye to her too. Even now, twenty years later, it still feels like a shocking turn of events” (Final Fantasy 30th Anniversary Exposition Pamphlet, page 36).

Hamaguchi, codirector of the Remake project, commented on these rumors:

“Interviewer: Do you have a favorite fake rumor about the original FFVII?

Hamaguchi: I hear a lot about Aerith coming back to life and that's something that's very interesting to hear” (Hamaguchi interview: “129 Rapid-Fire Questions Answered About Final Fantasy VII Rebirth”, by Game Informer).

The devs are also aware of how beloved Clerith is to the FFVII fandom, especially in Japan— in fact, the only FFVII ship name that is an official iOS search term on the Japanese Apple Store is Clerith’s (“クラエア” or “kuraea” in Japanese). Aerith herself is a widely beloved character, particularly, once more, in Japan. For instance, Famitsu and NHK’s recent polls on the best FF heroine and on the best FF character in general both resulted in Aerith ranking number 3, beaten only in the latter poll by Cloud at number 1 and FFX’s Yuna at number 2.
The devs know how well-loved both Clerith and Aerith are. And in fact, they love Aerith at least as much as we do:

“Cloud's feelings [of guilt] cannot be resolved by anyone other than Aerith. I tried to convey [that Aerith is saying to Cloud] ‘I'm still here for you’” (FFVII Reunion Files, Nojima’s note on Aerith’s character file, page 58).

&

“When I saw the finished product of [Aerith’s face in] CG, I thought, "Oh, isn’t she so cute?” (FFVII Reunion Files, Nomura’s note on Aerith’s character file, page 58).

&

"The idea of having Aeris die during the story had a great impact on all the dev staff," Toriyama explained, "and personally I decided to dedicate my efforts to depicting Aeris in as appealing a way as possible, so that she would become an irreplaceable character to the player in preparation for that moment" (Toriyama interview “Final Fantasy anniversary interview: Toriyama speaks” by VG247).

The devs care about Aerith, and they’re fully aware we do too.
I think a lot of people have it in their heads that the devs don’t want anything to change from the OG story, but there’s a lot of evidence that says otherwise. Codirector Toriyama spoke on this, stating the following about the production process of Remake:

“[…] there were times the original version became a hindrance. Specifically, staff members with a strong attachment to Final Fantasy VII would often hold themselves back for fear of deviating too much from the original. When we created the original game, we obviously didn’t feel bound in that way. We were passionate about creating a brand new Final Fantasy title, and so we dove in and embraced whatever seemed most interesting to us. We wanted to take that approach this time as well, so we made a special effort to liberate ourselves whenever we held back, remembering that it was okay to do the things we wanted to do” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 1: Motomu Toriyama, Naoki Hamaguchi, Teruki Endo”, page 737).

Codirector Nomura said the following:

“When I asked Nojima if he’d write the scenario, I was clear about my demands up front. I said, ‘If we're going to remake Final Fantasy VII, I want it to be done like this.’ At that point, I was intent on making something more than just a remake. [Similarly to how] the battle system this time incorporates elements of the original game’s ATB mechanics [while] also been reborn using a real-time approach […], I wanted to make a story that players would feel is fundamentally Final Fantasy VII but also something new” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 745).

Clearly, the devs don’t want to be bogged down by the OG, and are making efforts to do things the way they want to rather than the way they were previously done. The newer generation of developers such as codirector Hamaguchi is also involved in these story changes:

“Interviewer: There are also drastically more scenes with Sephiroth than there were in the original game.
Nojima: We weren't planning on having him appear so much at first— the idea was only to hint at his presence. But we changed our approach partway through and became more proactive with having him appear, after which the number of scenes he features in rapidly increased.
Nomura: Hamaguchi [codirector Naoki Hamaguchi] came up to me one day and said in a mysterious tone, ‘I'd like to talk to you about something.’ He asked me about having there be a battle with Sephiroth in Midgar. In the original game, Sephiroth’s true body is located elsewhere, so he didn’t think I'd give in to the idea so easily. I think he even prepared materials to persuade me. But in the end I agreed readily [laughs]” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 746).

Kitase, the producer of the Remake trilogy, even says that after working on this project for so long, and after spending almost 30 years on the FFVII project and getting to know the characters, he has realized that:

“The more [he works] on it, the more [he wants] to make all these characters happy. [He wants] to give them a happy ending. The rest of the team’s opinions [obviously] also have to be taken into consideration, so it won't be all happiness and rainbows. But [he] just [wants] to make [the characters of FFVII] happy” (Kitase and Hamaguchi’s interview “Final Fantasy VII Rebirth’s Producer Just Wants 'the Characters to End Up Happy'”, by Vandal, translated by me).

Kitase is indeed only one developer, but he’s the producer of this project: that’s the very top position. He oversees everything and nothing goes without his approval. That counts for something. Of course, Kitase is fair and values the input of all the devs, so of course it won’t be “all happiness and rainbows”— but I sincerely believe there’s a big chance that Cloud and Aerith are heading toward their happy ending. Even if this theory is completely bogus, I want to have faith that the devs would not sacrifice good storytelling for nostalgia and a conservative attitude toward preserving the OG story, as that would be cheap of them, and we have not known them to be cheap. This game truly matters to them, so I think they deserve our faith.
(conclusion in

(continuation of part 4)
I already considered this piece the second greatest musical evidence for Clerith after the London Symphony Orchestra’s Final Fantasy VII Symphony’s second movement “Words Drowned by Fireworks” and its guide, but now that I know about the Clerith reunion that was baked into the ending, the gap between the two is narrower. Each time I hear Cloud begin to call out for Aerith in part 3 (3:04), I immediately start crying. It sounds so much to me like Cloud’s voice in the dark saying “Aerith…?”, meek and scared. If you’ve read everything so far, you know how long Cloud has been looking for Aerith, lost without her, searching relentlessly for decades in real-life time. Through FFT, DFF, Advent Children, MFF x FFVII… all of it spent looking for his Promised Land. In OG, Cloud was so tormented by Jenova’s manipulation and so consumed by the chase for Sephiroth that he could not realize what or how much he felt for her until she was taken away forever. The piece we’ve just analyzed tells the story of Cloud and Aerith intertwining and separating against their will, and you can truly feel Cloud’s anxiety as he struggles to wrench Aerith out of fate’s cruel grasp. Perhaps it is because of Aerith’s ultimately fatal responsibility, inherited from her mother, that this iteration of her theme is called “The Cetra”.
Though in part 5, Cloud and Aerith reunite… could this reunion symbolize their meeting again in Remake, or something more permanent? I think it’s meant to leave us wondering.
I’m very sensitive to music, and as I’m typing this, I’m crying a bit. I wanted to share my interpretation of “Aerith’s Theme - The Cetra” with you very badly, because it makes me feel so much and really enhances Clerith’s story. I’m overjoyed to have found out about the reunion at the very end. And it’s all because you guys showed love for my last analysis! You guys are giving me gifts every day.
V. b) i. 3) Combined Analysis
Please listen to and watch the scene of Cloud’s MOTF 6 (4:21-8:46) again, and consider section “V. b) i. 2)”. What is Uematsu telling us? Similarly to how main world theme of FFVII informs us that Jenova is sabotaging Cloud’s identity far before it becomes a plot point in OG, “Aerith’s theme - The Cetra” is telling us what not even Remake Cloud consciously knows at this point: he’s been searching desperately for her, and fears losing her once more.
As if that wasn’t proof enough, the timing of the shots and musical phrases is absolutely damning. Recall that part 3 of “Aerith’s theme - The Cetra” specifically symbolizes Cloud’s anxiety surrounding Aerith’s safety. It is this particular part of the piece that plays for the entirety of Aerith’s allusions to her murderers and her death (7:25-7:54), including the very moment where “Cloud feels his chest constrict tightly” (7:51-7:54). What’s more, part 5 the piece, which specifically Cloud freeing Aerith from the restraints of fate, coincides with the moment Tifa grabs Aerith’s hand and pulls her out from the circle of Whispers closing in on her (8:42-8:45). This moment leads me to believe that the reunion in part 5 of the piece indeed symbolizes Cloud succeeding (perhaps with Tifa’s help) in saving Aerith from her tragic fate and reuniting with her for good.
It’s heart-wrenching and brilliant. Our theory stands strong.
V. b) ii. Credits: Piece Inclusion
I find it very telling that the character themes included in the credits of Remake are Cloud’s “Hollow” (0:00-5:24), an orchestral arrangement of Aerith’s theme (5:24-9:24), and an orchestral arrangement of the main world theme, (9:24-14:27) which of course includes Cloud’s true theme. No other character themes appear during the rest of the credits (14:27-18:09). This is telling: the credits are communicating to us that Remake is about Cloud and Aerith. Our Mission Theory only gets stronger.
V. b) iii. Showing Relationships Through Music: Intermingling Character Themes
This doesn’t have to do with the Mission, but here’s a pretty good anti-Cloti argument while we’re here.
As shown in section “V. a) i.” where we explored the roles of Cloud, Jenova and Sephiroth’s themes within the FFVII world theme, the way character themes interact in a piece can tell you a lot about those characters’ relationships. This is certainly the case in “Aerith’s Theme - The Cetra” as well (see section “V. b. ii. 2)”).
I’d like to mention that in all of my listening to the Remake OST and rewatching playthroughs of Remake, I’ve never encountered a single piece that united Cloud and Tifa’s themes. Not once. Let alone a piece that depicts them as intimately or emotionally as “Aerith’s Theme - The Cetra” depicts Cloud and Aerith. Even the most Cloti cutscenes in Remake aren’t supported by pieces mixing or even juxtaposing Cloud and Tifa’s themes. I can’t find any of Cloud’s motifs anywhere during the orchestral arrangement of Tifa’s theme that plays during her resolution scene in chapter 14. I can’t find either of their motifs in the track the plays when Cloud calls Tifa beautiful at Seventh Heaven in chapter 3. A motif from Tifa’s theme does appear in the track that plays during the childhood promise scene in chapter 4, (0:00-0:25), but it never plays at the same time as or even near Cloud’s motifs (1:23-1:47 and 2:03-2:29). They’re distant or otherwise unaffiliated.
The only exception is that an altered version of Cloud’s theme’s section A phrase 1 appears in the background of Tifa’s theme (1:17-1:23). This symbolizes her connection to Cloud and how much of her attention and worry revolve around him— a reference to how she cares so much that it borders on dependency. Of course, it doesn’t go both ways: Tifa isn’t in Cloud’s theme at all. To me, this lack of reciprocity concerning the inclusion of Cloud’s motif in Tifa’s theme signifies that the only time Cloud and Tifa are together is in her head. She does think about him a lot, which we witness in her chapter of Trace of Two Pasts. Tifa loses sleep over him even two years after he left Nibelheim, despite the fact that she barely knew him at all:

“The moment she heard the word “Soldier”, the few memories she had with Cloud Strife came flooding back. He never contacted her after they parted ways two years ago […]. She tossed and turned all night. When she counted them again, her memories with Cloud were so surprisingly few that others might find it hard to believe that they grew up as next-door neighbors” (Trace of Two Pasts, translated by pekotranslates on Tumblr).

FFVII Remake Ultimania also comments on the superficial nature of Cloud and Tifa’s water tower promise, and how regardless of its naïveté, it became fundamental to Tifa:

“Though rooted in a jejune heroine fantasy of being rescued in a pinch by her hero, this promise is clearly etched in Tifa’s memory” (Tifa’s profile in section 01 of “Character & World”, “An Enduring Childhood Promise” in “Topics of Tifa” page 20).

You could argue that “Aerith’s Theme - The Cetra” is only one song wherein Cloud and Aerith’s themes interweave, but you’d be proven wrong by the Rebirth OST…
V. c) The Rebirth OST
Unfortunately, the full Rebirth OST isn’t out and available where I can listen to it right now. However, based solely on the incomplete OST that’s available to me right now, I can tell you with certainty that the composers were told to incorporate Clerith into the musical storytelling: Cloud and Aerith’s themes intermingle in multiple pieces. I can’t imagine what else I’ll discover once I listen to the full OST. For now, I checked out what was available on YouTube and listened to cutscene audios. This section would be eternal if I included every time Cloud and Aerith’s motifs interact, especially in chapter 14. Trust me, I’d love to talk about every single one, but this thing is long enough already, so let’s just address what pertains to our Mission Theory specifically rather than stopping at every single Clerith reference in the OST.
V. c) i. Ending Cutscene Music
Ending cutscenes are often used to address the next step the characters will be taking as well as their emotional and mental state. They also open up new questions to make the player curious. Indeed, Rebirth’s ending cutscene (18:56-25:00) gives us an impression of how the party members feel by the end of the game: everyone misses Aerith. Barret looks upset and confused at the mention of her (19:35-19:45), the girls are crying and Nanaki is mourning (19:58-20:35). Additionally, we are shown the empty White Materia and Black Materia in Cloud’s possession (20:40-21:24), foreshadowing that they will come to be important in part 3. Cloud and Aerith share a warm goodbye, and exchange promises: Aerith will send smoke signals if something happens to her so a worried Cloud can remain updated on her well-being and she will stop Meteor, and Cloud will stop Sephiroth (23:00-25:00). The fact that this scene is animated in CGI is enough to tell us that the devs consider it narratively important, just like they do Bugenhagen’s observatory and the party’s advance into the Forgotten Capital CGI cutscenes. What did the composers decide to communicate with us about the end of Rebirth and the plot going forward?
Big surprise: Clerith.
During the entire cutscene, only two themes play: Cloud’s and Aerith’s. The cutscene’s music begins only when Cloud notices Aerith among the party members and begins watching her (19:21). She interacts with the rest of the party without their knowledge, different segments of her theme playing one after another. Her theme only stops when Cloud finally looks away from her and to the empty White Materia in his hand (20:45). The music focuses on the mystery and ominousness of these materia, only returning to Aerith once Cloud hears her voice and repeats her message to the party (21:30).
Cloud’s theme appears when he asserts that Barret needn’t worry about him (section A of Cloud’s true theme, 22:41), though soft and tentative, only swelling when Barret and Tifa climb aboard the Tiny Bronco and Cloud finds himself alone with Aerith again (22:57). As he asks Aerith if “[she’ll] be okay getting back” (23:08), the final phrase of section A of his theme plays, but without its concluding note, the tonic. He waits for her to answer him as his theme waits for hers to complete and answer it, that final note dragging long over the seconds (23:09-23:13). She answers with a teasing remark that references their unwillingness to part from each other back in Remake’s Evergreen Park:

“[Cloud has] a chat with Aerith, from whom he’s reluctant to part” (chapter 9 in section 04 “Scenario”, “Main Story Digest”, “4. Saying Goodbye”, page 275)”.

As soon as Aerith answers Cloud’s question with this romantic callback, her theme answers his too: section C of Aerith’s theme begins with the key’s tonic, resolving Cloud’s incomplete phrase (23:13): she gives him resolution. He chuckles, getting her reference, and the music swells (23:16). The music ebbs and flows thusly, following the rhythms and underlying emotions of their conversation. Finally, the piece ends with phrase 2 of of section A of Cloud’s true theme, following a strong repetition of the first half of Aerith’s theme’s section A. The two make their promises to each other, and “No Promises to Keep” begins, leading us to the credits. This is most definitely a Clerith song, but more on that later.
What this shows us is that Cloud and Aerith’s relationship is fundamental to the plot of Rebirth and will also be fundamental to the plot of part 3: they are isolated one one-on-one in this cutscene, and the music depicts their warm, sweet interaction as well as the strength of Aerith’s character to contrast with Cloud’s somewhat meek personality. The composers are telling us that these two, specifically, together alone, are hugely important to the plot here. This was already true in OG, but no such emphasis was ever placed on their interactions and relationship in its music. Something is different, deeper, more intense now. The Mission Theory explains why. It also suits our theory that the composers are emphasizing the centrality of Clerith in the plot of the Remake trilogy. Cloud’s love for Aerith is the reason for the trilogy’s existence, and it will be the greatest motivator for Cloud in part 3. It’s a grand announcement.
Just like in Remake, I could not find a single instance of Cloud and Tifa’s themes interacting in Rebirth, apart from at the end of the intimate Skywheel date— but every girl receives this treatment in their intimate dates, so each of these instances can be crossed out. Additionally, the Tifa date is not the canon one, but I digress…
V. c) iii. Credits

1. Piece Inclusion

Once more, I find it very telling that of all the pieces included in the credits of Rebirth, the only character themes are Cloud’s and Aerith’s. We start with a song about Aerith’s point of view to mirror *Remake’*s “Hollow”, “No Promises to Keep” (5:18-11:10), followed by the FFVII world theme (11:10-16:12) which of course contains Cloud’s true theme, then we move into a piece whose unofficially translated title is “Parade Battle Ceremony - The Dawn of a New World” as an arrangement of the parade ceremony theme from chapter 4 (16:12-19:03), followed by a theme for the Lifestream springs whose name I don’t have (19:03-21:38), “Junon - Fortified Metropolis” (21:38-24:28), and finally, a gorgeous arrangement of Aerith’s theme (24:28-28:47). No other character is referenced in the credits music: the credits are telling us Rebirth is about Clerith. Our Mission Theory explains why.
V. c) iii. 2) “No Promises to Keep”
At the very end of this song written and performed by Aerith, we’re treated with a sweet little piano conclusion (10:46-11:10): it begins with a variation on Aerith’s theme’s section A (10:46-11:01), and concludes with two ascending arpeggios, each four notes long (11:01-11:10). Each of these ascending arpeggios is a variation of the phrase 1 of Cloud’s true theme’s section A. The differences are minimal. The phrase is usually five notes long rather than four, the first arpeggio ends on the tonic rather than Cloud’s iconic subtonic, and the second arpeggio starts on the subtonic rather than the tonic. The song Aerith wrote concludes with Cloud’s most famous motif. This is also the case in her Gold Saucer performance (3:31-3:41).
V. c) iii. 3) Arrangement of Aerith’s Theme
The final piece in the credits is an arrangement of Aerith’s theme (24:28-28:47) which has noticeably similar elements to the version of her theme that plays during the Jenova Lifeclinger battle in chapter 14 (0:12-3:36), such as the female choirs. Since these female choirs are only heard in the Forgotten City version of Aerith’s theme, and since the credits arrangement of her theme plays at the same time as clips from her chapter 14 pseudo-death roll across the screen, I estimate that this credits arrangement specifically reflects the event of Aerith’s pseudo-death. Recall that composers had access to the credits video as they composed, meaning this piece is specifically written for Aerith’s pseudo-death in Rebirth.
What I find fascinating is that, just like the arrangements of her theme that play during Aerith’s pseudo-death and the Jenova Lifeclinger battle, this credits arrangement contains the sound of Cloud’s pain, rage and protest. Phrase 1 and the first three notes of phrase 2 of Cloud’s true theme section A play on the strings and brass quite loudly and insistently, just as Cloud blocking masamune appears on the credits screen (25:11-25:21). Sephiroth’s dissonant, high and screechy violins appear just as his face comes onto the screen (26:33), and almost as a protective response, phrases 1 and 2 of Cloud’s true theme’s section A return (26:47-27:00). Finally, similarly to what we hear in part 5 of “Aerith’s Theme - The Cetra”, a slightly modified section A phrase 1 of Cloud’s true theme play along with section C phrase 3 of Aerith’s theme (oh wow section A and C section Aerith for Cloud’s theme and section Cloud for Aerith’s theme I just realized that’s such a cute coincidence), though unfortunately they do not meet in the middle like last time since they start two octaves apart (28:20-28:25). I’ve recreated it for you once more here so you can really appreciate it. The fact that their motifs don’t truly reunite like in “Aerith’s Theme - The Cetra” is sad, but the very last thing you see onscreen is Aerith’s goodbye to the Tiny Bronco (27:10-27:42), so it makes sense that this piano conclusion implies that Cloud and Aerith aligned, but not yet reunited for good. That’s exactly what you get from the ending cutscene. It does seem to imply that they will be reunited in part 3, as both the ending cutscene and this piano conclusion read as a “till we see each other again” rather than a “farewell”.

VI. Textual Evidence

Now that the musical evidence is done, let’s compile some textual story evidence that supports our theory!
VI. a) Remake Trilogy (Thus Far) Handholding Explained?
As I’m sure you’ve noticed, handholding is a motif in Cloud and Aerith’s relationship— and an extremely symbolic one at that! When researching for info to validate my theory, I found that this Clerith motif was extremely helpful! Its inclusion in the Remake trilogy, and especially in Rebirth, is hugely significant in my eyes.
VI. a) i. Pre-Remake Trilogy: Aerith’s Initiative
Before examining the significance of Clerith handholding in Remake and Rebirth, we should establish the meaning of this motif in OG and Advent Children.
Cloud and Aerith have reached out to take each other’s hands many times since 1997. Aerith used to literally drag him by the hand a lot, shocking the cold and distant merc, before she left. After her death in OG, Cloud surely longed to be able to feel her hand take his again, cursing himself for not enjoying it while she was alive, and for never being the one to grasp her hand first: he never got to tell her how he feels about her, or to save her. It was always her reaching out for him, saving him.
This is why the scene in OG when Aerith reaches for him from the Lifestream after Cloud defeats Sephiroth in chapter 3 of disk 3 is so touching: Cloud sees her hand and reaches out to take it, so close to finally establishing that mutual connection, but she soon fades, and replaced by Tifa’s hand in the tangible world. He doesn’t get to hold Aerith’s hand again.
That is, not until Advent Children, where near the end of his battle with Bahamut Sin, he sees Aerith reach out to him once again (1:08-1:30). Cloud finally gets to hold her hand for the first time in two years when he lost her. This moment was given extra importance by the devs. In fact, Nojima told us the following:

“The ending scene of the battle with Bahamut, the scene where Aerith reaches out her hand, is an homage to the last scene from a previous production. It was [Nomura]'s idea” (FFVII Reunion Files, “Story Digest”, “Summoned Beast”, page 113).

VI. a) ii. The Remake Trilogy (Thus Far): Cloud’s Initiative
As I’ve said before, if I’m right that Remake is all about Cloud stepping up to be more attentive and active in his relationship with Aerith in order to save her, there should be concrete evidence of this in the Remaketrilogy thus far. If OG Cloud’s memories of and love for Aerith exist somewhere within Remake Cloud’s subconsciousness, then Remake Cloud should be far more active in the Clerith dynamic than OG Cloud was— after all, he’s supposed to know better this time around. Thankfully, the motif of handholding can help us evaluate this. Since we know pre-Remake Cloud was quite passive when it comes to handholding, Cloud initiating handholding in the Remake trilogy would be a strong indication that our theory has validity. Keeping this in mind, let’s see what we can find thus far in the Remake trilogy in relation to handholding, and if Cloud is indeed more active than he was in OG.
VI. a) ii. 1) Hollow Hands
Remake’s theme song “Hollow” makes allusions to the handholding motif: “This time, I will never let you go” is pretty clear. And so is “No Promises to Keep”, wherein Aerith speaks of Cloud “[taking her] hand and never [letting her] go” multiple times. Interestingly, these theme song lyrics seem to suggest that Cloud will be much more active in the Remake trilogy than in OG. “Hollow” even promises that Cloud will come to his senses and take charge of the situation: “this time, [he] will” be the one to offer his hand to Aerith, unlike in OG and Advent Children. This makes a lot of sense with our theory: now that Cloud has lost Aerith once, “this time for sure, [he]’ll” be the one to reach for Aerith’s hand, take initiative and save her the way she saved him.
Even though theme songs are extremely telling of a game’s main themes and intentions, lyrics are still all talk and no proof. What about the game itself? Do Remake and Rebirth deliver on this promise? Let’s see!
VI. a) ii. 2) Resolution Hands
The only significant time Cloud initiates handholding in Remake is during Cloud’s resolution scene in chapter 14 (5:18-5:40), wherein he tries to grab Aerith’s hand but is unable to keep her with him. He fills with determination and tells her in no uncertain terms that he’s coming for her. Just as we predicted, Cloud is the active participant in this iteration of the Clerith handholding motif: he’s even explicitly insisting against Aerith’s wishes that he should “get a say in all this” and that he’s “coming for [her]”. Let’s not forget that Cloud’s resolution is meant to reflect not only Aerith’s kidnapping by Shinra, but also her fated death. Nojima implied this by commenting the following on Aerith’s “Even if you think you have, it’s not real” line:

“Those who know what befalls Aerith later on will find the line really heart-wrenching” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).

Given this note by Nojima, it looks like we’re supposed to watch Cloud’s resolution scene with Aerith’s fated death in mind. Considering this, Cloud’s “I’m coming for you” line sure seems like an subconscious promise that he will save Aerith from her tragic fate. This subconscious promise could be the result of post-OG Cloud’s feelings and intentions rising to the surface. Nevertheless, he’s absolutely determined and he’s staying true to the promise he made in “Hollow”. I think it’s fair to say that this instance of the handholding Clerith motif does indeed fit perfectly with our theory. This is only one strong example though, and we need a pattern in order to pat ourselves on the back on this. So, let’s keep looking! There isn’t any handholding initiated by Cloud beyond that point in Remake. At this point in my research, I moved on to Rebirth to go digging for handholding there.
Hoo boy. I was not disappointed.
VI. a) ii. 3) Golden Hands
Let’s begin with the obvious. In their high-affinity gondola date in chapter 12, Cloud bravely interlaces his fingers with Aerith’s: Cloud’s taken charge not only of handholding, but the most intimate kind of handholding. I’m sure you’ve encountered the phrase “こいびとつなぎ” or “koibito tsunagi by now (literally translates to “lovers’ tie” or “lovers’ connection”); this is the term used in Japanese to refer to the type of handholding Cloud initiates with Aerith on the Skywheel. It’s considered the most intimate form of handholding. In Japan, skinship is normally considered quite significant and indicative of the closeness between two people— you could say it’s a big deal. Cloud also offers Aerith his hand when they step off the Shywheel, once more making the first move. Though some might say that the Skywheel dates shouldn’t be counted as canon, I believe Aerith’s date is indeed canon (I have my reasons but this post is long enough). Even if we discount the Skywheel date however, Clerith's use of the koibito tsunagi returns in a non-optional scene we will touch on later.
For what it’s worth, Alfreid offers Rosa his hand in the Loveless play too. I can prove that Aerith is the canon Rosa too, but I’m going to save that for my next analysis! You can take my word for it now, or just wait for that analysis to drop. Take it or leave it!
VI. a) ii. 4) Meta Hands
However, the narrative weight of these Clerith handholding instances doesn’t even come close to my very favorite iteration of the handholding motif in Rebirth. I’m referring to what I consider a severely underrated Clerith moment in chapter 13. First, some context: Sephiroth manipulates Cloud into giving over the Black Materia. Cloud seems to be firmly under Sephiroth’s control. However, the sight of Aerith being swarmed by Black Whispers snaps Cloud back into the driver’s seat: he breaks out of Sephiroth’s grasp to run to her and save her. Aerith gets knocked off into a fatal free-fall by a Black Whisper before Cloud can reach her, but he won’t have it: he lunges forward, hand extended. What results is a beautiful shot of their outstretched hands (56:25-56:27).
Let’s analyze this great shot. Notice how the seconds where Cloud is reaching downwards to grasp Aerith’s hand are treated. This key moment is stretched longer by a slow-mo effect, building up the tension and drawing the audience’s focus to the distance between their hands before Cloud actually catches Aerith’s in his, fulfilling the promise he made in “Hollow”. Their hands take up the whole screen in a deliberate close-up shot. All the ambient noises of the scene go quiet: Aerith’s theme is all we hear as Cloud reaches desperately for her. These are blatant audiovisual cues, signalling to the audience that whatever is happening on screen is especially significant. We should therefore examine this specific instance of the Clerith handholding motif to see what the devs are trying to tell us, and maybe it will fit with our theory!
We should begin by comparing this Clerith hand-reach shot to previous ones. If you compare it to the Advent Children’s hand-reach that occurs during Cloud’s battle against Bahamut Sin, it’s evident that Cloud and Aerith’s roles are reversed: just as our theory states, Cloud gets out from inside his head and reaches for Aerith this time. She saved him and the world in OG, and now it’s his turn to save her. This change becomes especially evident when you juxtapose the two scenes and notice how their hands have switched places, reaching from above and below, from left and right. I think the Rebirth hand-reach was deliberately made to look like the Advent Children one —and even the OG one in disk 3, chapter 3—, just to highlight this role reversal.
This Rebirth hand-reach is my favorite out of all because it shows that Cloud is much more conscious and attentive toward Aerith in Rebirth than he was in OG. At this point in OG (disk 1, chapter 25), Cloud is meant to be beating Aerith up at Sephiroth’s command, to the horror of the rest of the party. In fact, a few minutes before Cloud rushes to save Aerith in Rebirth, he has absolutely no problem violently shoving Tifa to the ground when she gets in Sephiroth’s way (53:27-53:33). This shove and Cloud’s earlier attack on Tifa in Gongaga (Rebirth, chapter 9) proves that Sephiroth is just as capable of making Cloud hurt his party members as he was in OG… though Sephiroth can’t seem to make Cloud hurt Aerith. Why is this? Why is it that Cloud beats Aerith in OG, but doesn’t even lay a finger on her —and snaps out of Sephiroth’s control at the mere sight of her in trouble— in Rebirth?
Our theory provides the answer. In disk 1, chapter 25 of OG, Cloud had not yet realized he loved Aerith. Sephiroth was therefore able to make him hurt her. But things are different in Rebirth. The Cloud we see in the Remake trilogy has gone through the OG timeline and traveled back in time, kicking off Remake as his second try at the OG timeline— and he did this precisely because he loves Aerith. His love for her is clearer and stronger in the Remake trilogy than in OG because Remake Cloud is an amnesiac, post-OG, time-traveler Cloud. He’s been through the OG before, has fallen in love with Aerith and realized it before, so this time around, he can’t even lay a finger on her. This is made evident by how closely the moments where Cloud pushes Tifa and saves Aerith are juxtaposed, separated by mere seconds of gameplay. Merely seeing Aerith in trouble wrenched control from Sephiroth and put it in Cloud’s hands again— Sephiroth probably couldn’t have gotten Cloud to attack Aerith if he tried.
This isn’t the only time we get evidence of this though! As Cloud approaches Aerith’s praying form in the Forgotten City, Sephiroth’s Black Whispers swirl around the buster sword: Sephiroth is trying to kill Aerith with it, while Cloud’s struggle to wrench it away plays out visibly on his face. Interestingly, Cloud is not being controlled by Sephiroth here. We know this because we can quite literally see the Black Whispers trying to move his sword, but also because every time Cloud is being controlled by Sephiroth in Rebirth, he has an empty-eyed, zombie-Cloud look on his face. Either that or he laughs or smiles somewhat maniacally. There is never any resistance on his part. To see an example, simply pay attention to Cloud’s blank face as he attacks Tifa in Gongaga in chapter 9 (19:20-20:30). You’ll see the very same expression on his face if you watch this video of Cloud following Sephiroth’s orders in chapter 13 (53:36-54:15). Additionally, look at how strangely Cloud smiles (41:01) as he grasps the Black Materia. Cloud makes none of these faces as the Black Whispers try to take control of his sword: quite the opposite. Cloud looks like he’s trying his hardest to pull his weapon back down and away from Aerith, a horrified look on his face as he grunts from the effort. Once more, Sephiroth is unable to make Cloud hurt Aerith.
Back to my favorite handholding moment. Think about this devs intention for this shot for a minute. The devs have been teasing us as to whether or not Cloud will succeed in saving Aerith in the Remake trilogy since it was first announced, and this slow-mo shot of Cloud catching Aerith’s hand as she falls to her death is a reflection of this tension. The audience holds their breath during those slow-moed seconds, all that hope and fear hanging in the balance. This instance of the handholding motif is a meta way for the devs to reassure us that Cloud will indeed save Aerith. I firmly believe this.
VI. a) ii. 5) Self-Sacrificing Hands
Alright, alright, enough about my favorite! Let’s move to chapter 14 of Rebirth! There’s evidently a lot going on with Clerith in this chapter. Let’s address the Sector 5 date. The handholding is first initiated by Aerith as she tugs him toward the candy vendor and Cloud reacts with a quiet gasp (4:07-4:17). Soon, it becomes a reciprocal embrace: Cloud holds his hand out for Aerith’s and tightens his fingers around hers, smiling at her before they head to the photographer (7:07-7:17).
Then of course, when Aerith pushes Cloud into a portal in her church, you can see Cloud reach his hand up toward her desperately as he falls (17:38-17:58). What I find particularly emotional about this moment is that Aerith pushing Cloud away from her is kind of the opposite of reaching for his hand: it symbolizes Aerith accepting her fate and giving up on a life where she can be with him. This Aerith seems to be a post-OG Aerith who exists separately from the main world we experience in Rebirth, meaning she knows all too well that her fate is to die. In fact, it looks like she is the very same or a similar Aerith to the one who appeared to Cloud in his resolution scene in Remake. By literally pushing Cloud away, just like she figuratively did in Cloud’s resolution scene, she is sacrificing both herself and the happiness she could share with Cloud. She’s going against her heart’s wishes, just like she did in Cloud’s resolution scene when she would not let Cloud take her hand. Indeed, post-OG Aerith seems to be resigned to her fated death and completely devoid of hope: she only wants to ensure the planet’s survival, because she thinks she knows there is no way she can or should be with Cloud. In contrast, Cloud reaches his hand out toward Aerith as he falls into the portal, and even though he does not know that her push symbolizes her self-sacrifice, his outstretched hand represents his protest. So far, our theory is fitting beautifully.
VI. a) ii. 6) Grieving Hands
Later in chapter 14 of Rebirth, after Aerith’s death/non-death, there is more handholding. As Cloud cradles Aerith’s body close to him at the Forgotten Capital, Aerith places her hand on his cheek. Cloud covers it with his, curling his fingers around it (1:03:33-1:03:53). Before he leaves her lying down on her back to go fight Sephiroth, he squeezes her hand as he tells her “I got this”— or, per the Japanese version, “Wait for me”, meaning he’ll reunite with her once he’s done (1:04:56-1:05:10).
VI. a) ii. 7) Hero-Heroine Hands
Next, the koibito tsunagi returns as Cloud and Aerith interlace fingers back to back in a classic hero-heroine pose, right after their two-versus-one fight against Sephiroth. This time, they both reach for each other simultaneously (7:42-8:18), without even having to look down at their hands or talk to each other, as though perfectly in sync. As you can see, Aerith and Cloud are now on the same page. This is different from post-OG Aerith’s attitude in the Sector 5 church earlier in chapter 14, as well as in Cloud’s resolution scene in Remake— my interpretation of this mutual koibito tsunagi is that both of them are agreeing to hold onto each other now, with neither of them pulling back or being inattentive of the other: their priorities are now the same. It seems now they are aligned, and hopefully this means that Aerith will be working together with Cloud so they can reunite again in part 3. Even if she doesn’t prioritize her life and happiness though, we know for sure Cloud will.
VI. b) Blocking Masamune Explained?
Another piece of evidence that Cloud has been through the events of OG before is the fact that he is able to block masamune. Cloud looks up and sees Sephiroth descending with his blade poised to kill Aerith. Screaming, Cloud instantly rips the buster sword from the Black Whispers’ hold and successfully blocks masamune. Hatred and determination fill his eyes as he rallies his strength and successfully pushes Sephiroth away, saving Aerith’s life (6:00-7:26)— at least, in one reality.
Obviously, something about Cloud is different in Rebirth from in OG, otherwise, the events of Rebirth’s chapter 14 would be the same as the events of OG’s disk 1 chapter 28. In my opinion, what happened here is that upon seeing Sephiroth swoop down with masamune, Cloud remembered Aerith’s death in OG, and the post-OG Cloud’s determination to stop it came surging up from within him. This is frankly the very best proof there is that Cloud is far more ready, stable, determined, and clear-headed about Aerith in the Remake trilogy than in OG. Our theory explains why! In fact, this very moment is what our entire theory banks on: Cloud saves Aerith in one reality, as is shown by the rainbow effect produced by the event, and just like that, the promise made in “Hollow” has been fulfilled! However, now we face the question of how to make sure that Aerith is alive and by Cloud’s side when the multiverse converges again into one protected timeline. I’m sure it will be done; we will see how in part 3.
VI. c) Theme Song Lyrics
What the theme songs’ texts have to say about the trilogy so far is quite important, as they summarize the feelings of the characters they represent: Cloud and Aerith. We can glean a lot from their perspectives that could help support the Mission Theory.
VI. d) i. “Hollow” Lyrics
“Hollow”, Remake’s theme song, was written about Cloud’s feelings and rumination. Nojima confirmed that, when he was given directives for the lyric-writing, “Nomura just gave [Nojima] the keywords: ‘told from Cloud's point of view’ and ‘standing in the rain’. [Nojima] interpreted that as ‘a ballad for a man who lost something/someone important’” (Nojima and Uematsu interview “‘I wanted to put the word ‘empty’ in the theme song of Remake. That was how it started’ - Music-Related Interview Part 6: Kazunari Nojima”, by Famitsu). Our theory is about Cloud’s motivations and mission to save Aerith, so “Hollow” is especially relevant.
Let’s run through the lyrics and analyze, starting with the song’s first verse:

“I would be lost, drifting along
Floating up high, time after time
And there you'd be, shining brightly
Your smiling face to guide my way
Bloody and bruised, brought to my knees
When beaten down, when broken up
You would appear, reach out to me
Heal every wound and make me whole”

Makes sense with our theory in mind, doesn’t it? This is post-OG Cloud remembering Aerith and what she means to him. “Hollow” seems to be told from the perspective of the post-OG Cloud hidden somewhere in Remake Cloud: a suppressed or eroded part of him that remembers Aerith clearly. Or maybe it’s told by Cloud after the events of the MFF x FFVII Remake collaboration and before the start of Remake, asserting his mission to save Aerith.
Next, here are the pre-choruses:

“Was it all, a dream? Will I never know?
Foolish and blind to everything
Had I realized, had I thought it through
Would you be here in my embrace?”

&

“With your every smile, hiding something more
Dark mysteries lurking beneath
But I was consumed with this emptiness
This selfishness, this void to fill”

(continued in

Good morning my witches and wizards.
I'd like to inject some very niche nuance into the discussion surrounding Supergiant's presentation of the Greek Gods in Hades 1 and 2. This will post will be a little long, but I believe context will be helpful when explaining my argument. If you need to get back to kicking [REDACTED]'s ass ASAP, there's a TLDR at the bottom.
I will preface this by saying Hades 2 may be my favorite game of all time, beating out the first by a wide margin (despite me logging over a hundred hours in the original). I've followed Supergiant since the original release of Bastion, played each of their games extensively, and I think I have a passable understanding of the studio's vision. As a result, I view their design choices in good faith.
That being said, I have a few very minor concerns. While they are nowhere near enough to sour the experience for me, I would like to express the thoughts that have been banging around in my head. Spoilers below.
Table of Contents

1. Why do you care?
2. What's your problem?
3. What does your smelly uncle have to do with this?
4. Giving props for the small details.

1 - Why do you care?

For context, I am a Greek man who was the first generation born and raised in the United States. Greek was my first language, I was raised by a Greek community, and I've been heavily involved in our customs since birth. While many people think ancient culture is completely disconnected from modern Greek beliefs, this is inaccurate. No, I don't pray to a shrine of Poseidon when I go fishing. However, many of the stories, beliefs, and morals that were described by the ancient Greek pantheon remained key parts of our culture throughout the transition into modernity.
For example, a common theme in ancient Greek mythology is that of a god secretly traveling on earth, being offered hospitality by unsuspecting mortals, and then rewarding them for their generosity. This is represented in modern culture by the term "philoxenia" which represents our value of being friendly towards strangers. Relationships like these represent the fact that we still value our ancient culture, albeit through modern representation of its ideas. I see many moral, theological, and literary threads that connect the time of the pantheon with the time of modern christianity. As a result, I am passionate about how our ancient culture is represented. In many small ways, it is still a part of me.

2 - Whats your problem?

I started thinking deeply after a recent post on the subreddit (rightfully) condemning racist remarks towards the characterization of Hermes. I think the general consensus of correct - the design of the gods are amazing, and they do a great job representing how many different cultures were involved in worshiping the Pantheon in ancient times. Ancient Greeks traded with others, spread their beliefs far and wide, and often praised the virtues of other cultures (such as Ethiopia) through art and literature. This is represented well by diverse design in-game.
However, despite the fact that the characters in Hades visually represent the variety of people who engaged with the pantheon, I sometimes feel that their traits and voices don't represent Greekness. To put it in other words, the gods are fantastic at giving off the aura of Greek mythology, but less so at giving off the aura of Greek culture.

3 - What does you smelly uncle have to do with this?

My primary complaint is Supergiant's approach when choosing character voices. To preface - THE VOICE ACTING IS AMAZING! There's not a single character whose voice doesn't fit their design and personality. I'm still amazed that Darren Korb managed to nail both Skelly and Zag. However, what interferes with my immersion the most is the choice not to use Greek accents at all.
Hephaestus in the sequel looks exactly like my immigrant uncle in real life. However, every time he speaks, I'm left wondering why he sounds Scottish. Judy Alice Lee did an amazing job voicing Melinoe, but when she speaks Greek (ie. Kataskion Aski) during her incantations, it sounds more like a British classics student practicing her Greek lines. Greek-speakers are a vast minority of the player base, and I get that this is something only someone in my position can notice and complain about. However, it feels like voices were chosen based on what Americans think sounds "regal and godly" as opposed to what characters would sound like in the context of the culture.
I don't think this was done intentionally, and there are definitely limitations when casting voices that don't come in common accents. However, I do think it is a missed opportunity to create a work of art that represents our culture far more deeply than other media has in the past.
Another small example is the use of Roman numerals when marking the doors in Tartatus and Chronos' clock attacks. In the context of the story, these symbols are being used a few centuries too early. Why not use Greek letters as the numerical system, counting down doors through ε, δ, γ, β ,α until the end? It may be confusing on the first run, but people learn quickly - they may even walk away understanding more about the Greek alphabet. I'm sure the creative minds at Supergiant could come up with other ways to represent "time" in a way that fits the cultural context.

4 - Props for the small details

I'd like to give props to some of the amazing tiny details that did make me feel represented in-game.

• Frinos and Toula are incredible names for familiars - if I don't get a dog named Osto next, I'll riot.
• The music, as usual, is magically done. Darren's use of culturally relevant instruments alongside his own flair proves that he is among the most thoughtful and skilled in the entire industry.
• Polyphemus' design is so Greek. The chest hair, the evil eye, his desire to eat and sleep, all of it.
• While pronunciation and accents can be bizzare, including Greek phrases when Melinoe is doing her incantations is an incredible touch. I would love to see more spoken Greek included in future updates.

Thank you for reading my rant. I understand that much of what I would have preferred is out of the scope of the team's vision, but I wanted to get my thoughts out so I can finally put them to rest. I hope my argument about cultural representation can be separated from the more negative and insensitive discourse about racial traits in character design.
Ν'αστε καλά. Θάνατοσ στο Χρόνοσ.
TLDR: The discourse around Supergiant's presentation of Hades characters has been bipolar - either "It's Perfect" or "It's Horrible". I think it is much closer to perfect than not, but as a Greek myself, I find myself begrudgingly accepting some very minor details (such as dubbing and pronunciation) that could have been executed a tad more thoughtfully. That being said, I think Supergiant did their best considering the resources available to them.

This is all for a TTRPG that I'm running for some friends. If this isn't the right place for this please let me know.
To start off with, if you're playing in a game where the phrases "President Andrew Garfield", "Clowns of America" and "an imp wielding a fan blade" sound familiar to you, stop reading. This is about our campaign. ........................................................................... ........................................................................... ........................................................................... ...........................................................................Context: So, I am currently running a game set in a near future (2075) where magic has slowly been returning to the world, but is still mostly hidden, for the last 100 years. In this world their are 9 "gods" that rule over the following: 1. Urbos- cities, civilization, law, order 2. Fabulaz- Stories, legends, myths 3. Libertas- Freedom, liberty, Justice, fairness 4. Messor- Death, fate, burials, afterlife 5. Vita- Life, nature, wildlife, predatoprey relationships 6. Technos- The internet, technology, engineering 7. Penucia- Merchants, gambling, wealth 8. Null- Undeath, necromancy, secrets 9. Vaccus- Emptiness, vaccumes, nothing.
The big secret with all of this (and the big thing the party doesn't know) is that all but one of the gods listed above are not actually "gods". They are all creatures "blessed" by the 9th god with insane power over something mortals fear. The 9th god, Vaccus, is the only real god. However they are closer to a lovecraftian diety and the entire campaign setting takes place in Vaccus's dreams.
The Story (the party doesn't know this either): A cult, being lead by somebody who was cursed with immortality and wants to die, is going to try several methods of killing their leader. Their last ditch attempt will be to try and wake up Vaccus, as if this being wakes up it would result in the end of everything in an instant. The best and most efficient way to do that is by turning Vaccus's dream into a nightmare. They plan on doing this by "forcing" the creation of a new god like entity that will embody a fear of destruction and a comming apocalypse, I am tentatively calling it Apolyon, but I'm not entirely sold on that name. Their first step in doing this was to take over large portions if the world's government by killing and replacing important officials with dopplegangers. They've done this without issues in Russia, China and Sweden, but they fucked up in the US when the president's (if you read the above, yes the current president is Andrew Garfield AKA one of the spidermen) daughter escaped and the assasination "attempt" got leaked to the news.
What the party knows: The attempt on the president's life was orchestrated by an unknown entity using dopplegangers. To cover their tracks, the "president" (who they correctly assume is actually a doppelganger) anounced that it was his daughter who made the attempt on his life, saying she has fallen in with a group of eco terrorists who have supposedly taken responsibility for the attack. They know this isn't true because they saved both the president's daughter AND a secret service agent from a car crash/doppleganger attack and both are now traveling with them. The goal is to remove the way the dopplegangers are tracking the president's daughter and bring her to an military base that has been both decomissioned and wiped from any US database. The only reason they know about it is because the president verbally told the Secret Service agent about it in the past as a "if all other options to protect my daughter fail, go here."
What the party will soon discover: The military base in question is actually an abandoned neighborhood that the government used during the mid to late 70s (when magic was first starting to return to the world) to conduct MKUltra style experiments. Their plan was to try and spy on people through their dreams. They had the most tangential success with artists of varying mediums but they could not control who's dreams they were entering and influencing, with many of them going insane. The reason many of them went insane was because they were entering the subconsious dreams of Vaccus (almost like if you were to lucid dream but instead of you realizing its a dream, the people and characters in your dream realized they were in your dream), meaning they were 1. Witnessing incomprehensible things that a eldritch creature would dream of in their deep subconsious and 2. Seeing the entire history of the universe play out before them in what felt like in real time, but was acually only done in the span of a few minutes to a few hours if they were lucky. This lead to those who were still somewhat coherent to make art depicting some of the things they saw, but in a stylized way. For example, poems about something that should not be, paintings and sculptures of the birth of each god, stories that, when you read between the lines, speak of a world ending calamity that would cause Vaccus to wake up, ect...
What I'm looking for help with is comming up with different pieces of art that will make the full puzzle. So like a poem tells part of one story, a description of a short film depicts another, a painting, children's book ect... I want at least 9 or so different pieces that can describe the reveal mentioned above with 1 for each worshiped god and the 9th being a description of creating a nightmare for Vaccus. The idea is that each description/art piece tells a different part of the same story, but the party won't get them in order. I have come up with some ideas for the different art pieces, but I want some more ideas or suggestions. I also want different people to give their descriptions and I feel that if it was just me making all of these descriptions, they would all feel way too similar and give off the feel of "one person trying 9 different mediums" than "9 different artists telling the same story". I have an idea for the 1st one chronologically that takes the form of a children's book that decribes a little boy who is tormented by his older siblings and thus escapes to his dreams to find friends (the other gods) and go on adventures. It would be unfinished with the party only finding the first few pages depicting the boy make the Gods Vita and Messor to populate the world and give life meaning. I plan on refining it a bit more and using more symbolism than what I described above but I think it gives the general idea.
Sorry for the long post, I've been thinking of this idea for a long time and only now the party is getting close enough to it for me to really start planning for it. TLDR; What are some different descriptions of art works (poems, stories, paintings ect...) that when put together tell the story of the world's creation and reveal the fact that the setting takes place in the dreams of an eldritch entity. I would love to hear what you all have to offer to this.

Edit: SOLVED!
Libre Office version 24.2.1.2. (X86_64), Windows 10, .odt files.
I have a Swedish laptop, so I keep my keyboard set to the default Swedish layout, even though I use Libre Office exclusively in English. Since my laptop rebooted the other day after a Windows update it's impossible to keep Writer in English. I change the language to English, type one symbol, and it immedaitely switches back to Swedish after inputting that one character correctly. I can switch a written text to English for spelling purposes, of course, but I write dialogue, and the god damn quotation marks don't distinguish between open quote and end quote with the Swedish layout, so I have to manually fix that for every sentence or I end up with two end quote marks. I had the same problem with Open Office a couple months back, again after a Windows update, which prompted me to make the switch to Libre. But now the same problem has followed me here. I hate everything. How do I fix this? Switching the keyboard layout to English solves the issue, but it moves a bunch of buttons around and makes it a nightmare to find seldom used symbols like £$#, and removes the åäö characters, which I sometimes need when not working in English.
Any help would be greatly appreciated. Again, with both LibreOffice and Open Office the problem sprung into being immediately after a random Windows update.

(continuation of part 3)
Since Fatal Calling is all about Cloud facing his past and his origins, Tifa’s musical theme is most appropriate for the ending cutscene. For all of these reasons, Tifa’s theme is absolutely appropriate for the conclusion of Fatal Calling. It makes a lot of sense then that once Cloud has finished revisiting the past and vanishes with the crystal to find his Promised Land, Tifa’s theme stops and Aerith’s theme begins.
There’s a lot to be said about Sephiroth in Fatal Calling. Sephiroth feeds off of despair, and deems Palamecia’s suffering inadequate: he seeks a much greater source of power than this realm. He states that Palamecia isn’t “the world that was promised to [him]”, referencing his desire to become the god of his core world of FFVII:

“Sephiroth: Melding with the planet, I will cease to exist as I am now only to be reborn as a ‘god’ to rule over every soul” (FFVII OG, disk 1, chapter 25).

Sephiroth’s line “Now, let us return [Cloud]. Back to the Promised Land” reveals he wants to return to their shared core world of FFVII, like we established in our review of the Remake timelines theory (see section “I. a) vii.”). Sephiroth wants to go back to FFVII and modify the OG timeline to achieve his evil goals. This is his ideal scenario, his place of complete happiness: his desired Promised Land. Fatal Calling is setting up Sephiroth’s plans for Remake. In fact, the after-credits scene wherein Sephiroth stands in Nibelheim as it burns confirms his return to the FFVII OG timeline.
However, he isn’t the only one returning. Now that Cloud has revisited his past in Fatal Calling, he’s ready to reach his Promised Land. After Sephiroth’s after-credits scene, the OG FFVII title and logo turn into the FFVII Remake title and logo, indicating a shift: we are now officially in the Remakeera or world. Cloud and Sephiroth disappeared at the end of Fatal Calling, and now the game is telling us where they’ve gone. Combined with Hamaguchi’s recommendation that players complete the collaboration event before playing Remake, I think this is a solid indication that the Cloud and Sephiroth we see in this collaboration event are those we encounter in the Remake world. Once the switch to Remake occurs, Aerith’s theme returns. This communicates that she is indeed —as we’ve proven countless times already— Cloud’s Promised Land. But it also conveys her importance to the story of Remake. Scenario writer Nojima confirmed this:

“Aerith's the most important character in the remake so we paid special attention to her lines” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).

Aerith was already important to OG, so what could’ve motivated Nojima to state her importance to Remake? Could it be that she’s even more important in the latter than she was in the former? In what way?
That was the collaboration! Before we move on from MFF x FFVII Remake entirely though, let’s glean some more relevant information from some of the collaboration’s promotional material and special features.
III. e) iii. Promotional Material and Special Features
Two particular pieces of promotional material for this collaboration stick out to me as extremely relevant. The first is a promotion for a new summons batch in the Mobius FF game, created in honor of the collaboration.
MFF x FFVII Remake Summons Batch Cloud Promo
The summons batch contains three FFVII Remake-themed cards, including a Cloud card. As you can see, this promo reads “Who awaits in the Promised Land?” under Cloud’s picture.
The second is a promotion of an Aerith and summons and an Aerith Job Card (in MFF, Job Cards allow a character to embody an archetype or another character, giving them certain physical traits, clothing, weapons and abilities):
MFF x FFVII Remake Aerith Summons and Job Card Promo
I couldn’t find this picture in English, but the text relevant to us translates to:

“Midgar's Flower Vendor Summons
‘I'm searching for you. I want to meet… you.’
The witch protects the planet, imbues it with power, and leads to the Promised Land.”

A few things here. First, Aerith is referenced by name, and we see a picture of her in her famous praying pose. Secondly, both Cloud and Aerith’s images are attached to the notion of the Promised Land. Cloud’s card asks who awaits there, and Aerith’s evokes a guiding role, as though in response. Thirdly, both Cloud and Aerith are attached to the notion of searching: Cloud searches for the Promised Land and whomever awaits there, and Aerith searches for Cloud’s true self. Speaking of which, the promo also includes parts of Aerith’s famous gondola date quote from OG:

“Aeris: I'm searching for you.
Cloud: …?
Aeris: I want to meet you.
Cloud: But I'm right here.
Aeris: I know, I know... what I mean is... I want to meet... you” (disk 1 chapter 24).

In case you’re wondering about the lady in Aerith’s clothes on the left-hand side, that’s Meia, a character in MFF. She is the “witch” being referred to in the promotional material. She’s often called the Azure Witch. Meia is wearing Aerith’s clothes because a Meia-type Job Card called “Flower Girl of Midgar” was created in honor of the MFF x FFVII Remake collaboration:
MFF x FFVII Remake \"Flower Girl of Midgar\" Job Card
There’s even an Aerith outfit you can have Echo wear, and it appears with Wol’s Cloud outfit in the promotional picture:
MFF x FFVII Remake Echo's Aerith Outfit and Wol's Cloud Outfit
To be fair, Tifa also appears in one of these summons promos. However, unlike Aerith’s, her appearance doesn’t reference the Promised Land or her version of the gondola date. She is not presented in connection to Cloud at all. On top of that, while the Aerith and Cloud outfits are promoted together, Tifa is paired with Vincent in the promotional image:
MFF x FFVII Remake Summons Promo Tifa and Vincent
This is hardly indicative of Cloti content in the event collaboration or in Remake.
III. e) iv. Cloud’s Promised Land
All in all, the collaboration tells the story of Cloud searching for his Promised Land, just as post-OG Cloud has been shown doing for years and years of canon SE content. Cloud is searching for Aerith in the MFF x FFVII Remake collaboration, just like he was in FFT and DFF, and just like he was shown doing in the 30th FF Anniversary Exposition. This is nothing new. However, the collaboration informs us that this mission to be reunited with Aerith is what leads Cloud to enter the world of Remake.
Echo noted that people obtain the Promised Land they deserve rather than the one they want. What does Cloud deserve? I believe the answer is: another chance at saving Aerith.
Cloud needs to start over, from the top. He needs to go back to the very moment he and Avalanche arrived at mako reactor 1 to bomb it. He needs to return to the beginning of the OG game. He needs a redo, a fix-it, another shot at happiness; a remake.

IV. The Hidden Plot Point: Mission Theory

a) Thesis
Here lies the heart of my theory. My dear Cleriths, Sephiroth isn’t the only one who travelled back in time to undo destiny and create a reality where things go his way: Remake is also —I would even say primarily— Cloud’s chance to free Aerith from her fate, save her life and secure his shot at happiness with her. That’s why he experiences MOTFs in Remake: he’s done FFVII before and now he’s back, although with only fragments of his memories from OG, to save Aerith. That’s why his triggers all involve Aerith: he doesn’t consciously remember anything from OG, but his grief over Aerith is so strong that it rises from his subconsciousness at the slightest trigger.
In Remake, Cloud remembers some but not all elements of the OG timeline (MOTFs), and it appears he only remembers the most important things: all his MOTFs revolve around Aerith and her fate. Our theory explains why Aerith triggers Cloud’s MOTFs in Remake quite perfectly: he traveled back in time to prevent Aerith’s death from happening. Remake Cloud remembers Aerith because, well, he knows her from OG. Post-OG Cloud has returned to the past to save Aerith, resulting in Remake. This is why seeing her in Remake triggers visions and memories of things that haven’t happened yet in Remake, but have already happened to post-OG Cloud. He recognizes her face on Loveless in Remake because seeing her face again is the whole reason he entered Remake in the first place. His visions of her death when they meet once more at the church, the spike of anxiety and grief as he watches her walk away from him, the constriction in his chest when she talks about doing everything in her power to help the planet… all of it, it’s all his memories of OG being jogged by things related to her death. What he’s forgotten from the OG timeline emerges in flashes of pain, images, memory and emotion. Remember that the language the devs used to describe these instances where Cloud reacts to Aerith in this way is always about “remembering” or “recognizing”; Cloud has to have seen Aerith, known Aerith, loved Aerith, lost Aerith and felt the pain of living without Aerith before in order to recognize and remember these feelings. Think about it: this is the only thing that can explain Cloud’s extremely selective MOTFs and the fact that he has MOTFs at all.
The Remake trilogy is all about Cloud and Sephiroth stepping into the ring one more time, both ready to risk it all to get what they lost in the OG timeline. Sephiroth is hungry for destruction and godhood, while Cloud stands determined to save the love of his life. Fighting for their respective goals, the fated enemies enter a new battle in Remake, one to end the war, both needing to win this time after losing so horribly in OG. Now, it’s all or nothing. Sephiroth vying for the planet, and Cloud reaching out for Aerith.
Cloud’s back with a quest, one he can’t fail— it’s the most secret and important plot point of all. I call this the “Mission Theory”.
IV. b) Mission Theory Logistics
There are a few things that remain vague, so I’m going to use this section of the analysis to speculate on the logistics of my theory. We know very little about the hows of the timeline and multiverse shenanigans, so I’m going to hypothesize. However, this analysis is about the whys: so if you’re not interested in mechanical speculation on the logistics of time travel and multiverses, you can totally disregard this section and skip to section “V.”.
IV. b) i. Cloud the Time-Traveler?
It’s unclear whether Remake is the result of post-OG Cloud going back in time to try his hand at the OG timeline again, or the result of post-OG Cloud somehow informing OG Cloud that he must save Aerith this time around. It’s vague in the same way that we aren’t sure if Remake Aerith is post-OG Aerith or if she’s been informed by post-OG Aerith via her connection to the Lifestream as a Cetra. Though it doesn’t much matter how Cloud has memories of Aerith’s death in Remake, I personally think that Remake Cloud is a time-traveling post-OG Cloud. My explanation as to why might be a little confusing, so again, feel free to skip to section “V.”.
One must be able to communicate with the Lifestream in order to obtain knowledge of the future. This access can only be granted to the Cetra or to the souls of the deceased that compose the Lifestream itself. Since Cloud is not a Cetra, he cannot commune with the Lifestream while he is alive, meaning a deceased post-OG Cloud would not have been able to communicate his memories of the OG plot-line with a living OG Cloud. Therefore, the only way Remake Cloud could have knowledge of the future (manifested as MOTFs) would be that Remake Cloud is inhabited by his post-OG consciousness. Effectively, this is time-traveling.
Then comes the question of how Cloud was able to time-travel at all. I have what I consider a pretty solid hypothesis. The most interesting thing about the realm of Palamecia is that every FF character that’s ever appeared in the realm for a cameo died in their core world beforehand (spoilers for FFI, FFV, FFVI, FFX, FFXII, FFXIII, FFXV incoming). These characters include Tidus (FFX), Lightning (FFXIII), Garland (FFI), Sephiroth (FFVII), Gilgamesh (FFV), Vargas (FFVI), Gabranth (FFXII) and Ultros (FFXV). My interpretation of Palamecia serves at least partly as a directory for deceased souls that can’t simply fade. For instance, FFX’s Tidus actually came back to life to be with his love>! Yuna !! FFX!<. Of course, MFF x>! FFX !!FFX!< and FFX-2, just like MFF x FFVII Remake came out between FFVII OG and FFVII. And similarly to Fatal Calling, the ending cutscene of MFF x>! FFX !!Next thing you know, FFX-2 comes out and shows Tidus returning to Yuna and their core world in an optional cutscene.!< The MFF x>! FFX !! Tidus !Remake.
IV. b) ii. Post-OG Cloud’s Amnesia
If we consider that Remake Cloud is a time-travelling post-OG Cloud who’s returned to the start of the OG timeline, we encounter another logistical problem: why doesn’t Cloud remember everything or most things from the OG plot-line in Remake, like Sephiroth and Remake Aerith do? After all, aren’t the three of them in the same time-travelling boat? Why isn’t Cloud as lucid on the matter as the two others? Didn’t the post-OG Cloud in Fatal Calling face his past and origins? Shouldn’t that mean Cloud would remember all that stuff in Remake from the start?
In OG, the true Cloud’s memories are repressed by both his false persona and Jenova. The latter’s memetic abilities are able to block Cloud’s memories of the past from emerging and conflicting with his SOLDIER persona. For instance, in both OG and Remake, Cloud is unable to hear Aerith tell him Zack’s name in Evergreen Park: Jenova blocks it out. I think this is a similar situation: post-OG Cloud’s consciousness carries memories things that Jenova doesn’t want Cloud to know, so she pushes down on them. On top of that, after travelling through different worlds and back through the Lifestream for who knows how long, post-OG Cloud’s consciousness must be quite weak. We know how good Cloud is at repressing, so it makes total sense to me that post-OG Cloud’s consciousness would be trapped or suppressed somewhere deep in Remake Cloud’s subconsciousness. After all, it’s not like this whole time-travelling-consciousness thing is normal for a mind to experience. It’s no wonder Remake Cloud doesn’t consciously remember how things go in OG. However, post-OG Cloud’s love and grief for Aerith are so strong that memories related to her can occasionally pierce through to his Remake consciousness and Jenova’s barriers, resulting in his MOTFs. His pain and love for her are definitely permanent and strong enough:

“A young woman descended from the Ancients who will forever be engraved in [Cloud’s] heart” (Dirge of Cerberus, Japanese manual, Aerith’s character description).
“I believe for those who formerly traveled with her as comrades and for the viewers, each carries their own feelings and love for Aerith. In this story, Cloud also carries his own undying feelings for Aerith, even to this very day… Its relation with the church scene is… Yup. I’ll leave this part to your imagination. (laughs)” (Nomura interview on Advent Children “Designer’s Note” in *Famitsu PS2!*magazine, October 24th issue).

So you see, Remake Cloud’s mind is a little more complicated than OG Cloud’s mind. Everything is still the same in Remake as in OG, but with the added complication that his future self is hidden in his subconscious mind, probably trying to get out.
There is actually pretty good evidence of this. I’m sure you’re aware that whenever Jenova is trying to hide something from Cloud or altering his memory and/or perception, the screen glitches green with an audio cue (34:15-34:29, 1:15:30-1:15:41 and 1:17:14-1:17:29). Guess what? These Jenova audiovisual cues also occur during the MOTFs (ie: MOTF 3 2:58-3:07 and MOTF 4 0:29-0:42). Whenever post-OG Cloud’s consciousness encounters anything that reminds it of losing Aerith, the strength of its pain helps it push memories of Aerith to the surface so that RemakeCloud can consciously see them. Remake Cloud then experiences sensations and/or visions, all from his future self’s memories as they rise to the surface, propelled by grief. Jenova can’t allow Remake Cloud to fully recover his post-OG memory, so in order to shut down the process, its cells jump in to repress the MOTFs: this results in the classic Jenova audiovisual cues. The only time Jenova doesn’t bother to fight against a MOTF is the sixth, as it is quite weak: no visions occur, only a tight sensation in his chest.
IV. b) iii. Eclipse Contact and Cloud’s Memories of Reactor 1
There is one problem I have trouble decoding. In Eclipse Contact, Cloud tells Wol and Echo that the last thing he remembers is the run-up to his arrival at mako reactor 1 (FFVII OG, disk 1, chapter 1). Recall that usually, people summoned to Palamecia have no memories of their world of origin and lives before that point at all. So then why is it that upon being summoned to Palamecia, Cloud recalls the events that took place right before the start of the OG game? This strikes me as highly relevant since this is the exact point in time where post-OG Cloud’s consciousness needs to be transported to in order for Remake to begin, but I haven’t been able to figure out a solid hypothesis on what it could mean. My best guess is that this is the devs’ way of signalling to us that the events of the MFF x FFVII Remake collaboration occur before the very beginning of post-OG Cloud’s second try at the OG timeline (Remake).
Now that I’ve shown you how I’ve come to form my Mission Theory and we’ve done some pesky housekeeping, let’s connect some dots, shall we? It’s time to really get into it and see if any of my wild speculation tracks with content from the Remake trilogy so far.

V. Musical Evidence

What about the music of the game? Any hints there? Let’s try to see if we can find support for the Mission Theory in the music made for the Remake trilogy thus far!
As a preface to my musical evidence analysis, I want to insist on something: the story guys tell the soundtrack guys everything. In a high-quality production such as Remake, people who make music for audiovisual media are told everything in advance. They need to know the secrets of every little scene, because their job is to depict whatever is happening through music.
Therefore, if the Mission Theory is true, then there has to be musical evidence for it.
V. a) Preface: The Basics of the FFVII OST
There’s a lot of evidence in the music of the Remake trilogy that we have to address, but before we get into it, I do have to give you the basics of the FFVII soundscape! For the easiest experience, I suggest you keep a tab open for every link I provide for you until the music analysis is over, because we will be hopping from one musical theme to another and then back again.
V. a) i. The World Theme: Cloud’s Troubled Identity
The world theme of FFVII is a perfect example of how musicians working on an OST have to know the secrets of a story as they compose for it. On top of representing the FFVII world as a whole, it doubles as Cloud’s character theme… except that isn’t exactly right. You see, this piece does indeed contain Cloud’s true theme, but Sephiroth and Jenova’s musical motifs also contaminate it. This, of course, symbolizes how Cloud experiences identity sabotage because of these two antagonists. The result is that globally, the world theme does indeed represent Cloud’s character, but it isn’t exclusively Cloud’s in the same way that Cloud’s mind isn’t exclusively his. It’s brilliant storytelling through musical motifs, and evidently requires Uematsu to know in advance that Sephiroth manipulates Cloud’s identity in the story.
For future reference, let’s isolate Cloud’s true theme from Jenova and Sephiroth’s influence.
V. a) i. 1) Sephiroth: Dissonance and Semi-Tone Motif
I’m sure you know Sephiroth’s infamous theme: “One-Winged Angel”. The first motif we need to know is Sephiroth’s threatening, repetitive dissonance motif, which plays all throughout the piece (plays solo at 0:00 to 0:04). The second motif is what I call the semi-tone motif. “One-Winged Angel” has a ton of minor 2nd intervals, which is what we call the relationship between two notes that are only a semi-tone apart. You might recognize the minor 2nd interval in the foreboding Jaws theme. Just like in Jaws, the minor 2nd interval or semi-tone is commonly used to indicate an impending, life-threatening danger, a monster, predator, evil, or insanity; suits Sephiroth quite nicely!
V. a) i. 2) Jenova: Parasite Motif
The track “J-E-N-O-V-A” contains many competing melodies and has generated many variations of those melodies —almost like clones— that all represent aspects of the alien’s character. The main Jenova motif is simply a descending, two-octaves-long, arpeggiated mb6 chord (eight notes total). I’ve played it for you here. Sometimes, this motif is altered to form variations. For instance, in “Listen to the Cries of the Planet”, a variation of Jenova’s main motif is created by changing the order of the notes and reducing the number of notes to only six (0:00-0:03), however, it remains an arpeggiated mb6 chord. Regardless of the alteration, if you hear an arpeggiated mb6 chord, it means Jenova is creeping close by or that its influence is at work.
The variation of the mb6 arpeggiated chord that concerns us alters Jenova’s main theme so it ascends from the tonic to the b6 note and descends back to the tonic, then ending on the lower dominant for a total of eight notes. I’ve played it for you here. I call this variation the “parasite motif”, because it is often heard when Cloud is being controlled by Jenova. For instance, it plays when Cloud loses himself and becomes unusually violent in Rebirth’s chapter 13 (17:25-18:34), signalling to us that Jenova is in control. It is also the main motif of the track “Who… Am I?”, which evidently symbolizes Jenova’s fuelling of Cloud’s identity crisis— though here, the parasite motif is shortened to its six first notes.
V. a) i. 3) Cloud’s True Self
Now that we can recognize Sephiroth and Jenova’s motifs, let’s return to the world theme to isolate Cloud’s true self. Cloud’s true theme can be heard from 0:51 to 3:48. It consists of a section A (0:51-1:54), followed by a section B (1:54-2:41), and then returns to section A (2:41-3:48).
After Cloud’s true theme concludes however, it seems he experiences a psychic interference: doubt and confusion weave through the world theme (3:48-4:09), representing an instability in his identity. I call this interruption of Cloud’s true theme the “interference section”. It symbolizes a moment of psychic interference or weakness within Cloud that Sephiroth and Jenova take advantage of to take control of Cloud.
The end of the interference section introduces Jenova’s parasite motif. It slithers in (4:09), later joined by Sephiroth’s dissonance motif (4:16): Cloud’s mind and identity are being hijacked by the two antagonists in service of their evil plans.
They torment Cloud, dominating his mind until he manages to free himself: section A of Cloud’s true theme begins playing again (6:06), closing the loop of the theme.
Based on this musical storytelling, if you already knew the character motifs going into OG, you might’ve suspected something odd was going on with Cloud’s identity, and that Jenova and Sephiroth were involved. All this to say that whatever music is playing at any given time can give us hints as to what is going on. That’s the power and significance of a good soundtrack. Trust me when I say that with Uematsu and his team, we’re in excellent hands. And remember: the story guys tell the soundtrack guys everything.
V. a) ii. Aerith’s Theme
Another base we have to cover before checking out the Remake soundtrack is Aerith’s theme. I’m sure everyone here is familiar with it, but I insist that you refresh your memory. It consists of a section A (0:00-0:34), a section B (0:34-1:13) and a section C (1:13-2:00), concluding with a repeat of section A.
V. a) iii. Motifs and Timing in FFVII OSTs
I’m going to analyze pieces in great detail, which people who haven’t studied or paid attention to soundtracks may find strange. To prevent anyone from making the mistake of thinking that I’m reading too much into things, I want to emphasize that the music that plays during the Remaketrilogy’s cutscenes is carefully timed, composed and arranged to match the events in the cutscenes, as they are provided in advance to the musicians. Composers pay lots of attention to whatever is going on onscreen so they can include the corresponding musical motifs as accompaniment at the exact right moments, always striving to get the timing perfect. I’m not exaggerating the effort and minutia involved in soundtrack composition and arrangement. Here are just a few sound staff comments from the “Material 4: Soundtrack” section of the FFVII Remake Material Ultimania to prove it:

“[To] make sure players really feel the weight of the moment, we worked hard on getting the tempo and the entry timing of each instrument exactly right. In particular, that big ‘boom’ that sounds almost like a meteor crashing down was fine-tuned to match the timing of the logo's appearance. I remember this was a real sticking point for us, because if the boom's timing was even slightly off, the effect would be completely different. We […] had to sequence [each and every sound] to play at exactly the right moment” (Shotaro Shima on track “Midgar, City of Mako”, page 229).

&

“I was originally told to keep this piece to under two minutes, but it ended up being over six minutes long, in order to match the flow of the cutscene. I arranged the track while watching the latest CG visuals that had been rendered for the scene” (Naoyuki Honzawa on track “Smash ‘Em, Rip ‘Em”, page 309).

&

“This is the track that plays during the tour of Shinra’s different divisions. The movie shown in the Visual Entertainment Hall describes the history of the Ancients (0:25 onward in the soundtrack version), and I wanted to create a musical link to them as well, so I made use of the chord progression from ‘Aerith’s Theme’ [D(I)-Am(Vm)-D(I).] [This simple sequence of moving from major to minor and back again creates a really mysterious air. Then, during the section where the movie recounts the history of the construction of the Shinra Building (1:47 onward in the soundtrack version), I quoted a section of the Shinra theme” (Yasunori Nishiki on track “Stewards of the Planet”, page 313).

V. b) The Remake OST
Now that you’re ready, it’s time to verify the Mission Theory’s validity with Remake’s music.
V. b) i. MOTF 6 Music
We were able to explain Remake Cloud’s MOTFs with the Mission Theory, and it just so happens that the music that plays during the scene of MOTF 6 is unique to Remake. This gives us the perfect opportunity: we should analyze the piece that plays as it occurs to evaluate the legitimacy of our theory on the Remake trilogy, using all the motifs we uncovered in section “V. a)”.
First, a refresher on the scene and on our theory’s interpretation of it. The party is gathered in Aerith and Ifalna’s old room at Shinra HQ. Here is how the scene is described by the VA script notes:

“The Whispers once again close in [on Aerith], but Aerith refuses to stop speaking this time.
Aerith: Listen to me. […] Shinra isn’t the enemy. They were the ones who set things in motion, but our true foe is someone else.
At that moment, the spectacle of Meteor they saw in the Visual Entertainment Hall comes into Cloud and the others’ heads.
Aerith: Somehow, some way, I want to help— all of you… the planet…
For some reason, Cloud feels his chest constrict tightly” (FFVII Remake Material Ultimania Plus, VA script notes, “Aerith Speaks”).

Indeed, right after Aerith says she wants to help the planet any way she can, Cloud looks down at his chest with a frown and a quiet grunt (7:46-7:54). According to the Mission Theory, this tightness in Cloud’s chest can be explained as an emergence of post-OG Cloud’s grief, triggered by the slightest allusion to Aerith’s sacrifice.
The piece that plays during this scene is called “Aerith’s Theme - The Cetra”. It is one of many variations of Aerith’s iconic theme arranged for Remake. However, Cloud’s theme is just as prominent in the piece— if not, more.
V. b) i. 1) The Fate Motif
Before we interpret “Aerith’s Theme - The Cetra”, I need to introduce you to one more motif that crops up in the piece. There is a windy motif that appears (from 1:45 onwards) and it is unaccounted for, despite how it’s clearly meant to represent something. I’ve become certain that this wind noise symbolizes fate, and I’ll tell you why.
In the MOTF 6 scene, just after Nanaki explains how he gained knowledge of the Whispers via contact with Aerith (7:23), they emerge and begin swirling aggressively around Aerith (7:26). Her hair and dress blow and ripple in the resulting wind. From this very moment onward “Aerith’s Theme - The Cetra” (3:00), a string section (bowed instruments in the violin family) that deliberately emphasizes the airy sound of the bow crossing the strings enters, creating a windy effect that adds to the already present wind noise (that started at 1:45). As the Whispers progressively become even more aggressive onscreen, both the wind SFX of the cutscene and the wind noise in the piece get louder and louder. Because of the timing of its appearance and crescendo in the cutscene, I’m certain the wind noise is meant to represent the restrictive flow of fate; it only makes sense, given that destiny is a current —or a wind— that cannot be broken, and Aerith is like a helpless petal in fate’s carefully planned storm. Of course, it’s also quite significant that the Whispers make a windy noise as they fly. You can hear it every time they’re onscreen, like when they first appear to Cloud in chapter 2 of Remake (17:45-18:20), or when the White Whispers hold Cloud back from chasing after Aerith during Rebirth’s Sleeping Forest scene in chapter 14 (28:43-29:45). You can also hear the wind sounds in other Whisper-related tracks, such as “Whorl of Whispers” (clearly audible at 2:50-3:05), as well as “A Death Not Ordained by Fate” (clearly audible at 2:56-3:18). Therefore, I’ll call these wind noises the “fate motif”.
V. b) ii. 2) Interpreting “Aerith’s Theme - The Cetra”
In part 1 of “Aerith’s Theme - The Cetra” (0:00-1:45), Aerith’s theme and Cloud’s true theme play simultaneously, their respective phrases fitting perfectly together, interweaving peacefully and softly. It sounds like the two of them are chatting, dancing bashfully yet contently and in perfect sync, glad to be exactly where they’re meant to be as their themes sing together in harmony (soft piano). Part 1 of this piece is about Cloud and Aerith becoming important to one another as they discover their soulmate bond.
Unfortunately that contentment doesn’t last. In part 2 (1:45-3:00), Cloud experiences a moment of psychic vulnerability (world theme’s interference section). Fate lurks (fate motif enters quietly). His instability forces our couple’s sweet dance to a halt, and Aerith’s theme must retreat as Cloud’s confusion takes center stage. Sephiroth torments and taunts him (semi-tone played by strings, 2:03-2:10), taking advantage of Cloud’s psychic interference to plunge him into darkness (world theme’s interference section ends, low cello enters, 2:18): Cloud temporarily becomes a darker version of himself as evil corrupts him (piano plays section A phrases 1 and 2 of Cloud’s true theme in minor, 2:18-2:53). Jenova finally reveals itself and promptly exits, releasing Cloud’s mind from its grasp (seven first notes of parasite motif played twice on piano 2:53-3:00). Cloud is free, but the damage has been done: his dance with Aerith has long been interrupted, and she is gone. Part 2 of “Aerith’s Theme - The Cetra” is about Cloud being manipulated in service of Sephiroth and Jenova’s evil plan, interrupting his interaction with Aerith.
Part 3 (3:00-3:33) kicks off the mechanisms of a tragic fate (strings section joins fate motif, 3:00). Both anxious that she’s disappeared from his side and terrified of the darkness he just discovered inside him (in part 2), Cloud fearfully calls out for Aerith (phrase 1 of Cloud’s true theme’s section A, timid and hesitant piano, 3:04-3:15). Before his psychic interference began (start of part 2), Cloud’s voice was accompanied by Aerith’s as they grew closer and closer (their character themes mingling in part 1)… but now, Aerith isn’t answering his call, and he cannot find her (Aerith’s theme doesn’t to join Cloud’s anymore).
Anxious, Cloud tries calling out for Aerith a second time (section A phrase 2 of Cloud’s true theme’s, 3:19-3:31), searching for her in the hopes that they can continue their dance, but even now, Aerith does not respond. She’s gone (Aerith’s theme remains absent). Destiny keeps Aerith away from Cloud (fate motif gently crescendos). Part 3 of “Aerith’s Theme - The Cetra” is about Cloud’s separation from Aerith, his search for her, and the fear and anxiousness he feels when he realizes he cannot find her.
And then, part 4 begins with a sweet, gentle voice, calling out from the blackened horizon: it’s Aerith (section B phrase 1 of Aerith’s theme, soft piano, 3:33-3:45). Cloud finally hears her respond to his pleas: he’s found her. Fate begins howling in protest, doubling its efforts to keep Cloud and Aerith apart (fate motif crescendos noticeably in reaction to Aerith’s theme, 3:45). You can just picture Cloud running toward Aerith, struggling against the current of destiny to try and close the distance between them. Aerith tries calling out for Cloud a second time, (section B phrase 2 of Aerith’s theme, 3:40-3:43), but the Whispers only swirl around her more ferociously, taking her away in the uncompromising current of fate (fate motif continues to crescendo). Aerith tries again (section B phrase 1 of Aerith’s theme, 3:47-3:49). It sounds like she’s saying “Cloud, I’m over here, come find me!”
Fate doesn’t take too kindly to her defying it. Cloud and Aerith are not supposed to be together; it can’t be, it won’t. She’s destined to die to save the planet, and he’s destined to remain hollow forevermore. I can picture Cloud breaking into a sprint at the sound of her voice, running countercurrent to the flow of destiny— but the winds are so loud, fate’s demands are so strong, and the Whispers are shrieking in defense of destiny now. Aerith’s voice emerges for the fourth time (first three notes of section B phrase 3 of Aerith’s theme, 3:54 to 3:56). Fate screams louder, louder (steep crescendo of fate motif, 3:59-4:02). In a desperate hail Mary, Aerith shouts out one more time, as though throwing her hand out toward Cloud’s extended fingers (section C phrase 1 of Aerith’s theme, louder and more insistent, cutting through the fate motif as it crescendos sharply, 4:00-4:06). Part 4 of “Aerith’s Theme - The Cetra” is about Cloud and Aerith desperately trying to defy fate in order to be together. And then, it all stops: fate has seemingly quieted Aerith (4:04-4:08)…
Part 5 (4:08-4:27) begins with Cloud jumping, launching himself off the ground with all his strength (Cloud’s true theme section A phrase 2, first 5 notes, melody starting on the note E5 and ascending) as Aerith plummets toward the ground in a fatal fall (Aerith’s theme section C phrase 1, melody starting on the note E6 and descending, the last note altered)— he successfully catches her in mid-air (both Cloud’s ascending melody and Aerith’s descending melody meet in the middle of the octave, first uniting on B5, and then ending on A5). I’ve recreated the melodies for you here so you can hear this reunion more clearly. If you consider that the airy strings in this piece represent fate, which I do, the fact that they follow Cloud and Aerith’s themes in part 5 signifies that they are now in control of their own destinies, and successfully making it their fate to reunite.
To be completely frank, I did not realize until right now writing this that Cloud unites with Aerith in part 5, even though his theme is right there. I’m so excited to share this part with you.
We hear Aerith once more, her voice quietly trailing off into the silence (phrase 4 of section C of Aerith’s theme) with no conclusion (phrase 5 normally follows phrase 4 to conclude Aerith’s theme, but is absent here). Part 5 of “Aerith’s Theme - The Cetra” suggests that Cloud will save Aerith and that the couple will change their fate, but also conveys an uncertain and open-ended quality.
(continued in part 5)

I am blown away by how much this sub and interest in a female-centric version of Warhammer 40k has become in the last week or so. You’re all amazing!
A few months ago, I had some ideas for a noblebright version of 40k where the primarchs and Emperor were female. The inspiration was cnmbwjx’s incredible art, which I am pleased to see has inspired many of you as well. I considered creating feminine versions of the primarchs’ names and came up with a list. I figure this might be a good time to share it along with my thought process behind them.
Before we begin, this is in no way an attempt to derail anyone’s canon. I have seen several names on this sub that I think are better than what I came up with. I also think there is something to be said for using the original primarchs’ names if that is your preference. Girls don’t have to have “girl names” after all~
Feel free to use these or not. I just wanted to share because I think my thoughts on the origins of the original names and ways to play with them could help others to come up with their own takes on these characters.
This is going to be a very large info dump, so I’m going to divide this thread into multiple threads released daily (hopefully). Some of the names require lengthy discussions (brace yourselves for Konrad Curze) while others require relatively little. I will go through the list according to the numbered order of the primarchs. I think about two primarchs per day will work.
My goal was to come up with satisfying names that stay true to the original names and their meanings / inspirations as possible. Where that was not possible or seemed to produce an unsatisfactory result, I afforded myself more creative liberties to try and capture the themes of the character and the sound of the original name.
I preserved alliteration with the all but one of the original names. I left surnames unchanged.
The majority of my posts will be an analysis of the original primarch names and an explanation of my reasoning for my feminine twist on them. It is my hope these explanations will assist others in their creative processes.
I have also included my suggested pronunciations for the names I think have unclear pronunciations. I did not use IPA phonetic notation because I do not think it is accessible for a casual reader since it requires using a reference list for the symbols. I instead use approximations of English syllables. Please let me know if any are unclear.
Several of these explanations may be straightforward to English-speakers and those familiar with 40k lore, but I think a detailed explanation is more inclusive. I have a feeling this sub will introduce many people to 40k that wouldn’t otherwise get into the official setting, so I want to help make your lore journeys easier.
Finally, I relied on Wiktionary and Wikipedia in researching the etymologies here. I am aware these are not ideals sources, but they’re the best I can do because of my work life. I would appreciate any corrections and supporting evidence. I certainly discovered some issues in my initial research going back through this list.
I: Lioness El’Jonson (Lion El’Jonson):
A lioness is a female lion, so I felt compelled to stick to that. However, Lion El’Jonson is one of the cleverer primarch names.
It’s a reference to Lionel Johnson, a nineteenth-century English poet who was both a devout Catholic and a gay man. Lionel was at war with his own identity, which led him to write the poem “The Dark Angel.” The poem is an expression of forbidden desire and the torment of keeping secrets while trying to stay loyal to a higher power that you believe will condemn you if it found out who you really are. Sounds just like the Dark Angels space marine chapter with their secret shame over something that wasn’t their fault.
While Lioness loses this literary reference, I do feel that valor and fierceness are much more a part of Lion’s character than the secretiveness of his chapter. Therefore, I stuck with referencing the animal, which is synonymous with themes of ferocity and bravery.
II: REDACTED: SIGILLITE-LEVEL AUTHORIZATION REQUIRED.
A mind without purpose will wander in dark places
Feel free to leave a comment on these submissions and this project generally. I look forward to sharing more with you next time~

As far back as I can remember, I had always been passionate about the great outdoors. My love for the wilderness began when I joined the scouts, exploring the diverse landscapes of Southern California, Nevada, Arizona, and Utah. I was never a huge fan of the dry, barren landscapes, but camping provided a much-needed escape from the monotony of Orange County suburbia.
The first time I visited the Pacific Northwest, I was enchanted. The scenery was breathtaking—majestic mountains, lush fields, and meandering rivers. It was clear that anyone who praised the desert's beauty had never laid eyes on the Cascades. Seeing grass and wildflowers growing without irrigation was practically a revelation.
When I was old enough, I moved to Washington state, immersing myself in nature every weekend. My adventures took me hiking through dense forests, camping by serene lakes, and occasionally taking mushrooms under peaceful waterfalls.
I joined several online forums dedicated to outdoor enthusiasts. One community that particularly fascinated me was the Northwest Tomb Raiders. This group of history buffs and thrill-seekers was dedicated to uncovering artifacts, whether Native American relics or treasures hidden in modern ruins. Many members were collectors, fencing their finds to museums and archaeologists, which made it a rather profitable side gig, should you be lucky enough.
In the fall of 2009, an intriguing post appeared on the forum. A user named Lokk claimed to have discovered a cache of artifacts with Scandinavian origins. He couldn't carry everything back due to the treacherous terrain and his age, so he shared the coordinates, hoping someone else could retrieve the items. I scrolled down to see a few posts of people planning to loot it in the Spring, when the paths have reopened. One user, Patagooner, planned on going as early as possible.
Excited by the prospect, I gathered my two friends, Carl and Noah, for the expedition. They weren't as enthusiastic about camping as I was, but after I told them how much a single arrowhead goes for on the black market, they were on board. It was the start of winter now, which had its advantages and disadvantages. On the plus side, the rangers would have a harder time spotting us. On the downside, the harsh conditions posed a serious challenge for two inexperienced hikers.
I must’ve blown about four grand at REI on gear for them, justifying it with the knowledge of how much more I would make with two extra packs. That is of course assuming there really were as many artifacts as Lokk had said, and Patagooner hadn’t beaten me there.
The journey began like any other. We met in the pre-dawn darkness and went over our supplies, ensuring we had everything we needed. By mid-morning, we were on our way, my pickup truck winding up the mountain paths. The roads of Olympic National Park were the epitome of the raw, untamed beauty of the Pacific Northwest.
They snake through ancient forests, where towering Douglas firs and Western hemlocks create a verdant canopy overhead. Mist clings to the trees, giving the landscape an ethereal quality. Occasionally, the forest would open up to reveal breathtaking vistas of snow-capped peaks and deep, shadowy valleys.
As we climbed higher, the landscape grew increasingly desolate. The dense forest thinned out, replaced by rugged terrain and jagged rock formations. The air grew colder, and the first flurries of snow began to fall, dusting the ground in a thin, white layer. The road became narrower and more treacherous, winding precariously along the edge of steep cliffs.
Finally, a road closure blockade signaled the end of our journey in the truck. We unloaded three dirt bikes—one mine, two rentals—and continued up the trail. The bikes roared to life, carrying us several more miles into the wilderness. The trail twisted and turned, cutting through dense underbrush and over fallen logs. The snow began to fall more heavily, blanketing the forest floor and muffling the sound of our engines. The world around us grew quieter, more isolated.
Eventually, the snow became too deep to traverse by bike. We dismounted and prepared to continue on foot. The silence of the forest was profound, broken only by the occasional rustle of branches in the wind. I checked my modern GPS, its screen displaying the coordinates and a relief map of our destination.
The cold air bit into our cheeks as we trudged through the snow-laden forest. The silence was almost oppressive, broken only by the crunch of our footsteps and the occasional call of distant wildlife. The GPS indicated we were close to our destination, but the dense underbrush and uneven terrain made progress slow.
Suddenly, Carl's excited whisper cut through the stillness. "Hey, look at that!"
He pointed to a small, furry creature ambling through the trees. It took a moment to realize what it was—a bear cub, innocently exploring its surroundings.
My heart sank. "Carl, get back," I hissed, my voice low but urgent. "Where there's a cub, there's a..."
Before I could finish, a massive shape exploded from the trees. The mother bear, easily three times the size of the cub, charged at Carl with a ferocity. She was a blur of dark fur and powerful muscles, her roar echoing through the forest.
"Run!" I yelled, but it was too late. The bear was upon Carl, swiping at him with her massive paws. He screamed as he fell to the ground, the bear towering over him. Desperation and adrenaline surged through me. I grabbed the nearest heavy branch and swung it at the bear, hoping to distract her.
Noah joined in, shouting and waving his arms. We had to be careful; one wrong move and she would turn on us. The bear snarled, turning her attention away from Carl for just a moment. It was enough for him to scramble backwards, clutching his bleeding arm.
"We have to get him out of here," I shouted to Noah, who nodded, fear etched on his face. The bear, still enraged, seemed torn between attacking us and protecting her cub.
Using the brief respite, we hauled Carl to his feet. His face was white, and he was clearly in shock. Blood soaked his sleeve, dripping onto the snow. "There's a ranger station about two miles from here," I said, my voice shaking. "We need to get him there. Now."
We half-carried, half-dragged Carl through the forest, every shadow and sound heightening our paranoia.
Finally, after what felt like forever, the small, wooden structure of the ranger station came into view. We had been avoiding the rangers to keep our expedition secret, but now it was our only hope.
Pounding on the door, I prayed for a quick response. The door creaked open, and a weathered face appeared. "What happened?" the ranger demanded, taking in the sight of Carl's bloodied form.
"Bear attack," I gasped. "We need help."
The ranger's expression shifted from suspicion to urgency. "Get him inside. We've got a first aid kit and a radio."
As we eased Carl onto a makeshift bed, the ranger inspected his wounds. "You're lucky," he said after a moment. "The cuts are deep, but they missed any major arteries. He'll need stitches, but we can handle that here. No need for an airlift."
The ranger's face darkened as he turned to me. "What the hell are you boys doing out here?”
I hesitated, "We... we were just exploring."
The ranger's eyes narrowed, his anger palpable. "Exploring? In a restricted area? In the middle of winter? Are you out of your minds?"
He worked quickly and efficiently, cleaning and stitching Carl's wounds. Carl winced but stayed silent, his eyes closed in pain.
"Do you have any idea how dangerous it is out here?" the ranger continued, his voice rising. "The storm, the wildlife... This area is off-limits for a reason! You should have known better." he said, pushing a finger into my chest.
"We'll stay here for the night," he continued, "The storm's getting worse, and it's too dangerous to move him now. We'll reassess in the morning. And count yourself lucky I don't arrest your asses."
Night fell quickly, the storm outside growing more ferocious with each passing minute. The howling wind battered the small ranger station, and the walls creaked under the pressure. We huddled in the main room, the tension thick in the air.
The ranger looked at us sternly. "I need to check the perimeter and make sure everything is secure. There are things out there you don’t want to encounter, especially in this storm."
"Things? What do you mean?" Noah asked, his voice barely above a whisper.
The ranger's expression hardened. "Just stay put. No matter what you see or hear, do not leave this cabin. Understood?"
We nodded, the seriousness in his tone leaving no room for argument. "We'll stay put," I said, trying to sound more confident than I felt.
The ranger grabbed his coat and shotgun. "I'll be back in an hour. Do not leave this cabin." With that, he opened the door and stepped into the raging storm, disappearing into the darkness.
As soon as the door closed, I turned to Noah. "We need to go. Now."
Noah's eyes widened. "Are you crazy? He said to stay put."
"If we wait until morning, we'll be escorted out of here and lose our chance. This might be our only opportunity to find those artifacts."
Noah hesitated with uncertainty "But... what about Carl?"
"He'll be fine here. The ranger can take care of him. We have to do this now."
Reluctantly, Noah nodded. "Alright. Let's take what we can and go."
We quickly looted extra gear from the cabin. I checked the GPS one last time before we slipped out into the storm, the cold wind battering us.
The snow fell heavily, obscuring our vision as we slogged through the forest. The ranger was nowhere in sight as we made our way towards the our destination, each step filled with trepidatious excitement.
The storm began to die down as we approached the coordinates. We stepped into a clearing where the undisturbed snow lay like a pristine white blanket. In the center stood an ancient, weathered stone altar, encircled by intricate wooden carvings, delicate metalwork, and beautifully crafted statues. The sight was breathtaking, a treasure trove, a veritable museum of paganism.
Noah and I exchanged glances, our eyes wide with amazement. "Do you see this?" I whispered, barely able to contain my excitement.
"We're going to be rich," Noah replied, his voice trembling with awe. "These must be worth a fortune!"
We approached cautiously, as if the vision before us might disappear. The craftsmanship was stunning. I reached out to touch a carved wooden idol, marveling at the detail. "This is incredible," I said, my voice barely audible.
We began to load our packs with as many artifacts as we could carry, each one more exquisite than the last. It was beyond our wildest dreams. We were so engrossed in our task that we didn't notice the small figure watching us from the ridge.
It wasn't until I turned to leave that I saw her. A young girl, maybe eight years old, stood there, her blue eyes wide with curiosity. She was dressed in simple, rustic clothing, her blonde straight hair blowing gently in the wind. For a moment, we just stared at each other.
"Noah," I whispered urgently, nudging him. "Look."
He turned, his eyes following my gaze. "What the...?" he muttered, his voice trailing off.
The girl took a tentative step forward, her eyes fixed on the items in our hands. There was no fear in her gaze, only a quiet intensity that made my skin crawl.
"Who are you?" I asked, trying to keep my voice steady.
She tilted her head slightly. "My name is Sigyn."
"What are you doing out here, Sigyn?" Noah asked, his voice shaky.
"I live here,"
"You live here?" I echoed, incredulous. "Is there anyone else around?"
"Yes," she whispered.
"Where?" Noah demanded, looking around nervously.
"Everywhere," she said with a giggle.
The way she said it, so matter-of-factly, bothered me deeply. Noah and I exchanged a look, both of us trying to figure out what to do next.
"We can't take her back to the ranger," Noah started, "We'll lose everything."
I nodded, my mind racing. "Sigyn," I said slowly, "we need to know who else is here. Can you help us?"
She looked at me with her piercing blue eyes, then said, "I'm sorry."
"For what?" Noah asked.
"For what's going to happen to you," she replied, her voice tinged with sadness.
"You need to tell us what's going on," Noah said, grabbing her arm roughly. "Why are you out here alone?"
She looked up at him, unperturbed. "I am not alone," she said softly.
Before we could press her further, a loud, guttural mooing sound echoed through the clearing. We turned towards the direction the girl had come from, and there, emerging from the shadows, was the silhouette of an elk. As it approached, my stomach dropped. Its body was a grotesque amalgamation of life and decay. Its skull was fully exposed, the eye sockets dark and empty. Large patches of its ribs were visible, the flesh around them rotted away.
The elk's movements were slow and deliberate, its head swaying as if in a trance. It walked directly towards us, its hollow eyes fixed on Sigyn. The closer it got, the more the stench of death filled the air—a nauseating mix of decay and earth. I fought the urge to retch.
Sigyn stood up, her expression calm. The monster sniffed her gently, its nostrils flaring. Without a word, she climbed onto its back, mounting it like a horse. It was a surreal and horrifying scene ripped straight from a nightmare.
As she settled onto the elk, she looked back at us, "A thief in the night shall reap what he sows," she said, her voice carrying an otherworldly echo. "Beware the price of stolen dreams."
With that, the beast turned and began to walk away, Sigyn riding it into the shadows of the forest. We stood there, frozen in place. The realization that we were in far over our heads began to sink in. This started to feel like a trap.
We need to get out of here," My voice trembling. "Now."
We turned to leave, our packs heavy with the pilfered goods. But as we took our first steps, the forest around us seemed to come alive. Shadows moved among the trees, and whispers floated on the wind. I quickened my pace, glancing nervously over my shoulder.
"Did you hear that?" Noah asked sharply,
"Just keep moving," I commanded.
A figure emerged from the shadows, blocking our path. It was a man, tall and gaunt, his eyes burning with an intense light. "Where do you think you're going?" he asked, his voice cold and menacing.
"We're leaving," I stammered. "We didn't mean any harm."
The man smirked, and with a swift motion, he raised his hand. More figures appeared, closing in on us from all sides. We were surrounded.
"Run!" I shouted, shoving Noah forward.
We sprinted through the forest, branches whipping at our faces and legs. The figures pursued us, their footsteps silent and relentless.
Noah stumbled and fell, his pack spilling open. Statues scattered across the ground, glinting in the moonlight. "Help!" he cried, scrambling to gather the items.
"Leave them!" I shouted, pulling him to his feet. "We have to keep moving!"
But it was too late, their hands seizing us. I struggled, kicking and thrashing, but their grips were too strong. They forced us to the ground, binding our hands with rough, coarse ropes.
"Please," I begged, "Don't hurt us."
The man who had first appeared stepped forward, his eyes gleaming with amusement. "A thief in the night," he mocked.
They dragged us through the forest, the trees closing in around us like a cage. We were at their mercy.
In the distance, I could see the elk standing at the edge of the clearing, Sigyn still astride its back. Her eyes met mine, and for a moment, I thought I saw a flicker of pity. But then they turned away, disappearing into the shadows once more.
We were dragged into the heart of the forest, our struggles futile against the unyielding grip of our captors. As we broke through the treeline, a massive bonfire came into view, its flames licking the night sky. Shadows danced around the clearing, cast by the flickering light. A woman stood at the forefront, her presence commanding.
Her eyes were milk white, devoid of pupils, and her long, flowing white hair cascaded down her back. She was completely naked, her skin pale and marked with intricate symbols. Atop her head, she wore an elk skull, its antlers extending like eerie, skeletal fingers. She beat a drum emblazoned with more of the same cryptic symbols, each thud resonating deep within my chest.
Around the fire, about two dozen people stood, all drinking from crude, horned cups. Their faces were solemn, eyes fixed on the woman as she led them in a haunting chant. The atmosphere was thick with a mix of reverence and intoxication.
We were forced to our knees before the woman, who paused her drumming to look down at us. Her gaze was haunting, as if she could see into the very depths of our souls.
"Who are you?" Noah demanded, his voice trembling.
The woman ignored him, raising her arms to the sky. The chanting grew louder, the rhythm of the drum faster and more frenzied. The air around us seemed to vibrate with energy, the flames of the bonfire growing higher and more intense.
I glanced at Noah, fear mirrored in his eyes. The woman began to speak, her voice low and melodic, but filled with power, in a language I couldn't understand. Suddenly, she stopped, lowering her arms. The chanting ceased, and an silence fell over the clearing. She looked directly at me, her white eyes unblinking.
En tjuv i natten skördar vad han sår, akta dig för drömmar som du stjäl och får.
Hans skratt bevakar lundens gömda stig, där skuggor sveper över skogens liv.
För varje stulet andetag och svek, måste en tjuv möta sitt smärtsamma ödelek.
Tricksterns vilja, vår ande här, så i hans nåd, våra liv bär.
I was terrified and confused. She started again, softer, in a way I could understand.
A thief in the night shall reap what he sows, beware the price of stolen dreams.
His laughter guards our hidden groves, where shadows cloak the forest's seams.
For every stolen breath and lie, a thief must meet his painful end.
The tricksters will, our spirits tie, so in his grace, our lives suspend.
The crowd surged forward, grabbing Noah first. He screamed, his terror echoing through the trees as they pulled him towards a makeshift altar beside the bonfire. The woman chanted louder, her voice rising in a hypnotic rhythm as they began their gruesome work.
They stripped him of his shirt and bound his arms to a wooden frame. I tried to move, to help him, but the grip on my shoulders tightened, pinning me to the ground.
The woman approached Noah, holding a knife with a blade that gleamed in the firelight. She started to slice into his back, her movements deliberate and unhurried. Noah's screams pierced the night as she methodically carved the shape of wings into his flesh.
Blood poured from the wounds, soaking the ground beneath him. The crowd's chant grew louder, almost drowning out his cries. I watched in horror as the woman reached into the incisions, breaking the ribs and pulling them outward, creating a parody of wings.
Noah's agony was unbearable to witness. His screams turned to whimpers, his body convulsing in pain. The woman didn't stop until the work was complete, his lungs exposed and hanging grotesquely from his back.
They lifted Noah's broken body and placed him over the fire. The smell of burning flesh filled the air, making me gag. His life ebbed away as the flames consumed him, the once vibrant light in his eyes fading to nothing.
The woman turned to me, her expression devoid of mercy. "You will meet the same fate," she said, "He demands it."
The smell of burning flesh and the sight of his broken body over the fire was seared into my mind. Despair settled over me as I closed my eyes.
A deafening blast shattered the night. My eyes flew open to see the shaman stumbling backward, a gaping wound in her chest. She collapsed to the ground, her white eyes staring lifelessly into the void.
The villagers turned in shock as another shot rang out, this time hitting one of the men holding me. I twisted free from their grasp and saw the park ranger standing at the edge of the clearing, a pump-action shotgun in his hands. He fired again, the sound echoing through the forest, before one of them tackled him to the ground.
"Run!" he shouted, his voice raw and desperate. "Get the hell out of here!"
I didn't need to be told twice. I sprinted into the darkness, the chaos of the clearing fading behind me. Branches whipped at my face, and the snow underfoot made every step a struggle. I could hear the sounds of fighting and gunshots, but I forced myself to keep moving.
The cold air burned in my lungs, but adrenaline pushed me forward. I didn't stop until I reached the station, my legs threatening to give out from under me. I burst through the door and slammed it behind me.
Inside, Carl lay where we had left him, his face pale and twisted in pain. I stumbled to the radio, my hands trembling as I fumbled with the controls.
"Mayday, mayday!" I yelled into the microphone. "This is an emergency! We need help! Please, someone, come quickly!"
Static filled the room, punctuated by my ragged breaths. I repeated the call, my voice growing more frantic with each passing second. Finally, a voice crackled through the speaker. "This is Ranger Station Bravo. What's your location? Over."
I could barely form the words. "Olympic National Park! The ranger station near mount Christie! We're under attack! Please, send help!"
"Copy that. Help is on the way. Stay put and stay safe. Over."
I collapsed to the floor, my body trembling with exhaustion and fear. Carl moaned softly, his eyes fluttering open. "What… What happened? Where's Noah?”
Tears streamed down my face and I found myself choked up. “He’s gone, man. Help is coming.”
The minutes stretched into an eternity as we waited. The wind howled around the station, and every creak and groan of the structure set my nerves on edge. I couldn't shake the feeling that we were being watched, that the forest itself was closing in on us.
The radio crackled again, this time with a different voice. "Helicopter en route, ETA fifteen minutes. Prepare for extraction."
I glanced at Carl, his eyes filled with confusion. "Hang on. We're getting out of here."
As the minutes ticked by, I couldn't help but think about the ranger. He had saved my life, but he hadn't made it back. My mind conjured up images of what might have happened to him, the cultists overwhelming him in the darkness. A sense of guilt gnawed at me, knowing he had sacrificed himself for us.
The sound of rotors cut through the night, growing louder as the helicopter approached. I ran to the window and saw its searchlight piercing the treetops, scanning for the station.
I helped Carl to his feet, supporting his weight as we made our way to the hatch. The helicopter hovered above, lowering a rescue basket. The wind from the rotors whipped the snow into a frenzy, but I didn't care. Salvation was finally here.
We secured Carl in the basket first, and I watched as he was hoisted up, disappearing into the safety of the helicopter. My turn was next. I realized that I was now alone and exposed. Fear coursing through me as I scanned around the edge of the forest, expecting to be grabbed and taken seconds before my rescue. But the moment never came. As I gripped the rope, I took one last look at the forest below. The flames of the bonfire still flickered in the distance.
I was lifted into the air, the ground falling away beneath me. The helicopter's crew pulled me inside, and I collapsed onto the floor still holding onto my pack, my body finally giving in to exhaustion. The doors closed, and the helicopter banked away, leaving the horrors of the park behind.
Weeks had passed since the harrowing events, but the memories clung to me like the bitter cold. I had returned to civilization, seeking solace in the familiar chaos of the city. I found a wealthy collector through a network of contacts. The artifacts fetched a price tenfold the cost of gear. The money was substantial, but as I held the cash, it felt like a hollow victory.
Noah's absence weighed heavily on me. His disappearance was chalked up as a missing persons case, and despite my best efforts to explain what had happened, no one believed me. The authorities conducted a search of the area, but they found no trace of the cult, the artifacts, or the clearing. It was as if the forest had swallowed up all the evidence.
I returned to the site where we had parked the truck. The dirt bikes were gone, stolen by opportunistic thieves, but the truck remained. I drove back in silence, the road winding through the dense forest. For a moment, I thought I saw the girl watching me from atop a ridge until I realized it was just paranoia. I stepped on the gas a little harder.
Back home, I checked the Tomb Raiders forum again. The post that had led us into the forest was gone, deleted without a trace. I messaged the mods, but apparently, they don’t keep records to maintain confidentiality. I wrote about our experience, detailing every terrifying moment, but the responses were skeptical at best. Most dismissed it as a work of fiction or a desperate cry for attention.
Time passed, and I tried to return to a semblance of normalcy. Yet, the wilderness called to me stronger than ever. It was my sanctuary, the only place where I could find peace amidst the turmoil. I spent more and more time outdoors than ever before, but now it always felt like I was just running from something.
Determined to prove what had happened, I returned to the forest with a camera and recording equipment. This time, I documented every step, capturing footage of the trees, the snow, and the eerie silence that hung in the air. I retraced our path, hoping to find the clearing again. But each night, as I reviewed the footage, something strange would happen. The files would be corrupted or entire segments missing.
I pressed on. I found the site where Noah had fallen, the ground still bearing faint traces of what had happened. I set up the camera and began to speak, recounting the events in detail. As I spoke, a cold wind swept through the clearing, and the camera's screen flickered. I finished my account and turned to check the recording, only to find the file corrupted once again, the footage replaced by static and a faint, mocking laughter.
I returned home, defeated and exhausted. My attempts to share what I had experienced were met with disbelief and ridicule. The files I managed to save were corrupted beyond recognition. It was as if the forest itself was conspiring against me.
Almost exactly one year later, as I browsed the forums, a new post caught my eye. It was cryptic, eerily similar to the one that had led us into the nightmare. It spoke of another trove of artifacts, hidden deep within the wilderness, waiting to be claimed.
The post was signed with a new name: Skygge. Different handle, same style. Another trap. They had taken so much from me, left scars that would never heal. I opened my drawer, my fingers brushing over the cold metal of my weapons. This was the moment I had been waiting for. This time, I'll be ready.
The forest’s secrets won't remain hidden forever.

[First] [Previous] [Next]
I was at a disadvantage before, looking around in unknown territory, but here? This is my house. My country. My library! I have walked around these halls so many times that I have a pretty good mental map of where everything is. Considering the most requested academic tomes are under the protection of the Librarian, I go investigate the shelves on the first floor, where you find mostly reference books.

All this confidence I managed to build up disappears the instant I notice there’s a group of students in the lodges to the side of the hall, just minding their own business. My throat dries up, my knees shake a little bit.

Saints damn it, why aren’t you all on vacation!?

And they are sitting right on my way, between me and the shelves. I am sure the symbol has to be on the shelves…

“Time to turn tail and run, like always.”

“You can do it. Take a deep breath, look straight onwards and walk!”

Taking her advice, I do my best to not look at ANYTHING and just go straight as an ant to the shelves.

“Wait. What if any of them say hi? Oh no. Uhm. Take a quick look! But make it super, super quick!”

Damn it.

My eyes slowly turn to the left as I am walking. Are they looking at me? Did they look at me? WILL they look at me? They don’t seem to even notice me. Should I call for their attention? Should I say hi? I don’t even know them, that would be weird. But what if I do know them and I just don’t remember? There’s lots of law students around, maybe they are law students? I can’t see their books from this distance, maybe I need glasses. Would glasses make me look unassuming? I wish people didn’t look at me…

Eventually I reach the shelves without exchanging a single word with these people. I really, really hope I didn’t look like a nervous wreck while walking by, but I guess there isn’t much I can do about that now, can I? Ugh, I can barely focus as I start looking on the shelf itself, trying to find anything out of the ordinary…

“You’re nervous when there’s a lot of people, and you’re nervous when there’s few people. What will it take for you to be happy about something, huh!? Tiresome bitch…”

I sigh loudly. I left my S.O.S. at home, so I can’t really get rid of these voices tonight… I’ll have to brave them.

“It will be a hard time… but you can do it.”

Taking a deep breath, I continue trying to focus on finding that damn ‘golden symbol’ around the shelves, even taking out a few suspiciously out of place books, just to check if the symbol could be carved on the back of the shelf or something…

Nothing.

I spend a good long hour checking each shelf on the first floor as methodically as my body allows… before I know it, I have given up on everything and am sitting on a bean couch at the main hall, letting my eyes close slowly…

… When I open them again, I practically jump out of my chair.

Did I just fall asleep!?

“Oh boy.”

I pick up my phone to check… It's 2 in the morning.

“Oh boy! Who could have guessed things would go wrong, huh?”

I can still feel the sleepiness in my limbs, my eyelids feel so heavy. Saints, help your poor servant!

The lights feel so vibrant here, so annoying and white. I can practically hear them buzz… but then, I notice something else. The smell of decent coffee, recently brewed. I look around, quickly finding the librarian at her desk, serving cups of coffee to the group I saw… I think of going over and taking one but that would probably imply conversation. And I am not ready for conversation! I—

“Oi! You finally woke up!” The librarian catches me instantly with a knowing smirk. “Want a cuppa?”

I freeze. For a moment I think: ‘hey, let’s pretend I didn’t hear her!’, but I don’t have my headphones on and I made eye contact. I am trapped, TRAPPED.

“M-Mhm.” I manage to whimper, nodding my head quickly.

“Then come over, don’t be shy. We’re all night owls here.”

There is a sense of community there that’s quite alluring, but the curious looks of that group of students really feel like cold daggers on my chest. Still, I gather all my courage and robotically walk over to the group, taking a styrofoam cup, and then watching the woman fill it up slowly with coffee as black as my soul. Just like I like it… just with a hint of sugar, though.

“So you finally came around again. I was wondering what happened to you.” The old lady looked at me, knowingly.

“You… you recognize me?” I can’t help but feel a mixture of happiness and abject horror mounting on my back.

“My child, I recognize every single person who comes to my library! I know them all, believe it or not! Including these rascals over here.”

The others laughed. I just looked at my coffee while mixing a teaspoon of sugar in it. She’s probably joking, right? I mean… there’s no way she actually memorizes every visitor, right?

“Maybe she’s a witch.”

Knowing what I know now? I wouldn’t be surprised. I just take a sip of my coffee.

“You’re not here to study for the special tests, are you?” The lady again read me like a saints’ damned book. “You’re looking for something special.”

“It’s nothing that ominous.” I quickly cover. “I am just looking for a particular book, but I am not sure where I could find it in the library.”

“Why not ask for help? I am right here, precisely for that!” The Librarian puffed up her chest. “If I don’t get anything to do, I get bored.”

“Ah, well, you see…” I start getting nervous again. I can’t just tell her the truth! What if I slip and this woman turns out to be a cloak testing me? Or worse, a sleeper! I am quite sure the whole ‘Secret of magic’ is a very serious matter! I could get her and myself in a big pickle!

The woman seems to notice my distress… and instead of trying to reassure me, the damn crone just goes and says:

“Is it poooorn you’re after, boy?~”

Saints help me.

The others are laughing and looking at me all smiley, why!? Why must this lady put me in a situation like this!?

“T-There’s the internet for stuff like that!” I blurt without thinking. “I mean! Ah! Damn it!”

More laughs. At this point my face must be lighting up red and radiating hotter than active uranium.

“I. Can’t. It’s a symbol!”

“A symbol?” One of the other students tilted his head with curiosity. “What kind of symbol? Are we talking chemical or arcane?”

“Nerd spotted. You’re among comrades here, breathe easy.”

It’s hard to breathe easy when people are actively laughing at me, saints damn it!

“It… symbolizes gold.” I finally relented. “I am not sure which one of the many, many interpretations it could be. I thought of the alchemical symbol for gold, or a Sun, who knows…”

“That’s a little vague.” The student said, frowning a little bit and rubbing the back of his neck. “The symbol is in the book? Like, on the cover?”

What am I even supposed to answer to that!?

“I. Think?”

“Well.” The Librarian recovers the reigns of the conversation with a grin. “If that thing you are looking for isn’t here? It may be a literature tome. You know, on the second floor.”

“Y-Yeah…” I sigh. This whole conversation has just been so stressful.

“Well! It could be the Golden Ratio!” One of the girls says. “You know the Golden Ratio?”

“Isn’t that the whole shell inside a rectangle thing?” I blink.

“Yeah! They use the helenian letter ‘phi’ to represent it.”

The girl is nice enough to draw it for me…

Phi
I stare at the symbol on the paper for a moment. That’s… actually useful. And it does make sense! It could be this! Suddenly inspired, I stand right up and finish what’s left from my coffee in one gulp, not even caring that it burns my damn throat as I do so.

“Okay, this works. Thank you!” Without even feeling the anxiety attack me again, I bow my head and turn around to go right for the stairs!


When Tav had turned around and moved out, the Leader of the Coven looked at her young apprentice with a frown, shaking her finger slowly at the girl.

“You shouldn’t be so obvious with your hints, young girl.” The woman shook her head softly. “We could have had fun with her for at least another hour!”

“I didn’t feel like being cruel today.” The apprentice said with a sleepy grin, while some of the others ruffled her hair and called her a ‘softie’. “The Bastard needs a way to learn! And it would be sad to see the Overseer waiting for another night…”


I rush past the empty reception desk on the second floor, joging without even caring about the ‘No Running’ rule as I go head first into the wooden shelves of the literature section. And it doesn’t even take me that many attempts to finally see something: a symbol carved on the wooden side of one of the shelves.

Phi. Lower case. Small enough to not be disruptive, but big enough to be noticeable.

My eyes widen, and I immediately approach the symbol with awe invading my body. I don’t even dare to touch it at first, that’s how big my excitement is! Whatever does this mean!? Is this whole building the Elysium? Or just the second floor? Isn’t this place way too public for what they mean to do?

Finally giving up on trying to be cautious, I just touch the symbol. For a moment nothing happens, and I feel the panic starting to take over again.

“Trust the process, maybe it takes a moment!”

I keep my finger pressed on the carved symbol for a moment, taking slow, deep breaths as I try to keep myself from going into a saints damned anxiety attack. But then, something does happen. Octarine, that strange colour, starts filtering from my very veins and into the symbol, filling in the carving before flowing on the air like a river of vibrant purple-green. It advances in front of my eyes, dancing and spiraling before flowing deeper into the library.

“What…?”

“What are you waiting for!?”

“Follow it!”

I don’t have to tell myself twice! My legs don’t have the energy to keep running, but the colour is not flowing super fast, so I can just walk behind it until it reaches an empty wall on the deepest side of the second floor. I put my hand against it and push slightly, this time trying to cause the flow myself! My excitement knows no bounds when the colours flow from my forearm to my palm, and then spread on the wall like vines growing in all directions.

“Idiot! What if someone can see you!?”

Biting my lower lip, I quickly turn around. No one followed me, good! I can focus again on the wall, or in this case the lack of it: where there was a wall now there’s an entrance, a black hole just waiting for me to jump in. With a sigh, I decide to ignore my anxieties and just go into the darkness, being quickly surrounded by it as the wall quickly appears again behind me.

It takes a moment for my eyes to get used to the room, but when they do the way is clear: a spiral stairway going up.

“More stairs… why do people here love their stairs!?”

With a frustrated grumble, I take a step on the stairs, only for them to start moving on their own. Huh. Now that’s convenient! I just let them take me higher and higher, without even questioning how they move without mechanisms or electricity. Magic is just Like That™.

It doesn’t take long until the light hits me: a faint, gentle blue light, like a beautiful night sky. My observation proves right on the money, for what I find on top of the stairway is a tremendous planetarium: a dome of darkness with distant white lights showing the spectacle of the stars right above us.

There are some tables and chairs around, some bookshelves too… and sitting on one of them, was the specter of someone I know. The figure of a certain book vendor.

Miss Pelafina gently brushed some of her dyed black hair behind her ear to look at me with a mocking grin.

“Took you long enough, didn’t it? Kid.”

I just finished Medium and I must say the pull of the story was excellent. As soon as the scene with Jack occurred, I was all in. I needed to know where the story went. The pacing, atmosphere, sound (play with headphones as recommended), and unique concept (two dimensions at once) were delivered in an excellent manner.

I enjoyed checking every item and reading every file. The mysteries became very intriguing and kept me enthralled. Sadness was a very interesting character and trying to find her name so you could set her free was a very strong plot point. The Maw's delivery was excellent. Voiced by Troy Baker, it always felt disturbing and one of the only enemies that made me feel anxious as I ran from it. You really couldn't make any mistakes to get away as it truly, desperately wanted to catch you. The mysteries of what it was and where it came from also pulled me in.

I was a little confused about Thomas's office in Niwa but then I noticed the circle of salt around his desk. That combined with his memory stating something was coming tells me that he survived the Maw attack by surrounding himself in salt I'm a hurry (broken salt container in his desk). Some time later it seems he called Marianne and went into the spirit world using the symbols in the secret room (Marianne said those symbols felt like a curtain blowing in the wind). It makes sense given Thomas decided he was going to find his other half after setting Marianne's arrival in motion. It also makes sense on why he was nowhere to be found. The after credits proves it was the real Thomas in the spirit world as he was holding the watch his wife gave him on their 10 year anniversary. Again I love the details.

Now for the small problems I have with the story. The third act just kind've threw in some new plot device without much set up. Henry literally came out of nowhere but was central to everything that happened. This as opposed to Richard who was set up for some time before the big reveal. Even going back as seeing the memory of the nurse killing him makes sense once you learn where the Maw came from. The Maw's first victim was the man who helped create it. But Henry just showed up, attacked Thomas, set fire to the house, trapped spirit Thomas, then died. His short encounter was near impossible to predict and just as easily disappeared leaving us dealing with the damage dealt. Henry's involvement just felt rushed compared to everything else. There's so many unexplained parts of his involvement.

I get that he doing Thomas by noticing the article of Richard's vegetative state. His motivation seems to be that he's a dedicated government agent and just loves his job?

Why did he want Thomas to show his power rather then just arresting him?

How did Henry lay that trap for spirit Thomas without knowing what Thomas could actually do?

How did spirit Thomas even survive? I'm guessing real Thomas killed Henry before the beast could finish spirit Thomas but also left him trapped in Henry's mind.

Then there's Lillianne. Where was she living this entire time? How did she survive? Was she just checking the lake every day for years? She had some very distinct bandages on her legs and arms. Seems like a detail that should have an explanation.

Was Sadness just a manifestation of Lily, like the Maw? Is she like the child inside your mind that if Marianne sent away, would've put Lily in a vegetative state? Why was she missing an arm? I think trying to discover her death was a draw of the early game just to find out she's just a red herring there to motivate Marianne into finding the truth. I particularly liked the part where you're following the blinking lights as Sadness' only was to tell you where to go. It felt very supernatural and ghostly which helped set the tone. It put a damper later when you find out her role in all this.

As you can see most of my questions are elements introduced in the third act. The ending although faded to black didn't leave many options. Marianne killing herself would solve nothing. Killing Lily and sending away the May is the only solution. Some claim Thomas might've showed up and killed Lily to fulfill the dream, but he's not even in their realm. Since Marianne is no idiot, she either killed Lily or didn't shoot anyone. If she didn't kill Lily then maybe she thought of another way to get rid of the Maw. But obviously we have no idea so it's have to assume Lily is dead and now Thomas continues his search for his spirit half who may now have died protecting Marianne. Great story that could've been a masterpiece. Still a great game overall.

"Behold, He is coming with the clouds, and every eye will see Him, even those who pierced Him; and all the knees of the earth will weep for Him. Yes, indeed."
Rev. 1:7
Here in this verse, John gives us a brief insight into the events that follow and are described in the Revelation. In the following chapters, the events are described in detail and the coming of the Lord Jesus Christ will be in two parts. First, he will come in the clouds and take the church and that can happen. every moment and the second coming is on earth with the Church. The first part is also described as a secret because it was revealed to Paul but not before and the apostle Paul writes about it:
,, Here I am telling you a secret: because we will not all die, but we will all be transformed... Once, in the twinkling of an eye at the last trumpet; for the trumpet will sound and the dead will rise incorruptible, and we will be changed."
1 Cor. 15:51-52
And this event refers to the coming of Jesus to earth with the Church, and the believers of the Third Testament also had information about it, and it was not a secret, and this event will be at the end of the great tribulation that will last seven years.
"Behold, He is coming with the clouds, and every eye will see Him" ​​we mentioned a little while ago that the believers of the Third Testament also knew about this because they had information from the prophet Malachi who wrote:
"For, behold, a day is coming that burns like an oven, and all will be proud, and all who work wickedly will be stubble, and the day that is coming will burn them up, says the Lord of hosts, and will leave them neither root nor branch."
Mal. 4:1
and this was also confirmed by Jude in verse 14.
"Look, the Lord is coming with thousands of his holy angels"
Jude 1:14
Here we can notice that Malachi and Judas used the warning words "behold it is coming" and for them this was the future and they practically warned the listeners to pay attention to this event and John says "here it is coming" which is another proof that Jovan saw these events in real time, for him it is the present, he sees it now and not as some future event.
This event is something that will happen in the future and the Bible clearly describes it, however, a large number of people doubt or do not believe that this will happen. And it is not strange, although they have a lot of evidence, the Bible foretold this in advance:
"And know this first, that in the last days scoffers will come who will live according to their own desires, And say: Where is the promise of his coming?"
2 Peter 3:3-4
Regardless of the fact that someone does not believe what the Bible warns in advance, this event will be real and many will not like it, but God does not change his plans and what he prophesied in the first book of Moses will soon be fulfilled, as well as other prophecies written in the Old and New vow.
"The ruler's rod will not be separated from Judah nor from his feet the one who sets the law, until the One to whom it belongs comes, and the nations will obey Him."
Gen.49:10
So from the tribe of Judah will come someone who is called "The One" and that someone is the Lord Jesus Christ and he will be the ruler and the nations will obey him and he will rule throughout eternity.
"Look to me, and I will give you nations as your inheritance, and the ends of the earth as your kingdom."
Psalm 2:8
"And His feet will stand in that day on the Mount of Olives, which is towards Jerusalem from the east, and the Mount of Olives will split in the middle to the east and to the west, so that it will be very large, and half of the mountain will give way to the north and half to the South. And you will flee into the valley of the mountains, because the valley of the mountains will reach Asal, and you will flee as you fled from the ruins in the time of Uzziah, king of Judah; and the Lord my God will come, and all the saints will be with you. And in that day light and darkness shall not be seen; But there will be one day, which is known to the Lord, it will not be day and night, because there will be light in the evening. And on that day, living water will flow from Jerusalem, half to the eastern sea and half to the western sea, and it will be both summer and in winter. And the Lord will be king over all the earth, in that day the Lord will be one and His name will be one. And the whole earth will be turned into a plain from Gibeah to Rimmon on the south of Jerusalem, which will be raised and settled in its place from the gate of Benjamin to the place where the first door is, to the door at the corner, and from Ananeil's tower to the emperor's father-in-law. And they shall continue in it, and there shall be no more curse, and Jerusalem shall stand without fear."
Zechariah 14:4-11
We have seen that Jesus is surely coming, but in this age of grace there is an intention or a plan for non-Jews as well, and that plan is to build the Church of Jesus made up of saved people in the time after the cross, including our time.
,,Simon said that God first visited and received a people from the Gentiles to his name. And with this are struck the words of the prophet, as it is written: Then I will return, and I will build the house of David, which has fallen, and I will repair its ruins, and I will raise it up, So that the rest of the people and all the nations in which my name is mentioned will seek the Lord , says the Lord who creates all these."
Acts 15:14-17
The Church is the building of all nations in the New Testament time, and the Church should be built first, and then comes the kingdom.
"And do not make any differences between us and them, having cleansed their hearts with faith. Now then, why do you tempt God and want to put a yoke on the disciples' necks, which neither our fathers nor we could bear? Rather, we believe that we will be saved by the grace of the Lord Jesus Christ, just like them."
Acts 15:9-11
"Then I will return, and I will build the house of David."
Acts 15:16
And when that happens, Jesus will reign over all nations, but before that, Armageddon will be the last great battle where many will die in the fight against God.
"I will gather all the nations, and bring them down to the valley of Jehoshaphat, and there I will judge with them for my people and for my inheritance, Israel, whom they scattered among the nations and divided my land;"
Joel 3:2
"Proclaim this to the nations, declare war, raise up heroes, let all the soldiers come and go." Break your plowshares into swords, and your sickles into spears; let him who is weak say: I am a hero."
Joel 3:9-10
,,...for I will sit there to judge all the nations around."
Joel 3:12
And after the terrible battle:
"And the Savior will come to Zion and to those of Jacob who turn from their sins, says the Lord. And this will be my covenant with them, says the Lord: My Spirit, which is in you, and my words, which I have put in your mouth , will not depart from your mouth, nor from the mouth of your seed, nor from the mouth of the seed of your seed, says the Lord, forever and ever"
Isa.59:20-21
,,Behold, the days are coming, says the Lord, in which I will raise up for David a righteous Seed, which will reign and be happy and do judgment and justice on earth. In His days, Judah will be saved, and Israel will dwell in peace, and this is his the name by which he will be called: Lord our justice."
Jer. 23:5-6
This has not happened yet, but it will happen soon to fulfill the prophecies, and when Jesus came the first time, they did not accept him and did not believe him, even the high priest asked him:
,, And the chief priest answered and said to Him: I adjure you by the living God to tell us if you are the Christ, the son of God? Jesus said to him: You said. But I say to you: you will see the Son of Man sitting at the right hand of power and riding on the clouds of heaven. Then the chief priest tore his clothes, saying: Blaspheme God; what do we need more witnesses? Now you can hear his blasphemy. What do you think? And they answered and said: He deserved death."
Mtt. 26:63-66
And then they concluded that He deserved death, but they were mistaken, they could not kill Him. He is alive and will return again in glory as it is written in the verses of the prophets and apostles.
"There it goes with the clouds" is something that will be and through the Bible the cloud is a symbol of God's glory and presence and the Jews knew this because the "cloud" led them through the desert:
"And the Lord went before them by day in a pillar of cloud, leading them on the way, and by night in a pillar of fire, giving them light, so that they could travel day and night."
Exod.13:21
and also filled the tent of meeting with the glory of God.
"Then the cloud covered the tent of meeting, and the tabernacle of the Lord's glory was filled."
Exod. 40:34
Danilo saw this "cloud"
"I saw in the visions of the night, and behold, one like the Son of Man came with the clouds of heaven, and came to the old man and stood before Him"
Daniel 7:13
On the Mount of Transfiguration one could see:
"While he was still speaking, behold, a bright cloud overshadowed them; and behold, a voice from the cloud, saying: This is my beloved Son, in whom I am well pleased; Listen to him."
Matt. 17:5
and also at the ascension on the Mount of Olives:
"And having said this, they saw where a cloud lifted up and carried Him away from their eyes."
Acts. 1:9
The return will be similar, "clouds" are mentioned, but these are not ordinary clouds that we can see every day in the sky, these are clouds of glory.
"And then the sign of the Son of Man will appear in heaven; and then all the tribes of the earth will weep; and they will see the Son of Man riding on the clouds of heaven with power and great glory."
Matt. 24:30
"and every eye will see Him" ​​at that time the light of the Lord's glory will be even more pronounced because the sun and the moon will lose their light:
"And I saw when he opened the sixth seal, and behold, the earth shook very much, and the sun became black as sackcloth, and the moon became like blood"
Rev. 6:12
and then the glory of the Lord will shine so brightly that everyone will see and everyone will know what it is about, that's why many unbelievers will try to hide in caves and holes to avoid the Cross of Jesus Christ
"And he said to the mountains and rocks: Fall on us, and hide us from the face of Him who sits on the throne, and from the wrath of the Lamb."
Rev. 6:16
Throughout history, God appeared in a "cloud" and the glory of the cloud is the light and the glory of God, and it is such a strong light that it is blinding, and man cannot look into it and see God in fullness and remain alive, it is God himself said to Moses:
"But you will not be able to see my face, because a man cannot see me and remain alive."
Exod. 33:20
Therefore, no one can see God and stay alive, the only thing he can see is a ray of God's glory in the form of light, but practically he can't look at it either, but only see it for a moment because neither Ezekiel nor Paul wrote, "I looked" someone,, saw " so they saw it briefly.
"And I saw, and behold, a mighty wind came from the north, and a great cloud and a burning fire, and around it a light, and in the midst of the fire like a bright light;"
Ezekiel 1:4
"And behold, the glory of the God of Israel came from the east, and its voice was like the voice of great water, and the earth trembled from His glory."
Ezekiel 43:2
Paul saw that light while he was still Saul in the middle of the day and here is the description after which he fell to the ground and became blind:
"And when I was going and got close to Damascus, it happened to me around noon that a great light suddenly shone on me from the sky."
Acts 22:13
"At noon, king, I saw on the way from the sky a light greater than the brightness of the sun, which illuminated me and those who were going with me.
Acts 26:13
"And when I became blind from the strong light of it, those who were with me led me by the hand, and I came to Damascus."
Acts 22:11
"and those who pierced Him" ​​Jesus was pierced by Roman soldiers, but they are not meant here because these are events that are yet to happen, and Roman soldiers pierced Jesus almost 2000 years ago, here we mean the generation of Jews who will live in that time. For them it says:
"And I will pour out on the house of David and on the inhabitants of Jerusalem the spirit of mercy and prayers, and they will look at me whom they pierced; and they will weep for him as for an only child, and they will sue for him as for the firstborn."
Zechariah 12:10
"They will look at Him whom they pierced."
John 19:37
This is written because the Jews were responsible for Jesus' death even though the Romans carried out the crucifixion.
"People of Israel! Listen to these words: Jesus of Nazareth, a man confirmed by God among you by the powers and miracles and signs that God did through him among you, as you yourselves know, having received him delivered by the specific counsel and providence of God, you nailed and killed him through the hands of the lawless;
Acts 2:22-23
"And you renounced the Saint and the Righteous, and begged the executioner to give you gifts; And you killed the Prince of life, whom God raised from the dead, of which we are witnesses."
Acts 3:14-15
"and all the knees of the earth will weep for Him" ​​We have reached the last part where we can see that at the coming of the Lord Jesus, people will cry and it will not be from happiness that Jesus is coming but from despair and fear of the wrath of the Lord Jesus Christ.
,, And then the sign of the Son of Man will appear in heaven; and then all the tribes of the earth will weep; and they will see the Son of Man riding on the clouds of heaven with power and great glory"
Matt. 24:30
And he said to the mountains and rocks: Fall on us, and hide us from the face of Him who sits on the throne, and from the wrath of the Lamb. For the great day of His wrath is coming, and who can remain?"
Rev. 6:16-17
In the next verse we see that they did not repent of their sins:
"Neither did they repent of their murders, nor of their witchcraft, nor of their fornication, nor of their thefts."
Rev. 9:21
"Yes, indeed." John wrote this, but the Holy Spirit practically confirms what was described in the previous part of the verse. John seems to say, "Let it be as you planned and said because it is your will, I fully agree"
"Yes, indeed."

Preface: This is for Vedic, Sidereal Astrology.
This took a super long time to finish, but I've finally reached a point where I think I'm done trying to improve it. This part will focus more on how Purva Bhadrapada manifests for individuals.
Nature
Purva Bhadrapada reminds me a lot of Kali Yuga. In Hindu cosmology, Kali is the final of the four ages that the world goes through as part of a continuous cycle of creation, maintenance, and dissolution. It is the final stage before the onset of a new cycle, promising the destruction of the old order and the eventual merging of all into a unified whole. It signifies a time of dual balance before dissolution of individual identities and the reunification of all existence with the divine source. This can be viewed as being similar to the process of individual death, but it is on a universal scale. Kali Yuga is considered the age of darkness and moral decline, where spiritual values deteriorate and materialism prevails. According to Hindu scriptures, Kali Yuga is characterized by widespread social, political, and moral corruption, as well as a decline in virtue and Dharma (righteousness). It is believed that, during this age, human beings face numerous challenges and spiritual tests, and the pursuit of higher consciousness becomes increasingly more difficult compared to the previous Yugas. Just as Kali Yuga tests individuals with challenges to their spiritual resolve amidst the prevailing degeneration of values, Purva Bhadrapada is a cosmic stage where one's truest nature is tested through the weakening separation of the spiritual and the material. Here, individuals are made to confront their deepest fears and desires, burdened with the challenge of facing their true nature and purifying their souls. The emphasis of this nakshatra lies in releasing attachments amidst the seduction of outer freedom and power, mirroring the spiritual trials inherent to Kali Yuga. Yet, despite challenges of degeneration, there exists a unique opportunity during the stages of both Kali and Purva Bhadrapada. Kali is believed to be the best time for spiritual progress and true liberation because individuals can attain spiritual growth more rapidly due to the intensity of the challenges they face during this period, and the same is true of Purva Bhadrapada nakshatra. Both Kali and Purva Bhadrapada emphasize the importance of transcending mundane concerns and dedicatedly seeking spiritual truth amidst the backdrop of pervading ignorance.
The primary nature of Purva Bhadrapada is that of penance and disequilibrium. Purva Bhadrapada is the stage of evolution where individuals are made to undergo intense internal transformation and dissolution, shedding layers of their being in preparation for spiritual renewal and divine return. This process of metamorphosis can be seen as a type of penance, whether embraced willingly or thrust upon them. It offers eventual rewards as they journey towards enlightenment. As the primary nature of Purva Bhadrapada revolves around penance and transformation, individuals heavily influenced by this Nakshatra are oriented towards personal introspection and societal purification, viewing their lives as both a personal quest for growth and an opportunity to contribute to something greater. Individually, they seek to cleanse themselves of past transgressions and strive for spiritual redemption, and they feel personally responsible for their impact on others. At a broader societal level, they are driven by a strong sense of justice and a duty to rectify societal wrongs of the past and present in order to contribute to the collective upliftment and purification of their community. As such, they often subject themselves and others to extreme physical, mental, and spiritual challenges. They are presented with a kind of spiritual trial of sacrifice: either they can willingly embrace self-denial and endure while remaining detached, or they can create so much desire and fear that it causes them to lose the direction of their souls in the process. While the primary manifestation of Purva Bhadrapada energy is inwardly focused on cultivating self-discipline and perfection, oftentimes to an unhealthy degree, sometimes the focus can instead shift outward. This is where Purva Bhadrapada gains a lot of its infamy; Purva Bhadrapada is revered as one of the most "difficult" and "intense" nakshatras among Vedic astrologers. It is an asterism that gets approached with trepidation due to its somber imagery and associations with themes of violence, debauchery, and malevolence. The negative traits linked to Purva Bhadrapada, such as paranoia, pessimism, and hedonism, contribute to its daunting reputation. And for the most part, the fear of this nakshatra is justified. Not only are these individuals capable of doling out punishment themselves through various means like violence, manipulation, curses, etc., but they can also inadvertently bring out the self-destructive or uncontrolled nature of others. They are the types to cause deep introspection and confrontation with one's own shortcomings and fears, often acting as catalysts for irreversible transformation of character.
In terms of Purva Bhadrapada's inherently unbalanced nature, the trajectory is quite clear. These natives are not the type to do anything in moderation and often have an unstable demeanor and sense of self. They will always be pulled towards the polar extremes of anything, but they can flip on their values rapidly following any transformative event. They may occupy the deepest levels of material saturation, completely lost in chasing fame, drugs, sex, and uncontained immoral activities. Yet, paradoxically, they can also find themselves drawn to the heights of spiritual austerity, sometimes even at the same time they are trying to maximize their material standing. This innate propensity for extremes and contradiction manifests in every aspect of their lives, from their relationships, to their goals, to their beliefs, and to their actions. They are esteemed for their amiable disposition, characterized by warmth, thoughtfulness, and a selfless inclination to assist others without seeking acknowledgment. Yet, concurrently, they are often perceived as self-serving, prone to bouts of ill temper, and housing a proclivity towards ego-centricity. Despite appearing outwardly normal a lot of the time, they can be very eccentric. They are the types to lead clandestine lives, harboring secrets and maintaining hidden facets of their personalities and activities, even to those closest to them. This can make them seem nefarious and untrustworthy. Sometimes this is the case, but despite having a reputation for deceit, many of them are known to be sincere and honorable. Yet, underlying however they are being perceived is a deeper struggle to fully identify with anything. This challenge leads to inner conflicts and uncertainties, as they grapple with their sense of self and their place in the world. They are up and down, left and right, constantly in a state of internal conflict that leaves them questioning who they really are. They can feel like they don't know themselves while still being hyper-individualistic and defensive over whatever their current sense of identity is, even though it is likely to change. These contradictions reveal the complexity of their psyche, where outer appearances often mask inner conflicts and contradictory emotions and experiences. Purva Bhadrapada natives navigate the space where boundaries are starting to blur, reflecting the burgeoning singularity of existence in their minds. Due to this, sometimes they can seem like walking contradictions, embodying multiple clashing characteristics at once. For example, while they may harbor a sense of superiority over others, they can also experience deep-seated insecurity and jealousy. They can like to be critical, but cannot handle criticism. Additionally, they might demonstrate a strong desire for independence and self-reliance, yet simultaneously crave validation and approval from those around them. These conflicting traits contribute to their complex and enigmatic nature, making them intriguing yet challenging individuals to understand to others and themselves.
Purva Bhadrapada's inclination towards extremes extends to their pursuit of goals, as they approach certain tasks with unwavering ambition and dedication. They set high standards and are willing to push themselves to extreme limits to get what they want. This relentless drive for perfection and attainment can sometimes lead them to engage in behaviors that are harmful to the well-being of themselves or others, as they struggle to find balance and moderation. At this point, you may be asking, "how is that penance if they are only striving to selfishly get what they want?" Well, the painful truth about this is that they do not really want these things. They are told by others ignorant to their situation that they will be happy when they achieve some kind of abstruse goal set forth for them by society, and they are sent on a goose-chase of material ambition to achieve happiness, but this inevitably only leads to further dissatisfaction. They are met with pain, humiliation, and harsh transformation, but they keep pushing towards their aspiration of material fulfillment. It is only when they get that job, marry that partner, become famous, etc. that they realize it does not bring them happiness or fill them with the sense of purpose they crave. In fact, this realization often leads to intense anger as they confront the worthlessness of what they spent all their time chasing. The journey through Purva Bhadrapada is undeniably arduous, but that is to be expected with such a potent force. They are called to transcend their attachments, lest they be forcefully ripped away. They begin to grapple with an inescapable emptiness they feel when interacting with the world, and this can often lead them to deep feelings of nihilism. Purva Bhadrapada natives are predisposed to being unhappy, and this is not a shallow kind of unhappiness that fades based on external circumstances. Rather, it is a deeply existential depression– a feeling of confused worthlessness and dissatisfaction they often battle with for the duration of their lives. Their experiences and attachments become increasingly burdensome as they grow more aware of the fleeting nature of life. These natives will openly acknowledge the impermanence of worldly intentions, and while this can be both good or bad, it ultimately makes their minds unpredictable and unstable. With the recognition that nothing lasts forever, a new philosophy can be used to justify any action according to moral relativism. If nothing matters in the grand scheme – where whatever you do will eventually fade into obscurity, wiped away with the start of a new cycle – then anything you do doesn’t really matter in the end. This gives these natives a sense of untouchability, a feeling to do whatever they please at their most uninhibited. And it is in this stage of recognizing one’s freedom to do whatever they want is that the test to discern their one’s nature begins. When there is total freedom, the only real concern becomes about what one chooses to do with their freedom. After all, the only harm that can come from doing what you want is ultimately the result of wanting to do something harmful. Sadly, the reality is that most people are not strong enough to fully resist the temptation of evil and would fail this test. It is for this reason that this trial is exclusively administered to individuals who possess a high level of spiritual advancement found under Purva Bhadrapda. Regardless of the difficulties they face, those governed by Purva Bhadrapada have tremendous inner strength and personal resilience, which often manifests in worldly and spiritual achievement and prosperity in various facets of their lives.
Individuals born under the influence of the Purva Bhadrapada Nakshatra are inherently inclined towards detachment from external influences. This detachment often leads them down two distinct paths. Some choose to embrace a life unbound by societal norms, driven solely by their inner convictions. These individuals seek to experience life to the fullest, embracing both its joys and challenges. However, if they feel unfulfilled, they may turn to darker pursuits in search of excitement. Conversely, others utilize their detachment for spiritual advancement, renouncing materialism in favor of a disciplined quest for higher truths. In both cases, detachment becomes a defining trait, shaping their lives in divergent yet meaningful ways. Whether they become revolutionary leaders or appear lazy due to their selective motivation, their actions are stirred only by what truly invigorates their souls. Their inner character often changes with time. They can start out seeming quite innocent and fragile, and a lot of the time they will have something about them that invites torment, be it their big and eccentric personalities, their height, their weight, their looks, etc. This often leads people to perceive them as different and vulnerable. Unfortunately, this vulnerability often attracts individuals who seek to exploit, victimize, or corrupt them. There's a noticeable pattern of others attempting to take advantage of their perceived weakness, whether it be through just trying to make them feel bad, manipulating them, coercing them to do things they do not want to, or forcing them to be alone by treating them as outcasts. This predatory behavior can leave these individuals feeling isolated, betrayed, and miserable, further fueling their inner turmoil and sense of disillusionment with the world around them. However, this also serves to strengthen them. During the course of their lives, they will experience a series of external transformations that will change who they are. While their soft and innocent demeanor may still be present in some ways, there will be a new darker side to their nature. The inner transformations that Purva Bhadrapada natives undergo change them into stronger, more hardened versions of themselves. This alteration can manifest in tendencies towards violence, aggression, deceit, manipulation, etc., yet at the same time, it also equips them with the strength and capability to protect others when needed. As they navigate the complexities of life, they become formidable forces, possessing the resilience and detachment to confront challenges head-on along with the capacity to wield their strength for both good and evil.
Purva Bhadrapada natives exhibit a curious mix of flippancy and seriousness, often displaying a casual attitude towards many topics yet simultaneously exuding an air of solemnity in regards to topics concerning things like philosophical and existential inquiries. They possess a keen intellect characterized by innovation and depth of gnosis, which lends to their excellence in fields like science and research. Additionally, they are known to have an insatiable thirst for knowledge and information gathering brought about by a powerful yearning for deeper truth. While they may have a religious inclination, their focus lies more on unraveling the essence of spirituality rather than adhering rigidly to dogma. As a result of their approach to religion, they can sometimes be critical of conventional religious practices, which rely heavily on dogmatic rules and rituals. These natives are generally liberal and disdain hypocrisy as well as superficiality, valuing authenticity and depth in both thought and action, regardless of how much it clashes with anything else. Despite their show of outward confidence, they often wrestle with inner self-doubt and a crippling fear of failure, which leaves little room for optimism when they are faced with setbacks. While they typically prefer to be alone, they may inadvertently rely on others when seeking to escape the monotony of their everyday lives. This can make them seem unreliable or inconsistent when it comes to their relationships. They are driven by an innate desire to transcend mediocrity and to be perceived as exceptional. This drive for superior distinction stems from underlying feelings of insecurity and a fear of judgment, compelling them to constantly push the boundaries and strive for success through originality in all aspects of their lives. In their personal relationships, Purva Bhadrapada natives may struggle to balance their need for independence with their desire for connection. Generally, in their interactions with others, Purva Bhadrapada natives are intense yet detached. Despite their desire for authenticity and closeness in relationships, they may struggle to express their openly, fearing rejection or misunderstanding. This internal conflict between their need for connection and their fear of vulnerability can create barriers to intimacy, causing them to retreat through self-imposed isolation. Additionally, their critical nature and high standards can sometimes alienate others, as they can come across as overly judgmental or demanding of their fitness, partners, colleagues, etc. They value depth and sincerity in relationships, but sometimes it can be too much to where they end up pushing others away with their intensity. Despite these challenges, they are still often very empathetic and understanding, and they can offer support to people when needed.
Before I get into the padas, I want to give some examples. I do not want to go into much detail or take up too much time with this, but given the very complicated nature of this nakshatra, I feel that it is necessary to provide media representations for people to look into if they are interested in knowing more about how it manifests: Martin Scorsese PB Moon and Andrew Garfield PB ASC (Silence Official Trailer (2016) - Paramount Pictures), Billie Eilish PB ASC (Billie Eilish - bury a friend (Official Music Video)), Jack Black PB Moon (School of Rock (2003) Trailer #1 Movieclips Classic Trailers), Dylan O'brien PB Moon (AMERICAN ASSASSIN - Official Trailer - HD (Dylan O'Brien, Michael Keaton), Logan-Marshall Green (Upgrade Trailer #1 (2018) Movieclips Trailers), Paul Walker PB Moon (Hours TRAILER (2013) - Paul Walker Movie HD), Bill Skarsgard PB Moon (The Crow - Official Trailer (2024) Bill Skarsgård, FKA twigs, Danny Huston), Olivia Wilde PB Sun (A VIGILANTE Official HD International Trailer Starring Olivia Wilde) & (The Lazarus Effect Official Trailer #1 (2015) - Olivia Wilde, Mark Duplass Movie HD), John Stamos PB ASC (John Stamos Stars in "Secrets of Eden" Lifetime), Hozier PB Sun (the lyrics and imagery of this video are extremely Purva Bhadrapada) Hozier - Take Me To Church), Kaya Scoledario PB Sun (Spinning Out Official Trailer Netflix), Ryan Gosling PB ASC (THE FALL GUY Official Trailer 2 (Universal Studios) - HD), Camila Mendes PB Moon (Do Revenge Official Trailer Netflix), Bryan Cranston PB Sun (Breaking Bad Trailer), Sabrina Carpenter PB Moon and Milo Manheim PB Sun (Sabrina Carpenter - Feather (Official Video) Alexandra Daddario PB Sun (Anne Rice's Mayfair Witches Trailer: Starring Alexandra Daddario AMC+), Jacob Elordi PB Moon (2 HEARTS Official Trailer (2020) Jacob Elordi, Tiera Skovbye), Tom Blyth PB Moon (Billy The Kid (EPIX 2022 Series) Official Trailer), Daniel Gillies PB Sun (COMING HOME IN THE DARK Trailer (2021) Daniel Gillies Suspense Thriller Movie), Matthew Gray Gubler PB Sun (KING KNIGHT Trailer (2022) Angela Sarafyan, Matthew Gray Gubler), Jon Hamm (Corner Office (2023) Official Trailer - Jon Hamm, Danny Pudi, Sarah Gadon), Rachel Weisz PB Sun + Moon and Sam Claflin PB Moon (MY COUSIN RACHEL Official Trailer FOX Searchlight), Chris Pine PB Moon (Jack Reacher Movie Trailer), Madison Beer PB Sun (Madison Beer - Make You Mine (Official Music Video), Sharon Stone PB Sun (Basic Instinct - Trailer (1080p)), and Michael Jackson PB Moon (Michael Jackson - Thriller (Official 4K Video).
Padas
(mostly for Moon) They all tend to be skinny to middle weight until they get older, where they either become more muscular or plump/curvy.
1st – The first pada of Purva Bhadrapada, falling in the Aries Navamsa, signifies a stage of primal energy and raw ambition. With Mars as their guiding force, they exhibit a relentless drive to achieve their goals, refusing to be deterred by obstacles or setbacks. However, being the initial pada of the nakshatra just leaving the stage of Shatabhisha, this quarter is the least spiritually developed. While they may possess great worldly ambition and the capacity for success, they may also be prone to ego-driven actions and an overly narrow focus on material pursuits. They can get into occultism or spirituality, but it is usually an attempt to further themselves in the material realm. Natives born under this pada possess a combative nature, always ready to engage in confrontations to defend their beliefs or assert their dominance. They tend to be more mentally aggressive than physically, but nonetheless their volatile temperament can lead to physical disputes as well when they are provoked enough. They know they can be very damaging when they lose control, so they will do everything in their power to prevent escalation. Ironically, this can make them seem passive. They typically exhibit anxious tendencies while attempting to conceal or downplay their feelings of worry. Natives of this pada are extremely passionate, but they have a tendency to constantly compare themselves to others, which ultimately can lead them to disregard their efforts to focus on surpassing someone else's. This propensity of theirs for aggression, envy, and competitiveness can strain relationships and hinder their personal growth, as they become consumed by their own desires for dominance and validation. They are usually medium tall with a wide forehead and low eyebrows.
2nd – The second pada of Purva Bhadrapada, ruled by Venus in the Taurus Navamsa, embodies a stage of sensual indulgence and creative expression. Individuals born under this pada are drawn to the occult and mysteries of the unseen, often delving into practices such as astrology and black magic. There is a bit of detachment from the mysticism of it at this stage though. They may prefer to look at it through a scientific or philosophical perspective as opposed to one that embraces faith in the divine. While their interest in these esoteric realms may lead to proficiency in such arts, it also heightens their propensity to lose track of their life's direction, becoming absorbed in the pursuit of hidden knowledge and power. Natives of this pada are characterized by their attractive physique, with beautiful broad teeth and strikingly captivating eyes that draw others to them. They possess an innate charm that makes them highly appealing to the opposite sex, and they are not hesitant to indulge in their darker desires and fantasies. Their creativity knows no bounds, as they constantly innovate and explore new avenues of expression. However, despite their magnetic allure and creative flair, individuals of this pada are prone to indulgence and excess, particularly when it comes to satisfying their sensual appetites. Their pursuit of pleasure and gratification can sometimes lead them astray, causing them to lose sight of their responsibilities and priorities. This stage of Purva Bhadrapada is more spiritually evolved than the prior, but it is still in the accumulation phase of Aquarius and the 11th house. Despite their outward charm, they may struggle to find stability and balance in their lives. They are prone to accidents.
3rd – The third pada of Purva Bhadrapada falls in the Gemini Navamsa and is ruled by Mercury. Natives born under this pada embody the mental side of Purva Bhadrapada, which is very focused on cultivating critical reasoning and gathering information, emphasizing communication, learning, and adaptability. Individuals born under this pada are intellectually inclined, constantly seeking to expand their knowledge and understanding of the world around them. They are playful and curious by nature, approaching life with a sense of wonder and exploration. Their energy is expressed through communication and expression, as they excel in articulating their thoughts and ideas. They have a natural gift for language and may find success in fields such as writing, teaching, or public speaking. Despite their playful demeanor, they are still very serious about their pursuits, driven by a deep-seated desire for personal growth and self-improvement. Natives of this pada tend to be peaceful and honorable, seeking harmony and balance in their interactions with others. However, their mercurial nature can sometimes manifest as manipulation or deceit, particularly when they perceive it necessary to achieve their goals. Nonetheless, they are skilled at navigating social situations and may possess a knack for making money through their cleverness and resourcefulness. In terms of appearance, individuals of this pada may have gaunt lower cheeks, high cheekbones, a narrow and defined jawline, and a medium stature. These physical characteristics complement their sharp wit and agile minds, making them engaging in social settings.
4th – The fourth pada of Purva Bhadrapada is ruled by the Moon in Cancer Navamsa. This is the most spiritually advanced of all the padas and tends to be among the most intense. At this stage, individuals born under this pada have either undergone profound inner transformation, shedding their attachment to worldly desires and material gains for the sake of aligning with the cosmic order, or they have fallen for the empty temptations of material life, leading them to a deeper state of moral decay. This pada in the sequence of this nakshatra symbolizes the finalization of death, and just like when we die, the impact of our lives can no longer be altered. You are called to surrender all you have acquired to the purifying flames of the spiritual fire, relinquishing personal benefit for the greater good, and if you fail, your soul will be lost to another cycle of rebirth. This represents the height of the nakshatra's power to manifest, it can come to be either an uplifting force for individuals and humanity as a whole, or as a potentially dangerous influence. Those born under this pada are deeply engaged in their own spiritual pursuits, usually guided by a sense of purpose and higher calling. They possess an innate magnetism and power that exerts influence over others and the world around them. Despite the intensity of their spiritual journey, individuals of this pada tend to enjoy good longevity and robust health, thanks to their deep connection with the cosmic energies. They are often perceived charismatic individuals, drawing others to them with their presence. However, their innate power comes with a responsibility to wield it wisely, as they hold the potential to bring about significant positive change or destruction, depending on how they choose to channel it.
Caste
Purva Bhadrapada belongs to the Brahmin or priestly/scholarly caste. This classification is based on the inherent qualities and tendencies of individuals born under this nakshatra, rather than their family lineage, as seen in contemporary caste systems. In Vedic astrology and Hindu tradition, each nakshatra is associated with as caste, thereby linking them to specific attributes, occupations, and societal roles. Brahmin is positioned as the highest caste and is given the most power and responsibility, both socially and spiritually. In classical texts, the Brahmin caste is exalted for its dedication to scholarship, spirituality, and moral rectitude. Brahmins are depicted as the keepers of sacred knowledge, entrusted with the preservation and dissemination of ancient scriptures and teachings. They are revered for their intellectual prowess, philosophical insights, and commitment to upholding the highest ethical standards. Brahmins are expected to lead lives of austerity, simplicity, and self-discipline, setting examples of virtue and righteousness for society. Additionally, they play important roles in leading religious rituals, ceremonies, and spiritual practices, acting as intermediaries between individuals and the divine. Their contributions also extend beyond religious and intellectual realms though, as they also provide guidance, counseling, and healing to individuals and communities. Overall, Brahmins are portrayed as paragons of virtue, wisdom, and enlightenment, embodying the highest ideals of human excellence and divine knowledge as described in classical texts, acting as oases of wisdom by guiding society not only in matters of spirituality but also in areas such as literature, philosophy, and science. Their primary occupations are mostly associated with administration of all sectors of society, teaching, healing, and providing spiritual guidance. Its intersection with Aquarius Rashi on the ecliptic plane may also relate it to Kshatriya and Shudra.
Gunas
The nakshatras each represent the different gunas at different levels of functioning. For this asterism, it might be confusing to find out that, despite all of its negative connotations, it is associated primarily with Sattva or purity/balance. This mainly stems from this Nakshatra's capacity for penance, spiritualism, and generosity. Overall, Purva Bhadrapada is associated with two levels of Sattva and one of Rajas. Sattva prevails at the physical and mental levels, while Rajas predominates at the spiritual level. At the physical level, individuals born under Purva Bhadrapada exhibit qualities of purity, harmony, and balance. They are often composed, grounded, and possess a sense of stability in their physical endeavors. Mentally, they tend to exhibit clarity, wisdom, and a penchant for introspection when they are only focused on engaging their rational mind. This can get muddy when they try to incorporate less tangible aspects into their thinking though. At the spiritual level, the influence of Rajas emerges, driving them towards spiritual growth and evolution but also threatening them with the struggle of inner turmoil. With Rajas at the most personal level of the spirit, this can cause a onstant seeking pf external validation and gratification, which leads to things such as constantly chasing after fleeting desires and pleasures from their lack of contentment. Additionally, the intense drive associated with Rajas may result in overexertion, burnout, and a disregard for self-care. It can lead to an inflated ego, arrogance, and a tendency towards manipulative or self-serving behavior. Therefore, while Rajas can propel individuals towards spiritual evolution, it also poses challenges that need to be navigated with mindfulness and self-awareness. Together with the heavy influence of Sattva, Rajas in this nakshatra creates a spiritual restlessness that works to propel these natives to actively engage in spiritual practices, seeking to transcend worldly limitations and attain spiritual liberation. It comes with risk, but this is a necessary trial.
Gana
Purva Bhadrapada Nakshatra falls under the category of Manushya Gana, or "human/mixed species." This designation speaks to the inherent qualities and tendencies of individuals born under this nakshatra, aligning them with human characteristics and behaviors. People belonging to the Manushya Gana Nakshatras, including Purva Bhadrapada, place value on their self-worth and esteem. They often enjoy good physical attributes and are blessed with fortune, leading comfortable lives. With warm and friendly personalities, they exhibit care and affection towards their family, friends, and loved ones, readily offering assistance to those in need. However, they also prioritize their own interests and benefits. They are known for their warm and caring nature, and while they may appear busy if approached, they are capable of balancing their personal and professional lives effectively. The path of those born under Manushya Gana nakshatras is undefined. They possess the potential to exhibit both positive and negative qualities, akin to the diverse nature of humanity itself. They have the potential to be even more evil than the Rakshas and even more good than the Devas. While some may lean towards acts of kindness and generosity, others may display tendencies that are less altruistic. This blend of qualities makes them a complex combination qualities you might see for the Deva and Rakshasa Ganas. Keep in mind that you should look at the dominant Gana in your chart to gain a better understanding of how this may apply to you.
Thank you for taking the time to read this if you did. I will have to continue this in a third part because I'm out of room on this post. Afterwards, I will be starting on Shravana Nakshatra soon, and then later on Anuradha.

**Prologue: The Catalyst in Rochester**
In the year 2024, the city of Rochester, New York, became the epicenter of a new genetic awakening. The super mutant X-gene, a long-dormant strand of DNA granting extraordinary abilities to its carriers, began to spread rapidly among the population. The outbreak was mysterious, sudden, and uncontrollable. Amidst the chaos, a covert group known as The Catalyst emerged. Comprised of modern-day mutants and scientists, they sought to understand and contain the outbreak.
**Chapter 1: The Journey Back in Time**
The Catalyst, led by the brilliant and enigmatic Dr. Valerie Pierce, discovered an ancient artifact that hinted at a solution buried in the past. This relic, a temporal displacement device, could transport them through time. Dr. Pierce, accompanied by her team, embarked on a perilous journey to the 1800s, during the tumultuous years of the American Civil War, seeking answers from a forgotten era.
**Chapter 2: The Unlikely Heroes**
Arriving in the year 1863, The Catalyst found themselves in the midst of a nation torn apart. Amidst the conflict, they learned of six remarkable children who had gained extraordinary abilities, seemingly from nowhere. These children were:

1. **Lila Lawson** - A brilliant African-American girl with the power to manipulate energy and a fierce determination to fight for justice. She was a close ally of Harriet Tubman and played a crucial role in the Underground Railroad.
   
2. **Benjamin Booker** - A young inventor with an uncanny ability to understand and manipulate machinery.
   
3. **Clara Carter** - A gifted telepath who could communicate across vast distances and read minds.
   
4. **Samuel Scott** - A prodigious tactician with the power to foresee future events.
   
5. **William Wright** - A master of elemental manipulation, capable of controlling fire, water, earth, and air.
   
6. **Martha Miller** - A healer with the power to mend wounds and cure diseases instantly.
   

**Chapter 3: Mr. Lincoln's Secret Weapon**
Upon hearing of these extraordinary children, President Abraham Lincoln saw an opportunity to turn the tide of the war and create a better future for the nation. He formed a secret group known as S.T.E.A.M. Force, an acronym for Scientific Tactical Engineering and Mutations. This clandestine team, operating under the utmost secrecy, became the Avengers of their time, fighting for freedom and justice.
**Chapter 4: The Hidden Sanctuary**
To protect S.T.E.A.M. Force from those who would exploit their powers, President Lincoln and his trusted advisors, including Harriet Tubman and Frederick Douglass, concealed them in a secret location: an underground chamber hidden beneath the Appalachian Mountains. Here, the children continued to develop their powers and inventions, becoming a symbol of hope and resilience.
**Chapter 5: The Time Anomaly**
As the war drew to a close, a time anomaly occurred, freezing S.T.E.A.M. Force in a temporal stasis. Uncertain of how to reverse the phenomenon, Lincoln and his confidants decided to leave them hidden, preserving their secret until a time when they would be needed again.
**Chapter 6: Awakening in a New Era**
Over a century and a half later, in 2024, The Catalyst uncovered the hidden sanctuary. With great care, they reactivated the temporal displacement device, unfreezing the members of S.T.E.A.M. Force. The six heroes awoke to a world vastly different from their own, yet one that needed their courage and ingenuity more than ever.
**Chapter 7: A New Call to Action**
As the spread of the X-gene threatened to plunge the modern world into chaos, S.T.E.A.M. Force, now equipped with advanced steam-powered suits amplifying their abilities, were called back into action. They joined forces with The Catalyst, combining their 19th-century wisdom with 21st-century technology to face the challenges ahead.
**Epilogue: Legacy of the S.T.E.A.M. Force**
Together, they fought not only to contain the X-gene outbreak but to inspire a new generation of heroes. The legacy of S.T.E.A.M. Force lived on, a testament to the timeless virtues of bravery, ingenuity, and the unyielding pursuit of justice.
And so, the heroes of a forgotten era became the saviors of the present, proving that true heroism transcends time itself.

Hi all, relatively new to the world of mechanical keyboards and Nuphy, but have recently bought an Air75 v2 for both work and travel and I love it. My biggest gamechanger though has been the installation of the EurKEY layout on my computer, and combined with my Nuphy's ANSI layout it allows me to work in English, German and French with symbols easily accessible - for anyone not aware, see details here: EurKEY - The European Keyboard Layout (bruentjen.eu).
My question is if anyone knows where/how I might be able to obtain a set of EurKEY keycaps for my keyboard, as it would be fantastic to have it visibly on my keyboard instead of a printed sheet of paper sellotaped to my Folio case! If not directly available, are there any companies that could make custom keycaps suitable for my Nuphy?
Thank you all for your help in advance!

(continuation of part 1)

III. Searching for Aerith Beyond FFVII

There were absolutely no answers in Remake or OG (at this point in my research, Rebirth wasn’t released yet), no matter how much I looked; nothing at all hinted at how Cloud could’ve obtained the memories of OG that emerge in Remake as MOTFs. I knew I had to look elsewhere to search for more clues, so I decided to check every piece of media ever released by SE with a mention of Cloud or Aerith in it, digging for hints in the compilation and beyond.
And boy, did I find them.
III. a) Core Worlds and Suspension Worlds
There are a couple of general FF rules that we need to establish before going forward.
It’s important to note that there are multiple realms in which the FF stories take place, each with a different name, history and society. This ensures that all FF stories occur separately, never intercepting or interacting— though they do have creatures like moogles and chocobos in common, as well as concepts like airships, gil, magic and some form of crystal. For simplicity, I will refer to these separate worlds in which the numbered FF games (FFI, FFII, FFIII, etc) occur as “core worlds”.
Characters from different core worlds may appear together in non-numbered FF games, the events of which have no impact on the core world at all: it seems that sometime after a FF character has reached the end of their core world’s plot-line, they may somehow be summoned to far-removed realms where they will face new adventures. I call these far-removed realms “suspension worlds”. One example of a FF game that takes place in a suspension world is Dissidia Final Fantasy, wherein characters from multiple core worlds unite to accomplish a mission as a team.
III. b) Final Fantasy Tactics
First on our list of non-compilation SE games to explore is 1997’s Final Fantasy Tactics (FFT), a game whose plot takes place in the suspension world of Ivalice. Let’s plot out the relevant events, and then analyze!
III. b) i. Fact-Finding
The main character of FFT, Ramza, encounters a brunette flower peddler with Aerith’s iconic, gravity-defying bangs:
\"Aeris\" in FFT's Ivalice
If you choose to buy a flower from her, she express her relief: apparently, business isn’t going well because no one is interested in flowers. The girl wistfully dreams aloud:

“When is my knight in shining armor going to take me away from here...?”

Later, Ramza and his companions encounter a mysterious machine that can summon people from across universes. The machine is activated, and a rather rude young man with spiky blonde hair appears. Cloud claims he used to be in SOLDIER, and says the last thing he remembers is “getting stuck in the current”. He looks to be disoriented and lost, and suffers from piercing headaches. Mere moments after being summoned to Ivalice, Cloud rambles:

“What’s this? My fingers are tingling… My eyes… they’re burning… Stop… stop it [Se]phiroth…”

He dashes out of the room, but not without announcing:

“I must go… must go to that place…”

Outside, Cloud encounters the brunette flower girl Ramza met earlier. She offers Cloud a flower, but he only stares at her wordlessly:

“Flower girl: Buy a flower? Only 1 gil.
Cloud: …
Flower girl: Something wrong? Do I resemble someone?”
Cloud: No… it’s nothing.”

As soon as Cloud leaves, a gang of ruffians surround the flower girl and start harassing her, demanding payment that’s apparently overdue. One of them finally calls her by her name: “Aeris”. He grabs her, insinuating that he might sexually assault her in lieu of payment. Aeris is not strong enough to push him away. That’s when Cloud returns:

“Cloud: Get your hand off her!
Thug: What did you say!?
Cloud: Didn't you hear me? Get your dirty hand off her!
[…]
Cloud, to Aeris: Go… now.”

Aeris heeds Cloud’s advice, fleeing the scene before a fight between Cloud and the thug can break out. After Cloud scares the ruffians off with the help of Ramza and his companions, he speaks once more:

“I lost… something very important… Ever since, I’ve been lost […]. What should I do? What about this pain [?] Must go… to the Promised Land.”

III. b) ii. Fact Analysis
There’s a lot to unpack here, all of which you probably clocked in your head upon reading, but let’s put it down in writing.
While FFT Cloud’s memory is far from perfect, the Aeris he encounters in Ivalice doesn’t recognize him at all. FFVII Ultimania Omega addresses this question without answering it:

“[The flower seller’s] name is Aeris, and she has the same appearance and tone of voice as the Aeris of FFVII. However, when she comes across Cloud, she does not recognize him. Could she really be the same Aerith who appears in FFVII but with memory loss, or is she a completely different character?” (“#4 Proof of Omega”, “FFVII in Other Games”, “Final Fantasy Tactics”, page 560).

Regardless of her unknown identity and inability to recognize Cloud, FFT Aeris’ fantasy of a “knight in shining armor” is quite reminiscent of the flower girl/bodyguard dynamic we’ve come to know and love. Cloud’s armor doesn’t shine, but in my opinion, if you’re looking for the dystopian, corporatocratic equivalent of a knight, you can’t get much closer than a supposed-former-SOLDIER-turned-bodyguard. Additionally, despite his rude and cold attitude toward Ramza’s gang, the urgency with which Cloud swoops in to save the flower girl from the ruffians betrays a softer, warmer side to him: the flower girl/bodyguard dynamic strikes again!
FFT Cloud’s dialogue borrows two lines from the speech OG Cloud makes as Aerith lies dead in his arms (disk 1, chapter 28): “My fingers are tingling. My mouth is dry. My eyes are burning!” and “What are we supposed to do? What about my pain?” You might’ve noticed that this glimpse of grief Cloud experiences in FFT bears a resemblance to the fourth MOTF 4 experienced by Remake Cloud (see section “II. a)”). Could it be that FFT Cloud and Remake Cloud have something in common?
Shortly after being summoned to Ivalice, FFT Cloud declares that he must go to “that place”, a mysterious line that is later elucidated when he tells Ramza that he must go to the Promised Land and find the “very important” thing he’s lost. The Promised Land is the Cetra culture’s afterlife, meaning FFT Cloud is looking for someone who’s died, someone “very important” to him. OG suggests this is none other than Aerith:

“Cait Sith, reading Cloud’s fortune: You will find [what] you pursue. However, you will lose the most precious thing” (disk 1, chapter 16, English translation by Kotaku’s “Let’s Mosey: A Slow Translation of Final Fantasy Seven: Part Eight” by Tim Rogers, 9:42-9:52).

&

“Cloud, after seeing Aerith’s hand reach for him through the Lifestream: … I think I'm beginning to understand.
Tifa: What?
Cloud: An answer from the Planet… the Promised Land... I think I can meet her... there” (disk 3, chapter 3).

Finally, let’s try to understand where on the OG timeline Cloud was summoned to this suspension world from and what he remembers. His comment about getting stuck in a current has to be about the Lifestream; apparently, on top of its atemporal nature, it can act as a conduit to other worlds. One only enters the Lifestream if they’ve somehow fallen into the core of the planet or once they’ve passed away and returned to the planet. Both scenarios merit consideration.
On the one hand, it’s possible that Cloud was summoned to Ivalice after he and Tifa fall into the core of the planet: this point in the FFVII OG timeline occurs after Aerith’s death and shortly before Cloud finds out he was never SOLDIER, which matches the gaps in FFT Cloud’s memory quite well. However, this scenario does not account for the vagueness with which FFT Cloud remembers Aerith and her death. Most importantly, Cloud’s realization that he can find Aerith in the Promised Land occurs much later in the game (FFVII OG, disk 3, chapter 3) than when he falls into the Lifestream with Tifa (FFVII OG, disk 2, chapter 8).
On the other hand, FFT Cloud’s vague yet persistent memories of Aerith suggest that he’s been summoned to Ivalice after his eventual death post-OG, but also that he’s lost quite a large portion of his memories. His incomplete memory loss is likely the result of Cloud’s individuality’s erosion by the Lifestream after death, which we discussed in section “II. a) ii.”. We can therefore surmise that by the time he is summoned to Ivalice from the Lifestream, Cloud has been dead for long enough that the Lifestream eroded a large portion of the memories of his lifetime. This post-death scenario is likelier than the first. The memory of Cloud’s realization that he was never SOLDIER must be gone, which explains why he claims otherwise upon being summoned to Ivalice. Contrastingly, vestiges of Cloud’s OG memories of Aerith cling to his soul, even after others have been wiped clean. Could this be a consequence of their soulmate bond? Could the strength of Cloud’s love and grief for Aerith have made his memories of her stronger and more difficult for the Lifestream to erode? Could it be both?
One thing is clear: Aerith is of fundamental importance to Cloud, even when he can’t quite remember her. In fact, the only other character he remembers and/or mentions in FFT is Sephiroth. It does make sense that the memories of those who have marked one’s soul forevermore would be the most difficult for the Lifestream to erode.
III. c) Dissidia Final Fantasy
The next stop on our travels through suspension worlds is 2008’s Dissidia Final Fantasy! Now strap in, because here’s where things get really serious.
III. c) i. Fact Finding
In the suspension world of Dissidia Final Fantasy (DFF), the goddess of harmony Cosmos and the god of discord Chaos are engaged in a never-ending cycle of conflict. Both deities need warriors to fight on their behalf, so they recruit core world characters into their respective teams by summoning them to DFF. Some of these summoned characters are FFIV’s Cecil, FFVI’s Terra, FFVII’s Sephiroth, FFX’s Tidus, and of course, FFVII’s Cloud. The warriors find themselves in the suspension world of DFF with no memories of their core worlds’ plotlines. However, as the DFF adventure progresses, they are able to recover pieces of their memories here and there. It isn’t clear how much they come to remember. Ultimately, the warriors hope to return home to their core worlds by fighting in this war and seeing to its end.
Cloud is summoned to DFF as a warrior on the side of Chaos, who seeks to destroy all existence. Sephiroth is also on Chaos’ side, meaning the two are teammates despite being enemies in their core world of FFVII. It just so happens that Tifa is a summoned warrior in DFF too, though she’s fighting on Cosmos’ side. Intrigued by her vague familiarity, Sephiroth hypothesizes that killing Tifa will bring back his memories of OG’s plot line: before long, the masamune wielder finds Tifa alone and corners her into a one-on-one fight. Thankfully, Cloud swoops in and saves her before Sephiroth can do any harm. Tifa is thankful for Cloud’s help, though confused that Cloud would elect to assist her and turn against a fellow warrior of Chaos; she doesn’t remember what Sephiroth and Cloud mean to each other in OG. In fact, Tifa doesn’t even remember Cloud’s name or that they share a core world, though Cloud feels somewhat familiar to her. For his part, Cloud at least remembers that Tifa is someone he cares about from his core world. As Tifa thanks Cloud for saving her from Sephiroth, something she says elicits an odd reaction from the warrior of Chaos:

“Tifa: The way you showed up and fought that guy off. It was a pretty cool thing to watch. You were like a hero, charging in to save the girl.
Cloud gasps at her words. She doesn’t notice” (Dissidia 012: Treachery of the Gods, report 5: “Unexpected Fulfillment 2”).

On another note, Cloud knows he will have to fight Tifa once the Cosmos-Chaos conflict comes to a head, as they are on opposing teams. He thinks to himself:

“Once [her] memories return, [she]’ll lose the will to fight just like I have. So... Before that can happen, I have to act...” (Dissidia 012: Treachery of the Gods, report 5: “Unexpected Fulfillment 2”).

In order to end the cycle of the conflict and to avoid fighting Tifa, Cloud decides to try and defeat Chaos himself. Predictably, Cloud is no match for the deity. As he dies, Cloud pleads the following to the goddess Cosmos:

“Cosmos, goddess of harmony. If you can hear me, listen to my plea. I beg you. Save her. Save my friend… Tifa.”

Cosmos hears him and responds immediately:

“Cosmos: An end to this conflict, and a life spared? This is your heart's desire? If your will remains unchanged, I shall bring you here when the battle draws to a close. Cloud. My chosen" (Dissidia 0.13: Treachery of the Gods, report 7: “Unexpected Fulfillment 3”).

Cloud’s wish is granted by Cosmos: the first phase of the conflict ends without Tifa getting hurt, and she is sent away from the suspension world of DFF before the second phase begins. Cloud is saved from death, and Cosmos enlists him into her team of warriors for phase two: this time, Cloud is fighting on the good side.
Now we enter phase two of the war. Cosmos tells her team of ten core world warriors that in order to save the world from Chaos’ destruction, they must collect what she describes as crystals containing the power to persist through darkness. I call these the “DFF crystals”. There are ten DFF crystals in total: one for every warrior in Cosmos’ group to find. To obtain their crystal, each hero must overcome a trial that will confront them with whatever personal struggle they faced in their core world; if they prove themselves worthy, their DFF crystal will appear to them. On one hand, some warriors’ DFF crystals simply take the form of the crystals found in their core world. For example, Onion Knight’s DFF crystal looks to be nothing more than one of FFIII’s elemental crystals, which hold little to no personal significance to him. On the other hand, some warriors’ DFF crystals symbolize something more personal to their respective warriors. For instance, Cecil’s DFF crystal looks to be one of FFIV’s dark crystals, which specifically represent the dichotomy of light and darkness he struggles with in his core world’s plot line. Cosmos describes the quest for the DFF crystals as follows:

“Cosmos: The crystals embody the strength to face despair. With ten gathered, there is hope yet to save the world. The path to your crystal will be perilous... and different for each and every one of you. But you must believe in and follow your own path. Even if you know not where that path leads" (Dissidia 013: Light to All, prologue: “A Final Hope”).

From this exposition, simply keep in mind that: Cloud must find his crystal by overcoming a personal trial, and his crystal may have the appearance of an object in OG that’s important to him.
Once the team is debriefed on their mission, Cloud remains reticent to fight; he doesn’t much like the mysterious nature of this conflict. Not knowing exactly what they’re all fighting for is clearly bothersome to the swordsman, and the idea of thoughtlessly engaging in battles leaves a bad taste in his mouth. Fellow warrior Firion understands that without a reason to fight, Cloud’s heart just isn’t in it. He imparts upon Cloud that he must have a dream he’s fighting to protect, something he wants to see come true, to motivate him to stop Chaos from destroying all existence. Unfortunately, Cloud doesn’t have a dream to preserve, or can’t find one for himself:

“Cloud: I've looked, but I'm still empty-handed. And without a dream, what do you suppose I should do? […] Maybe what I'm looking for... isn't here” (Dissidia 0.13: Light to All, chapter 1: “Beyond Doubt”, “Gateway of Good and Evil”).

Another fellow warrior, Cecil, expresses worry for Cloud, whose response evokes the main theme of FFVII OG:

“Cecil: Everyone's worried, Cloud. But... Do you shoulder a larger concern?
Cloud: Concern... Maybe a sense of loss" (Dissidia 0.13: Light to All, chapter 1: “Beyond Doubt”, “Beyond the Continent”).

Whatever Cloud is looking for “isn’t [there]”, and he feels “a sense of loss”: Cloud’s motivating dream has been lost to him. This is later reasserted in a conversation with Terra, another warrior of Cosmos:

“Terra: And you, Cloud... What's your dream?
Cloud: I've lost mine" (Dissidia 0.13: Light to All, chapter 3: “The Chosen Battle”, “Gateway of True Intent”).

Later, Cloud encounters and fights Sephiroth, who is still a part of Chaos’ team. Sephiroth is defeated, but not before he’s taunted Cloud with his habitual puppet talk. However, Cloud remains strong and refutes Sephiroth’s manipulation, asserting that only he can determine his own path. This must’ve been Cloud’s personal trial, because his crystal appears at that very moment: it is a small, light green orb that looks like materia from his core world. Having pocketed his crystal, Cloud decides he must find his own reason to fight. Interestingly, his search is depicted as intertwined with Fate:

“Cloud: Even if I have my doubts... I have to find my own answer […] Until then, I'll keep fighting.
Narration: The warrior has vowed to keep fighting— and keep fighting he will […]. Etched in destiny, his quest for answers continues on” (Dissidia 0.13: Light to All, chapter 1: “Beyond Doubt”, “Gulg Gateway”).

Later, the nemeses meet again in a segment called “Recurring Tragedy”. Their interactions here are particularly interesting. Sephiroth speaks of making Cloud suffer through despair and pain as though referencing their history together:

"Sephiroth: This disease called hope is eating you alive. The world of suffering was born out of such half-baked ideals.
Cloud: If that's the case, I have to endure the suffering. There's no moving on if I run from it.
Sephiroth: If that is what you wish for, you shall drown in the pain. I'll lead you to true despair. [My] shadow is burned into your heart. We'll meet again, Cloud. I'll keep coming back— as long as you are who you are."
Sephiroth disappears. Cloud looks out into the distance before the scene ends.
“Cloud: No thanks. The one I really want to meet is…” (Dissidia 013: Light to All, epilogue: “Conclusion of a Cycle”, “Recurring Tragedy”).

This final line suggests Cloud has finally found a reason to fight: he wants to meet someone unspecified.
Finally, after the war has ended, we arrive at the final cutscene of DFF. I will let you read the full script, with notes added by me in bold behind the spoiler censors. Please do not read my notes if you do not wish to encounter spoilers for FFI, FFII, FFIII, FFIV, FFV, FFVI, FFVIII, FFIX or FFX:

“[The] heroes are all standing together in a grassy field with a forest behind them. Birds are chirping, the sun is shining brightly, and the wind is blowing gently. The heroes look around them in awe. They're all holding their crystals.
WoL: The battle has come to an end...
Tidus notices that his crystal has begun to emanate a blue glow.>! His crystal is a movie sphere from his core world of FFX: a capsule containing sounds and images that people record for later viewing. Tidus’ crystal likely represents the specific movie sphere recorded by his love interest Yuna, which revealed that she’d loved him from the beginning.!<
Tidus: Gotta go, huh...
The blue glow transfers to him as well. He turns to look at the others
[…] Tidus grins at the others, then turns and runs toward a nearby lake. He leaps into it in a manner reminiscent of [the events] of FFX. He vanishes as he descends toward the lake.
Zidane: We're not vanishing. We're returning—
Zidane is sitting on a tree limb as he says this. His crystal begins to glow gold, as does he. His crystal is shaped like a highly important ‘progenitor of all life’ crystal from his core world of FFIX.
Zidane: — to where we're supposed to be.
Zidane spins around the tree limb with the use of his tail and launches toward the sun. He's lost to view.
A white feather then drifts down from that direction and Squall catches it. The feather is reminiscent of his love Rinoa Heartilly, whose character symbol is a white feather. In fact, Squall’s crystal looks like a mix of his revolver gunblade from FFVIII and Rinoa’s feather motif. [Squall glows blue.]
Squall: Perhaps we can go on a mission together again.
Squall vanishes.
Cloud is then visible, standing in [a] flower field. The flowers are white and yellow. Cloud has his crystal, a light green materia from his core world of FFVII, in hand.
Cloud: [(Chuckles shortly, like a scoff)] Not interested.
Cloud walks off into the flower field, gaining a green glow. He vanishes.
A snowflake then falls into Terra's right hand as her crystal begins to glow pink. The flames drawn on her crystal represent her power, which is connected to the element of fire: her character arc in FFVI.
Terra: I think I've learned how to keep going. Thank you— and take care.
Terra glows pink and then vanishes. Bartz throws a stick. He's glowing pink as well.
Bartz: When you're having the most fun, that's when time always flies. His crystal is the Adamantite from his core world of FFV.
Bartz vanishes.
Cecil: It's mine to pass on—
A moon appears behind Cecil and goes through its phases as he begins to glow blue. His crystal has shadowed and illuminated parts, representing the duality of his character, which is central to his personal arc in his core world of FFIV. It also represents his brother Golbez, who has chosen the darkness. Cecil considers his familial bond with Golbez his guiding light and hopes to be with him someday.
Cecil: — this strength I've gained from everyone.
Cecil vanishes.
Onion Knight hugs his crystal and looks up toward the sky. His crystal is shaped like those found in his core world of FFIII**.**
Onion Knight: Everyone... thank you!
Onion Knight briefly glows blue and then vanishes.
There are wild roses at Firion's feet. He and WoL are looking toward the sky. WoL suddenly begins walking away while Firion looks down and sees the roses.
Firion: This isn't the end. Another dream is waiting to begin.
His crystal is the color of the wild roses that were at the center of his dream and of his motivation to fight Chaos. The roses are also the emblem of the Rebel Army he was a part of in his core world of FFII. His crystal is shaped like Pandaemonium, the final dungeon of his core world story. Firion gains a violet glow and then vanishes.
WoL is walking through the field and then comes to a stop. He's looking at something.
WoL: May the light forever shine upon us.”

As you can see, everyone’s crystal is very important to the story of their core world, and in the cases of at least Tidus, Squall, Terra and Cecil, the crystals represent something very personal. What about Cloud and his crystal, then? What about the dream he lost and the person he wants to meet? Let’s begin analyzing to answer these questions.
III. c) ii. Fact Analysis
Firstly, it’s clear to me that the Cloud that appears in DFF is a post-OG Cloud, given how many plot points from OG he interacts with. I’m reticent to say whether or not this post-OG Cloud is dead like in FFT, as he recovers many of his memories of OG during DFF and there is no evidence of him having passed away and joined the Lifestream.
The second thing I’d like to point out is Cloud’s strange reaction when Tifa compares him to a hero who swoops in and saves the girl from the bad guy. Cloud gasps, indicating that her words mean something to him; the trope Tifa references must therefore be included somewhere in the FFVII OG plot-line. Some of you are surely ahead of me by now, having realized that only the tragic antithesis of this trope appears in OG: Cloud is unable to save Aerith from Sephiroth (disk 1, chapter 28). Whether or not DFF Cloud remembers Aerith herself at this point, it’s clear he recalls the pain and guilt of losing Aerith to Sephiroth.
Next, let’s address Cloud’s lost dream: to meet an unspecified person. It seems Cloud is aware at this point that in OG, he was eternally separated from the person he dreams of meeting. So, who was he separated from in his core world? Who can he never meet again, even if his team of warriors defeats Chaos and Cloud returns to the realm of FFVII? There are a few options —his mother, his father, Zack, Jessie, Biggs, Wedge, and any other person he knew who died—, but the sheer narrative weight that Aerith’s untimely death carries makes it clear who he truly wants to meet. This is corroborated by Cloud’s “I think I can meet her… there” line in OG (disk 3 chapter 3), by FFT Cloud’s search for Aerith during his appearance in Ivalice, and by Cloud’s strange reaction to Tifa’s comparing him to a hero who swoops in and saves the girl from the bad guy. All the available evidence suggests that Cloud’s dream is indeed to reunite with Aerith, and that this dream is “lost” to him because she was killed by Sephiroth (disk 1, chapter 28). This would also explain the title of the DFF segment “Recurring Tragedy”, since as we all know, the ultimate tragedy of FFVII OG is Aerith’s death. Considering Sephiroth was the one to take Aerith away from Cloud, Sephiroth’s threats of drowning him in despair in “Recurring Tragedy” only solidify this interpretation of Cloud’s lost dream.
Finally, we arrive at the ending cutscene. Cosmos’ warriors return to where they belong to try and accomplish whatever dream they held as motivation during the Cosmos-Chaos conflict, each carrying their DFF crystal. Cloud is shown standing in a field of white and yellow flowers and walking deeper into it with a light green materia in hand. Why was a white and yellow flower field chosen to represent DFF Cloud’s dream? The answer is obvious. White and yellow flowers symbolize Aerith: she sold Cloud a yellow blossom upon first meeting him in OG (disk 1, chapter 1), and her yellow and white flowerbed cushioned Cloud’s fall when the two reunited in the Sector 5 church (disk 1, chapter 4). What’s more, we have the iconic credits video of the original cut of Advent Children to refer to, wherein Cloud is seen driving near flower fields. Aerith stands there (3:20), seemingly waiting for him. Here’s what Nomura had to say about this credits scene:

"[...] we filmed the video for the ending credits in Hawaii. There are fields of flowers on both sides of the road, and the colors —yellow and white— are the same as the flowers in Aerith's church […]. With Aerith, 'flowers' have been her image throughout the series” (FFVII Reunion Files, “Countdown to Reunion”, “Stories from CG Production”, page 87).

Even in the Advent Children Complete cut of the film, where Aerith is not shown standing in the field, the flowers and their symbolism of Aerith remain. That being so, it’s more than fair to say that the white and yellow flowers in DFF’s ending cutscene serve as yet another confirmation that Cloud’s dream is to be with Aerith.
With all of this established, we can address the nature of Cloud’s DFF crystal. As we established, every core world has its own version of a crystal, each possessing a distinct appearance, function and meaning. Materia are the crystals of FFVII, so one could be satisfied by the proposition that Cloud’s DFF crystal is simply meant to represent a random materia. However, I think Cloud’s crystal is specifically the White Materia, as it represents Aerith’s sacrifice, her importance to the plot and what she died fighting for. If any one object symbolizes her death, it’s the White Materia; it’s even given closeups during the event (2:33-3:02). Besides, unlike any other materia in FFVII, the White Materia is known to glow a light green when Holy has been activated:

“Bugenhagen: If [the prayer] reaches the planet, the White Materia will begin to glow a pale green” (FFVII OG, disk 2, chapter 15).

Here are pictures of the White Materia in OG and Advent Children, and two pictures of Cloud's DFF crystal (in order) so you can compare for yourself:
https://preview.redd.it/0qtumfeyfq0d1.jpg?width=386&format=pjpg&auto=webp&s=3995f010738c83fca0c5842a0564d0a9ad206dfd
https://preview.redd.it/0kj525tzfq0d1.jpg?width=1144&format=pjpg&auto=webp&s=575573ef1d2c937635cf569d4a376886a24b384c
Cloud's DFF Crystal
Cloud’s DFF crystal
So far, in both suspension world games we’ve examined (FFT and DFF), Cloud is searching for Aerith. As a final note on DFF, it may interest you to know that codirector of the Remake trilogy Toriyama was actually a writer for DFF: he may have carried some themes from DFF to Remake…
III. d) Detour: The Final Fantasy 30th Anniversary Farewell Exposition
Before we hop onto the next suspension world, let’s return to ours for a quick detour: the 2018 Final Fantasy 30th Anniversary Expo. Themed with farewells and tragedy, this expo showcased the heartbreaking goodbyes featured in different FF games. Artwork, clips, quotes and images aplenty here! As the highly anticipated Remake was going to be coming out approximately a year and a half later, the FFVII section of the expo featured a few sneak peek Remake designs. This means the expo was at least partly curated with the Remake trilogy in mind; there could be interesting material in the FFVII section of the expo related to Remake. Let’s dive in!
Unsurprisingly, the focus of the FFVII section is Cloud and Aerith, since she is the loved one he lost in OG. Zack is also given a mention, however Aerith was the glaringly central star of the show. To showcase how important Aerith’s farewell in particular was to the expo, the FFVII portion was introduced by a photo of Cloud lowering Aerith into her watery grave and a video of her tragic death:
Final Fantasy 30th Anniversary Farewell Exposition, FFVII Introduction
The description under the video screen reads:

“She was gone in the blink of an eye. But the pain never went away.
Aerith awoke the ultimate magic to protect the planet and the people she loved. Yet her life came to a sudden end at the hands of Sephiroth, a man bent on seeing the world destroyed. Even the usually stoic Cloud couldn’t hide his grief at the unexpected death of an irreplaceable companion. ‘My fingers are tingling. My mouth is dry. My eyes are burning.’ True words, revealing Cloud’s deep sorrow” (Final Fantasy 30th Anniversary Exposition).

Conveniently enough for us, the expo’s tagline is “Who is the person you want to meet again?” Given that Aerith holds the spotlight in the FFVII section of the expo, it’s clear who SE is telling us Cloud wants to reunite with. Recall Cloud’s unfinished line in DFF: “The one I really want to meet is..." (Dissidia 013: Light to All, epilogue: “Conclusion of a Cycle”, “Recurring Tragedy”). We theorized that he must be referring to Aerith, and now, we are certain.
The expo also had pamphlet descriptions of the farewells depicted. Here is the general summary of FFVII‘s farewell story according to that pamphlet:

“The story follows the lead character Cloud, but it is the heroine, Aerith, who opens Cloud’s eyes and helps bring him closer to understanding the mystery that is his past. Through her, we draw closer to the truth of the story.
This scene, in which the heroine Aerith is lost, is easily the most shocking and tragic in the story. No one expected to say goodbye to such a major character in the middle of the story. Rumors of a secret way to revive Aerith spread, and it was clear players were having a hard time saying goodbye to her too. Even now, twenty years later, it still feels like a shocking turn of events” (Final Fantasy 30th Anniversary Exposition Pamphlet, page 36).

It’s interesting that SE would mention the rumors of Aerith’s revival circulated by players back in 1997, especially as fans were awaiting Remake’s release…
In light of everything we’ve analyzed so far, it can be said that between FFT (1997) and this farewell expo (2018), SE has consistently demonstrated that reuniting with Aerith is post-OG Cloud’s goal. That’s a period of over two decades— two decades of wishing, seeking, longing in real-world time for this character. This is a huge long-term commitment for SE to make, and you can bet the devs don’t take it lightly. Again and again, once the events of the OG game have ended, Cloud is shown to desire a reunion with Aerith. This ever-present and ever-insistent theme will become very important to us later in this analysis.
(continued in part 3)

Our health has become more important than ever in the fast-paced lifestyle of modern life. As technology drives our growth, taking control of our health has become an empowering journey. Your ~personal health record (PHR)~ is a basic yet powerful instrument that is at the center of this transition.
Think of your health record as a map for your health journey. It's not just a bunch of boring medical stuff; it's full of really helpful insights. Inside your digital health record, you'll find stories about your body's ups and downs, showing how strong and resilient you are. ~Say goodbye to the chaos of health papers~ and start an organized and tension-free life.
Your health record is a useful tool that can offer important insights into your health journey, not just a collection of medical data. Let's analyze five significant health insights from your personal health record that can help you take control of your health.

Health history at one place

Managing your health data is easy once you use Medheed! Imagine having all of your health records in one safe location, all properly organized. No more digging through piles of paperwork or trying to remember which doctor said what.
Imagine yourself having quick access to all of your test results, lab reports, medication information, and medical data. And you can achieve that using Medheed! With a few simple steps, Medheed can take care of all your health-related needs, including monitoring your progress and communicating with your physician.
Join the Medheed family today and take control of your health like never before. After all, when it comes to staying healthy, every little bit helps – and with Medheed, you've got a whole lot of help right at your fingertips!

Health tracking

Consider your health as a book, with significant information about your well being revealed in every chapter. Imagine now that your Personal Health Record (PHR) is the enchanted magnifying glass that enables you to see beyond the surface details.
Tracking health trends with your PHR is like being the detective of your own health story. You're not just flipping through pages; you're analyzing key health indicators such as blood pressure, cholesterol, blood sugar, and weight – think of them as the plot twists in your narrative.
It's like having a helpful friend who guides you through the ups and downs, helping you make sense of it all.

Family health history

Your family's healthcare history can provide important insights into your own health. It's similar to putting a puzzle: every piece symbolizes a family member's health journey, and when put together, they reveal your genetic predispositions.
But why should you choose Medheed? Because it is a partner in proactive health management and more than just a place to store stuff. You are empowering yourself with information that enables you to manage your health by recording your family's medical history in Medheed.

A proactive approach to health

Preventive care is the wall that maintains your health robust, like an impressive fortress. Preventive measures are crucial, such as addressing a leaky roof before it becomes a flood. And your medical history? It's like a friendly reminder that taps you on the shoulder and says, "Hey, it's time for your check-up!"
You are in charge of the course of your health if you remain proactive and accept Medheed's advice. It guarantees a better, healthier future for you and your loved ones, acting as if you had a secret weapon against major health problems.

Allergies and Sensitivities

When it comes to allergies and sensitivities, your health record is similar to your own personal bodyguard. Your health record gives you the information to repel these unpleasant invaders, even though they have the potential to seriously harm your wellbeing. Maintaining a record of your allergies and sensitivities helps your healthcare providers keep you safe during treatment in addition to safeguarding you. In order to keep yourself well and happy, let your medical history be an ally in the battle against allergies and sensitivities.
Your health is the most valuable asset you have in life. You can also write the narrative of your health with resources like Medheed and your personal health record (PHR).
Your health records is more than just a database; it's a guide to wellbeing, with features like monitoring health trends and handling allergies and sensitivities. It is your reliable friend, assisting you with ease and clarity as you navigate the kinks in your road towards better health.
Never forget that you control your own health. Make informed decisions, use your digital health records as a roadmap to wellbeing, and make careful choices

Hi all,
Have some stuff for sale that's no longer being used. Need to get rid of it soon so feel free to send offers. Bundle discounts available.
Please comment before PM - I do not reply to Reddit Chat messages. PM for further details, questions, bundle discounts, local pickup and negotiations etc. Local is Chicago, IL. Thank you.

Name/Timestamp	Price (Shipped/Local)	Condition/age	Description/reason for sale/etc
Bose Noise Canceling Headphones 700 NC700 carrying case with white Bose USB-C to USB-A cable and white 2.5mm to 3.5mm cable	$40/$30	9.5/10, purchased in December 2023	DOES NOT INCLUDE HEADPHONES - only the case and cables. Got these with the Bose NCH700 headphones. They are in excellent, like-new condition and come with the original white color charging and audio cables.
Surface Pro 6 with i7 8650U and 16GB RAM & 512GB SSD. Bundled with Alcantara Signature Type cover, Surface Dock, 2x genuine Surface 65W chargers	$360/$340 $325/$300	Tablet: 8.5/10; Type cover: 7/10	This Surface has the 0.4GHz bug (CPU doesn't boost beyond 0.4GHz). The fix for this is to keep ThrottleStop running in the background with BD PROCHOT disabled. I can guide you through setting it up so that this bug doesn't affect usage of the laptop. There is also a slight haze in a dime-size area near the bottom of the screen which is visible when the screen is pitch black but not in bright/white screens. Check last 2 pics in the album to see examples of thee same. Was been using it as a secondary device to watch movies, listen to music and as an occasional Steam Machine. The type cover is one of the best chiclet keyboards I've typed on, and the dock is supremely useful to connect it in a snap to a bigger display (especially when streaming games)!
Genuine Surface Go Charger	$25/$15; free if you buy stuff worth $60 or more	7/10	Surface Go Charger. Works.
Genuine Apple 67W USB-C Power adaptecharger with Apple Type-C cable	$45/$35	10/10 like-new	Got this sometime in early 2023 to use as a single charging solution for my laptop and phone, but never ended up using it. Only taken out of box and used once jusut before taking pics to confirm that the combo works
iWalk Secret 4500mAh portable Lightning charger	$20/$10; free if you buy stuff worth $60 or more	BNIB	Got this as a gift sometime in 2023 but I don't have a Lightning iPhone/iPad. The black leather looks pretty sick actually.

What a wonderful game. So many parts made me feel like a genius when I put it together (the ghost dog flame was the moment it hit 10/10.) I love the depth of these puzzles but when it starts getting “outside the game” stuff like scanning barcodes and interpreting Morse code and whatnot that’s a bridge too far for me.
So a few questions:

1. What’s the deal with the statues with symbols and numbered dots littered throughout the world?
   
2. In the top right, bright green section, occasionally when I go through some rooms with the uv light on, the trees sparkle, that has to mean something right?
   
3. On the way to the seahorse flame, in the room with the hummingbird, is there a secret? I spent a chunk of time convinced I could get myself to a room above the hummingbird that may not exist
   
4. How to get to the upper level of the room of the room showing the dogs and the manticore under uv light? What’s the connection between the dogs and the manticore?
   
5. Certain sections of walls have symbols like keys and bones, what’s up with that?
   

Kudos Billy, this is just outstanding work.